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West Roxbury website design

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Hello and welcome to this website design Web Designer West Roxbury 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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Dynamic Exits in Studio - Google Web Designer

WEB DESIGN IS BROKEN but it's okay weare fixing it.

Today we are gonna follow on from the last video and we're gonnatake you further along down that path to that magical place called budget.

Yeswe're helping you to create a budget, an appropriate budget for your web designproject.

I'm still not gonna give you some magical figure because it doesn'texist; it's all relative.

So I'm not gonna talkin terms of X pounds or Y dollars but I will be talking in terms of high mediumlow investment what that means only you can really know because a largeinvestment for you might be a small investment for the next business: a smallinvestment for coca-cola it's probably gonna be most people's annual turnovers!So only you will know what a large versus a small investment actually is.

Soin the last video we laid down some key things that you really need to be awareof when you're thinking about a budget not just for a web design project butactually for anything and these are these are things, biases that that we allhave as people that can really affect how we determine what to invest inthings.

By understanding these biases we actually reduce the chance of over orunder investing in a project just simply by being aware of them.

So in this videowe're gonna look at two more very key things that are going to give you quitea reliable shortcut to determining whether the investment you make islarger or smaller.

These two things are risk and complexity.

What do we mean byrisk and what do we mean by complexity? When we're talking about risk we'retalking about the impact that it could have on your business.

Something that ishigh risk could have a significant impact on your business.

The way I like to think about risk is that it's whether it goes right orwhether it goes wrong, so it's not just down side there's also upside as well.

If there's significant upside then it's still gonna be high risk.

Low risk meansthat it's not gonna make a huge impact on your business,it's not gonna move the needle as they say.

Complexity is really just about howtechnically difficult it is to actually deliver this piece of functionality soif you look at, I don't know, take bridge making as an example: if you're buildinga small bridge across a little stream then that's probably going to be lesstechnically difficult then if you're trying to bridge the River Thames.

So it'show technically difficult it is to deliver and again it goes on a scale oflow to high complexity so why risk and complexity well if we plot them on agraph like so, we can see that they create four quadrants.

Now each of thesefour quadrants represents a different type of project: a high risk, highcomplexity project; a high risk, low complexity project; a low risk, highcomplexity project and a low risk, low complexity project.

Now just by exploringthese four different types of projects, these four project characteristics wecan actually start to make assumptions about what that project is going to belike and give you some shortcuts as to how much you invest in that type ofproject.

Let's jump into it: let's start off with the easy one low risk lowcomplexity.

So this is what I call the 'tick box' this is a website project thatis effectively just a tick box exercise maybe as a part of your business there'sa requirement that you have a web-based resource which goes over a whole bunchof really interesting things.

Maybe it'sjust a regulatory requirement, maybe you've gone for some funding and awebsite has to be a part of what you deliver.

It really doesn't make a hugeimpact on your business if it's just informational as these things typicallytend to be, then it doesn't really require groundbreaking programmingskills and cutting-edge design to actually fulfill its need.

So in thistype of project you really want to be investing as little as you possibly canjust as much as you need to to get a reasonable job done.

It's not gonna makea huge impact on your business; it's not technically difficult to deliver youjust want something that works and that ticks that box.

So if your project is lowrisk low complexity don't bet the farm on it there's no point it's not gonnabring you the return that you need pay as little as you can to get a goodprofessional job done but don't go crazy over it.

So now we've got low risk highcomplexity.

This is an interesting space and I like to call this quadrant in thistype of project the 'moderniser'.

With something that's low risk and highcomplexity typically we're looking at improving existing systems and processesusing newly available modern technologies.

With this type of projectwhat you really want to be doing is looking at a provider that hasthoroughly solved this problem so I'm thinking online payments companies likePayPal, like Stripe have thoroughly solved this technical challenge.

It's notnecessarily the type of project that you think is going to completelyrevolutionize your business; it might make things a lot more efficient andyou'll probably see some uptick in sales, engagement things like that, but ultimatelyit's not the big game changer for your business.

So you should be lookingto invest a reasonable amount to get some off-the-shelf solutions that canactually bridge this gap and help you modernize.

Let's jump into my favoritequadrant: low complexity high risk this is what I call the 'punt'.

So this is myfavorite sector because this is typically where a business has spotted anew opportunity maybe a new part of the market maybe they want to spin off anexisting product or service and they just want to test it out.

They want tosee whether their offering or messaging works.

Why this is high risk is that ifit works well then there could be significant upside.

It might be a wholenew part of their business it might be a new standalone business if it goes badlythen they lose their initial investment.

Now what you want to do when you'reworking in this quadrant you what you want to be doing is thinking aboutmultiple small investments and testing religiously.

Test absolutely everythingbecause what you're trying to do is figure out if this thing, if this ideahas got the legs to warrant a proper investment.

You want to be thinkinglanding pages; very simple to produce very easy to iterate.

You also want to bethinking about investing in things like pay-per-click advertising as well -literally buying the traffic to test against your multiple service offeringvariations.

Don't bet the farm on this it's all about controlling risk at everysingle point every single iteration so be very purposeful be very deliberateabout how you execute when you're dealing with low complexity high riskprojects.

So the final quadrant is what I call the 'moonshot'.

This is the stuff ofstartup legend.

This is that entrepreneur space where we are launching newproducts into unknown markets.

This is an area that is very similar to high risklow complexity in its approach but you should really be making significantinvestments in this area: you still need to control the risk andyou still need to test fastidiously but you might be needing to actually investheavier and produce some custom functionality.

You might need to actuallybe producing working prototypes of your product or service offering.

You can't cut corners when you're in this quadrant the risk is too high.

Because the complexity is high you're probably going to be building thingsthat have never been built before; you're needing to create technical capabilitywithin your business and understand how that impacts the delivery of yourproduct and/or service.

So absolutely never cut corners here.

The key wordsthat you should be listening out to when you're talking about the project is 'noone else is doing this', 'this has never been done before', 'this is brand new',''here's why it's different to the competitors'.

All of these things shouldbe getting you thinking high risk high complexity.

Invest well, don't cut cornersand test and iterate and measure absolutely everything you can.

So thoseare the four quadrants and hopefully this gets you a little bit closer tounderstanding where your project sits in those quadrants and the amount that youshould invest relative to, well whatever that means to you as a business.

Thus farwe've understood things about the biases and the psychology that can affect howwe make investment decisions, we've been able to identify where our project sitsalong an axis of risk versus complexity in the next video we're going to belooking at some pounds and pence examples for how you can start to createthat budget or a range of that budget based on the perceived upside or theperceived savings that you're gonna make or thatyou're hoping to make in your web design project.

That was heavy!My name is Aaron Taylor, I'm helping you to make better decisions and have betterconversations when you're buying a website.

Till next time!.

West Roxbury 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 West Roxbury 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 pageWest Roxbury with a close tap area to collapse back down.

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Data Driven Templates for Display & Video 360 Ad Canvas - Google Web Designer

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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.

Color in Design Systems

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

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

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

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

(full disclosure: Adobe Illustrator is required)

The Magic Number 72

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

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

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

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

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

Tips for Designing Your Layout

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

Margins & Bleeds

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

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

Preparing the File for Print

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

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

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

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

Converting Text to Outlines

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

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

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

Converting to CMYK Colors

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

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

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

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

Last Step!

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

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

Is Your Design Image-Heavy?

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

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

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

Is This Workflow Right for You?

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

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

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

Be the first to know when I publish new design articles and resources.
 
I just released Sketch Master — online training courses for professionals learning Sketch. You’ll learn tons of tricks and practical workflows, by designing real-world UI/UX and app icon projects.

Sketch Master
Sketch Master is a collection of video training courses for professionals learning Sketch—the popular design tool. sketchmaster.com web design kalispell

1. Gestures are the new clicks

We forget how hard scrolling webpages used to be. Most users would painstakingly move their mouse to the right edge of the screen, to use something ancient called a ‘scrollbar’:

As a pro, you probably used a mouse wheel, cursor keys, or trackpad, but you were way ahead of most users.

In 2015 it’s far easier to scroll than it is to click. On mobile, you can scroll wildly with your thumb. To click on a precise target is actually more difficult — the complete opposite of what we’re used to on the desktop.

As a result, we should expect more and more websites to be built around scrolling first, and clicking second. And of course, that’s exactly what we’ve seen everywhere:

There’s every reason to expect this trend to continue as mobile takes over more of the market. Modern sites have fewer things to click, and much more scrolling. We’ll see fewer links, more buttons, bigger ‘clickable’ areas, and taller pages that expect to be scrolled.

Websites which spread their articles onto multiple pages will soon learn this lesson. Expect these to turn into longer single pages or even, like TIME magazine, into infinite scrolling pages:

It’s too early to know if the web will expand itself onto devices like watches, but if it ever does, you can bet it’ll be almost entirely driven by gestures.

2. The fold really is dead this time

Now scrolling is so cheap, and devices are so varied in size, ‘the fold’ is finally becoming irrelevant.

Designers are increasingly free to not cram everything at the top of a page. This leads to a design trend popularised by Medium — full-screen image titles, with no content visible until you start scrolling:

With tall, scrolling pages, designers have the chance to do what magazines have taken for granted for years: fill their pages with big beautiful images. In 2015 expect to see more designs that take up much more space — especially vertically — and a lot of larger imagery like this.

3. Users are quicker, websites are simplifying

Today every young adult is an expert web user. And even the amateurs are acting like pros: using multiple tabs, and swiping to go back a page.

The result is that everything is faster. And we’ve all learned to become impatient. If you want to make a mild mannered person explode with annoyance, just make their Internet really slow for a minute.

Now websites are forced not just to become faster (a technical problem), but to become faster to understand. Designs which slow the user down have the same impact on their audience as these websites which don’t load at all.

Simpler designs are easier to scan, which means they’re faster to appreciate. It’s easy to see which of these two designs is newer, and it’s because it’s the one that user’s can enjoy the fastest:

This is the biggest reason for the death of skeuomorphic design: users are more perceptive, less patient, and clutter only slows them down.

Apps put most websites to shame with super-minimal, beautiful interfaces. And they’re doing this because minimal interfaces perform better.

Flat design is just the beginning. The real trend is towards simplicity and immediacy, and we expect that to go further than ever in 2015.

4. The pixel is dead

On a desktop, a pixel was a pixel. You even had an idea of how many pixels made up an average inch: 72 dpi. Nowadays very few people know what a pixel is.

With responsive design, we’ve seen a move towards grids and percentages. But one huge area remains still unchallenged: bitmap images.

Almost all of the web is built with images that have half the resolution of a modern display, and they don’t scale. With Retina displays and modern browsers, the time is right for vector images to become more popular in 2015.

We can see this trend already happening with the font-based icons and Google’s Material design. The website loads faster and scale the icons to any size without losing quality. That makes them ideal for designers and modern web browsers.

The technology exists now, but it will take time for professionals to change their habits to create for higher quality displays. Once the average desktop display becomes Retina-grade (like the new iMac), we expect designers to follow suit.

5. Animation is back

If you want to make a website look dated, cover it with animated “Under Construction” GIFs and Flash animation. But several things are coming together to make animation a rising star in modern web design.

Flat design can end up looking too consistent, boring even. Animation helps a website to stand out and to pack more information into less space.

Mobile apps have redefined what a user expects. Mobile apps use motion to convey meaning, and websites are just starting to do the same.

New technologies like CSS animation make it easy to enhance designs without plugins, speed or compatibility issues. And Web Components (#6, below) will only accelerate this.

GIF animation is back, and surprisingly effective. You’ll notice this article makes extensive use of GIF animation (if it doesn’t, you should view this version), which has never been easier to create or share.

6. Components are the new frameworks

Web technology continues to get more complicated, and less semantic. Designers must embed messy code onto their pages for simple tasks, like including Google Analytics or a Facebook Like button. It would be a lot easier if we could just write something like this instead:

<google-analytics key=”UA-12345–678">

And we can with Web Components, which aren’t quite ready to be used by most designers yet. 2015 is looking like their year.

Google’s Material design is here, and it may just be what gets this movement started. Powered by Polymer, and supported by all modern browsers, it provides the rich animation and interaction components from Android apps, with simple tags like these:

If that takes hold, it wouldn’t be surprising to see more component based frameworks appear in 2015. Perhaps Bootstrap 4.0?

7. Social saturation and the rise of direct email

Social media has been a huge success for consumers, but many content producers aren’t so happy.

The problem is saturation. With billions of posts every day, Facebook learns the posts that users are most likely to enjoy and shows only those. Unfortunately that means over time, what you post is increasingly seen by a smaller percentage of your followers. (A problem you can solve, conveniently, by paying Facebook).

Social isn’t going away, but in 2014 we’ve seen a lot of prominent bloggers like Tim Ferriss move their focus away from social and into good old fashioned email lists. They’ve realised that email has one significant advantage over social: a much higher percentage of people will see what you send them.

I expect this post-social trend to continue into 2015, with the under-appreciated trend of Web Notifications (which work much like notifications in a mobile app).

Bonus non-prediction: CSS shapes

This cool technology won’t get noticed, except by designers. CSS shapes allow you to flow layout into shapes, like circles:

It’s incredibly cool, but until browser support is guaranteed, this is likely to be too risky to put time and effort into it you’d need almost two complete designs, for old and new browsers. And outside of designers, we don’t think many users would notice.

It is really cool though.

What to expect in 2015

In 2014 we saw mobile use overtake desktop, but the general public hasn’t caught up. Most organisations still commission a website to look good on their computer first and work on mobile second.

In 2015 that strategy is likely to look out of touch and unprofessional. As the mobile becomes the main device for browsing the web, “mobile-first” will become less of a buzzword and more of a requirement.

Flat design may be everywhere, but when you look beyond ghost buttons the real trend is that simpler sites are faster at gratifying users.

Simplicity is not just a fashion: it’s the future. Expect it to only continue.

It will become more and more common to embed animation into blog posts, and for motion to signify both premium quality (for those who can afford it) and to support the user experience.

Pixels and the fold will slowly be set aside making more room for scrolling and click-second experiences. Web Components will make it easier to deliver app-like experiences in our websites.

Right now you see the best of mobile app design appearing in web design. With enough time, the difference between an app and a website might almost entirely disappear.