you love lucy

ipen:

Which is better for users, scrolling or clicking? This is the question that designers have to think about when they’re designing page flow. Clicking offers users a menu of links that take them to a new page. Scrolling offers users all the content divided into different sections on a single page.

Many years ago, clicking was the simple answer to this question. The general thought was that if you made your page too long, users would only view and read the top half and glance over or ignore the bottom half. Today, things have changed. Many users do scroll to the end of the page and have no problem doing so. Scrolling has become a second-nature and clicking a chore. As user behavior changes over time, designers need to take that into account in their designs. (Click to read article in full)

(via jordan-thurston)

(Source: ipen)

colorfulstudio:

Here at Colorful Studio we enjoy connecting and sharing with others across the globe. What better way than to use the internet? So for all of you designers, fans, or just those who stumbled by, we invite you to enter for a chance to win the grand prize!

Grand Prize: Adobe Illustrator…

ipen:

Aaaaaand boycott.

Their response on Facebook is laughable. Whoever is running their marketing and PR should understand first and foremost how much it pisses designers off to hear about big companies crowdsourcing and being cheap douchebags.

The argument that Moleskine makes for keeping in the participatory spirit of the website is absolute bullshit. The participation aspect of the site comes across in Moleskine users showcasing their use and love of the products. To then decide that you’re going to try and leech off this rather than paying for quality logo design like any company centered around well-designed products damn well should be doing…it’s cheap, backwards and idiotic. Have fun with your Q4 sales report guys, hope you enjoy the rotten fruits of your Marketing and PR departments.

ipen:

I’m sure many of you went to art school and I’m assuming most of the people reading this article are designers, illustrators or others working within the world of what we reluctantly call “communication art”. When we graduated from art school, a career was promised to us. We wouldn’t spend our days covered in grape jelly, masturbating before crowds to win a spot at the Whitney Biennial—we would live normal lives, work at offices, bask in the glow of our computers. We would have stability and wouldn’t have to worry about how our “art” would pay the bills. Our parents were happy, we were happy, our fine-art friends called us sell-outs and all was right in the world.

We found our first job. After a couple years we wanted a change of pace and found a new one. Things were good. Life was easy. Mornings were spent perusing cute overload before the coffee kicked in. We designed without ever having to really deal with clients, invoicing, negotiating—all the icky businessy stuff that bums everyone out. Our left-brain atrophied.

Then one day we woke up with the itch. It became more and more powerful as we dragged ourselves to work on blizzardy days or suffered through hangovers under fluorescent lights and drop ceilings. At 7am, half awake under the weak arc of water emptying from our shower head we said to ourselves “I’m going to do it! I’m going to go freelance!” We threw on a towel and the world felt sparkly and new. We’d make our own hours! We’d sleep until noon if we wanted to! We’d no longer worry about using up all of our sick days. We’d be in control! (The freelancers reading this are without a doubt rolling their eyes at the naiveté we all once possessed). We gave notice at work and a few weeks later our dream was a reality. As time went on though, we realized this reality was not always a dream come true. (click to read on!)

Those first few paragraphs felt like Jessica Hische knew me to the very depths of my being.

I want to marry her and have her babies. She’s so amazing.