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Sharon website builder

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Hello and welcome to this website builder Web Designer Sharon video tutorial.

I’m Owen Corso from Google.

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

Let’s start by selecting file, New File.

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

First, let’s make out high of project.

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

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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.

Sharon website builder

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 Sharon creative a name.

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

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

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

 

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

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How I joined Google

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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.

Dynamic Exits in Studio - Google Web Designer

KENT: My name is Kent.

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

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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.