Whitman website designers
Hello and welcome to this website designers Web Designer Whitman 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.
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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.
Whitman 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 Whitman 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 pageWhitman with a close tap area to collapse back down.
💸 How to budget for your web design project pt. 2 💸 - Web Design is Broken e06
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.
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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!.
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.