Photoshop to CSS Conversion: 3 Methods Compared

Converting Photoshop mockups to live web code is an extremely common practice among web designers. We’ve all done it a million times by hand, so it’s pretty exciting when we start seeing solutions pop up that will help us automate this process.

 

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Converting Photoshop mockups to live web code is an extremely common practice among web designers. We’ve all done it a million times by hand, so it’s pretty exciting when we start seeing solutions pop up that will help us automate this process.

The latest version of Creative Cloud Photoshop CS6 has a built-in feature for converting Photoshop styles to CSS, and if you need another solution, there are two solid extensions that you can check out. Today we’ll compare the results of all three methods: Photoshop, CSS3Ps and CSSHat to see which is best.

 

Our Three Candidates

This article is all about comparing the results from three different methods of achieving the same goal. We have a design in Photoshop and we want to see it built in HTML and CSS.

Our three methods include Photoshop itself (version 13.1) as well as two extensions CSS3Ps and CSSHat. I recently created a screencast for Psdtuts+ that introduces and does some comparison between Photoshop and CSS3Ps, which you can find here.

I didn’t cover layer group functionality in that tutorial though so I thought it was worth another go and decided to toss in CSSHat as well so we really cover the bases well.

Our Test Case

We’ll need something to test the different conversion methods on, so I whipped up a generic UI panel that could hold anything you want:

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This is basically comprised of three different layers: the text layer, the top bar and the background. Here I separated them out a bit so you could get an idea of how they were constructed.

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Below you can take a look at our layers palette. Note that this object is structured very intentionally. All three of the methods that we’ll look at today convert layer names to class names in CSS, so you want to be sure that you’re very careful about how you name your various pieces. Also note that the shapes are made from vector shape layers.

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Some of the methods that we’ll try out support layer groups, which means we’ll want to convert the structure here to a div structure in our HTML.

HTML

Photoshop can take care of the CSS for us, but we’re still on our own with HTML. Here’s a quick attempt at an HTML structure that will work with the code that Photoshop is going to generate. Without this in your HTML, the CSS won’t do a thing!

	
		<div class="panel"> <div class="paneltop"> <p class="type">Quick Panel</p> </div> <div class="panelback"></div> </div>

Photoshop

Let’s start off with the built in Photoshop functionality. The process here is extremely easy, all we have to do is select our layer group in the Layers panel and go to Layer>Copy CSS (you can also access this command with a right-click).

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Photoshop provides pretty much zero feedback that anything has happened at this point. There are no options to tweak, no panels to inspect, just the menu command that we clicked above, which places a big chunk of code into our clipboard. Here’s the output, straight from Photoshop.


.panel {
  position: absolute;
  left: 180px;
  top: 25px;
  width: 360px;
  height: 427px;
  z-index: 7;
}
.type {
  font-size: 19.913px;
  font-family: "Helvetica";
  color: rgb( 255, 255, 255 );
  line-height: 1.11;
  text-align: center;
  -moz-transform: matrix( 1.70449868947994, 0, 0, 1.72443193254442, 0, 0);
  -webkit-transform: matrix( 1.70449868947994, 0, 0, 1.72443193254442, 0, 0);
  position: absolute;
  left: 83px;
  top: 25.902px;
  width: 180px;
  height: 27px;
  z-index: 6;
}
.paneltop {
  background-image: -moz-linear-gradient( -90deg, rgb( 1, 98, 171 ) 0%, rgb( 0, 52, 91 ) 100%);
  background-image: -webkit-linear-gradient( -90deg, rgb( 1, 98, 171 ) 0%, rgb( 0, 52, 91 ) 100%);
  position: absolute;
  left: 2px;
  top: 1px;
  width: 351px;
  height: 81px;
  z-index: 4;
}
.panelback {
  border-radius: 20px;
  background-color: rgb( 224, 225, 226 );
  box-shadow: 1.5px 2.598px 5px 0px rgb( 0, 0, 0 );
  position: absolute;
  left: 2px;
  top: 1px;
  width: 351px;
  height: 418px;
  z-index: 3;
}

The Result

If we toss this into a code editor and take a look at the result, the results are a little disheartening. Photoshop didn’t do a great job with the conversion. For starters, the top bar doesn’t have rounded corners. Also, the shadow seems to be at full opacity (too dark) and the type placement is off. If gives us a strong start and genuinely saves us a lot of time, but it’s probably not the magic solution you were hoping for from Photoshop.

See it live: Click here

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To make things worse, if we jump back and look at the code, there’s plenty to complain about. There are some really wonky things going on here such as the unnecessary transform on the text. It seems that you can let Photoshop write CSS for you, but I’m not convinced that you should.

CSS3Ps

Our next candidate is CSS3Ps, a completely free Photoshop plugin that predated the built-in Photoshop functionality. The website shows some pretty complex examples so hopefully this will tackle our project a little better.

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With the CSS3Ps extension installed, go to Window>Extensions>CSS3Ps. Then select the layer group and click the logo that pops up inside of the CSS3Ps panel.

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Once you press that button, a web page opens up and presents you with a timer. You’re forced to wait twenty seconds and look at an ad, which sucks but given that the extension is free, it’s understandable.

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From here you’re taken to a page containing the code, which I copied and pasted below. Note that this time around, I had to add in periods before the class names. CSS3Ps takes the layer name exactly as it appears in Photoshop, so you add in the “.” or “#” symbols there.

	.type {
  font-family: Helvetica;
  font-size: 10px;
  color: #fff;
}

.paneltop {
  width: 351px;
  height: 81px;
  -webkit-border-radius: 20px 20px 0 0;
  -moz-border-radius: 20px 20px 0 0;
  border-radius: 20px 20px 0 0;
  background-color: #000;
  background-image: -webkit-linear-gradient(top, #0162ab, #00345b);
  background-image: -moz-linear-gradient(top, #0162ab, #00345b);
  background-image: -o-linear-gradient(top, #0162ab, #00345b);
  background-image: -ms-linear-gradient(top, #0162ab, #00345b);
  background-image: linear-gradient(to bottom, #0162ab, #00345b);
}

.panelback {
  width: 351px;
  height: 418px;
  -webkit-border-radius: 20px;
  -moz-border-radius: 20px;
  border-radius: 20px;
  background-color: #e0e1e2;
  -webkit-box-shadow: 2px 3px 5px rgba(0,0,0,.34);
  -moz-box-shadow: 2px 3px 5px rgba(0,0,0,.34);
  box-shadow: 2px 3px 5px rgba(0,0,0,.34);
}

The Result

There’s a lot to like about the CSS3Ps output. For starters, it treats each individual layer as its own object and doesn’t attempt to position them over each other. I actually prefer this and always immediately strip out the absolute positioning code that the built-in method uses. This keeps the focus of the conversion where it should be: on style.

See it live: Click here

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Speaking of style, the results in that area are improved as well. Notice how the top bar actually has a border-radius this time around and how the box-shadow uses an alpha value to reduce the opacity. This version might be a little prefix heavy on things that no longer require prefixes, but otherwise the code isn’t half bad.

Also, the fact that you can get the output reformatted in Sass or SCSS is a killer feature that easily makes this method better than the default Photoshop feature.

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CSSHat

The third and final method that we’re going to check out is CSSHat. Like CSS3Ps, it’s a Photoshop extension, but this one will run you about $30.

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To use CSSHat, simply select the layer that you want to convert and open the CSSHat panel (find it in the extensions menu as with CSS3Ps above). Unfortunately, CSSHat currently doesn’t support layer groups, so you’ll have to do it on each individual layer. This is a serious strike against CSSHat, but it makes up for it in versatility.

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I love that I finally have some options to tweak. The other two methods were easy, but if you don’t like something, tough! Here I can toggle four different options: comment explanations, browser prefixes, layer dimensions and whether or not the code gets wrapped in a rule named after the layer.

Also notice that you can get the output in an impressive variety of formats: CSS, SCSS, Sass, LESS, Stylus and Stylus CSS. Here’s the output for the plain CSS version:

	.type {
  color: #fff; /* text color */
  font-family: "Helvetica";
  font-size: 10px;
}

.paneltop {
  width: 351px;
  height: 81px;
  -moz-border-radius: 20px 20px 0 0;
  -webkit-border-radius: 20px 20px 0 0;
  border-radius: 20px 20px 0 0; /* border radius */
  -moz-background-clip: padding;
  -webkit-background-clip: padding-box;
  background-clip: padding-box; /* prevents bg color from leaking outside the border */
  background-color: #000; /* layer fill content */
  background-image: url(data:image/svg+xml;base64,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); /* gradient overlay */
  background-image: -moz-linear-gradient(top, #0061ab 0%, #00335b 100%); /* gradient overlay */
  background-image: -o-linear-gradient(top, #0061ab 0%, #00335b 100%); /* gradient overlay */
  background-image: -webkit-linear-gradient(top, #0061ab 0%, #00335b 100%); /* gradient overlay */
  background-image: linear-gradient(top, #0061ab 0%, #00335b 100%); /* gradient overlay */
}

.panelback {
  width: 351px;
  height: 418px;
  -moz-border-radius: 20px;
  -webkit-border-radius: 20px;
  border-radius: 20px; /* border radius */
  -moz-background-clip: padding;
  -webkit-background-clip: padding-box;
  background-clip: padding-box; /* prevents bg color from leaking outside the border */
  background-color: #dfe0e2; /* layer fill content */
  -moz-box-shadow: 2px 3px 5px rgba(0,0,0,.34); /* drop shadow */
  -webkit-box-shadow: 2px 3px 5px rgba(0,0,0,.34); /* drop shadow */
  box-shadow: 2px 3px 5px rgba(0,0,0,.34); /* drop shadow */
}

The Result

As you can see above, the chunk of code this time is pretty huge, mostly due to the fact that the gradient is converted to a data URL. Below is the result if we paste directly into our code editor.

See it live: Click here

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As you can see, just as with CSSPs, the elements are merely styled, not positioned, we would have to push them into place ourselves. On that front, the styles look perfect with the exception of the text, which is tiny. I expect this has to do with the fact that I built the Photoshop version on a Retina screen though so you may not experience this bug (CSS3Ps actually did the same thing).

Who Wins?

“I recommend both CSSHat and CSS3Ps over what you get inside of Photoshop 13.1.”

None of the methods for converting Photoshop styles to CSS outlined above are perfect. The Photoshop version works, but the code is pretty ugly and the results don’t utilize the advanced CSS3 techniques that you’ll need to match things like opacity and complex border-radius setups. CSS3Ps is free and performs better than Photoshop, but the method of turning you to a web page that is hidden behind a twenty second ad delay is pretty annoying.

CSSHat is the best in the bunch as far as customization, but it doesn’t support layer groups. The default Photoshop method is the only one that positions your multiple items in a way that matches your canvas, which could be a good or bad thing (I wish it were an optional feature). Ultimately, nothing is going to give you the accuracy, power and versatility of coding by hand, but these tools can get you off to a strong start and save you some serious time.

Personally, I tend to favor CSSHat in this bunch. It’s a little pricy, but the functionality is stellar. It’s frankly a lot closer to what I wanted to see from Adobe. I think they really dropped the ball on this feature and I recommend both CSSHat and CSS3Ps over what you get inside of Photoshop 13.1.

What Do You Think?

Now that you’ve seen my assessment of these three tools, it’s time for you to chime in. Which of the above methods have you tried? Which do you think is the best? Let us know in the comments below!

50 Amazing Resources for Dribbble Lovers

Here at The Site Slinger, we’re huge Dribbble fans. Sort of a Twitter for design, this awesome site is home to beautiful bite-sized work samples from the web’s best designers.

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Here at The Site Slinger, we’re huge Dribbble fans. Sort of a Twitter for design, this awesome site is home to beautiful bite-sized work samples from the web’s best designers.

To showcase our love for Dribbble, we’ve put together a collection of fifty fantastic resources for anyone and everyone who uses Dribbble. From open source developer projects and quirky web projects to desktop and mobile applications, we’ve got enough Dribbble goodness to keep you occupied for months.

 

Developer

Dribbble API

The official Dribbble API documentation. If you’re a developer and you want to build anything related to Dribbble, start here!

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Jribbble

Jribble is a jQuery plugin that opens up various aspects of the Dribbble API. Grab shots, users, comments, rebounds and more.

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Rebbbounds

If you want to keep an eye on what developers are doing with the Dribbble API, hit up Rebbbounds, a Tumblr blog that’s chock full of great examples.

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GitHub Goodies

There are a ton of Dribbble related projects on GitHub, here’s a quick list of some that you should check out.

  • dribbble-php – PHP wrapper for the Dribbble API.
  • swish – Ruby wrapper for the Dribbble API.
  • Dribbble.js – Dribbble.js is a one file, library agnostic javascript file that will add your most recent dribbble shots to your website.
  • dribbble_desktop – A ruby script that scrapes rss feed of “shots” from dribbble.com, puts the images in a folder, generates an html file that you can load using WebDesktop. Poof – dribbble shots tiled nicely on your desktop.
  • Objective-Dribbble – A wrapper for the Dribbble API, written in Objective-C.
  • dribbble-codeigniter – Dribbble API Library for CodeIgniter.
  • Dribbble-node – Client API for Dribbble web site in node.
  • dribbbleCFC – ColdFusion wrapper for the Dribbble interface showcase API.
  • dribbble-dotnet – A Mono and .NET library for the Dribbble API, built using C#.
  • Dribbble-Sync – Drupal 7 module that syncs shots from Dribbble.
  • Dribbble-Retinizer – Chrome and Safari extensions that add a few nifty retina features to Dribbble.
  • dribbble-sass – Sass demo for Dribbble Show & Tell.
  • dribbble-dimmer – Chrome extension that enables the viewing of shots over a dimmed background.
  • Dribbble_Wrapper – Dribbble Wrapper takes the mobile Dribble website and put it inside phone gap to create a native android application.
  • dribbble-screen-saver – Pulls down popular shots for easy use in a Mac OS X “picture show” screensaver.

WordPress Plugins

WP Dribbble Shots

Adds a template function that grabs the most recent shots from the Dribbble user of your choosing.

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RainyShots

Similar to the one above, this plugin returns an array of 15 recent shots from any player.

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Web Apps

Liiikes: Top Players

Liiikes is like a Dribbble scoreboard. It shows you the statistics for all of the major players and scouts (recruiters).

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Jump Ball

A simple and fun memory matching game built with the Dribbble API.

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Nibbble

Nibbble is a web app, but it’s specifically built to allow a better Dribbble viewing experience for the iPad.

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Who Drafted Who?

Type in a Dribbble username, see who drafted that person.

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Box Seat

Box Seat is a no distractions, one-at-a-time shot viewer with keyboard controls.

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Full Court Shots

An infinitely scrolling grid of recent Dribbble shots. Great if you need a quick shot of design inspiration.

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Alley Oop

Search Dribbble by color. Really helpful if you have one color that you like and want to find some others to complement it.

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bbbrowser

Another simple grid full of Dribbble shots. This one doesn’t require scrolling though, just load up the page and watch.

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Mac Clients

Play by Play

Play by Play is the Dribbble client that I personally use the most. It has the feel of a desktop Twitter client, only it’s full of Dribbble shots. What could be better?

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Dribbbler

Dribbbler isn’t meant for viewing shots but for making them. Drag it over the area you want to shoot, click the button and upload.

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Nibbble — A Dribbble screensaver for OS X

Love Dribbble? Why not make it your screensaver? Mac users can do just that with this free software.

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iPhone Clients

iOS developers have definitely embraced Dribbble and its API. There are quite a few really sharp iPhone clients. Here are the ones that I found.

As far as I can tell, they pretty much all share most of the basic Dribbble browsing and interaction features. It really comes down to which interface you like the best. I personally think that PlayBook is pretty slick. It’s also free so it’s a good place to start.

Asssist for Dribbble

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Shotz – A Dribbble Client

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Swish

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Balllin ~ a Dribbble client

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PlayBoook

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Backboard

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Travveling for Dribbble

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Air Ball App

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Dunk

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Drishots

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Alley Ooop – A stream of inspiration shots from dribbble

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scoreboard! (coming soon)

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iPad Clients

Dribbble on the iPad is an entirely enjoyable experience. The large screen and touch interaction makes for an unrivaled browsing experience. It’s definitely one of my favorite ways to keep up on recent activity.

If you’re looking for a suggestion, the first two are my favorites. Dribbblr is from Tapmates so you know it’s awesome and Pick’n’Roll is just gorgeous.

Dribbblr for iPad

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Pick’n’Roll for iPad

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Courtside for iPad

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Dribbbits for iPad for iPad

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Dribbble Flow for iPad

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Android

Not an iOS user? Fear not, there are a couple of good Android Dribbble apps as well. Check them out below.

Pixle for Dribbble – Android

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Asssist | The Dribbble client for Android powered devices

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What Did We Miss?

This collection includes the absolute best Dribbble resources that I was able to find, but I’m sure that I missed a ton of great stuff. Leave me a comment with a link to your favorite Dribbble app, service or code project. Also be sure to let me know what you think of the resources above.

Do We Still Slice PSDs?

The other day a friend of mine said something that caught my attention, “I’m trying to learn how to slice a PSD.” It’s a simple enough statement. As soon as he said it, I knew exactly what he was talking about, and yet, there was something in there that didn’t quite set right.

 

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The other day a friend of mine said something that caught my attention, “I’m trying to learn how to slice a PSD.” It’s a simple enough statement. As soon as he said it, I knew exactly what he was talking about, and yet, there was something in there that didn’t quite set right.

Upon seeing my hesitation my friend responded with a question, “Do we still slice PSDs?” Great question! For beginners, jargon isn’t merely jargon, it implies a process and suggests a method of action. For this reason, it’s often helpful for more advanced developers to define their terms in a way that is meaningful to others. Today we’ll dive into the theory behind the process of converting a PSD to to a web page and end with a discussion on the ups and downs of designing in the browser.

 

Our Sample File

We won’t be actually converting a PSD to HTML/CSS today, we’re merely discussing the how and why so you can fully understand the typical approach taken by today’s web designers.

I needed a PSD to reference throughout the article so I grabbed the awesome free Creative Studio Minimal PSD from GraphicsFuel.com.

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What Is Slicing?

The first thing we should talk about is what it means to “slice” a PSD. Put loosely, the term simply means to chop up your Photoshop document into pieces, which then get served up to the web server, put in order by HTML and styled/positioned by CSS.

On a more specific level, slicing can refer to a specific set of tools inside of Photoshop. Using the Slice Tool, we can partition our document up into little pieces. Basically, we just draw a rectangle around every item that we want to separate into an individual image.

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Why Slice?

The slicing tools in Photoshop are merely there for convenience. There are a ton of great web designers today that never touch them and there’s nothing wrong with that.

The point behind the slicing tools is to make the process of saving out a bunch of images easier, both in the short run for the initial build and in the long run to make revisions. Basically, what it does is save you the trouble of cropping out each portion manually and saving it.

Though the process is kind of a pain, I have to admit that a nicely sliced PSD is a thing of beauty. Here’s a clear example where I have several elements that need to be saved out as images. Without slicing, each one of these would represent a crop and save process that I have to go through.

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When they’re sliced though, a single Save For Web action can convert all of thes slices to standalone image files. This really cuts down your time on the repetitive task of cropping and saving if you’re working with a single Photoshop file as your source.

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Make Slicing Suck Less

If you’re still unsure about the Photoshop slicing tools or think that it’s all a big fat waste of time, you should check out our piece titled, How to Make Slicing Suck Less: Tips and Tricks for Slicing a PSD.

In that article, I thoroughly explain the process of slicing and how all of Photoshop’s slicing tools work. Most importantly, you get a look at some great tips on how to make the process of slicing much better. Things like Layer Based Slices and hiding Auto Slices really go a long way towards making it a bearable process.

Why Slicing Is Old School

So that’s slicing. Now that you know what it’s all about, it’s time to explore how this process has changed over the years to a point where slicing is a fundamentally different activity than it used to be.

Once upon a time, no one used CSS (I know, the horror!). Even when CSS did come along, the tools that it provided web designers with were pretty limited compared to what we know today.

Consequently, websites that tried to push the limits by not looking like crap tended to use a ton of images. Every time a design contained a custom font, simple gradient, drop shadow or rounded corner, an image had to be used to pull the effect off in the browser.

Consequently, slicing was a big deal. When you created a Photoshop mockup of a website, if you decided to implement any sort of aesthetic icing, which was huge before the minimal kick we’re on now, then you had to slice every little portion of your design up into tiny pieces that you likely then used HTML tables to reconstruct. Brutal right? Especially when you consider that we were all on amazingly slow web connections back then so all those images took ages to load.

CSS Kills The Image

As CSS evolved and grew, a new trend popped up in web design: imageless design. If you looked around on design blogs a few years ago you would see a ton of articles titled something like, “Create a Fancy Button Without Images!” To this day you still see titles like this pop us as people perform unbelievable feats with CSS.

This trend wouldn’t be possible without the amazing CSS features that we now enjoy. Suddenly you can round corners, add shadows, implement multiple backgrounds, build gradients, use custom fonts and a lot more using pure code. The general goal of many web designers now is to leverage CSS and use as few images as possible in our markup. “Imageless” isn’t necessarily something to be achieved (you almost always need a few images) but rather strived for, meaning you generally want to get as close to it as humanly possible while keeping support high.

Pros and Cons of Imageless Design

This trend comes with its ups and downs. The up side is that, despite what non-coders might think, CSS is a beautifully easy way to maintain and adjust a design in the long term. If you want to change something small such as a font or a background color, you just find/replace a few lines of code and you’re good to go. There’s also the benefit that even thousands of lines of CSS can be minified to the point that its effect on loading times is nearly negligible.

The huge, not to be understated downside is compatibility. With images, PNGs were pretty much the only thing we had to worry about (aside from loading times of course). Now with CSS we have support issues across the board. Browsers that do support a new feature do so only with a unique prefix, making for ridiculously repetitive coding, many features are only available on a single browser engine, others are supported everywhere but IE (some things never change); it can be a real mess.

The ultimate goal is to keep what’s best for the user in mind. If using an image for something results in the greatest amount of good for the most people, go for it.

Less Images, Less Slicing

Building on this foundation of information, we can finally address the question of whether or not web designers still slice PSDs.

For the most part, when we look at a Photoshop document that is meant to be converted to a website, we try to see code wherever possible. It’s like that moment in the Matrix where Neo looks around at what he once saw as the normal world and suddenly sees the code behind it. Web designers don’t see layers and layer effects, we see divs and CSS properties.

Given that this is the case, the majority of the work involved in taking a static design live is more in the realm of rebuilding than slicing. Instead of slicing that glossy button and serving it up as an image, I’ll use CSS to rebuilt it from scratch. This process is repeated throughout the whole of the site, often with images used primarily for actual content rather than design (though there’s still plenty you can/shouldn’t do with pure CSS).

Designing In The Browser

The question that no doubt comes to the mind of many web design newbies as they read about this process is of course, “Isn’t this all a bit repetitive?” First you design and build a site in Photoshop, Illustrator, Fireworks (yes, I remember that Fireworks is great for web content so don’t yell at me in the comments) or any other layout tool of choice, then you basically start over in the browser and rebuild what you just created using code instead of images wherever possible.

The answer is a resounding “yes.” The result is a movement of folks that encourage moving the design process right to the browser. Start in code, finish in code, use Photoshop only when you need to create an image and virtually eliminate all this repetitive nonsense.

I’m all for this process. It’s super lean and really streamlines your workflow. Unfortunately, it’s not always easy to get the creative side of your brain to produce your best work utilizing this method. Sarah Parmenter recently addressed this problem in her post, “I can’t design in the browser” in which she reveals the “guilty secret” that even though Photoshop isn’t a good way to display the kind of dynamic and responsive web content that clients need today, it does foster more creativity than going straight to HTML and CSS.

How Do You Design Websites?

This post represents a long answer to what seemed to be a simple question. However, under that question is something that we’re all struggling with lately, from beginners to professionals: What’s the best process for designing a website? Should the creative design process be distinct from the coding process or should they be one and the same? Should we build mockups in a layout application and then slice them up for the browser or is there a better way? Is Fireworks really the answer or is there still a missing solution?

I want to hear your thoughts on this. What does your current workflow look like, from beginning to end? Where do you begin the design process and how does that flow through to a live website? What tools do you find invaluable along the way? What would your ideal web design tool be like?

Responsive Design: Why You’re Doing It Wrong

Responsive design isn’t a fad that arose because of a cool CSS technique, it’s an answer to a problem. Always remember that and constantly ask yourself whether or not you’re really adequately addressing that problem. If you’re using copy and paste to insert your media query breakpoints, your solution might be flawed.

Responsive design isn’t a fad that arose because of a cool CSS technique, it’s an answer to a problem. Always remember that and constantly ask yourself whether or not you’re really adequately addressing that problem. If you’re using copy and paste to insert your media query breakpoints, your solution might be flawed.

Let’s discuss why media queries exist and how we can leverage them to truly solve the quandary of the ubiquitous web. Let’s talk about why you should let your content determine the breakpoints of a layout, not hypothetical screen sizes.

This article is part of our series on “looking beyond desktop design”, brought to you in partnership with Heart Internet VPS.

The Idea Behind Media Queries

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To begin this debate correctly, it’s necessary to discuss why media queries have suddenly become so popular. The answer is of course that “Responsive Design,” a term coined by Ethan Marcotte, is a fantastic way to address an ever-growing problem for web designers.

While everyone was ranting on and on about how the “mobile web” was going to overtake the traditional one, the revolution that took place was much more drastic: the web became ubiquitous.

This “problem” is great for the world as a whole, but a real headache for us. In the past decade, the worldwide web has transformed into something new. It’s no longer bound by the walls that we had previously established. I’ve said this before but it’s worth repeating. While everyone was ranting on and on about how the “mobile web” was going to overtake the traditional one, the revolution that took place was much more drastic: the web became ubiquitous.

At this point in time, we don’t access the web from a single point. We didn’t give up our laptops in favor of smartphones as “experts” predicted. Instead, the web is everywhere we are. It’s not only in our phones and computers, it’s in our tablets, iPods, gaming systems, televisions and even cars.

This trend will only continue as time goes on. Responsive design brings us past a season of creating separate mobile sites and into an era where we develop one site that evolves and adapts to the device that it’s being viewed on. Using media queries, we can present specific CSS to any number of different viewport sizes and make sure that everyone has the best possible experience.

The Problem With Responsive Design

The section above isn’t a semi-historical rant meant to fill space, it’s an important look at the goals that responsive design is meant to achieve. The question then becomes, does it meet these goals? Does responsive design adequately address the problem of ubiquity?

The answer is complicated, at best I can say, “it depends on how you do it.” That’s a confusing statement isn’t it? Responsive design is straightforward: use media queries to serve up custom CSS to different viewport sizes. This is how everyone approaches it right? So how can there be a right and wrong way?

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The complexity arises when we begin to discuss a crucial part of this technique: which media queries should I use? Or put a different way, which “breakpoints” should I target for custom CSS? The current popular answer predictably starts with the best “mobile” devices around: the iPhone and iPad (cue angry Android user comments). From these archetypes we establish so-called “generic” smartphone and tablet sizes. Then we move up and address laptops and small desktops and finally large screens. A standard set of media queries, like this one from CSS-Tricks, typically has nine or ten pre-established breakpoints.

What if we focused on the needs of a specific design instead of a hypothetical device use case? What if we built layouts that simply worked everywhere?

To be fair, this system does work to a certain degree. We’ve all seen lots of great responsive sites built using a set similar to Coyier’s above. However, I can’t help but think that this is somehow repeating the same mistake that we made by designing “mobile sites” a few years ago. The entire focus here is on the device viewing the site. Before we even build the site, we have these breakpoints in mind.

But devices change. We’ve already established that the web is being connected to pretty much everything with a power switch, so why are we once again placing so much emphasis on currently common screen sizes? Is there a better alternative? What if we focused on the needs of a specific design instead of a hypothetical device use case? What if we built layouts that simply worked everywhere?

Content Focused Responsive Design

The aforementioned problems with pre-established media queries occurred to me only as I dug in and really started producing responsive work on my own. In theory, the standard suggestions are great but once you apply them to a complex design you’ll discover that those breakpoints don’t always cover it. The problem, as the Boston Globe designers found quickly found out once the site went live, is that issues arise “in the in-between” (for the record, that project is fantastic and any layout issues have largely been addressed). Things get messy when the design is at a size that you didn’t account for and you have to go in and patch the holes after the fact.

I say this as an avid Apple fanboy: stop designing websites for the iPhone.


My question is, why don’t we start there? Instead of going into a project with a set of devices, and consequently media queries, in mind, why don’t we let the design decide? Every web page layout has a point where the browser size lessens its integrity. Our job as designers, in light of the problem of ubiquity, should be to find that size and account for it, then lather, rinse and repeat until all of the weak points are accounted for.

I say this as an avid Apple fanboy: stop designing websites for the iPhone. Instead, design a website that maintains its integrity as its viewport size is reduced to any feasible state. Do keep specific devices in mind as a guide for your design (example: smaller devices tend to be touch-based, so make links large), but don’t put your blinders on and fail to look at the bigger picture: that your design should look good on any screen.

A New Workflow

So what does a content focused responsive design workflow look like? It’s simpler than you think. Obviously, you need a starting point of some kind. If you want to start mobile and go up, great. If you want to start large and come down, also great. I personally find it very difficult to really dig into a design and do it right if I’m starting at the mobile level, but there are many solid arguments for doing it this way.

Something magic happens when you follow this workflow.

Hypothetically, let’s say you started with a large, 1020px wide site. Check it out on the largest screen you can get your hands on and make sure it looks great. Now drag the window and make it smaller until the design gets ugly. There’s your first breakpoint. Set a media query for that point and fix everything that you need to address. Once you’re finished, grab that window and find the next point of ugliness. Repeat these steps until you’re satisfied with the range that you’ve accounted for.

But what about the iPad? What about the Kindle Fire or Samsung’s latest attempt at being relevant? Something magic happens when you follow this workflow. You just made it so that the layout looks good at just about any size. If you did it right, then when you pull it up on your phone or tablet, it’s going to look great.

Layout Only
Keep in mind this discussion refers to layout ratios only. You absolutely don’t get out of testing functionality on different browsers and devices. Responsive design does nothing to account for the fact that different browser engines interpret HTML, CSS and JavaScript differently.

Conclusion

To sum up, media queries and responsive design provide us with an incredibly powerful tool to account for the fact that websites are being viewed by all manner of screens and viewport sizes. However, once we start pegging our designs to a handful of devices, we’re right back where we started. Your goal instead should be to build a layout that’s so versatile that it can handle almost any viewport size thrown at it.

This is all nice in theory, but where’s the example? The jumping off point of this discussion came from a recent attempt of mine to build a responsive image gallery. Check out that article for a look at how a content focused responsive design workflow might look in the wild.

Weekly Freebies: 15 Impressive CSS and PSD Navigation Menus

Today’s awesome collection of design freebies brings you a veritable utopia of navigation menu bliss. Each of the fifteen navigation menus below are both completely gorgeous 100% free to download.

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Today’s awesome collection of design freebies brings you a veritable utopia of navigation menu bliss. Each of the fifteen navigation menus below are both completely gorgeous 100% free to download.

I’ve included both CSS and PSD menus so whether you’re just looking to create a mockup or need something fully functional, we’ve got you covered. Enjoy!

 

Collapsing Vertical Nav (CSS)

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3-Level Navigation Menu (CSS)

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Ribbon Banner Navigation (CSS)

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CSS Menu Pack (12 Menus)

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Simple Tabbed Navigation (PSD)

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Dark Menu (PSD)

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PSD navigation menu

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Clean & Simple Navigation Menu (PSD)

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Clean Simple Navigation (PSD)

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Tab navigation (PSD)

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Glossy Dark Menu (PSD)

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Textured Navigation (PSD)

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Vertical Navigation Menu (PSD)

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Breadcrumbs navigation (PSD)

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GlossMilk Navigation (PSD)

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Love it? Share It!

If you enjoyed this week’s collection of freebies, share the love and send out a link on your favorite sites. Here’s a convenient snippet for you to copy and paste as you please!

15 Free CSS and PSD Navigation Menus: http://goo.gl/ANWrT

What Is HTML? Back to Basics

Since I have a background in print, I’m always eager to help designers from other areas get a start in web design and basic development. I know from experience that the transition is an extremely intimidating one that many people simply don’t think they can manage.

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Since I have a background in print, I’m always eager to help designers from other areas get a start in web design and basic development. I know from experience that the transition is an extremely intimidating one that many people simply don’t think they can manage.

Fortunately, I can also attest to the fact that it’s probably not as difficult as you might imagine. In the world of hardcore coding, HTML and CSS rank pretty low on the barrier to entry scale.

Today we’re going to start a series that examines the basic building blocks of web development. HTML, CSS, JavaScript; if you’re a complete and utter beginner who might not even have a basic grasp of what these technologies are much less how to wield them, then this series is for you.

 

What Is HTML?

There are a million ways that I could start this discussion. We could go into the drivel of how HTML stands for Hypertext Markup Language or how it was invented in 1980 by physicist Tim Berners-Lee as a system for sharing documents, but you can get all that from Wikipedia. If you’re interested in the history of the World Wide Web, I highly recommend investigating the topic further, but that doesn’t help us much in our discussion of what HTML is today and how you’ll need to use it.

What you really need to understand is the conceptual purpose of HTML. What is it for? Why do you need it? How does it compare and relate to other technologies like CSS and JavaScript?

HTML: The Most Important Piece

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Along these lines, HTML can be thought of as the fundamental building block of the web as you know it. There’s an underlying architecture of complicated technology that makes up “The Internet” but the good ol’ WWW is largely dependent on HTML.

In fact, technically, HTML is all you need to create a web page. A few extremely simple lines of HTML uploaded to a web server would constitute a web page, which is definitely not something that can be said for CSS and typically not something that can be said of JavaScript. The point here is that, while all of these technologies are closely related, HTML is the pivotal piece of the puzzle.

Now, before you get too excited, that doesn’t mean that you can get away with only learning HTML. You’d be hard pressed to find a modern web page that doesn’t utilize, at minimum, a combination of HTML and CSS.

Markup Languages

To truly understand what HTML is, you’ll need to understand what markup languages are and why they exist (I’m sneaking in that drivel after all).

Basically, the web is written in plain text. Now, by “plain text” I don’t just mean a lack of images, I mean a lack of rich formatting of any kind. Unlike in Microsoft Word where you can easily create bold italic text at any point size, writing code is more like using WriteRoom or IA Writer; all you get is plain old letters and symbols.

The Typewriter Metaphor

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Imagine composing an essay on an antique typewriter, then handing that essay to someone so that they could enter it into a computer. Your typewriter doesn’t have any formatting features, but when your associate enters your essay into the modern word processor, you want it to have headers, bold text, italic text, bulleted lists and more. How would you tell that person where to implement these features?

The answer is of course that you would “mark up” your document and insert extra indicators of how you want the text to be formatted. These wouldn’t be present on the end result but are merely meant to tell the interpreter how to make everything look the way you intend. This is exactly how a markup language works. With HTML, this markup is accomplished through tags.

Tag, You’re It

As I write this article, I’m doing so in plain text HTML. This means when I want to bold something, I can’t simply hit a button. Instead, I insert a bold tag:

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The last word will be in <b>bold</b>.

See how I used “<b>” to indicate where the bolded text would begin? Also notice how I used “</b>” to indicate where the bolded text would end. To italicize something, I use the same technique.

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<i>This is italicized.</i> This isn't. 

The bracketed portions are known as tags, and each set of tags has a starting and stopping point. With these, you tell the interpreter, in our case a web browser like Firefox, how you want the content to be formatted. When we place content between an opening and close tag, we typically say that we have “wrapped” it in a tag.

Example Tags

Now that you know what tags are, here are some more very basic examples of some HTML tags:

  • <p>paragraph</p>
  • <h1>header</h1> (h2, h3, h4, etc. create incrementally smaller headers)
  • <small>small text</small>

Links, Tags and Attributes

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This is where the “Hypertext” in “Hypertext Markup Language” part comes in. One of the major parts about writing HTML, and indeed about using the web in general, is linking. That’s how it all works right? If there is a web page loaded into your browser and you want to get to another page, what do you do? Click a link! This system is fantastic for connecting all of the various bits and pieces of information stored on the web.

To link something in HTML, we of course use a tag. This tag is going to look a bit more complex than most though. Let’s look at an example that links to the Design Shack home page.

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Read <a href="http://designshack.net/">Design Shack</a> daily for awesome bits of design goodness.

Here we have not just a tag but an attribute as well. The tag (<a></a>) tells the browser that there’s a link and the attribute (href) tells the browser where the link should go. The syntax for this type of structure is as follows:

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<tag attribute="VALUE">Text, images, etc.</tag>

In our previous example, anything between the “a” tags becomes a link. So the words “Design Shack” would’ve been an active text link that, upon clicking, directed the user to the href URL, which was the Design Shack homepage.

Placing an image via HTML works much the same way. We use the “src” attribute to point the browser to the location of the image and the “alt” attribute for text that will appear in place of the image if it can’t be displayed. Notice the closing tag structure is a bit different this time with all the “img” info placed within a single tag.

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<img src="images/thepicture.jpg" alt="alternative text">

You Can Read HTML!

If you’ve been reading along up to this point, the following should make perfect sense.

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<h1>What is HTML?</h1>
<p>You've officially learned enough that you should be able to read basic <bold>HTML</bold> fairly easily. This text is marked up with all kinds of tags, but once you know what they all mean, it becomes fairly readable doesn't it?</p>
<p>Now that you know what HTML looks like, let's move on and discuss it from a more <em>conceptual</em> point of view. What purpose does it serve in the grand scheme of web design?</p>

HTML: The Skeleton of a Web Page

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We now have a good idea of how HTML is a markup language and what that means. We know that it’s basically a way to give the browser plain text and have it output richly formatted and even active content that can be clicked on to some end. The last thing we need to understand is how it fits into the overall picture of a completed web page.

As we’ve seen in the examples above, HTML mostly relates to directly inputting content onto a page. The actual underlying structure of any web page is the kind of tagged statements we just learned about. Most text and links you see on any given page, as well as many of the images, are implemented directly with HTML.

HTML is Meant to Be Boring

As I said above, HTML is technically all you need for a web page. However, this HTML content by itself is quite plain. Notice that nowhere in the examples above have we told the page what background color we want to use, what size the text should be, which fonts to apply where, how wide certain portions should be and how they should line up, etc.

We’ve simply thrown in the content without any real thought towards what it will look like. Looking at any page on the web you can see that no one stops here. Each site has its own look and feel, its own color scheme, typography, layout, etc.

For example, imagine that your local news site picks up a story from the Associate Press. They could print the story verbatim and therefore have the same basic HTML structure for that content, yet it would likely look quite different from the version on the AP site. Why?

CSS is The Skin, Hair and Clothing

The answer is that modern HTML is not generally used to govern aesthetic style and layout. For this, we’ve adopted something called Cascading Style Sheets, or CSS.

The typical web developer workflow might be to insert all the various pure content first into an HTML document, then jump over to CSS and begin crafting that content to appear in a more visually pleasing and usable way. A year later the developer could come back and toss in a brand new CSS file that makes the website look completely different, all without touching the HTML.

JavaScript jumps into this game by taking a more active role in how the page behaves. Animations, form submissions, dynamic content, these are the domain of JavaScript. Lately CSS has been encroaching on this territory, but that’s a topic for another day.

What Is HTML5?

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Before we wrap this up, you’re probably wondering what the heck all this HTML5 talk is about. HTML5 is exactly what it sounds like: the fifth major iteration of HTML.

Web technologies aren’t set in stone, they’re constantly evolving and expanding. Just like print designers generally have to keep up with the newest bells and whistles in the latest version of Photoshop, so web designers have to keep an eye out for changes in web standards.

HTML5 brings lots of new features to the table while cutting out some unnecessary fat from its previous installment. For instance, HTML5 developers have some new tags to work with that make the basic structure of a web page more logical.

For more on HTML5, check out our complete series on the topic:

Conclusion: More to Come!

This article was meant to give you a basic conceptual overview of HTML. If you started reading without a clue as to what HTML is and how it’s used, hopefully you now have a basic grasp of these concepts.

As we look to the future I’ll be expanding this topic and walking through the basic anatomy of an HTML document and then moving on to another important question: What is CSS?

Be sure to check back soon for more on these topics!

Image sources: xlibber, Ryan Amos, Dave Parker

Career Options: 10+ Types of Graphic Design Jobs to Consider

So you want to be a graphic designer? What does that mean exactly? What types of jobs are available? It turns out deciding to be a designer is a pretty vague choice that often requires some more direction and career evolution before you really land yourself in a meaningful career.

So you want to be a graphic designer? What does that mean exactly? What types of jobs are available? It turns out deciding to be a designer is a pretty vague choice that often requires some more direction and career evolution before you really land yourself in a meaningful career.

Today we’ll explore the underlying structure of the graphic design industry and take a brief look at some different design jobs and career paths that you can and should explore. Whether you’ve been a designer for ten minutes or ten years, this article could help you find your place in the industry.

 

A Word About Semantics

The following descriptions represent, at best, industry norms largely based on my own experience. The truth is, there are no real restrictions or guidelines in place for labeling a design job and frankly, employers often get it very wrong.

I’ve seen “front-end” design jobs with years of hardcore coding knowledge requirements, “senior” design jobs that are in reality quite low level, and companies calling for expertise in UX without even knowing what it is. The simple truth is, you can’t always judge a job by its title but will have to look at its requisites and expected daily activities to be sure.

Levels

Before we get into specific areas of the industry, you should familiarize yourself with some of the basic levels that you can expect to be placed at in any given specialty. Whether you’re in package design or UI, you’ll find that there’s a hierarchy to climb your way up if you want to reach the top and make the big bucks.

Mac Operator/Entry Level Designer

Mac Operator (sometimes written “MAC Operator”) is a term that you almost never hear in web design but appears frequently in the print industry. Other terms like “Mac specialist,” “artworker,” “entry level designer,” or even simply “graphic designer” are often equivalent.

Though the use of the term varies considerably, most often you’ll find that a Mac Operator is someone who, quite frankly, can use a Mac for what is was once widely known for: desktop publishing. Mac Operators can, at the very least, use page layout software (Quark, InDesign, etc.) with a high level of proficiency.

“Mac Operators can, at the very least, use page layout software (Quark, InDesign, etc.) with a high level of proficiency.”

Mac Operators are often not usually in a position to display much, if any, creative prowess. Instead their roles are restricted to converting existing low-resolution artwork or sketches from designers to a print-ready layered file or to make minor changes to preexisting work created by someone else.

As an example, I worked for a marketing company who would have designers come up with a first round of artwork, which would be sent off for approval. If the piece came back with copy changes and other slight suggestions, it would go to the Mac Operators to be tweaked. If however, it required major design changes, it would go back to the higher level designers. In smaller companies this is obviously done all by one person but larger companies want to make sure they’re paying high level designers to do high level work, not copy changes.

Mid-Level Designer

This takes almost no explanation and is pretty much exactly what it sounds like. As a mid-level designer, you’re neither at the bottom or the top. You have a few years of experience, often anywhere from 3-7, that has earned you a reasonable pay bump and the freedom to actually engage in custom design projects from the ground up whether as a team member or solo designer.

“These are the meat of the industry and tend to be the guys and girls who produce the largest volume of work.”

Advertising agencies, marketing companies, dedicated design firms, these are filled with midlevel designers. These are the meat of the industry and tend to be the guys and girls who produce the largest volume of work, which is then passed up the line for approval and suggestions. The pay varies widely, the hours can be crazy; this is the stereotypical graphic design job.

Senior Designer

Senior designer is a pretty vague title as far as duties go. It’s typically gauged more by experience than duties, with those designers who have 6+ years of experience having a much better chance at landing a senior design position.

A very typical example of a design team will have one or two senior designers, with a handful of low to mid level designers. The senior designers are often the voices to listen to, the experienced few whose opinions carry more weight and paychecks slightly higher numbers, without necessarily being “the boss.”

“The senior designers are often the voices to listen to, the experienced few whose opinions carry more weight and paychecks slightly higher numbers.”

The senior designer is often the one who reports to the creative director and goes through status updates on various projects, lessons learned on past projects, etc. Direction from the creative director is often filtered through this person to the team.

Again though, expect senior designer jobs to be all over the place. Often it only refers to the years of experience you have. You could easily find yourself with a “senior designer” position in a company where you’re the only designer!

Art/Creative Director

These are the Don Drapers of the world. While everyone else sits in a cubicle, the Creative Director sits in an office. For the most part, Creative Directors started at the bottom and worked their way up through 10+ years of experience.

“While everyone else sits in a cubicle, the Creative Director sits in an office.”

A typical Creative Director might actually do more managing than actual full on design work. Good Creative Directors know how to maximize the potential of their teams. All major work is filtered through them and they have the ultimate say on the direction of the creative, specific artwork used, how the tasks are split up and more.

They also manage a good deal of the client relations. Meetings, planning, phone calls, emails, lunches, dinners, long flights and presentations fill the time of the Art/Creative Director, which some love while others long for the days when they could spend their time in front of Photoshop.

The Creative Director position is a precarious one. Often, they get the praise when a project goes right, even if they haven’t really designed a single thing. Similarly, when projects go horribly wrong, they take the blame, even to the risk of their own jobs. They’ll pass both praise and castigation on to their team, but ultimately it’s their heads that often rest on the chopping block.

Areas of Design

Now that we’ve made it through basic hierarchy, it’s time to examine some different directions your career could take in terms of emphasis. There are a million different types of designers and this list is not meant to be exhaustive but to provide a brief overview of the most popular titles.

I’ve split the jobs between the web and print industries. The two are conveniently categorized as separate, but the reality is that you can easily find overlap in the real world. The smaller the firm, the more likely they are to have one person who makes the coffee, designs the packaging and codes the website. Larger firms tend to specialize more and allow employees to settle into a niche.

Print

If you’re going into design, there’s no reason to only consider the digital world. Before you pursue this path, take a look at our recent article, Are Print Designers Doomed? An Important Look at the Facts. This outlines the very real trend of the decreasing availability of print jobs in light of the simple fact that print designers will definitely still continue to play important roles in society for all of the foreseeable future.

Package Design

Package designers are exactly what they sound like, they design the boxes, bottles, cans, bags and cartons that fill every shelf in every store. A package designer could focus primarily on label artwork (canned goods and cereal boxes are pretty set in shape and size) but they could just as easily be asked to come up with ideas for custom containers. Shampoo bottles are an example of a product with a container that is often heavily customized by each major brand.

“These designers have an amazing sort of anonymous fame.”

These designers have an amazing sort of anonymous fame. Their work is everywhere: in our stores, all over our kitchens and bathrooms, even in our dark, abandoned backyard sheds. Every product you’ve ever purchased that came in any sort of container was largely a work of a packaging designer.

If you can spend hours comparing peanut butter labels and dog food photography, then packaging design might be right up your alley. If you have a taste for 3D modeling, physical container design is definitely a field to explore.

Advertising/Marketing

These jobs exist in both the print and digital categories with more and more dollars being directed away from print and towards digital every year. I merely placed it in the print category because that’s where these industries were born (along with radio and television).

Advertising and marketing are two very closely intertwined but distinct categories of design. Some firms specialize in one over the other, some do both. As a designer with a job in advertising, you might do a little marketing and vice versa. However, in my experience with a marketing firm, the two areas were very distinct. Here’s how it worked where I was:

Advertising and Branding
The advertising firm or in-house department was often concerned primarily with branding and the public image of a product or company. These designers created the personality of the brand: its logo, characters and mascots, typography, colors, messaging, goals, drive, etc. This carried over to general advertising activities such as television commercials, radio spots, print ads and web banners all aimed primarily at communicating the brand’s existence and personality.

“Advertising can and does completely shape the way consumers perceive a brand.”

Advertising can and does completely shape the way consumers perceive a brand. One example that comes to mind is Herbal Essences shampoo. Years ago this brand was a fairly sensual brand obviously targeted at middle age and older females: the commercials depicted women of this age undergoing an orgasm-like experience upon using the shampoo (ridiculous but true). These days however, everything from the package design to the commercials obviously target a much younger audience and focus on youthful fun rather than mature sensuality. The shampoo inside the bottle is exactly the same, but the advertising folks have dramatically changed the perception of the product.

Marketing
Along these same lines, marketing leverages the existing brand design: logos, packaging, targeting, personality, etc. in a more sales-focused arena. Marketing designers create coupons, in-store promotional materials and engage other short-term projects meant to achieve incremental lift, which is to say tactics such as a holiday sale where purchase is hopefully increased.

“The advertising people develop who the brand is while the marketing people are tasked with getting it in the hands of as many people as possible.”

The advertising people develop who the brand is while the marketing people are tasked with getting it in the hands of as many people as possible. Sales numbers, quarterly earnings, brand partnerships; this is the world of the marketing department, all of which is translated to real materials that must be created and designed for print and digital distribution.

For instance, every scrap of junk mail that comes out of your mailbox and into your recycling bin is designed by a designer in marketing. Don’t bash it, I used to be that very guy and absolutely loved my job! It was always fun to receive, and subsequently toss, my own direct mail materials.

Print Publication Designer

The publication industry was historically one of the heaviest hitters as far as the number of designers employed, though this number has reduced dramatically with the rise of the web. Magazines and newspapers were the Internet of yesterday and are still a large part of every day information consumption for many people.

“This is definitely a field that can only exist through the hard work of talented designers.”

Every single page in these daily, weekly, monthly, bi-monthly and annual publications has to be designed, compiled and organized by teams of Mac Operators, Graphic Designers and Creative Directors. Take a look at the number of pages in any magazine, then take a look at the magazine section of your local bookstore to see how many there are and you’ll see that this is definitely a field that can only exist through the hard work of talented designers.

Devices like the iPad are creating an interesting overlap of print design techniques and digital technology. Some online publications are moving from the familiar blog format to a more magazine-like experience with individual pages that can be turned via gestures. This is a natural evolution for these types of designers and should hopefully help alleviate disappearing jobs.

Logo Design

It’s hard to believe that some people can make a full time living solely through logo design but it does in fact happen. It’s more typical for a company to provide a full range of marketing/advertising/branding services, but logo specialists are on the rise and are quite a talented group. If you’re good with a pencil and tend to be more of an artist than a designer, logo design is a perfect field for to pursue.

Once again, though logo design comes from the print world, these days tons of companies exist only in the digital realm and still require the same service.

Digital

Now that we’ve looked at some areas of print design and even some that exist in both print and web, let’s look at those jobs that primarily exist as a response to the popularity of the Internet in the past two decades or so.

Front End Web Designer

Front end web designers create the web as you know it. Each individual site and page has a “front end” and a “back end”. Though the back end can require some sort of design if it also has users, this is often a more focused on development and coding, so the front end is where most of the actual design emphasis is placed. To put it differently, developers make the websites work while front-end designers make them pretty .

“At the most basic level, front end web designers spend their time creating comps in Photoshop or Fireworks.”

Front end designers can be expected to have a range of different skills. At the most basic level, front end web designers spend their time creating comps in Photoshop or Fireworks. These comps are then passed on to developers and turned into live, working designs.

More and more though you see the job requirements of front end designers including basic development capabilities. There’s a raging conceptual debate over whether or not designers have any business coding, but the reality is that employers are beginning to require knowledge of at least HTML and CSS before considering you as a candidate. Even if you won’t actually be engaging in those activities, designers who understand the underlying structure and capabilities of the web are valuable assets. Following this same line of thought, front end development tends to be HTML, CSS and JavaScript while backend development involve heavier hitters like PHP

Designer/Developer

At the other end of the spectrum sits the designer/developer. These individuals aren’t satisfied with merely handling the front end aesthetic but push themselves further and become fully competent in HTML and CSS. Some go even further than that and pick up JavaScript, PHP, Ruby and other prominent web technologies.

Again, let the debate rage on about whether or not one person should really hand all of these duties but the reality is that there are a million people with skill sets this extensive and they are excellent candidates as far as employers are concerned.

UI Designer (User Interface Designer)

As the web and even desktop computer environments become more ingrained into our daily lives, the role of the UI designer becomes more and more important. In many ways a sub-segment of front-end design, UI design relates specifically to the design and in many cases actual hand-coded development of application and website interfaces.

For example, if you need a personal website to show off your work, you might hire a general web designer or firm to design and code the whole thing. However, if you want to create a productivity application with custom buttons, fields, navigation, typography and other design elements, then you would hire a UI designer.

UX Designer (User Experience Designer)

There is a lot of confusion surrounding this particular field and to what extent, if any, it overlaps other areas of design. In general, the user experience designer is primarily concerned with low fidelity design, meaning the end product of the UX designer can be fairly far from the finished, more aesthetically developed version of the design.

A project in its initial stages is often placed in the hands of a UX expert or team, who will outline, sketch and wireframe the basic workflow or “experience” of the user. The job doesn’t stop there though and continues through to the ultimate completion of the design in various roles that are complementary to the other types of designers on the project.

“A project in its initial stages is often placed in the hands of a UX expert or team, who will outline, sketch and wireframe the basic workflow or ‘experience’ of the user”

This is crucial in applications, e-commerce sites and other large web and software projects. It’s important to note that UI design is an aspect, but by no means the whole, of UX. Areas such as research, usability and A/B split testing all fall into the area of UX on some level.

UI vs. UX
The differences between UI and UX are often disputed. In “The Difference Between UI and UX“, our own Shawn Borsky defined UI design as specifically the design of input/output controls and anything else that allows the user to interact with the system while UX is more of the sum of all the parts and the impact it has on the user.

Others however, state that the difference between the two lies more in the difference between design and development, meaning it’s a matter of the difference between a UX Designer and the UI Developer. UXMatters.com defines a UX Designer as “one who designs the user experience” (which includes research, testing, etc.) and a UI Developer as “One who builds user interfaces that support the exchange of information between an application’s users and its back-end processes and databases.”

Obviously, the two different perspectives are quite similar and together give you a good idea of the overall difference between the two areas. As a crude rule of thumb, I always say that a UI guy designs the button but the UX guy tells him where to put it.

Other Considerations

Beyond the general hierarchy of design jobs and the specific areas of focus, there are a couple of more topics of which to take note.

Places to Work

One major concern is where you work, which has a huge impact on the definition of the titles above. As I mentioned, smaller companies tend to have fewer people perform more varied tasks while larger companies focus employees toward narrower tasks. In fact, it’s not really the size of the company that counts but the size of the design or creative department. Some employers are dedicated design firms and therefore tend to pay closer attention to these definitions and roles. Others are companies that have nothing to do with design but have an in-house design team that can range dramatically in size. For instance, in Phoenix where I live, Fender Guitars employs quite a few graphic designers.

There’s also the self-employed/freelancer route where you have the freedom to decide what type of designer you are and can even change that distinction from day to day. Want to try focusing on logos for a year? Go for it! Want to bill yourself as a UX expert? No one is stopping you. Freelancing isn’t for everyone but countless designers swear they would never do it any other way.

How Much Will You Make?

The all important question! Don’t feel bad if money is a primary concern for how you pick a job. People can go on and on about loving what you do and doing what you love but ultimately you need a paycheck and almost no one can argue that big checks are better than small ones on payday.

If, like me, you’re quite interested in this topic, check out our recent article, How Much Money Do Designers Make?

Conclusion

The point of this article is to get you thinking about all the different types of designer you could be. Sometimes we get stuck in a professional rut and, while we can’t imagine being anything but designers, we long for a new area of emphasis. If you’re starting to hate your job, the solution to professional contentment could be above. Maybe you’re struggling with UI design when you really would prefer packaging or are sick of advertising and would be more suited to focus on publication or web design. I encourage you to explore each area that interests you and put some hard thought into whether or not you’d be happier in that position.

Leave a comment below and let us know what type of designer you are and what type of company you work for. Are you a freelancer who does all of the jobs listed above or do you work for a Fortune 500 company focusing on one or two of these areas? We want to know!

50 Awesome Portfolios From Female Designers and Illustrators

Think that design is a man’s world? Think again. Today we’ve got over 50 stunning portfolios from extremely talented female designers hailing from all over the planet.

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Think that design is a man’s world? Think again. Today we’ve got over 50 stunning portfolios from extremely talented female designers hailing from all over the planet.

 

Why All Girls?

Let’s say you’re a female designer looking to build an online portfolio and you want to get some inspiration from what other female designers have done. Where would you look? A recent survey from A List Apart of over 26,000 web designers revealed that nearly 83% were male. This becomes quite evident when you start browsing through the plethora of portfolio roundups on design blogs, they’re typically all from guys! This post is meant to serve as inspiration for all the ladies out there looking to build a name in this industry.

The portfolios below absolutely blew me away in terms of talent on display. One reoccurring theme that simply can’t be ignored is how many female designers happen to be extremely gifted illustrators. I’m not sure if girls are more inclined to be artistically talented or not but this ratio seems to be much lower among males.

It doesn’t stop there though, you’ll see a strong display of proficiency in HTML, CSS, JavaScript, design theory and every other relevant skill to web design. Man or woman, this post should inspire you to be a better designer.

The Portfolios

Winnie Ho

“Hi, I’m Winnie, and this is my site. I live in Edmonton. I was born in Hong Kong. I love online gaming and creating web apps. I’m happiest when I’m playing games, designing, or building something that didn’t exist before.”

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Tanya Merone

“I am a Graphic Designer based in New York, specializing in User Interface Design and Development. I build clean, appealing, and functional interfaces which comply with the latest web standards. But that’s just a part of it. Design is my life. It’s my five-star spa. It’s my roller-coaster. It’s something I do before going to bed, and something I can’t wait to do in the mornings. Without it, my world would be black and white.”

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Meagan Fisher

“Raised in Florida, a new New Yorker via Boston. When not making websites, I try to write and speak about making websites.”

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Veerle Pieters

“I’m a graphic/web designer living in Belgium. My personal journal reflects my journeys through design, the web, and life, and I share them here with you.”

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Jessica Hische

“Jessica Hische is a letterer, illustrator and designer working in Brooklyn. You may already be familiar with one of her side projects such as Daily Drop Cap or her Should I Work for Free? flowchart. If not, howdy and pleasure to meet you!”

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Sarah Parmenter

“Sarah lives in Leigh-on-Sea, in Essex, about 40 minutes outside London, with her husband and little dog, Alfie. Sarah was sat infront of an Atari by her Dad at the age of 3 and always knew her career would involve a computer, somehow. At the age of 14, Sarah started dabbling in web design. At 19 she decided to pursue this as her full time career and started her studio ‘You Know Who’ and hasn’t looked back since. Now 27, Sarah has been lucky enough to work with some great remote colleagues and peers over the years and even luckier to call some of them great friends.”

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Tanya Maifat

“I am a freelance designer and digital/game artist. I enjoy designing game graphics, icons, teasers and tiny beautiful & smart illustrations for your websites and other projects.”

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Tina Roth Eisenberg

“I grew up in Speicher (AR), Switzerland, influenced by renowned Swiss design and a lot of fresh mountain air. In 1999, after completing my design studies in Geneva and Munich, I crossed the Atlantic and began designing in New York. Since then, I have worked at several prominent NYC design firms, including Thinkmap, where I served as Design Director and helped design the award-winning Visual Thesaurus. I now run my own studio, swissmiss, with recent clients including the Museum of Modern Art and the Food Network. My aesthetics reveal my Swiss roots – I am a firm believer in white space and clean, elegant design.”

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Jina Bolton

“Jina is a user experience designer at Engine Yard. Previously, she worked as a visual interaction designer and front-end web developer for super rad companies including Crush + Lovely and Apple, Inc. She enjoys creating beautiful experiences, and then she likes writing and speaking about it.”

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Shyama Golden

“I’m basically a one woman shop for art and design, though I do hire a couple of brilliant interface designers and developers at times. As a child, I learned how to write code because I figured one day this internet thing would help me share my art with nice people all over the world.”

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Hillary Hopper

“I am a creative. I can never seem to stop creating anything. There is always an idea, new picture, or some business idea running through my head. I can’t help but see a picture before I see words on it. I am drawn to color and the beauty around me. I have always been drawn to art and design. Growing up I was constantly in my sketch book or having some kind of craft happening on the dining room table.”

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Allison House

“My background in user interface design is accented by a multi-disciplinary skillset that includes visual design, UX methods, content strategy and project management. The result is beautiful, well-planned websites that are intuitive, engaging, and persuasive.”

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Natalie Nash

“My name is Natalie Nash, but I also go by my pseudonym, Pinky von Pout. I am 29 years old and I am a Graphic Designer. I have been married for 5 years, and live in a small Welsh town with my Husband, Jeremy and our three terriers: Sam, Jake and Tim.”

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Janna Hagan

“My name is Janna Hagan and I am 19 year old web designer originally from the beautiful province of Alberta. I am currently in my second year of Web Design & Development at Durham College in Oshawa, Ontario. I am a hard working individual with a great attention to detail. I enjoy new and challenging projects that push me to learn more in the great field of web design. Throughout college, I have gained great time managment skills that allow me to work on multiple projects at once.”

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Allison Nold

“As a professional graphic and web designer, I bring a range of art and design disciplines to every project I work on. From brand strategy and user interface design to creative writing and front-end development, my work exemplifies an appreciation for complete brand experiences.”

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Iris Sousa

“I provide UI design & products for web, desktop & mobile applications.”

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Dana Tanamachi

“Dana Tanamachi is a graphic designer and custom chalk letterer living in Brooklyn, New York.
She currently works at Louise Fili Ltd.”

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Naomi Atkinson

“An English Designer and Illustrator, passionate about the web.”

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Claire Coullon

“A freelance graphic designer specialising in typography, I work primarily with logo design, custom & hand drawn lettering and expressive typography. I also love print related work, especially book design & writing. Originally from France and currently living in Prague, Czech Republic, I co-run Op45 Creative Design Agency.”

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Adelle Charles

“A designer and entrepreneur at heart, Adelle Charles currently acts as Chief Creative Officer at Fuel Brand Inc. where she oversees all creative and strategic direction for the company. She is a known twitter addict with a geeky love for typography and Starbucks. Charles has a Bachelor of Fine Arts degree in Graphic Design from RIT and has won various awards for her past work in television.”

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Erica Schoonmaker

“I’m a graphic designer and native New Yorker currently living in San Francisco, CA. I love paper and books just as much as I love the internet and enjoy designing all types of projects across both web and print mediums.”

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Samantha Warren

“I love fusing smart concepts with creative, standards-based, accessible web design. I know that listening, understanding business and user experience goals, and adhering to standards are keys to well-executed design online.”

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Lindsay Burtner

“I’m a Rochester Institute of Technology New Media Design & Imaging 2009 Alumni. I worked at MODE in Charlotte, NC as an Interactive Designer/Developer.”

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Heath Waller

“I discovered my passion for web design quite by accident. The experience of teaching myself about this field has been both challenging and extremely rewarding. I wake up excited about continuing to grow in this rapidly-evolving industry.”

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Larissa Meek

“I have over 9 years of experience designing for the web and consider myself a standards enthusiast with a passion for visual design. I am well versed in design trends and usability with a strong handle on CSS and HTML. As an ACD at AgencyNet, I’ve had the pleasure to work on a multitude of diverse brands such as Fuse, Oxygen Networks, Bacardi, Ruby Tuesday, iN Demand, Howard Stern, Warner Brothers and many more.”

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Sara White

“Sara is a twenty-four year old living in the rainy yet beautiful city of Victoria, Canada. She has a degree in business but chose to ignore the corporate world and pursue her passion, design, instead. She’s currently the Creative Director at MetaLab and likes to spend her free time in the kitchen, dabbling in interior design, and occasionally taking pictures.”

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Geri Coady

“I’m Geri Coady — a Designer, Illustrator and Photographer working in St. John’s, Newfoundland — the oldest and most Easterly city in North America. Art, illustration, web design, graphic design, photography, typography, printing, advertising — how can I choose just one? My wide interest means I’m never bored — just the way I like it. I’m currently working as a Senior Designer at a local advertising agency where every day brings a new challenge.”

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Denise Chandler

“Hi, my name is Denise and I specialize in designing and building websites for small businesses and personal use.”

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Meg Hunt

“Hi! My name is Meg. I’m a self-professed jack of all trades, but currently work as an illustrator. My goal is to fill the world with my creations, and make people happy in the process. I want to explore and try new things; it’s my goal to branch out beyond editorial and into the living breathing world we inhabit. One day I would like to illustrate gift cards and childrens’ books and stationery and textiles and packaging and oh, all sorts of things. What do you say?”

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Laura Kalbag

“I’m Laura Kalbag and I design web sites. Sometimes I do design for other digital media and print, but I find web design inspiring, exciting, and I’ll go on about it for hours.”

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Inayaili de León

“Hi! My name is Inayaili de León and I’m a web designer. That means I make websites both beautiful and easy to use—I can make a lot of amorphous content look clean and easy to understand. I also take a lot of pleasure in coding mine and other people’s designs to make them work online.”

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Beth Dean

“I’m a user experience designer specializing in billing and payments for transactional sites, and mobile design.”

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Sneh Roy

“I am Sneh. I Design. I am the co-founder of LBOI, a design studio in Sydney, Australia. I love creating logos and wacky characters the most. I also design and develop websites, create original content for the web, blog about design here on LBOI and about food on Gel’s Kitchen. I also write design related articles for other websites and blogs.”

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Kelli Anderson

“Hi. I’m an artist/designer and tinkerer who is always experimenting with new means of making images and experiences. I draw, photograph, cut, print, code, and create a variety of designed things for myself and others. ”

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Andrea Garza

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Sarah Kaiser

“Currently I am a fourth year New Media Design student with Rochester Institute of Technology. I’m passionate about design, illustration, 3d and motion and possess some skills in development, print and web as well.”

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Amber Weinberg

“Specializing in the development of HTML5, CSS3 and WordPress using valid and semantic coding practices.
I also make apps for fun and write a blog.”

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Valerie Jar

“I’m a 24-year-old designer/illustrator located in Salt Lake City. Currently, I’m working at StruckAxiom. I’m inspired by art deco, vintage signs, hand-lettering, tattoo art and people. Art and bikes are two of my favorite things. I love the hidden symbolism and meanings behind common objects and everyday things, and oftentimes, that fascination will play a role in my design and illustration.”

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Megan Kirby

“Art director and graphic designer specializing in luxury brand development with multidisciplinary experience refining the brand story with illustration, print and interactive design.”

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Erika Van Der Bent

“Erika van der Bent, Freelance Designer for online / digital media , age 27.
Born and raised in The Netherlands. Started to discover the world of webdesign when I was 12 and I felt in love. Over the years I have worked for and with several different web-design companies.
A beautiful interface makes me happy!”

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Susan Murphy

“Once upon there was a freckly Irish girl name Sue. She studied Visual Communications in Dublin, is currently studying for a Masters in the USA and will soon be moving to work in the Netherlands. Never defined by a place or a thing, she always aims to try and be a master of all trades, a jack of none. ”

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Dever Thomas

“Dever Thomas is an aspiring graphic designer, illustrator, creative person, and soon-to-be graduate of Indiana University.”

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Melissa Pohl

“Like many designers, I grew up with a passion for drawing and artistic pursuits of all kinds. After high school, this love of creating lead me in various directions which included becoming a tattoo artist, hair-stylist, and painter. As soon as I was introduced to the world of digital graphics however, I fell in love.”

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Laura Javier

“I’ve got one foot in the world of print, one foot in the world of pixels, and a love for both. I’m graduating this spring with a degree in Communication Design, a sense of humor, and a mission to find some amazing people to work with.”

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Emma Taylor

“A creative freelance web and graphic designer based on the sunny island of Cyprus. With an ultimate passion for website design and development, branding and advertising material. Focusing on designing simple, clean attractive websites that fully comply with today’s web standards for wonderful clients across the globe.”

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Christina Fowler

“Who is she? She’s the descendant of generations of magic designers (since 2008). And she’s no ordinary woman. She’s girly. Full of personality. A good communicator. And – more.”

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Abigail (Ruby Too)

“I work full-time in ‘Ye Olde Web Towne’ at Harmonix. I do some visual design but I spend most of my days knee-deep in CSS & HTML (and learning JavaScript). I get to work with some of the most talented and entertaining people I’ve ever come across. I love my job.”

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Ciara panacchia

“My name is Ciara (pronounced Kee-rah). I come from a small town in Ireland called Carlow, but found a place to call home in U.S. when I moved to Illinois in 2005. Although my love of the Arts started at a very early age (since I could hold a pencil), I have been a dedicated student of design since 1998, I don’t think it is something you ever stop learning.”

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Heather Grossman

“I’ve been a web designer for more than a decade. I’ve learned many things about web design since starting out in this industry, and the things I’ve learned have helped me develop processes that benefit everyone involved in the projects I work on.”

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Susie Ghahremani

“Susie Ghahremani is a 2002 graduate of the Rhode Island School of Design (RISD) with a BFA in Illustration. Her artwork combines her love of nature, animals, music and patterns. Born and raised in Chicago, Susie now happily spends her time painting, drawing, crafting and tending to her pet finches and cat in San Diego, CA. ”

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Melissa Washin

“I am a designer and developer who builds websites and creates print materials for small businesses and agencies.”

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Aubrey Klein

“Hi, I’m Aubrey, a graphic designer living in Dallas, TX. I specialize in web, illustration, tweeting and thing-making.”

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Bianca Mangels

“My name is Bianca and I’m a Screen and Web Designer from Frankfurt (Germany). I love design in every form and I can’t get enough inspiration.”

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Courtney Joy

“I currently work full-time for a creative firm in Dallas called Vintage 56. We offer services in graphic design, audio engineering, video production and web development. My role, as the graphic designer, includes branding/logo marks, business cards, stationeries, brochures, occasional web UI, product packaging and keynote presentations.”

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Show Us Yours!

This post doesn’t even scratch the surface of extremely talented females in the design industry. If you’re one of them, leave a comment below with a link to your portfolio so we can check it out!

How to Make Slicing Suck Less: Tips and Tricks for Slicing a PSD

I have a dirty little secret, I hate slicing Photoshop files. By that I don’t mean that I hate turning PSD comps into websites, I mean that I hate Photoshop’s slicing tools. The whole process makes my PSD look busy, cluttered and overly complicated so I usually skip it altogether and instead opt to manually crop and save out images individually as needed.

I have a dirty little secret, I hate slicing Photoshop files. By that I don’t mean that I hate turning PSD comps into websites, I mean that I hate Photoshop’s slicing tools. The whole process makes my PSD look busy, cluttered and overly complicated so I usually skip it altogether and instead opt to manually crop and save out images individually as needed.

In order to fight this tendency and attempt to see the true usefulness of Photoshop’s slicing tools, I embarked on a mission to learn all the intricacies of how slicing works. Below is a collection of tips and tricks that resulted from this journey. Hopefully, you’ll learn a thing or two you never knew!

There are Three Types of Slices in Photoshop

Three types of slices!? This was one of the most interesting and surprising things that I learned. Having not really experimented with the slicing features too much, I just figured there was only one way to go about it. I was wrong.

The three different kinds of slices are User Slices, Auto Slices and Layer Based Slices. To begin, let’s talk about the two you’re probably familiar with: User Slices and Auto Slices. These are very closely related, in fact, one creates the other.

As you know, to slice a PSD you start by grabbing the Slice Tool (C) and drawing a box around the area that you want to export as a standalone image. By adding slices to all the areas of your comp that you want to do this to, you can quickly and easily optimize and export several images at once.

What I’ve done here is draw a box around the logo at the top of the page. This one action created both a User Slice and several Auto Slices. When you create a slice, Photoshop assumes that your end goal is to turn the entire PSD into a series of slices. I personally think this assumption is quite annoying, and we’ll discuss later how to get around it. For now, just know that because of this assumption, Photoshop extends the edges of your slice all the way across the PSD, thereby creating several other sections automatically. This is illustrated in the image above.

Tricks for Working with User and Auto Slices

While we’re on the topic of User and Auto Slices, let’s go over some of the obvious and not-so-obvious features so that you can really get a feel for what tools and options you have at your disposal.

Moving and Editing Slices

Once you’ve made a slice, you should see controls similar to that for a Free Transform that will allow you to move and edit it. You can also use the Slice Select Tool to ensure that you’re only editing current slices and not creating new ones. This tool is found under the Slice Tool in the fly out menu.

Converting Auto Slices to User Slices

Throughout the entire slicing process, Auto Slices are continually created and updated and they stay distinct from user slices. Later, we’ll look at how to export them as files or ignore them when exporting, but for now let’s take a look at how to turn an Auto Slice into a User Slice.

The process is extremely simple. First, you have to select the auto Slice using the Slice Select Tool. Next, select the Auto Slice that you want to convert and hit the “Promote” button near the top.

That’s it! Now the Auto Slice should change color, indicating that it is now a User Slice. Now you’ll have greater control over its size and how it exports.

Auto-Dividing Slices

When you have a series of objects that are distributed horizontally, vertically or even in a grid, you don’t have to take the time to go through and make a slice around each individual unit. Instead, you can make one slice that covers all of the objects and tell Photoshop to do the rest.

To do this, first make your big slice by drawing a box around all of the objects. Then, with the Slice Select Tool enabled, click the “Divide” button at the top of the page.

This should bring up the “Divide Slice” dialog box shown above. Using this window you can quickly insert extra vertical and horizontal slices. If they don’t align right, you can adjust them manually after hitting the “OK button.”

Slices from Guides

Many of you are probably much more comfortable working with guides than slices inside of Photoshop. The reality is that they both work very similar, but the guides system admittedly feels a bit smoother.

If this is how you roll, this fits perfectly into an easy workflow for creating slices. Simply drag out guides to slice up your PSD and ignore the slicing tools altogether. Then, once you’re all finished, select the Slice Tool and hit the “Slices from Guides” button at the top.

Naming Slices

One of the annoying things that will bug you the first time you work with slices is that when you export them, the resulting files all come up with big ugly names that aren’t at all meaningful. To fix this, you need to make sure you’ve gone in and named each slice appropriately. Whatever name you assign will then be carried over as the file name upon export.

To name a slice, simply double-click on its contents with the Slice Tool selected. This will bring up the dialog below.

Notice that you have several options here, including setting the color for the slice, manually inputting the dimensions and assigning a name. There’s also a bunch of HTML stuff like URL, Target, etc. It turns out, Photoshop can take your sliced PSD and output it as a web page. Some bash this functionality because the default settings create a table-based layout, however you can switch these to utilize CSS.

Now, don’t get too excited. Even with the CSS options selected, Photoshop is still pretty rotten at building a website for you. You’re much better off doing it by hand or at least taking it over to Dreamweaver, which means you should ignore all these other options completely.

Layer Based Slices and Why They’re Better

One of the main features that made slicing suck a lot less for me is Layer Based Slices. These are a particular brand of User Slices that are superior in several ways.

As the name implies, these slices are not based on a box that you draw manually but instead automatically adhere to a layer’s bounds. To create a Layer Based Slice, select a layer in the Layers Palette, then go to the menu and select Layer>New Layer Based Slice. Note that this even works if you have multiple layers selected, each layer will simply be turned into its own slice!

Obviously, in order for this to work properly, you have to be really be good about how you structure your layers. You should be building your mockups as fully layered and organized files anyway so this shouldn’t be a problem.

The Advantage

One of the main reasons that normal slices are so lame is that it creates a lot of extra work if you want to go back and tweak your designs. After you shuffle the artwork around, you have to then go back and move all your slices to align with the new layout. This annoyance is why I always just manually save out the individual pieces through cropping.

However, Layer Based Slices are actually quite intelligent. When you move around your layers, your slices automatically follow. If you add an effect that changes the bounds, such as an Outer Glow, the slice expands to include it. If you transform the layer to 30% of its original size, again the slice updates automatically!

Obviously, there’s a clear argument here for using Layer Based Slices whenever possible as it saves you an incredible amount of time in the inevitable re-design stage.

Killing the Clutter

Another of my biggest annoyances with slicing is that it can create a really cluttered looking PSD. This is mostly do to the Auto Slicing side effect.

As an example, take a look at the image below (it’s a bit over-simplified here but you get the point). Here I only really only wanted to create three slices, but Photoshop has automatically gone in and turned it into twelve slices!

I don’t know about you, but I don’t build webpages as one big collection of images all crammed together. So I simply don’t want all these extra slices! I’m not going to export these areas into images, so all they’re doing is adding noise to my interface. When I see a document like this, the slices cease to be a meaningful tool for me.

To fix this, we can grab the Slice Select Tool and hit the “Hide Auto Slices” button at the top of the screen. This does exactly what the name implies, ditches all of those nasty Auto Slices from view.

Look how much simpler our document becomes! The few slices that we used are clearly identifiable and therefore retain their usefulness. In my opinion, this method of viewing your slices is greatly preferred. This is one of those cases where Photoshop simply tries too hard to predict my preferred workflow and ends up overdoing the features.

Exporting Slices

This is where the usefulness of slicing really comes into play. Without slicing, you have to save out each portion of your comp one at a time. The workflow would be something like the following: make a selection, crop, optimize in Save for Web, save, undo crop, and repeat. That’s a lot of unnecessary steps! Let’s see how it works with slicing.

After you’ve finally figured out all the ins and outs of slicing and have your PSD ready to go, it’s time to go to the File menu and select “Save for Web and Devices.” You’re probably familiar with this dialog already but it’s a bit different when you have slices in your document.

If you have any slices, the preview of your document in this window shows all of them (unfortunately, this includes those annoying Auto Slices). From here you can simply click to select each slice and optimize the settings for each individually. This includes file type, quality, etc. So in one session, you can set up an export of three JPGs and a PNG, each at a quality that you deem appropriate.

Once you’ve adjusted everything to your liking, hit the “Save” button. A dialog should pop up that allows you to choose a folder to place all of the images in. Remember that we already set up the naming convention so just leave that as is. The key here is to make sure that you’re only exporting either “All User Slices” or “Selected Slices”.

Depending on your desired workflow, either of these options works great. The default option is simply “All Slices”, which will include not only your User and Layer Based Slices, but also the completely useless Auto Slices that you’ll just have to throw in away anyway. Save yourself the trouble and ditch these here before the actual save takes place.

Conclusion

We went over a lot of pretty technical Photoshop stuff today so I’ll try to sum it up nicely. First, slicing a PSD can really feel like a clunky process if you don’t know what you’re doing. Make sure you really look around in Photoshop and experiment with the tips above to ensure that you’re making the most of the tools available to you.

Secondly, remember that there are three types of slices: Auto Slices, User Slices and Layer Based Slices. Auto Slices are pretty lame and are more of an unfortunate side effect to slicing than a helpful feature. You don’t have to agree with me on this, but if you do, hide them so they’re not so distracting. User Slices are simply those that you intentionally create. You can adjust them with the Slice Select Tool and name them by double-clicking on the contents. Layer Based Slices are just like User Slices, only they are much smarter because they automatically adhere to a given layer’s bounds. You can move, resize and add effects to a layer and the slice will continually update on its own.

Finally, when exporting a document with slices, choose the Save for Web command and optimize each slice as its own file. Also make sure to only export the User Slices or Selected Slices, otherwise all of the Auto Slices created by Photoshop will fill up you images folder.

This is probably way more than you ever wanted to know about slicing in Photoshop, but hopefully this has helped you spot the inefficiencies in the system so that you can adjust and still take advantage of this useful set of tools without being hampered by its awkwardness.

Leave a comment below and tell us how you slice a PSD. The workflow that I’ve set up here is just one of many possible solutions and I’m anxious to hear and learn from yours!


 

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Frequently Asked Questions

What is PSD slicing and why is it important in web design?

PSD slicing is the process of dividing a Photoshop Document (PSD) into smaller image files that can be used on a website. It is important in web design because it allows designers to create visually appealing, custom web designs that load quickly and efficiently. By slicing a PSD, designers can extract images and graphics, optimize them for the web, and create a website that accurately reflects their design vision.

Can you explain the difference between raster and vector slicing?

Raster slicing and vector slicing are two different techniques used to create images for websites. Raster slicing involves dividing a bitmap image (such as a photograph or scanned image) into smaller pieces, while vector slicing involves dividing a vector image (such as a logo or illustration) into smaller pieces. Raster images are made up of individual pixels, so when they are resized, they can lose quality and become pixelated.

Vector images, on the other hand, are made up of shapes and paths, so they can be resized without losing quality. As a result, vector slicing is typically preferred for creating images that need to be resized frequently (such as icons or logos), while raster slicing is more commonly used for photographs and other images that do not require resizing.

What are some best practices for optimizing sliced images for web use?

Optimizing sliced images for web use involves reducing their file size without compromising their quality. Some best practices for optimizing sliced images for the web include:

  1. Using the appropriate file format (JPEG, PNG, GIF) for the type of image
  2. reducing the image size to the smallest dimensions possible.
  3. Using compression techniques to reduce file size without losing quality
  4. Minimizing the number of colors used in the image.
  5. Removing any unnecessary metadata or hidden layers in the image
    using CSS techniques like sprites and lazy loading to reduce the number of HTTP requests.

By following these best practices, sliced images can be optimized for the web, resulting in faster loading times and a better user experience.

What are some common mistakes to avoid when slicing PSD files for web design?

There are several common mistakes to avoid when slicing PSD files for web design, including:

  1. Not organizing layers properly, which can lead to confusion and errors during slicing.
  2. Saving images in the wrong file format or at the wrong resolution, which can affect image quality and load times.
  3. Failing to account for different screen sizes and resolutions, which can lead to inconsistencies in the final design.
  4. Neglecting to optimize images for the web, which can result in slow loading times and a poor user experience.
  5. Forgetting to test the sliced images on different devices and browsers to ensure that they display correctly.

By avoiding these common mistakes, designers can ensure that their sliced images are optimized for the web and accurately reflect their design vision.

Can you provide some tips for slicing images with transparency or complex backgrounds?

When slicing images with transparency or complex backgrounds, it is important to pay attention to the details and take extra care to ensure that the final image looks good on the web. Here are some tips for slicing images with transparency or complex backgrounds:

  1. Use the right file format for the type of image (PNG is often a good choice for images with transparency).
  2. Carefully select the area of the image to slice, paying attention to the edges and any areas of transparency.
  3. Consider using a layer mask or alpha channel to isolate the area of the image that you want to slice.
  4. Use anti-aliasing to smooth the edges of the sliced image and avoid jagged edges or pixelation.
  5. Test the sliced image on different backgrounds to make sure that it looks good and blends seamlessly into the design.

By following these tips, designers can create high-quality sliced images with transparency or complex backgrounds that accurately reflect their design vision.

Are there any limitations or considerations to keep in mind when slicing PSD files for email templates or other non-web applications?

Yes, there are several limitations and considerations to keep in mind when slicing PSD files for email templates or other non-web applications. For example, email clients often have limited support for certain HTML and CSS elements, which can affect how the sliced images are displayed.

Additionally, email templates typically have stricter size limitations than web pages, so designers need to be mindful of the file size of the sliced images.

It is also important to consider the aspect ratio of the sliced images and make sure that they look good on a variety of devices and screen sizes. By keeping these limitations and considerations in mind, designers can create effective sliced images for email templates and other non-web applications.

Effortless Full Screen Background Images With jQuery

Today we’re going to build a simple and fun webpage for the sole purpose of showing off Fullscreenr, a great little jQuery plugin that makes it easy to add a background image to your site that automatically adjusts to the window size.

Today we’re going to build a simple and fun webpage for the sole purpose of showing off Fullscreenr, a great little jQuery plugin that makes it easy to add a background image to your site that automatically adjusts to the window size.

We’ll also throw in some @font-face and rgba action to keep things modern and educational on the rest of the build. Let’s get started!

 

Demo

Just so you can get a feel for what we’re building, check out the demo below. To see the jQuery in action, resize the browser window and watch how the image adapts dynamically.

View the demo

screenshot

Now that you’ve seen how it works, let’s build it!

Step 1: Grab Fullscreenr

screenshot

The first thing you’re going to want to do is go to the Fullsreenr website and download a copy. Grab the JS files and throw them into a folder with a basic website framework: html, css and images folder.

Step 2: Start the HTML

To begin the HTML, thrown in the code for an empty page and add the references for the stylesheet and the two JavaScript files.

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<!-- Stylesheet -->
<link rel="stylesheet" type="text/css" href="css/style.css">
<!-- JavaScript codes -->
<script src="js/jquery-1.3.2.min.js" type="text/javascript"></script>
<script src="js/jquery.fullscreenr.js" type="text/javascript"></script>

Step 2: Select a Background Image

Before we insert the code for placing our background image, we’ll need to know the size. Which of course means we need to find an image.

I grabbed the image below by Faisal.Saeed on Flickr Creative Commons. It’s an awesome snowy mountain scene that should make the perfect setting for our site.

screenshot

Next, I sized the image so that it would be 907px by 680px. These are the dimensions that we’ll use in our next step.

Step 3: Insert the Fullscreenr Snippet

In the demo files of the Fullscreenr download, you should find the following JavaScript snippet to enable the plugin. I’ve customized it a bit with the image dimensions specified above.

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<script type="text/javascript"
    var FullscreenrOptions = {  width: 907, height: 680, bgID: '#bgimg' };
    jQuery.fn.fullscreenr(FullscreenrOptions);
</script>

All you have to do for your own version is change the hight and width to match that of your own image.

Step 4: Body HTML

Next up, there is a chunk of HTML in the demo page that you’ll need to grab. The structure may seem a little funky but really all the developer has done is applied the background image to the body and created a basic container (realBody) for you to then add all the rest of your content to. If you don’t like the div ID names used by the developer, feel free to change them to something more conventional.

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<!-- This is the background image -->
<img id="bgimg" src="img/mountains-907x680.jpg">
<!-- Here the "real" body starts, where you can put your website -->
<div id="realBody">
    
<!-- Here the "real" body ends, do not place content outside this div unless you know what you are doing -->
</div>

As you can see, all we’ve done here is throw in the background image.

Step 5: Add the CSS

Finally, throw in the CSS below to make everything work properly. This is necessary to make sure your content will scroll correctly and stay positioned properly in the stack.

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body {
    overflow:hidden;
    padding:0;margin:0;
    height:100%;width:100%;
}
#bgimg {
    position:absolute;
    z-index: -1;
}
#realBody{
    position:absolute;
    z-index: 5;
    overflow:auto;
    height:100%;width:100%;
    background: url('../img/raster.png');
}

And with that, you’re done! You should now have a background image that dynamically scales with the browser window. The transition is super smooth and works brilliantly.

screenshot

The plugin comes with an dotted pattern image overlay, shown below in a zoomed-in view. If you don’t like this effect, simply leave it out!

screenshot

If you’d like, you can stop here and proceed with your own design. If you’re interested on where to go from here, I’ll finish up with some fun design.

Step 6: Add a Background Div and Header

Now that we’ve got our background image, we want to center a div over the top of it and give it a background fill. We’ll also give it a basic header that I thought seemed appropriate given the snowy background image.

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<img id="bgimg" src="img/mountains-907x680.jpg">
<div id="realBody">
    <div id="container">
        <h1>Welcome to Hoth</h1>
    </div>
</div>

Next we’ll style these two elements with CSS (insert this in addition to the CSS above).

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#container {
    width: 800px;
    height: 1000px;
    margin: auto;
    margin-top: 60px;
    padding-top: 10px;
    background:rgba(0,0,0,.8);
    
}
#container h1 {
    color:#fff;
    font-family: 'KitchenpoliceRegular', sans-serif;
    font-size:60px;
    font-weight: normal;
    text-decoration:none;
    text-align:center;
}
@font-face {
    font-family: 'KitchenpoliceRegular';
    src: url('KITCHENPOLICE-webfont.eot');
    src: local('‚ò∫'), url('KITCHENPOLICE-webfont.woff') format('woff'), url('KITCHENPOLICE-webfont.ttf') format('truetype'), url('KITCHENPOLICE-webfont.svg#webfontCRDciSXC') format('svg');
    font-weight: normal;
    font-style: normal;
}

This is a big chunk of code but it’s all super basic. First, we gave the container a height and width, then set the margins to auto. This gives us a vertical strip that automatically stays centered on the page. The background color for the container has been applied using rgba. This will give us a nice transparent container that lets some of that nice background image show through.

Next, we used applied some basic styles to the header and customized the font using @font-face. I used a font called Kitchen Police and an @font-face kit from FontSquirrel.

At this point, your page should look like the image below.

screenshot

Step 7: Add a Header Image

The next step is extremely easy. All you have to do is toss in an image that’s the same width as the container (800px).

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<img id="bgimg" src="img/mountains-907x680.jpg">
<div id="realBody">
    <div id="container">
        <h1>Welcome to Hoth</h1>
        <img src="img/walkers.jpg">
    </div>
</div>

And with that your image should fall right into place without any extra styling.

screenshot

Step 8: Add Some Text

In this step we’re going to add some basic filler text to the page and in the next we’ll add a grid of images. Since the text will hypothetically tie into the images, we’ll throw it all into a “grid” div.

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<img id="bgimg" src="img/mountains-907x680.jpg">
<div id="realBody">
    <div id="exampleDiv">
        <h1>Welcome to Hoth</h1>
        <img src="img/walkers.jpg">
        
        <div id="grid">
            <h2>Good Times on Hoth:</h2>
            <p>Lorem ipsum dolor sit amet...</p>
        </div>
        
    </div>
</div>

To style the text, we’ll first add a little margin to the top of the div. Then we apply basic color, size, and positioning to both the h2 tag and the paragraph tag. Notice I used some more @font-face goodness, this time with Lobster.

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#grid {
    margin-top: 20px;
}
#grid h2{
    color: #fff;
    text-align: left;
    margin-left: 65px;
    font-size: 30px;
    font-family: 'Lobster', sans-serif;
    margin-bottom: 3px;
    font-weight: normal;
}
#grid p{
    color: #fff;
    text-align: left;
    margin-left: 65px;
    margin-bottom: 3px;
    font-size: 12px;
    font-family: helvetica, sans-serif;
    margin-top: 0px;
    width: 650px;
    line-height: 18px;
}
@font-face {
    font-family: 'Lobster';
    src: url('Lobster_1.3-webfont.eot');
    src: local('‚ò∫'), url('Lobster_1.3-webfont.woff') format('woff'), url('Lobster_1.3-webfont.ttf') format('truetype'), url('Lobster_1.3-webfont.svg#webfontcOtP3oQb') format('svg');
    font-weight: normal;
    font-style: normal;
}

This should give you a nicely style block of text similar to that in the image below. Now we can move onto the final step!

screenshot

Step 9: Add the Gallery

To finish the page up, we’ll toss in a simple image gallery that is basically just a grid of nine JPGs. To give the photographers credit, I’ve linked each to the original source images on Flickr.

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<img id="bgimg" src="img/mountains-907x680.jpg">
<div id="realBody">
    <div id="container">
        <h1>Welcome to Hoth</h1>
        <img src="img/walkers.jpg">
        
        <div id="grid">
            <h2>Good Times on Hoth:</h2>
            <p>Lorem ipsum dolor sit...</p>
            <a href="http://ow.ly/35afM"><img src="img/hoth1.jpg"></a>
            <a href="http://ow.ly/35ah9"><img src="img/hoth2.jpg"></a>
            <a href="http://ow.ly/35aim"><img src="img/hoth3.jpg"></a>
            <a href="http://ow.ly/35ajg"><img src="img/hoth4.jpg"></a>
            <a href="http://ow.ly/35ajY"><img src="img/hoth5.jpg"></a>
            <a href="http://ow.ly/35alw"><img src="img/hoth6.jpg"></a>
        </div>
        
    </div>
</div>

As the final piece of the puzzle, we’ll toss in some margins and borders to make the image grid look nice and styled.

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#grid img {
    margin: 20px 10px 20px 10px;
    border: 3px solid #000;
}
#grid a:hover img{
    border: 3px solid #fff;
}

That should space everything and and finish up your page! Feel free to keep going and add in a navigation section, footer, sidebar and whatever else you can think of!

screenshot

Conclusion

jQuery and the Fullscreenr plugin present the easiest and best-looking solution I’ve found for scaleable background images. If you’d rather try the same effect with CSS, check out Chris Coyier’s methods on CSS-Tricks. Chris presents three possible alternatives, the last of which uses pure CSS and works much better than other CSS attempts I’ve seen.

As always, thanks for reading. If you liked the article give us a tweet, digg or any other social shout out you can come up with!