Milton Village website designers
Hello and welcome to this website designers Web Designer Milton Village video tutorial.
I’m Owen Corso from Google.
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.
💸 How to budget for your web design project pt. 2 💸 - Web Design is Broken e06
As part of Intuit’s core initiatives to further cultivate mobile first thinking and accelerate growth into global markets, the Intuit Small Business Group’s Design Org has shifted from a model of designing and shipping prioritized features to a model where every designer is responsible for end-to-end, cross-device experiences, which includes designing for our products and services on desktop web, mobile web, desktop client apps, and native mobile apps.
As a design lead for our ecosystem of native mobile products over the past few years, I started getting a lot of questions around guidance and principles for mobile design. I noticed many of the designers, product managers, and engineers who are new to mobile app design or don’t live and breathe mobile app development on an everyday basis didn’t fully understand the nature of designing for native platforms and device capabilities. To reinforce the notion that “cross-device” and “mobile first” isn’t just about designing for smaller screens and scaling across multiple device sizes, I collaborated with the Design Systems Team to establish a set of mobile patterns and guidelines so that designers can hit the ground running, or run even faster, with mobile design. We recently published some guidelines, tools, and resources on our internal design toolkit that I thought would be great to share some key points and takeaways with a wider audience as the documentation addresses many frequently asked questions around mobile patterns.
Firstly, I want to start off by saying that what I write here is simply for guidance. Our mantra for any kind of pattern guidelines documentation we provide is, “Give me guidance, but let me drive.” We don’t want to be prescriptive, and we don’t want to tell you how to design, but this is a good starting point to get you going on native mobile designs. Why are we calling out native mobile? As we continue to design device-agnostic, end-to-end experiences and features for products and services, we must remember not to neglect the different platforms (i.e. our mobile products are currently offered on both iOS and Android).
1. Respect the platform
We documented patterns and components based on native operating systems that we have apps on: iOS and Android. When designing for native platforms, you should consistently refer to the native OS design guidelines first for maximum quality. Keep in mind that native platform guidelines constantly evolve, so it’s always good practice to stay on top of these guidelines and refresh your memory and knowledge often.
Apple’s Human Interface Guidelines: https://developer.apple.com/ios/human-interface-guidelines/
Google’s Material Design Guidelines: https://material.io/guidelines/
2. Focus on the customer benefit
Always design for the customer benefit first. No use case is the same, and many use cases have exceptions. Do not design something simply because you can reuse a pattern or component for another feature. Design patterns help ground us as a system and unify an experience across an ecosystem of products, but they should by no means be the first or last stop in the design process. Always question yourself: How will this benefit the customer?
3. Think device first
Push your thinking beyond “mobile first.” Start thinking about leveraging device capabilities first. The native mobile device has a lot to offer: touch, voice, pressure, location tracking, accelerometer, notifications, etc. You are designing around the device, the platform, the user experience. How can these device features be utilized in our products? How can the mobile device benefit users beyond the screen interface in front of them?
4. Keep scalability in mind
Growing from the previous principle, do remember that a mobile device isn’t just a phone. Scalability across devices, more specifically between a phone and tablet, is a common challenge among designers. When we think of mobile devices, we know there are tablets, phones, phablets (not small enough to be a phone, not big enough to be a tablet). Some of the recurring questions I get asked are: Should there be parity between web and tablet designs? Can we translate the phone patterns to be the same on tablets? How do we design for phablets (not small enough to be a phone, not big enough to be a tablet)? To answer these questions, we researched with users, took an in-depth look at device interfaces and screen sizes, and set some standards. While the phone and tablet share many similarities, users use them very differently.
Mobile interfaces LESS THAN 7 inches width should be treated as a phone. Syntax and layout should be aligned across these devices as much as possible, but we also want to leverage native platform guidelines and capabilities first and foremost.
A fundamental design principle for mobile phones is to include only necessary information. Do not overload the user with more than they need to know or take action on. The phone is a convenient way to consume information on the go. Small business owners use a phone to complete quick actions while they are not in the office, capture data, view content, then perhaps close it out and come back to take a look later.
Mobile interfaces GREATER THAN 7 inches width should be treated as a tablet. Syntax and layout should be aligned across these devices as much as possible, and by no means should they need to align exactly the same as the less than 7-inch interfaces.
Tablet designs should look and feel like desktop web, but they should function like the phone (with tap/swipe/hold gestures, transitions, etc.). Many users view the tablet as a hybrid device. We’ve encountered many small business owners that don’t own a computer, but they own a tablet, and those users treat the tablet as a reliable device they can do work on.
To scale for the future or additional digital interfaces, you should also think about non-mobile touchscreens like TV displays, interactive table displays, automobile displays, laptop displays that you can touch, etc. You want to make sure you can scale for multiple screen sizes, large and small, and not limit yourself to thinking only about the devices your products are being supported by.
Patterns and Guidelines
This list is a small subset of patterns and guidelines that I’ve found designers have been commonly asking around best practices for our mobile products.
One of the major aspects that make navigating content on native mobile platforms so delightful is the transitions between screens. Two questions I get asked a lot are: When should a push (screen pushed in leftward from the right) be used? When should a modal (screen pushed upward from the bottom) be used? We’ve established the following best practices:
A push is essentially the fundamental screen transition to view a new screen that is stacked on top of the previous screen. There is typically a Back button so user can view the last viewed screen. For screens that are primarily for viewing, such as transaction detail screens or lists, we use a push.
A modal is typically used when we are requiring the user to select, edit content, or input data. All of our transaction forms use full screen modals as it requires more user thought due to several form fields on one screen. The titles bars for these screens typically have Cancel and Save or Cancel and Done actions. Then, when you tap Save, you get a push screen because you are viewing (not editing) the saved content.
Call to Actions
This section highlights a question I often get: “Should this call to action be a button or a text link?” In both iOS’ and Android’s design guidelines, text as buttons is the norm and recommendation. However, I feel when we use text, especially with a system font against a dark or light background, we lose out on a major opportunity to incorporate brand elements, such as our ecosystem green color or line iconography. So, we’ve deliberately moved away from using text as call to actions, and instead use buttons with high contrast, which also makes it very clear that it is a call to action and not just part of the screen content.
Our empty state screens provides a first impression to users who are new to our products. It usually consists of an illustration, a brief description, and a clear call to action. A common and current design trend is the usage of gray text on a light background. If you decide to follow that trend, make sure the text is readable and accessible by analyzing the foreground and background colors to meet the WCAG 2.0 color contrast ratio requirements.
Firstly, yes, it’s spelled caret, not carat or carrot. 🙂 Carets are used to promote discoverability. Historically, we try to use carets for every instance we want to indicate that the user should tap into the row to view more. However, in our forms, we are working toward to moving away from using carets and instead utilize the extra real estate by creating visual cues and conversational content design to indicate tap targets to view more. After some user testing with different design treatments, we’ve found that discoverability isn’t as much of an issue as we thought. Users will naturally tap on rows, whether there’s more information provided to them or not. We only want to use carets when absolutely necessary.
General rule of thumb for native mobile design: Use action sheets whenever there are multiple actions associated with a single call to action (that is not a system blocker). Apple iOS guidelines calls these action sheets. Google Android calls these bottom sheets. Use action sheets/bottom sheets whenever there are multiple actions associated with a single call to action.
Cards or Tiles
A card (or tile as other teams may call it) is a component acting as a rectangular container for a certain amount of information: visual elements, instructional text, diagrams, and action triggers. There are two types of cards based on appearance and usage: action card and info card.
We use native system dialogs for critical alerts, permissions related alerts, system blocker alerts, etc. The key word is “alert.” Note that for actions that aren’t related to these things, we try to use action sheets.
The general rule for native mobile design is to use system fonts as much as possible. However, we needed to incorporate our brand and voice and tone to create what we call “QuickBooks Ownable Moments.” For large headlines and sub-headlines, we use our brand fonts. For body text, we use system fonts. For fonts within buttons, we use system fonts.
Toggle switches are used to trigger a binary operation (i.e. turning something on and off). It is used often to replace a web checkbox metaphor. We have a lot of checkboxes in our web products so when we design for native mobile, we want to make sure we are only looking to replace binary checkboxes that allows for things like enabling or disabling content, show/hide content or fields, turn on/off tax, track returns for customers, instead of checkboxes used for selecting multiple items.
Again, these are just a few guidelines to get you started or to accelerate your mobile first design process, especially for native mobile. You are the driver and designer with creative license to define the end-to-end user experience for your products and services. Trust your gut, follow your instincts, but always remember to respect the platforms, focus on the customer benefit, think device first, and keep scalability in mind!
Yvonne So is a Principal UX Designer @Intuit currently crafting meaningful experiences for small businesses around the world. With a passion and mission for making technology more inclusive of everyone, she regularly speaks and writes about mobile UX, accessibility, innovation, and empathic design.
Milton Village website designers
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 Milton Village 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.
The collapsed page already contains a Tap Area event to expand the ad and an expanded pageMilton Village with a close tap area to collapse back down.
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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.
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I am a product designer at Google, and I joined the company through Sparrow, a French startup that got acquired on July 20, 2012. Since then, I worked with the Gmail team to build from scratch a flagship product that became Inbox by Gmail. It shipped on October 22, 2014.
I designed productive applications for a few years, and I felt like I reached a tipping point. I wanted to expand my skill set, learn new things every day and get better at something I’ve never touched. I needed new challenges to reboot myself by leaving my comfort zone.
I got interested in virtual reality around the Oculus Kickstarter period because of the immersiveness and endless possibilities that came with it. There is nothing more exciting than building for a new medium and exploring an uncharted territory.
I joined the Google Cardboard and Virtual Reality team on April 17, 2015. Thanks to Clay Bavor and Jon Wiley for this great opportunity.
My first weeks in the team were as scary as it can get. People used words I had no idea of and asked me questions I didn’t know how to answer.
I am not going to lie, ramping up on the jargon was not easy but I was expecting that. Virtual reality is a deep field (pun intended) grouping together a variety of job titles each requiring a very specialized skill set. The first weeks were intense and day after day I had a better vision of the big picture. Slowly, the pieces came together. I found out which roles would be the best fit, what I wanted to do and what was required to get there. Regardless of the mission, I knew I would have to learn a lot, but I was prepared for this challenge. My feelings varied from one day to another. From super excited to create and learn something new, to super scared because of the colossal knowledge I still had to learn. Working with smart and knowledgeable people around me reinforced these mixed feelings.
Everything is going to be alright
I told myself and firmly believed that the dots would connect eventually. I am a passionate person, and I knew that I didn’t mind spending hours learning and experimenting.
During my product designer career, I got better at understanding, identifying and resolving user problems. Making things easy to use and delight users is not that different, no matter the medium.
The core of the mission is the same, but to get you from point A to B there are some interesting things to know.
- Sketching, is, again, at the core of everything. During any brain dump or design phase, sketching is as fast as it can get. I’ve sketched more in the time I’ve joined this team than I have in my entire career.
- Any design skills as diverse as they are will be a huge benefit.
- Photography knowledge will help you because you will interact with concepts such as field of view, depth of field, caustics, exposure and so on. Being able to use light to your advantage has been much valuable to me already.
- The more you know 3D and tools, the less you will have to learn. It’s pretty obvious but be aware that at some point, you might do architecture, character, props modeling, rigging, UV mapping, texturing, dynamics, particles and so on.
- Motion design is important. As designers, we know how to work with devices with physical boundaries. VR has none, so it’s a different way of thinking. “How does this element appear and disappear?” will be a redundant question.
- Python, C#, C++ or any previous coding skills will help you ramp up faster. Prototyping has a big place because of the fundamental need of iterating. This area is so new that you might be one of the first to design a unique kind of interaction. Any recent game engine such as Unity or Unreal engine largely integrates code. There is a large active community in game and VR development with a huge amount of training and resources already.
- Be prepared to be scared and get ready to embrace the unknown. It’s a new world that evolves every day. Even the biggest industry-leading companies are still trying to figure things out. That’s how it is.
Design teams will evolve because this new medium opens a lot of possibilities for creation. Think about the video game or the film industry for instance.
I think there will be two big design buckets.
The first one will be about the core user experience, interface, and interaction design. This is very close to how product design team are structured today (Visual, UI, UX, motion designers, researchers, and prototypers).
Each role will have to adapt to the rules of this new medium and keep a tight relationship with engineers. The goal will always remain the same; create a fast iteration cycle to explore a wide range of interactive designs.
On the other hand, content teams will replicate indie and game design studio structure to create everything from unique experiences to AAA games. The entertainment industry as we know it in other mediums will likely be very similar in VR.
Ultimately, both will have a close relationship to create a premium end to end experience. Both industries have a great opportunity to learn from each other.
To wrap up on my personal experience, I think being a product designer in VR is not that different but requires a lot of dedication to understand and learn a vast field of knowledge.
First step and fundamentals of VR design
In this second part of the article, I will try to cover the basics you need to know regarding this medium. It’s meant to be designer oriented and simplified as much as possible.
Let’s get (a little bit) technical
The new dimension and immersiveness is a game changer. There is a set of intrinsic rules you need to know to be able to respect physiologically and treat your users carefully. We regrouped some of these principles in an app so you can learn through this great immersive experience.
Download Cardboard Design Lab
You can watch Alex’s presentation at I/O this year which goes more in-depth. The following is a small summary.
If you have to remember just two rules:
- Do not drop frames.
- Maintain head tracking.
People instinctively react to external events you might not be aware of, and you should be designing accordingly.
Physiological comfort. It regroups notions like motion sickness. Be careful when using acceleration and deceleration. Maintain a stable horizon line to avoid the “sea sickness” effect.
Environment comfort. People can experience various discomforts in certain situation like heights, small spaces (claustrophobia), big spaces (agoraphobia) and so on. Be careful with the scale and colliding objects. For example, if someone throws an object at you, you will instinctively try to grab it, dodge or protect yourself. Use it to your advantage and not to user’s disadvantage.
You can also use user senses to help you create more immersive products and cues. You can find inspiration in the game industry. They use all sorts of tricks to guide users during their journey. Here’s a couple:
- Audio for spatial positioning.
- Light to show a path and help the player.
Do not hurt or over-fatigue your users. It’s a classic mistake when you start to design for this medium. As cool as it looks, Hollywood sci-fi movies fed us with interactions that goes against simple ergonomic rules and can create major discomfort over time. Minority Report gestures are not suitable for a long period of activity.
I made a very simplified illustration of XY head movement safe zones. Green is good, yellow is ok and avoid red. There are a some user studies made public (links at the bottom of the page) that will give you more in-depth information about that topic.A simplified illustration of XY head movement safe zones.
Bad design can lead to more serious conditions.
As an example, have you heard about Text Neck? A study, published in Neuro and Spine Surgery measured varying pressures in our neck as our head moves to different positions. Moving from a neutral head position looking straight ahead to looking down increase the pressure by 440%. The muscles and ligaments get tired and sore; the nerves are stretched, and discs get compressed. All of this misbehavior can lead to serious long-term issues such as permanent nerves damages.
TLDR; Avoid extended look down interactions.
Degrees of freedom
The body has six different ways of moving in space. It can rotate and translate in XYZ.
3 Degrees of freedom (Orientation tracking)
Phone based head mounted device such as Cardboard, Gear VR are tracking the orientation via an embedded gyroscope (3DOF). Rotations on all three axes are tracked.
6 Degrees of freedom (Orientation + Position tracking)
To achieve six degrees of freedom, the sensor(s) will track positions in space (+X, -X, +Y, -Y, +Z, -Z). High-end devices like HTC Vive or Oculus Rift are 6DOF.
Making 6DOF possible frequently involves optical tracking of infrared emitters by one or more sensors. In Oculus’s case, the tracking sensor is on a stationary camera, while in Vive’s case the tracking sensors are on the actual HMD.
Depending on the system you are designing for, the input method will vary and affect your decisions. For example Google Cardboard has a single button, that’s why the interaction model is a simple gaze and tap. HTC Vive uses two, six degrees of freedom controllers and Oculus will ship with an Xbox One controller but will eventually use a 6DOF dual controller “Oculus Touch”. All of them allow you to use more advanced and immersive interaction patterns.The good old Xbox OneOculus Touch
There are also other kinds of inputs such as hand tracking. The most famous being Leap Motion. You can mount it to your Head Mounted Display (HMD).Leap Motion on top of a DK2
This area constantly evolves as technology catches up but as of today, hand tracking is not reliable enough to be used as the main input. The principal issues are related to hands and fingers, collisions, and subtle movements tracking.
Even though it’s very familiar, using a game controller is a disappointing experience. It physically removes some of the freedom VR is creating. In FPS, strafing and moving might usually cause some discomfort because of the accelerations.
On the other hand, the HTC Vive controllers reinforce the VR experience thanks to the 6 degrees of freedom, and Tilt Brush is a really good example. As I am writing theses lines, I haven't tried the Oculus touch but every demo I have seen looks very promising. Check out Oculus Toybox demo.
While designing user interfaces and interactions, inputs are the keystone that will drive some decisions differently depending on which method you are using. You should be familiar with all of them and aware of their limitations.
This is a big piece and might require a more in-depth article. I will focus on the most popular tools used in this industry.
Pen and paper
You just can’t beat them. It’s the first tool we use because it’s always around and does not require too many skills. It’s a proven way to express your ideas and iterate at a fast and cheap pace. Theses factors are important because, in VR, the cost of moving from wireframes to hi-fi is higher than 2D.
I still use it every day. Because of its ease of use, it’s the perfect tool that allows me to create a lot of explorations before moving to a VR prototype. It’s also handy for its export tools and plugins that are a huge time saver. If you are not familiar with that program, I wrote articles here and there.
I don’t see C4D as a competitor of Maya. Both are great tools, and each excels in its own way. When you don’t have a 3D background, the learning curve can be very steep. I like C4D because the interface, the parametric and non-destructive approach make sense for me. It helps me create more iterations quickly. I love the MoGraph modules, and a lot of great plugins are available. The community is very active, and you can find a lot of high-quality learning materials.Cinema 4D motion explorations
Maya is colossal in a good and a bad way. It does anything and everything a 3D artist needs. Most of the games and movies are designed with it. It’s a robust piece of software which can handle massive simulations and very heavy scenes with ease. From rendering, modeling, animation, rigging, it’s simply the best tool out there. Maya is highly customizable, and that is one reason why it’s the industry standard. Studios need to create their own set of tools, and Maya is the perfect candidate to integrate any pipeline.
On the other hand, learning all the tools will require your full and unconditional dedication for quite some time. I mean weeks of explorations, months of learning and years of practice on a daily basis.
It’s most certainly THE prototyping tool where everything will happen. You can easily create and move things around with a direct VR preview of your project. It’s a powerful game engine with a great community and a ton of resources available in their store (the asset author determines the pricing). In the assets library, you can find simple 3D models, complete projects, audio, analytics tools, shaders, scripts, materials, textures and so on.
Their documentation and learning platform are stellar. They have a wide range of high-quality tutorials.
It support all major HMD and is the best to build for cross-platform: Windows PC, Mac OS X, Linux, Web Player, WebGL, VR(including Hololens), SteamOS, iOS, Android, Windows Phone 8, Tizen, Android TV and Samsung SMART TV, as well as Xbox One & 360, PS4, Playstation Vita, and Wii U
It supports all major 3D formats and has the best in 2D game creation. The in-app 3D editor is weak, but people have built great plugins to correct that. The software is licensed based, but you can also use the free version to a certain extent. You can check the details on their pricing page. It’s the most popular game engine out there with ~47% of market share.
The direct competitor of Unity3D. Unreal also has great documentation and videos tutorials. Their store is smaller because it’s much newer.
One of the big advantages over the competition are the graphic capabilities; Unreal is one step ahead in nearly every area: terrain, particles, post processing effects, shadows & lighting, and shaders. Everything looks amazing.
Unreal Engine 4 uses C++ and comes with Blueprint, a visual script editor.
I haven’t worked with it too much yet, so I can’t elaborate more.
Less cross-platform compatibility: Windows PC, Mac OS X, iOS, Android, VR, Linux, SteamOS, HTML5, Xbox One, and PS4.
Virtual reality is a very young medium. As pioneers, we still have a lot to learn and discover. That’s why I am very excited about it and why I joined this team. We have the opportunity to explore and we should, as much as we can. Understand, identify, build and iterate. Over and over.
And over again…
- Immersive design Facebook group
- Google I/O 2015 — Designing for Virtual Reality
- Oculus Connect keynotes
- VR Design: Transitioning from a 2D to 3D Design Paradigm
- VR Interface Design Pre-Visualisation Methods
- 2014 Oculus Connect — Introduction to Audio in VR
- Cinema 4D tutorials
- Unity 3D tutorials
- Maya and 3D tools tutorials
- LeapMotion — VR Best Practices Guidelines
- The fundamentals of user experience in virtual reality
- Ready for UX in 3D?
Thanks everyone who helped me with the rereading and improvements 💖
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.
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:
- Text needs to be “Converted to Outlines”.
- The colors need to be CMYK values instead of RGB.
- 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.
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.
- 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.
- 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”.
- 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).
- 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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