website builder Avon Massachusetts

Avon website design

web design edx

Hello and welcome to this website design Web Designer Avon video tutorial.

I’m Owen Corso from Google.

web design words web design information

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.

web design resume

Material Design Components for web - Designer vs. Developer #22

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.

Avon website 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 Avon 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.

 

website design Avon

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

web design xd

💸 How to budget for your web design project 💸 - Web Design is Broken e05

web design with html & css3

LYNN MERCIER: Thetruth is, like, if we want to evolve thematerial design system, we need to be able tobuild on top of the code, and each layer ofthat code matters.

MUSTAFA KURTULDU:The conveyor belt is-- designer works onsomething, developer takes it, and developer screams becausethere was no conversation.

I think that's one ofthe biggest challenges.

[MUSIC PLAYING] One of the challenges inthe beginning with material on the web was there's so manydifferent implementations.

Again, the singlesource of of truth, so you had Angular material,you had Polymer, you had MDL.

How have you found solvingthat single source of truth? LYNN MERCIER: Yeah.

Originally we had a unique teamof developers in both Android-- I'm sorry-- Angular,and Polymer, and all these otherweb frameworks sort of building their ownimplementations in material design.

But we found that we couldn'tkeep that going at scale.

Like, we were iterating onthe material design system so quickly, and we couldn'tkeep a single source of truth with these othercomponent libraries.

So we started developinga technology where we would write our JavaScriptonce and sort of abstract its interaction with theHTML, so you wouldn't directly reference a DOM element.

And then we wouldwrap that JavaScript in individualcomponent libraries.

It's not a perfect solution.

We're still working onmaking it faster and better, but we've foundthat that creates these sort of componentsthat look like they belong in the framework.

So any framework developerwho's working there, they look seamlesslylike they're a part of the environment.

MUSTAFA KURTULDU: The onething that we struggled with with MaterialDesign Lite was there was a lot of blackmagic going on in the DOM.

So you check DeveloperTools, and there'll be, like, these random elements.

And that was, like, anopinionated decision so, you know, how do you go aboutdeveloping a new framework where you have to have anopinion-- there has to be, like, this is the baselineof what we're doing-- without impeding on, like, whatthe developer just wants to do? They just want this componentto work, or this widget, or whatever.

LYNN MERCIER: Yeah.

I try as much as possibleto avoid black magic.

And, like, whenever I'mreviewing any code that any of the designers on myteam are writing, we, like, try and avoid anything that's-- maybe it's a little hack,and it makes it slightly more performant-- butthe truth is, like, if we want to evolve thematerial design system, we need to be able tobuild on top of the code, and each layer ofthat code matters.

So we try and, like, steeraway from any black magic and just have thisone source of truth that works with all thecomponent libraries as much as possible.

MUSTAFA KURTULDU:In terms of, like, working withexisting frameworks, what's the relationship there? Because, like, React isa thing-- you have to-- it's the real world, right? LYNN MERCIER: Mm-hmm.

MUSTAFA KURTULDU: Or likeWordPress is a thing.

Like, you have towork in that world.

LYNN MERCIER: Mm-hmm.

MUSTAFA KURTULDU: So theremay be certain things that you can or can'tdo as a result of that.

LYNN MERCIER: Yeah.

MUSTAFA KURTULDU: Like, formaintaining a framework where-- it's not Android.

It's not, like, a single-- LYNN MERCIER: Yeah.

MUSTAFA KURTULDU:--you have-- it's, like, the web is allabout relationships between different code bits.

I mean, how do you manage that? LYNN MERCIER: It gets reallytricky and really funny.

So we tend to prioritizethem in terms of what developers are already using.

So React is a great example.

There are a ton of codebases already in React-- it's super-popular.

So we want to prioritizethat one first, which is why we're making anMDC React library for React in particular.

But then there'sother libraries, like Angular andlike Polymer that we want to start using as well.

But we tend toprioritize them, again, based off whether or notdevelopers are already using them.

In terms of, like, keepingall that functioning-- and sometimes you endup, like, one framework wants it to do it oneway and another framework wants it to do another way.

It's just constantlycompromising.

Like, we work with thesedevelopers on the Polymer team, or we, like, talk tothe React community and try and figure out what'sthe right way to figure it out.

And we just sort of settleon the right compromise and stay there.

We do it as well with browsers.

So for example, we tendto develop first on Chrome because it's kind of thebest, and it works nice, but we have to support Safari,and Firefox, and Edge as well.

So we tend to testIE at the very end.

And we want it towork, but there's sort of, like, gracefuldegradation sort of things that happen.

As long as that happens, like,carefully and gracefully, then it tends to be OK.

And I think we do the samesort of thing with platforms.

You know, maybe itdoesn't perfectly work in everyplatform but as long as we can kind ofgracefully degrade that component in thatsituation, it'll work out.

MUSTAFA KURTULDU: Yeah, Iknow the BBC have, like, a term that's calledcutting the mustard.

So basically, they willhave, like, a baseline where things have to work.

LYNN MERCIER: Yeah.

MUSTAFA KURTULDU: Like, withthis, and if it doesn't work, or it doesn't supportthis technology, they're gonna say--you know what, you're not going to getthese experiences that we're designing.

I mean it-- how would youfeel about that as a concept? LYNN MERCIER: Yeah, we'vehad to use that already.

So there's newthings coming out-- material designed around shape.

And on the web platform,no matter what technology you're in-- like, what webplatform or what browser you're in-- rounded corners are really easy.

Like, cut-off corners? Impossible.

Just straight up impossiblewith the existing technology.

And so we kind of had to goback to our material design team and say, like-- look, we can update theCSS spec today in 2018, and then three years fromnow, our children's children will, like, have thisfeature, but we're not going to be able toimplement it right now.

So there are some featureswhere you just kind of have to draw the line and say,we can't do this feature without it beinga confusing story, without it being some sortof hack that no one would be able to use.

MUSTAFA KURTULDU:So how about SVG? I mean, I suppose whenit comes to animation, the challenge of SVG isthe performance 'cause-- LYNN MERCIER: SVGs, and thenthe shadows on top of them, and the scroll performanceunderneath those SVGs-- by the time you, like, transportall the browsers and all the situations wherethat component would be, it gets reallyconfusing quickly.

MUSTAFA KURTULDU:And very complicated.

LYNN MERCIER: Yeah,very complicated.

MUSTAFA KURTULDU: That'squite interesting, because the conveyor belt isdesigner works on something, developer takes it, anddeveloper screams because there was no conversation.

I think that's one of thebiggest challenges developers face because, ifyou just talk to me, then I'll be able to explain,especially for designers who have no coding experience.

And I know we've spokenbefore, and you've mentioned stress testingthe design, which is a new concept for me.

LYNN MERCIER: It's my concept.

MUSTAFA KURTULDU: How doesthat work, where you're stress testing the design? LYNN MERCIER: Imean, I think there's a limitation inDesigner Tools that make them want to forceeverything to sort of this pixel-perfect mock.

And it's gorgeous-- itcreates some gorgeous assets, but it doesn't always workin a real-world application.

And a developer'sjob is to create something that works in areal-world application, right? Ours is the stuff-- thecode that's running live.

And so many problems come froma design being pixel-perfect for one language, one screenwidth, one set of content.

And when you goto build that, you can build sort of adummy site quickly, but once you start populatingit with real content, all these problems come up.

And I think most designers,if you go and talk to them and say, like-- hey,I have this problem.

They'll help you.

They'll, like, show youhow to change the design and tweak it in this situation.

Like, they're very receptiveto that feedback-- they want to make their designs better.

But if you don't knowwho your designer is when you have thisproblem, then you just have this bug that says-- doesn't work in German.

Like, what do you do? You have no idea how to fix it.

So yeah, I think this conveyorbelt problem of designers who sort of, like,design something but then leave the projectand don't collaborate with the developers asthey're building it, it makes it reallydifficult for the developers to make the productbetter over time.

MUSTAFA KURTULDU: So how do youthink designers can actually improve their process to makethat relationship better? Or more, is it reallydown to the most obvious? You just need to pairprogram, or pair together.

You have to talk to the person.

That's really the bestway to do it, so like-- LYNN MERCIER: Thatis the best way.

I mean, I think that can bereally difficult in certain-- if you don't have enoughtime and resources, sort of dedicate, like, one person,one designer, and one developer to every single feature.

I think there's waysin the middle to do it.

So for one, make sure thatyou know each other's names.

Like, if you'reremote, make sure you know how to deployyour code somewhere to staging so yourdesigner can work with it, and make sure your designerhas a way to send you, like, iterations on mocks.

Another sort of quick andobvious thing, I think, for designers is tointernationalize.

The moment you take allthe text from your mock, put it in Google Translate,put it back in the mock, and see what looks horrible-- MUSTAFA KURTULDU: German.

LYNN MERCIER: --like, yeah! German! Or even, like, CJK languages.

Just pick a language.

It doesn't matter ifyou translate it right.

Just, like, do thatfirst step because you're going to run into all thewidth and height problems that a developerwill run into live.

And I think it's goodfor designers, right? It helps you makeyour product better to get feedback aboutwhat sort of languages do I need to support.

MUSTAFA KURTULDU:And it's especially important inuser-generated apps where the content could be 10 pages,or it could be two lines.

LYNN MERCIER: Yeah! MUSTAFA KURTULDU:It's not like-- you always get the mock wherethere's, like, the name-- LYNN MERCIER: Yeah! MUSTAFA KURTULDU: --theavatar name's perfect.

LYNN MERCIER: Fits perfectly.

MUSTAFA KURTULDU: Yeah, butwhat if the name's like, you know, four words long? LYNN MERCIER: Yeah.

MUSTAFA KURTULDU: Isthere anything else that they can do like the stresstest that wasn't just really-- LYNN MERCIER:Internationalization is a big one.

I think different screen widths,at least in your own web, is helpful as well,like making sure that the obviousbreakpoints work but also sort of smallerones or bigger ones.

But, yeah, it justcomes back to, like, be there when your developerruns into a real problem and help them fix that problem.

I think most developerswant to fix problems.

They want to code that out.

They just want to geton their headphones-- like, get the code outthat will fix the problem, but they don't know how toredesign the site, right? We're not going to-- ifyou make a developer guess how to design a site, we'regoing to guess really poorly.

So you need to helpus as designers.

SPEAKER: If you spentloads of time polishing your, like, amazingprototype, then you suddenly becomevery, like, you know, reticent to throw it away.

Kind of like it'syour baby, you're going to polish this too much.

And so that's dangerous,because then you're not using prototyping forprototyping's real purpose, which is to learn.

Calibrate Digital Marketing - Web Design Company in Springfield Missouri

There's a lot involved when it comes to building a good website.

You've got to start thinkingabout SEO from the ground up.

It can't be an afterthought.

The website needs to be safe and secure.

It needs to be fast.

It needs to look good.

It needs to be responsive so it looks good on a cellphone or a laptop or a tablet.

It's your bread andbutter of your business.

So you want to haveyour best foot forward.

You've got to have a great website.

web design examples

Sketch was made for screen-based design.
Websites, app interfaces, icons… these objects of design exist within a world of pixel measurements, RGB colors, and presentation on digital screens. Unlike many of the Adobe creative tools which include 10,000 features and the kitchen sink, Sketch is laser-focused in its purpose—and consequently works far better (and more efficiently) for what it does do.

Sketch was not made for print-based design.
Business cards, brochures, posters… these exist within a physical world of inch/centimeter/point/pica measurements, CMYK or Pantone colors, and presentation on a variety of papers and materials. Adobe Illustrator and InDesign are two of the most popular tools in this arena.

If you’re like me, you’re far more efficient working in Sketch.

And when a print design project rolls around, you might find yourself yearning to continue using the same tool you’ve become so adept at using for web/UI design. I want you to know that it’s possible. Here’s how I do it:

(full disclosure: Adobe Illustrator is required)

The Magic Number 72

Dating back to the craft of setting lead type for a printing press, the primary units of measurement were points (72 per inch) and picas (12 per inch). Lead type (pictured here) is measured in points, and is produced in pica or half-pica increments such as 12, 18, 24, 36, and 72 points. Those numbers should sound familiar to you, as they became standard digital font sizes with the Macintosh. The first Macs used screens where every inch contained 72 pixels, resulting in 12pt text that looked practically the same size onscreen as in print. The evolution of pixels per inch (PPI) is too extensive for this article (especially since the advent of retina displays), although it’s important to know a bit about the origins of this 72:1 ratio.

This article will mostly use inch measurements, as used for print design in the US. If you are familiar with a centimeter workflow, I’d love to hear from you!

Sketch measures everything in pixel units, so we need a way to convert our design to the physical world of inches. By now you may have guessed where this is going: 72 pixels in Sketch converts to 1 inch in an exported PDF.

  • An 8.5" × 11" piece of paper (US Letter) converts to a 612px × 792px artboard.
  • A typical 3.5" × 2" business card converts to a 252px × 144px artboard.
  • When adding a new artboard, Sketch 3 gives you a few “Paper Sizes” presets. Speed things up by adding your own custom artboard presets!

The pixel dimensions of a 72 PPI layout may be far smaller than you are used to when working on websites or user interfaces. Remember that the clarity of your print project is dictated by the print method you use—Sketch’s “Show Pixels” function is of no use here!

Tips for Designing Your Layout

  • For elements in your design, try to use measurements that make sense in inches. 1px = 1pt for lines and font-sizes. I’ll often use 1/8 inch (9px) or 1/16 inch (4.5px) increments for layout elements.
  • You can use Sketch’s Grid feature to make these inch-appropriate positions or measurements easier. I suggest a grid with a 9px (1/8 inch) block size and thick lines every 8 blocks (1 inch). Show/hide the grid with ⌃G on your keyboard.
  • You can turn off “Pixel Fitting” in Preferences. There’s no need to be a stickler for pixel alignment as you would be for screen-based design.

Margins & Bleeds

Professional print shops often require your artwork to have extra space on all sides, extending any parts of your design that “bleed” out to the edge (see example below). This compensates for the slight, yet inevitable, variance in where the edges are cut on your final print. My printer asks for a 1/8 inch bleed, and I often add this to my Sketch layout (9px extra on all sides). If your design has elements that bleed, I suggest you do the same—if not, you can easily add these extra margins later when saving a PDF from Illustrator. Printers will also recommend that any text is at least 1/8 inch inside the trim lines (a “safe zone” or “critical print area”), as in the business card below.

The “Trim Lines” indicate what the final card will look like. Because trimming is rarely 100% accurate, any parts of the design that extend to the very edge should continue out to a “Bleed”. Shown here, the bleed extends to 1/8 inch outside the artwork.

Preparing the File for Print

99% of print shops are strict about the specifications of your “artwork” files. The following process will help you give printers the files they want! If your layout relies heavily on images, gradients, or shadows, skip to the next section!

When you have finished your design in Sketch, export it as a PDF at 1x scale. Many programs, such as Preview or Adobe Illustrator will automatically interpret the file at 72 PPI. You can view the PDF’s dimensions in inches in Preview (Tools > Show Inspector, ⌘I), or in pixels using Finder’s Get Info window (under “More Info”). If you save your PDF through Illustrator, pixel and inch dimensions will be automatically included in the file.

There are 2 other things we need to change about Sketch’s exported PDF:

  1. Text needs to be “Converted to Outlines”.
  2. The colors need to be CMYK values instead of RGB.
  3. Any images in the design need to be embeded as CMYK images.

Converting Text to Outlines

To ensure that your design is printed exactly how you see it on your computer, it is important to convert the text objects in the PDF to actual vector shapes, or “outlines”. This makes the text look exactly the same on any program on any computer, regardless of the fonts you’ve used in the design, and regardless of whether or not those fonts are installed on the printer’s computer.

You can convert text to outlines in Sketch (more about that here), although if your design has more than a few lines of text, Sketch will slow down dramatically. If you want a guaranteed way to crash Sketch, try selecting a dozen text objects and converting them to outlines all at once! Fortunately, Adobe Illustrator excels in this department, so we’ll use that instead.

  • Open the PDF in Illustrator and navigate to Select > All (⌘A), from the menu bar.
  • Also in the menu bar, navigate to Type > Convert Text to Outlines (⌘⇧O). Easy as that!

Converting to CMYK Colors

After opening your PDF in Illustrator, navigate to File > Document Color Mode > CMYK Color. This converts the entire document to a CMYK colorspace from RGB. That’s the easy step. Now we have to change the colors in our design to actual CMYK values.

If you’re used to screen-based design and appreciate great colors, I feel obligated to tell you that CMYK may disappoint you. Due to the nature of combining those 4 colors (cyan, magenta, yellow, and black) in ink, many bright and saturated colors are difficult or impossible to recreate. Without diving into color theory or the pros/cons of various print methods, I will simply suggest that for any color that is important to your design you see a sample of that exact color value from a similar printer on a similar material. To do this I recommend choosing a close match on a Pantone swatchbook (a bit pricey, but a great investment), or ask your printer for a printed sample of a variety of colors printed on the paper you’ll use (they probably already have these, and can give you each color’s CMYK value).

Once you’ve chosen great CMYK values for all your colors, it’s time to replace the color value for each of the elements in your design. This sounds tedious—and to a certain extent it is—but I’ve discovered a few shortcuts to help you!

  • First off, you will need to select the elements whose colors you want to change. If you aren’t familiar with Illustrator, know that a layer is only selected when you click the small circle to the right of it. Simply clicking on the layer’s name will not do anything!
  • If your design has many elements with the same color (say, all green text), they can be selected all at once by first selecting one instance of the element then clicking the “Select Similar Objects” button on the right of the toolbar. If this toolbar or button isn’t available, try navigating to Select > Same in the menu bar.
  • When your elements are selected, hold down the Shift key when you click on the fill color in the toolbar (fill color to the left, stroke/border color to the right). Even elements that are pure black need to be converted to CMYK black, for which there is a little swatch below the color sliders.

Last Step!

When all of your text has been converted to outlines and all of your colors are CMYK, it’s time to save a separate PDF (I add “-print” as a suffix to the new filename). By using File > Save As, you get a trillion options for the PDF. The single option I ever use is to add a bleed margin (my printer likes 1/8 inch) on all sides of the artwork. To do this, go to the “Marks and Bleeds” section on the left and uncheck “Use Document Bleed Settings”, as shown below.

You’re all done! Trust me, next time this process will take you half as long!

Is Your Design Image-Heavy?

If your Sketch design includes bitmap images (non-vector images), they will be automatically converted from RGB to CMYK when you change the Document Color Mode. Upon importing the PDF to Illustrator, any shadows in your design will be converted to bitmap images and any gradients will become un-editable “Non-Native Art”. Because of this, if images, shadows, or gradients are important to your design, I strongly suggest you instead save the entire Sketch layout as a PNG and convert it to a CMYK file in Photoshop using the following steps.

  1. Export the Sketch artboard as a PNG at 4.166x scale, which gives you the amount of pixels you’ll need for a 300 PPI print-ready file. Printers rarely accept bitmap images less than this resolution. Make sure your artboard includes the necessary bleed margins (described above) before export.
  2. Open the PNG in Photoshop and navigate to Image > Image Size, in the menu bar. Uncheck the “Resample” checkbox and type in either the artwork’s dimensions in inches or the “Pixels/Inch” you used when exporting from Sketch (again, this is often 300 PPI). Click “OK”.
  3. In the menu bar, navigate to Image > Mode > CMYK Color. This will alert you that Photoshop is converting the file to a default CMYK color profile. This step may visibly change the colors of your design. Rest assured that your computer screen is not an accurate representation of colors in print, although you should also not expect the same bright or saturated colors capable with RGB (as described above).
  4. Adjust the colors slightly if you desire, then Save As a .psd or .tif file. Be sure to tell the printer what bleed margins you included in the artwork!

Of course you can use this process in conjunction with the PDF + Illustrator workflow above, by embedding the Photoshopped images into your Illustrator document. But most of the time I stick to one process or the other.

Is This Workflow Right for You?

If you’re fast at designing in Sketch, feel more at ease or more creative using it, or aren’t very familiar with Illustrator/InDesign, this may be good for you. This may also be a useful workflow if you have existing designs from Sketch (an interface, icon, logo) that you want to prepare for professional printing. I can’t read the future, but with Bohemian Coding’s small team and success focusing on screen-based design, I don’t advise you to hold your breath for print features. It’s a huge can of worms!

Examples of projects made with this workflow. From packaging, to letterpressed business cards, to laser-engraved signage. This work for Juice Shop recently won the Type Directors Club’s prestigious annual design competition.

I’ve written this article to share my workflow for print design projects, but also to learn of ways that I might improve this workflow in the future. If you have any suggestions, especially related to Illustrator or the print process, feel free to share them!

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