Monponsett website design
Hello and welcome to this website design Web Designer Monponsett 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.
Dynamic Exits in Studio - Google Web Designer
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.
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.
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.
Monponsett 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 Monponsett 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 pageMonponsett with a close tap area to collapse back down.
Does Going to the Dentist Make You Nervous?
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.
Does Going to the Dentist Make You Nervous?
OWEN CORSO: Hello and welcometo this Google Web Designer video tutorial.
I'm Owen Corso from Google.
And today, we're goingto build a rich media expandable creative with video.
Let's start by selectingFile, New File.
This opens a dialog boxwhere we will set up our ad.
First, let's chooseour environment.
We have four options-- The default is Display & Video 360so we will leave that as is.
Next, we can selectthe type of ad.
We want to make anexpandable, so we select Expandable on the left.
Next, we can set upour ad's dimensions.
We are building a 320 by 50that expands to 480 by 250.
So I will make those changes.
We then assign thecreative a name.
I will leave my Save ToLocation as the default, and leave the animationmode set to Quick.
Once I'm happy with mysettings, I click OK.
Google Web Designer creates theinitial pages of the ad for me with the dimensions I defined.
The collapsed page alreadycontains a Tap Area event to expand the ad and an expandedpage with a close tap area to collapse back down.
It also has added all theinitial code needed for the ad to talk to the ad server andcollect tracking metrics.
Those metrics are builtinto the components, and we can assign uniqueidentifiers to each component as we go.
So now I can start adding thegraphic elements I've already prepared.
I drag a backgroundimage or initial ad state and drop it onto the stage,then align it to the stage, and layer it behind the taparea by sending to back.
Now, let's switch toour expanded page.
Let's add a background imageby dragging my image file to the stage.
I can also add abutton to the stage by dragging theTap Area component.
Let's make a backgroundexit tap area.
I will size, align it, and thenI will give it a unique name.
To add functionalityto the button, I will add an event using theplus button in the event's toolbar.
This brings me tomy Actions panel, where we assignall of the metrics to our ad instead ofcoding them manually.
I'm going to selectthe tap area I just named BackgroundExit from the list.
Choose Tap Area, Touch/Click as the event.
Google Ad, Exit ad.
On the Receiver panel,I select gwd-ad.
Lastly, I give it an exitidentifier and a destination URL.
For more in-depth detailson the event model, check out the Eventsand Metrics video.
Next, let's add avideo component.
You drag it to the stage,then give it a name and size it properly.
Tell it how to behave.
I want it to autoplay and start muted.
And you target thevideo file here.
This component has allof the metrics built in, so you can avoid handcoding them in the ad.
Let's preview our ad.
On page load, we seeour collapsed state.
When we click, the adexpands to our expanded page.
Our video behavesas we told it to, and clicking on the backgroundexits to our landing page.
Once the ad is built andfunctioning as you want, it is ready to publish.
Go to File, Publish.
And you're presentedwith a few options-- Publish Locally,to Google Drive, and, finally, toStudio.
Let's choose Publish Locally.
This is where you cancontrol how the ad is output.
For instance, youcan add polite load to the ad, which delays thead load until after the page content loads.
You can also set itto minify the code and add browserprefixes automatically.
We'll leave all thesesettings as to the default.
Click Publish, and Web Designerwill wrap up all of your files in a nice little zipfor uploading to Studio.
Now, let's testit out in Studio.
Let's make a newcreative of expanding type.
Drag the zip file to uploadour creative to Studio.
Now, let's preview our creative.
As you can see, I can expandthe unit, play the video, and trigger thebackground exit we added.
You can see these eventslogging to the output console.
And that's an overviewof Studio integration features in Google Web Designer.
CHRIS: Welcome! My name is Chris and I'm a designer on the Google Web Designer team Today I'll walk through a new dynamictemplate with an emphasis on text We'll cover customizations includingconfigurable panels selecting nested elements, dynamic text fitting, editing groups and a demonstration of the template when uploaded into Display &Video 360 Ad Canvas Let's get started First let's navigate to the templatelibrary You'll find the template under the thumbnail Data Driven for Display & Video 360 Notice we have three new template layouts to choose from Blank Slate, Cue Cards and Panorama but today we'll be focusing on cue cards Let's create a template using cue cards I'm going to give the file a quick name andclick Create Now before we proceed in Google Web Designer let's take a quicklook at a design schematic of cue cards So cue cards is a template that utilizeselements and assets such as a logo, a background image, a swipe gallery a swipe gallery navigation, an animated arrow icon and three dynamic text groupslabelled SlideA through SlideC You also notice a few tap areas utilized for dynamic exits OK jumping back into Google Web Designer Let's review a fewimportant panels for customizing and configuring cue cards the template In the timeline you'll notice we have a lock icon Let's click the lock icon to unlock and edit the layer Let's select componentswipe-vertical Next navigate to the Properties panel The Properties panel iswhere we can configure the elements attributes style, position and size, andalso edit the component properties You'll find this component is driventhrough the use of groups SlideA, SlideB, and SlideC Now let's move to the Library panel We'll find the individual group definitions and group contents in the Library We can right click a group nameclick Edit and edit the contents of the group Protip: to quickly inspect theelements inside this group We'll use the Outliner The Outliner is a really coolnew tool for enabling us to view nested elements inside the group versus clicking through your divisions you can rapidly find which element you would like to target and edit You'll also notice in this creative we have twodivisions: wrap-SlideA txt-wrap-SlideA These are dynamic text divisions thathave a little bit of CSS logic that helped to auto center them depending upon what type of information comes down through the feed Now let's click on txt-description-SlideA in the Outliner You'll also notice there's a T icon next tothe txt-description-SlideA This signifies that it's a text element With the text element selected We will come up to the panel at the top named Text In the text panel you'll be able to configure text fitting of dynamic text and also the styling of the text in your document We can set a maximum size andalso a minimum size and when the dynamic text is passed to the division it will display the rendered fitted text size Now let's navigate back to the root ofthe document you'll notice we have breadcrumbs in the bottom left-hand corner of the stage right above the timeline Let's click Div to jump back tothe root of our document Now two more notable panels are the Events panel and the Dynamic panel In the Events panels we have events thatare specific to the control over the animated arrow icons behavior during autoplay and also during user gesture Next to the Events panel we have theDynamic tab These are the dynamic bindings that enable this document to bebound dynamically including assets, text, styling, and click exits You'll also notice Brand Awareness ishighlighted Brand Awareness is the schema we are going to be utilizing inside of Display & Video 360 Ad Canvas click OK to exit the dialog As an added bonus I would like to demonstrate the power of this creative If I jump over to a mock from a visual designer this is technically the specthe designer would like me to build to This creative is dynamic so the textcould technically be interchanged Let's fast forward to what the creative canlook like if I built it using Google Web Designers Cue Cards template You'll notice as I refresh this page the creative auto animates The arrow tries to grab the users' attention by animating and jumping The creative also has anavigation on the right hand side where we can drive the creative Users can also use gesture to scroll through the creative upon user interaction Let's say I wanted to publish this creative and upload it into Display & Video 360Ad Canvas So you might have a question what is the Ad canvas The Ad Canvas isa visual editor you can use to build and edit creatives in real time The Ad Canvas only supports our Google Web Designer data driven templates and also custom variations So in DV360 my template is loaded in the center and on the right hand side I have a UI that is editable on-the-fly You'll notice textfitting is working Variations and iterations can be knockedout proofed and signed off in a matter of minutes now with Google Web Designer'snew data driven templates in the Ad Canvas The new dynamic workflow hasnever been easier if you would like to learn more about Ad Canvas please look in the details section of this video for a Display & Video 360 Ad Canvascomprehensive demonstration link This wraps up our video Please have funcreating new dynamic ads Thank you from the team at Google Web Designer.