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Arlington Heights web design

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Hello and welcome to this web design Web Designer Arlington Heights video tutorial.

I’m Owen Corso from Google.

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And today, we’re going to build a rich media expandable creative with video.

Let’s start by selecting file, New File.

This opens a dialog box where we will set up our ad.

First, let’s make out high of project.

We have four options– The default is Display & Video 360so we will leave that as is.

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I’m no color expert. Far from, actually. Throughout my career, I’ve depended on visual designers better than myself to produce an engaging palette and apply it harmoniously across a UI.

Yet, as a systems designer, I’m often in the position to provoke and validate color decisions as a system takes shape. Here’s a 16 lessons I’ve learned while stabilizing a primary palette, tint and shade choices, secondary palettes, and solving for accessible contrast.

Primary Palette

By primary, we’re talking colors used everywhere including your brand colors, neutrals, and a typically interactive digital blue.

#1. Stabilize Brand Colors Quickly

︎Every organization has one, two, or no more than a few core brand colors. THE red. THE blue. THE orange. Settle on them. Even if reasonably set up with a color variable or two, nothing signals a design system team that can’t get their act together than constantly changing primary colors.

Takeaway: Decide your essential brand colors early, because they spread widely, quickly.

#2. Involve Brand (If You Alter a Brand Color)

Is brand blue a bit dull? Can’t resist the urge to liven it up? Nothing poisons early collaboration more than a casual “We saturated the brand orange for web” followed by brand reacting with “You did what?” Oh the sacrilege!

Takeaway: Brand colors are the brand team’s territory. So discuss adjustments with them and defer to their judgment as needed.

#3. Drop the Neutral Neutrals

From dark-as-night charcoal to fluffy light gray, neutrals provide essential UI scaffolding. Loading a system with neutrals, even a few, risks giving teams access to muddy colors. They can also lead to “wireframey” designs. And, neither dark nor light type has sufficiently accessible contrast on a medium gray background.

Takeaway: Provide a few light grays and a few dark grays to achieve useful contrast, but don’t get wishy washy wireframey. Consider avoiding medium grays in between.

#4. Go “Digital Blue.” Everybody Else Does.

My past five design systems settled on a saturated blue as a default button and link color. Links have always been blue, perhaps since the dawn of the first browser. This “Digital” blue, a utility color for links and clickable items, is essential in any core palette.

Takeaway: When (not if 😉 ) you go with your “Digital Blue,” choose an accessible one and make sure it doesn’t clash with the brand’s own blue, or red, orange, purple, or green.

Tints & Shades Per Color

You can’t have just a few colors and call it a day, right? System users often need to tune a color choice across a range, reuse with ease, and know their boundaries.

#5. Stack the Tint & Shade Range, Per Color

Color palette display patterns long predate the web. Yet I still love me a compactly arranged tint stack. They can be just…gorgeous. The best stacks visualize more than just a color, combining its name with HEX codes, code variables, and other indicators (such as prohibiting overlaid type). A quick scan is all you need.

Takeaway: Stack available colors in each hue, and treat the stack as a visualization to include important details compactly.

Material Design’s Indigo and Deep Orange

#6. Name Tints & Shades by Brightness

We’ve all been there. A month into the system, the neutrals $color-gray-1, $color-gray-2, … , $color-gray-7 — are stable. And then, in a stroke, you’ve got another tint to add stuck between -1 and -2. That numbering system stinks.

Takeaway: Scale color names between 0 and 100 based on brightness, such as $color-gray-05 and $color-gray-92. The scale reflects a familiar range from dark to light, allows for injecting new options between, and heck if I won’t remember $color-gray- 93 until we retire it later.

#7. Limit Tint & Shade Quantity

At the core of a good system is choice without endless options, a stable aesthetic to serve as a starting point. Odds are, you aren’t Material Design, intended to serve countless products. In most cases, a design system need not offer boundless choices. The more choices you provide, the tougher it’ll be to control harmonic combinations and a consistent feel across applications.

Takeaway: Offer a handful of options and avoid tedious variety. Empower system users with just enough choice: more than a single option, but only up to a few intentional choices.

#8. Tell Me How To Transform: Hand-Pick or Functionally

Modern tools like SASS and Stylus offer transformation functions like darken and lighten to shift a color by a brightness percentage. These handy tools enable a you to alter a color for subtle contrasts like a hovered button or tiered navigation.

But transforms can be troublesome: carefully crafted base colors can become inaccessible alternatives (see below), a page’s overall palette can muddy, or a “5% system” that works on moderately bright colors yields insufficient contrast for a very light or dark case.

Takeaway: Deliberately allow — or avoid — color transformations in your system. If you endorse the practice, then offer examples of when and how to do it effectively in your system, such as 5–10% for moderately bright cases and 10–20% in more extreme cases. If transformations should be avoided , document that succinctly.

Secondary Palettes

Beyond the brand colors and their variants, well-considered color systems array the broader variety of colors reserved for varied purposes.

#9. Define Meaningful Sets Like Feedback Colors

Most systems reserve a certain red for errors, green for success, yellow for warning, and (possibly a lighter sky) blue for informational messages. Feedback color is critical, because it’s positioned at the top of the page interacting with other key components and/or encountered as a result of an unwelcome circumstance. Without system guidance, such messages become embedded in product code, the result of product teams solving a challenge quickly and moving on.

Takeaway: Explore and define the standard feedback colors and other relevant sets to ensure that colors fit harmoniously rather wedging them in later or having teammates recall “I just grabbed it from Google.”

Typical feedback colors: success, warning, error and informational

#10. Illustrate Theme Variety

In some systems, color use is customized per product, section, or brand. Often, this may be a result of relating a master brand (think, Marriott International) to its sub-brands (think Courtyard Hotels, Ritz Carlton, and Moxy Hotels). Or it’s a prefab themes like Ambient Warmth and Frozen Blue. Maybe the user is complete control, and you need to illustrate the breadth of (all the havoc of) what they can do.

Takeaway: Reveal the range of themes available compactly, and set boundaries around allowable theme colors in certain contexts.

Theme colors for multiple Marriott.com hotels, derived from product pages

#11. Define How Theming Works

It’s not enough to simply say “Go ahead and theme it!” A theme color may apply to predictable accents throughout a UI such as button background-color, active tab background-color, or a primary navigation’s thick border-top. Just as important, theme colors may be forbidden from altering other bits, such as long form type or — yikes! — a link color that ends up invisible.

Takeaway: Identify how theming works, particularly via reference to specific UI element properties in play. Just as important, articulate which — if not most — elements are off limits.

#12. Avoid Guiding on Color-Mixing Until (At Least) Dust Settles

One of my favorite all time design system tools is Google’s MDL Color Customizer, which enables users to combine primary and secondary UI colors effectively. It’s so easy, and the outcome so helpful. Yet, the system teams I work with either don’t want to provide this kind of flexibility or lack the time and care necessary to solve such a combinatoric challenge.

Takeaway: Avoid the rabbit hole of solving for a vast array of color combinations unless it’s a core system value. In most cases, system users will pair up their own combinations or benefit from a tool more dedicated to doing just that. Help them propagate their choice rather than solving for every combination they may consider. That experimentation is their job.

Serve users of your system by making it efficient to propagate their choice through a product, rather than making the choice for them.

Contrast & Accessibility

Solving for accessible color contrast should a core practice of setting up any digital color system from the get go. However, design can be tumultuous place, and teams can lose sometimes. Or some members don’t know about accessibility. Or they simply don’t prioritize it.

A systems team can engrain accessible practices into a workflow to provoke and spread values in accessibility broadly across an enterprise.

#13. Check Contrast Early & Ritually

It happens often: a few weeks or days before a product — or design system — launch, finally somebody notices. The design team hasn’t taken necessary care to ensure the primary and secondary color palette is being applied in a way to meet WCAG 2.0 color contrast of 3.0 (for large, heavier type) or 4.5 (for standard type). So designers — and then, their developers — scramble to determine fixes and inject it into the code.

Takeaway: Any system designer responsible for color must be familiar with WCAG 2.0 rules, have a tool (like Tanaguru) to test color pairs, and incorporate the practice into color selection.

Tanaguru, one of many accessibility calculators online

#14. Explore Accessible Color Choices Across Ranges

A drawback of WCAG guidelines is its stark threshold: a color pair passes or fails. This leaves designers yearning for more, but worse leaves stakeholders flummoxed at how bad the color pair fails and how much it needs to change.

Conversation quickens when we reveal a spectrum of choices, with the pass/fail line fairly evident. This transforms the process from trial and error to tuning a dial. Before, it was “That pair failed. Let’s try again.” Now, it’s an enlightening “Oh, so that’s how dark the blue needs to be” followed by a rational discussion to balance visual tone, brand identity, and accessibility sensitivities.

Takeaway: When exploring accessible color contrast, show a range of choices to help a team select a color that passes the test.

Exploring neutral and interactive colors by showing multiple choices across a range

#15. Solve the Reverse Light on Dark and Dark on Light

When creating a system, it’s up to the systems designer to be mindful of and solve for the entire range of choices on offer. It’s not enough to just test for accessibility problems as they arise. Instead, a color palette should be thoroughly reviewed prior to publishing a system for reuse.

This is especially true for reverse color treatments. It’s very common for a system to default to dark text on a light background. However, most find themselves reversing color treatments, whether a black and white on light and dark neutrals or tints of another primary or secondary color.

Takeaway:Solve for and recommend reversed pairings to adopt or avoid.

A table of calculated contrast (using a SASS function) between neutral backgrounds and interactive blue alternatives

#16. Use Color to Provoke Broader Accessibility Awareness

Color is fundamental to a system, and accessible color contrast is fundamental to color. This injects accessibility smack dab into the middle of a system’s formation. People that matter are paying attention: brand managers, design leads, developers, and execs. What a wonderful opportunity to use color to open a door to the broader array of accessibility considerations.

Takeaway: Seize the opportunity to advocate for accessibility. Always be probing a collaborator’s knowledge of accessibility (or lack thereof) and educate and advocate all you can.

Arlington Heights web design

Next, we can select the type of ad.

We want to make an expandable, so we select Expandable on the left.

Next, we can set again ad’s dimensions.

We are building a 320 by 50that expands to 480 by 250.

So I will make those changes.

We then assign the Arlington Heights creative a name.

I will leave my Save ToLocation as the default, and leave the talk about set to Quick.

Once I’m happy with my settings, I click OK.

Google Web Designer creates the initial pages of the ad for me with the dimensions I defined.

 

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The collapsed page already contains a Tap Area event to expand the ad and an expanded pageArlington Heights with a close tap area to collapse back down.

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Concluding with this series of tutorials, we will see now How To Solve A 4x4x4 Rubiks Cube.

The main purpose of the series, is that you learn in a much more effective way how to solve the Rubik's cubes.

We have seen that the resolution of the Junior Cube it's a subset of the steps for the resolution of Standard Cube.

We will see now that in the case of 4x4 Rubik's Cube (and bigger cubes), the method of resolution of the Standard Cube is the base of resolution of more complex cubes.

A way to solve more complex Rubik's Cubes is accomplished through using what is commonly called the 3x3x3 reduction method.

In this method it is necessary that you know how to solve the Standard Cube. If you need to learn how to solve the Standard Cube, please read 'How To Solve A 3x3x3 Rubiks Cube'.

Note:

For simplicity this tutorial is divided in four pages, in this first page terms are defined and the method is described.

Table Of Contents

• How to solve a 4x4x4 Rubiks Cube • Pieces and Faces • Aditional Faces • Turn Of An Internal Face • Description Of The Algorithm • Step 1, Solving The Centres • Step 2, Pairing up the Edges • Step 3, Finishing the Cube • The Color Scheme • Swapping Two Opposite Centres • Solve A 4x4x4 Rubiks Cube • Step 1, Solving The Centres • I] First White Row • II] First Yellow Centre • III] Finishing the White Centre • IV] Concluding The Centres • Step 2, Pairing up the Edges • Pairing, Case A • Pairing, Case B • Step 3, Finishing the Cube • Last Layer Edges Parity Error • Incomplete Line • Incomplete Cross • Top Layer Edges Parity Error • Opposite Dedges • Adjacent Dedges • Top Layer Corners Parity Error • Corners In Line • Corners In Diagonal

How To Solve A 4x4x4 Rubiks Cube

In order to understand How To Solve A 4x4x4 Rubiks Cube, you need to be familiar with the notation. If you don't know it, please read 'How to solve a Rubiks Cube' before continuing.

For the purposes of the following tutorial, a series of colors will be chosen for the faces, you can choose others.

Pieces and Faces

  • Corner ..- a physical corner piece. A corner piece has three sides. There are eight corners.
  • Edge .....- a physical edge piece. An edge piece has two sides. There are twenty four edges.
  • Centre ...- a physical centre piece. A centre piece has one side. There are twenty four centres.
  • Face .....- a side of the cube. There are six external faces and six internal faces.

Aditional Faces

A 4x4x4 Rubiks Cube has internal faces, they are named with a lowercase letter.

  • Internal Upper Face - u
  • Internal Down Face - d
  • Internal Left Face - l
  • Internal Right Face - r
  • Internal Front Face - f
  • Internal Back Face - b

Turn Of An Internal Face

In a 4x4x4 Rubiks Cube, the internal faces can turn.

To facilitate the turn (and the notation) of an internal face, this is rotated together with the outer face.

See the difference in the following examples of a clockwise turn of the External and the Internal Upper Face (also note the double arrow, which denotes to turn two faces).

How To Solve A 4x4x4 Rubiks Cube - Description Of The Algorithm

The algorithm is divided in three steps.

Step 1, Solving The Centres

The first step in the solution is to solve the 4 Centre Pieces on each face of the cube.

Step 2, Pairing up the Edges

The next step is to Pair up the 24 Edges into 12 distinct Double Edge Pairs (Dedges)

Step 3, Finishing the Cube

When you have solved the Centres and Paired up the Edges, you should see your 4x4x4 Rubik Cube like a 3x3x3 Rubik Cube.

You can finish off the cube in the same way as a 3x3x3.

The Color Scheme

The 4x4x4 Rubiks Cube is an even cube and has no fixed Centre pieces to refer to.

There is no quick way to determine which color goes where in relation to the others. It is helpful to have a color scheme memorised:

Standard Color Scheme

  • Yellow opposite White
  • Blue opposite Green
  • Red opposite Orange

If your cube is scrambled (or it doesn't have the standard color scheme), there is an easy way to determine the scheme.

Simply solve the corners of your 4x4x4 (assuming that you can solve the Corners of a 3x3x3).

Once you've figured out your colour scheme, memorize it or write it down.

Swapping Two Opposite Centres

At some point in your 4x4x4 Rubik Cube solving it is possible that you make a mistake with your Centres, such as transposing two Opposite Centres.

There is an easy way to fix it.

How To Solve A 4x4x4 Rubiks Cube - Algorithm

Now that you understood the method, it is time to put in practice.

Begin with the first step: Solving The Centres.

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________________________________________________________________ Acknowledgement : Table Of Contents by Darkside ________________________________________________________________

Designing for Mobile Apps: Overall Principles, Common Patterns, and Interface Guidelines

Concluding with this series of tutorials, we will see now How To Solve A 4x4x4 Rubiks Cube.

The main purpose of the series, is that you learn in a much more effective way how to solve the Rubik's cubes.

We have seen that the resolution of the Junior Cube it's a subset of the steps for the resolution of Standard Cube.

We will see now that in the case of 4x4 Rubik's Cube (and bigger cubes), the method of resolution of the Standard Cube is the base of resolution of more complex cubes.

A way to solve more complex Rubik's Cubes is accomplished through using what is commonly called the 3x3x3 reduction method.

In this method it is necessary that you know how to solve the Standard Cube. If you need to learn how to solve the Standard Cube, please read 'How To Solve A 3x3x3 Rubiks Cube'.

Note:

For simplicity this tutorial is divided in four pages, in this first page terms are defined and the method is described.

Table Of Contents

• How to solve a 4x4x4 Rubiks Cube • Pieces and Faces • Aditional Faces • Turn Of An Internal Face • Description Of The Algorithm • Step 1, Solving The Centres • Step 2, Pairing up the Edges • Step 3, Finishing the Cube • The Color Scheme • Swapping Two Opposite Centres • Solve A 4x4x4 Rubiks Cube • Step 1, Solving The Centres • I] First White Row • II] First Yellow Centre • III] Finishing the White Centre • IV] Concluding The Centres • Step 2, Pairing up the Edges • Pairing, Case A • Pairing, Case B • Step 3, Finishing the Cube • Last Layer Edges Parity Error • Incomplete Line • Incomplete Cross • Top Layer Edges Parity Error • Opposite Dedges • Adjacent Dedges • Top Layer Corners Parity Error • Corners In Line • Corners In Diagonal

How To Solve A 4x4x4 Rubiks Cube

In order to understand How To Solve A 4x4x4 Rubiks Cube, you need to be familiar with the notation. If you don't know it, please read 'How to solve a Rubiks Cube' before continuing.

For the purposes of the following tutorial, a series of colors will be chosen for the faces, you can choose others.

Pieces and Faces

  • Corner ..- a physical corner piece. A corner piece has three sides. There are eight corners.
  • Edge .....- a physical edge piece. An edge piece has two sides. There are twenty four edges.
  • Centre ...- a physical centre piece. A centre piece has one side. There are twenty four centres.
  • Face .....- a side of the cube. There are six external faces and six internal faces.

Aditional Faces

A 4x4x4 Rubiks Cube has internal faces, they are named with a lowercase letter.

  • Internal Upper Face - u
  • Internal Down Face - d
  • Internal Left Face - l
  • Internal Right Face - r
  • Internal Front Face - f
  • Internal Back Face - b

Turn Of An Internal Face

In a 4x4x4 Rubiks Cube, the internal faces can turn.

To facilitate the turn (and the notation) of an internal face, this is rotated together with the outer face.

See the difference in the following examples of a clockwise turn of the External and the Internal Upper Face (also note the double arrow, which denotes to turn two faces).

How To Solve A 4x4x4 Rubiks Cube - Description Of The Algorithm

The algorithm is divided in three steps.

Step 1, Solving The Centres

The first step in the solution is to solve the 4 Centre Pieces on each face of the cube.

Step 2, Pairing up the Edges

The next step is to Pair up the 24 Edges into 12 distinct Double Edge Pairs (Dedges)

Step 3, Finishing the Cube

When you have solved the Centres and Paired up the Edges, you should see your 4x4x4 Rubik Cube like a 3x3x3 Rubik Cube.

You can finish off the cube in the same way as a 3x3x3.

The Color Scheme

The 4x4x4 Rubiks Cube is an even cube and has no fixed Centre pieces to refer to.

There is no quick way to determine which color goes where in relation to the others. It is helpful to have a color scheme memorised:

Standard Color Scheme

  • Yellow opposite White
  • Blue opposite Green
  • Red opposite Orange

If your cube is scrambled (or it doesn't have the standard color scheme), there is an easy way to determine the scheme.

Simply solve the corners of your 4x4x4 (assuming that you can solve the Corners of a 3x3x3).

Once you've figured out your colour scheme, memorize it or write it down.

Swapping Two Opposite Centres

At some point in your 4x4x4 Rubik Cube solving it is possible that you make a mistake with your Centres, such as transposing two Opposite Centres.

There is an easy way to fix it.

How To Solve A 4x4x4 Rubiks Cube - Algorithm

Now that you understood the method, it is time to put in practice.

Begin with the first step: Solving The Centres.

Make money writing about your passions. Join HubPages

________________________________________________________________ Acknowledgement : Table Of Contents by Darkside ________________________________________________________________

web design information

KENT: My name is Kent.

I'm the creativespecialist on the Google Web Designer team and I'd like to review dynamic exits in Studio A dynamic exit refers to the URL loaded when a dynamic ad is clicked on It's usually related to the product being shown and that URL comes from yourdata feed This video describes the workflow for setting up dynamic exits in Studio Now the simplest case is an ad which doesn't use a gallery or carouselcomponent Here's an example from another one of my videos titled Dynamic inStudio - Google Web Designer You'll see my creative contains only placeholder content But when I preview it in Studio you'll see it loading data from my feed Refresh it Now we're seeing product number 0 Look at my feed for product 0 we're seeing this name, this image and here is the URLfor my exit for this product Now when I set up this ad, I used the simple static exit So when I click anywhere on the ad it'll load a static URL like a landingpage What we want to have happen is this to exit to the URL associated for that product Let me show you how to do that in Google Web Designer First thing we'll do is select the current event and delete it Then we're going to look over inour components panel and open up Interaction and grab a taparea Then with the Transform control selected I'm going to stretch this out to cover the ad And in my Dynamic panel I'm going to click the plus icon to make a new binding We'll select that tap area We're going to look for Exit override URL And we'regoing to drill into our feed the first item, exit URL, and get the URL Click OK and we'llpublish this Now when that's done we'll switch over toStudio We'll reload our creative I'm going to click on the ad Now I'll see we'regetting product one Just to make sure this is really working let's reload itand get another image Here's number five Let's click on that Here's product fiveso that's good Now next thing you might want to do is combine static and dynamicexits in a single ad so you might want to have a logo up here which goes to a home page and maybe some disclaimer text down here which goes to a legal page So let's see how we can do that Back in Google Web Designer I'm going to double click this newtaparea and give it a new name exit-default then I'll copy and paste it I'm going to call that one exit-product and this layer is on top So I'm going tomake this just cover the product area and I'm going to select exit-default andchange the exit on that Now one trick over here in the Dynamic panel I can choose Selection and now I would just see the binding on that selection I'm going to select it and delete it With it still selected I'm going to move to the Events panel click the plus icon and add a new event Google ad, exit ad, gwd-ad I'm going to put an arbitrary ID in here and I'm going to put a full URL to mylanding page OK and we're going to publish again Now when that's done, we'll switch back to Studio and reload the page Now when I click in the corners I'm getting my static URL And when I click on the product I'm getting the correct product That concludes this demo, dynamic exits in Studio Thanks for watching.