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Ordering disorder grid principles for web design pdf

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principles for web design pdf - ordering disorder grid principles for web design free download ordering disorder: grid principles for web design is now officially. This book is a highly readable, plain-language introduction to the concepts behind grids in interaction design, as well as a primer on their practical usage in . Matter) By Khoi Vinh EBOOK EPUB KINDLE PDF. Get Download Ordering Disorder: Grid Principles For Web Design. (Voices That.


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Ordering Disorder Grid Principles for Web Design This page intentionally left blankDownload from homeranking.info Ord. Disorder Grid Principles For Web Design Voices That Matter [PDF] [EPUB] Fatih Bal. the failed military homeranking.info - Fri, 29 Mar GMT (PDF) From. In web design the Grid System is used to help with the placement of content; supplied by the Grid System (supplied as a PDF downloadable file, .. Khoi Vinh (): Ordering Disorder, Grid Principles for Web Design;.

This was especially true when I would haphazardly revise them as I went along. The templates should accommodate a minimum screen resolution of x pixels with a live area of approximately x Morbi ac magna consectetur adipiscing elit. Sh ng ex o he e by one un You have 7 new messages Log Out Ad Nunc diam mm massa, auctor vel lobortis et, porta at sem. The rather obvious fact of the matter. Advancements in browser capabilities, coupled with innovations in CSS and newly reliable JavaScript techniques for creating experiences that are more thoroughly device-aware, have begun to allow designers to create much more dynamic layouts. This is very straightforward, literally just a list of links.

To see what your friends thought of this book, please sign up. To ask other readers questions about Ordering Disorder , please sign up. Lists with This Book. Community Reviews. Showing Rating details.

Sort order. Dec 28, Ryan rated it really liked it Shelves: In reviews on Amazon, Ordering Disorder has been dismissed by some for being overly simplistic, but I thought it was a refreshing read, even for someone who has experience designing a few dozen large-scale websites.

Reading Ordering Disorder is like sitting over his shoulder and watching him work — albeit on a hypothetical website. Vinh demonstrates how a well-considered grid can be In reviews on Amazon, Ordering Disorder has been dismissed by some for being overly simplistic, but I thought it was a refreshing read, even for someone who has experience designing a few dozen large-scale websites.

Vinh demonstrates how a well-considered grid can be a helpful guide and supporter of creativity, rather than a frustrating constraint. In that sense, it reminded me a lot of Josef Muller-Brockmann's classic Grid Systems in Graphic Design , published more than fifty years earlier.

There were only two things I didn't like about this otherwise excellent book: I want to learn from Khoi Vinh's experience, not just from some guy who knows a lot about design. Some more real-world examples, anecdotes, or lessons-learned would have been nice. I know this was a book about grids, but Mr. Vinh seemed strangely disconnected to the content itself, which seems like a bad example to set for web designers who, I'm ashamed to say, tend to care more about form or at least technology than content anyway.

Regardless, this book is ideal for students or those new to web design, but a fitting refresher for established professionals as well. I hope Khoi Vinh comes out with a more advanced follow-up — I'd be the first to pre-order it. Jan 25, Jess rated it really liked it Shelves: I have often looked for a book to help me conceptually wrap my brain around design frameworks for the Web and Ordering Disorder accomplished that for the most part.

Although Ordering Disorder was written in a period when fixed width layouts were more popular than responsive design, I still find this book useful as it is explaining some core design principles and practices that can be applied to many different kinds of mediums and design theory. Feb 11, Mason Brown rated it really liked it.

Succinct and useful. Mar 11, Jasmina rated it it was ok. I really expected more from this book. A single 16 units grid design is worth investigating in an article, and just like a "light-introduction-to-working-with-grids" article was this book to read. I guess I was expecting too much in the beginning, hoping to read about many different design approaches, usability and interaction, all under the scope of different grids and design layouts F and Z layouts, for example.

In my opinion the read was quite superficial even for the topic itself. I skippe I really expected more from this book. I skipped a lot of the texts and the book could not hold my attention. If you are new to web design, you might find it interesting as a brief introduction with some good advice on using the 3x3 grid and golden ratio.

Mar 23, David Hall rated it liked it Shelves: I've been enjoying Khoi Vinh's blog posts on web grid theory for years and was pleased to see that he has combined these into a relatively short book.

Ordering Disorder is well written and engaging. Being a sometimes jaded designer, I found his philosophy and process inspiring. One criticism is that he skipped over the use of fluid grids in his approach even though he does mention it in passing. Given that 'responsive design' seems to be the order of the day, I find this puzzling. Also, some may I've been enjoying Khoi Vinh's blog posts on web grid theory for years and was pleased to see that he has combined these into a relatively short book.

Also, some may find his examples a little too specific to one design style. In the end though, Khoi no doubt has a skill for passing on his passion for a subject that could otherwise be dry and brings it alive for the uninitiated. Type or paste your English text here and click on the "Check Text" button.

Dec 29, Matt rated it liked it. Beautifully presented, excellently written, but thin on detail and furnished with only one example albeit a good one. The whole book can be read cover to cover in just a few hours, which is a shame - I've no objection to tight and concise, but this feels a bit rushed and superficial instead.

Vinh's design judgement is of course excellent, so it's a shame that the reasoning that led to the choices he makes aren't explored in any depth. Still a thoughtful and worthwhile read, and as far as I k Beautifully presented, excellently written, but thin on detail and furnished with only one example albeit a good one.

Still a thoughtful and worthwhile read, and as far as I know, the only book to properly treat grids for web design as distinctly different from print, with their own constraints, challenges, and guiding principles. A grid is probably number one tool for Designers, but understanding differences between a static grid and one use for screen could mean a difference between success and failure. Khoi Vinh is able to outline his process of establishing flexible grids for web design in a logical manner in pages filled with diagrams and illustrations.

Sep 12, Leonard Houx rated it it was ok Shelves: I was so excited to read this book. But there was just so little substance. Vinh justifies his book, among the numerous other books on grid-based design, to explain grid-design from a web-oriented persepctive.

Yet this book offers so little substantial advice, web-based or otherwise, that it would seem to barely enough to constitute a decent article. Mar 20, Koen rated it liked it Shelves: Niet het meest uitgebreide boek over dit onderwerp maar zeker interessant om het design proces van verschillende templates te volgen. Goed voor wie in een verloren namiddag wat meer inzicht wil in het grid design.

Oct 31, Jeremy rated it really liked it. Good review of grid based and basic design principles, as well as designing with an information hierarchy. Fairly practical in that it goes through a 4-template design, using the grid for consistency. Jan 07, Adam Procter rated it did not like it Shelves: Feb 06, Alex rated it really liked it.

A succinct, well-written guide to grid design on the web.

How do we determine the correct height for these fields? The answer is to use the golden ratio. Sort of. Rather than fully calculating the true ideal measurements for these regions using the golden ratio in all its complexities. The golden ratio helps us determine the height of our fields. What this tells us is that a rectangle of pixels wide by pixels tall is roughly consistent with the golden ratio. Within our baseline grid. What we need is something in between.

This is a matter of happenstance only. This can be easily achieved by using the rule of thirds to further refine our fields. Demarcating a field at every pixels leaves many gaps in design guidance. By using a full baseline as a visual gutter between each of the thirds. If we divide the pixel height by three remembering that three is a particularly effective divisor. What we want from our grid.

Fields applied throughout the length of the page. The result would be a design driven by math. Any grid is a series of suggestions. Doing so would require a mathematical rigor that. To do this. By combining six units on the right side of the page we create an create a column that can house our advertising unit.

Our page template starts with a simple division of the page into major regions. Ad ordering disorder 79 Download from WoweBook. Displaying the Designery. Many web users pay little attention to this region of the page.

Ordering Disorder: Grid Principles for Web Design [Book]

This off-kilter presentation is congruent with the design-friendly sensibilities of the audience. Placing it on the right also allows us to display the logo at a consistently larger size than if we had placed it on the left side. Placing our logo at the top right for an off-kilter presentation. Ad ordering disorder 81 Download from WoweBook. Each is left-aligned with the columnar grid.

This is a prominent position for elements that communicate directly relevant information to the user in contrast to the ad unit and the links to peripheral content that are more commonly found in this part of the page.

The avatar icon is also aligned with the baseline grid. Note that this information is divided up into two short columns. We can further energize this region by including additional elements that have real value for the user. Adding account elements just below the logo. When the user mouses over any of the items. This gives us a total of four navigational elements.

The type is just a bit too tall to fit comfortably in our baseline grid without consuming more space than is truly necessary. We can promote the About Designery link that our wireframe suggests should appear in the footer to the level of the top navigation. Each column would measure pixels wide.

Using the baseline grid to guide the height of these navigation items also helps us determine the rollover states of these items. We define the height of those areas with a vertical divider line. Looking at the grid. Note also that the navigational links do not align with the baseline.

This makes the Home link particularly prominent and findable without requiring us to make it too visually loud. That still leaves one column blank. Every piece of text is nudged in slightly from those edges by 5 pixels. This is an aesthetically unimpeachable layout technique but it does not contend with rollover states. This is a good opportunity to reiterate the importance of spacing in grid-based design.

This is what fundamentally distinguishes interaction design from its antecedents in print: On the Web. The reason we do this is that we must account for the behavior of these text items. Notice that the navigation links do not align with the left edge of the column. On rollover. But to have the text placed at one location and its rollover state placed in another location can be disconcerting.

We can adjust it in the rollover state—that is. The same text would jump erratically between spots.

Grid ordering principles design pdf for web disorder

As you can see from this example. Having a mix of placements—some at the column edge and others nudged in—will create visual disarray. Search is frequently used as a form of navigation. Returning to our page template.

Adding the footer to the page. So long as the elements in the footer are aligned with elements of the grid. Using alignments with our grid. Either approach is valid. Though the placement of these two elements echoes the double-wide Home link and the other navigational links at the top. Different Khoi Vinh Log Out schools of web design argue that footers can be simple and incidental or very complex and substantial.

That completes the design of our basic template. This subtly emphasizes the unusual placement of the logo in the far-right column. It establishes a standard set of elements to be used throughout the site. That said. In the following projects. Project 1: Article page When designing a website. The home page. For those reasons. The primary component of this page is, of course, the large column of text that houses the content and that is an ideal fit for the left-hand region of our basic template.

Recall that when we established our type specifications, we determined that the widest column our text would run in would be made up of eight units—even though we have ten units here.

This preserves the comfortable line measure number of characters appearing per line for reading. Loremm ipsum m dolor sit amet, m consectetur adipiscing elit. In aliquam m sapien sed. Ad dui faucibus congue. Curabitur ut nisi et nunc semperm consectetur non id velit. Duis fringilla quam m sed nisl sagittis placerat.

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Ordering Disorder Grid Principles for Web Design - Vinh - New Riders (2011).pdf

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Praesent lectus libero. Our wireframe also calls for a few other major elements: This runs counter to the impulse to take advantage of every bit of space possible to deliver information as efficiently as possible.

It would be impractical to stack all these elements in the right-hand region. To do that. This lets us place several of these elements relatively high on the page without any one of them forcing the others too far down the page.

As elements intended to help users find additional content or services. Aesthetically speaking. But in fact carving out an area that remains relatively empty can aid the overall page by allowing it to breathe visually. Vestibulum non arcu amet adipscing consectetur.

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Morbi malesuada risus et est scelerisque congue. Aliquam amet adipscing consectetur. Nam ultricies Portfolio Day interdum dui. Nullam viverra hendrerit libero eget tristique. Mauris augue nisl. Aliquam ornare viverra euismod. These headings are fairly minor details. Placing these two lists below the ad is straightforward. The text itself is centered vertically within two baselines. The headings on these elements follow approximately the same style as the navigation that we created earlier: Post-Aqua Software Real-life Tales from quam metus iaculis ipsum.

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Brands Shadows in and the Age Reflections: Mauris ante More articles… View project… est. Nam ultricies Aesthetics Portfolio Day interdum dui. This leaves the article-to-article navigation. Navigation is generally more critical than promotional content. If designed properly, it appears and performs consistently and in congruence with user expectations, and so becomes critical to the utility of the site. In aliquam sapien sed. Vivamus auctor, ante ut consequat elementum, leo dui aliquam turpis, at suscipit purus turpis a felis.

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Duis quis odio Read full article… School Portraits Remixed tempus nibh blandit eleifend eget id libero. By El Burger More articles… View project…. Most of our elements are now in place on the page, and we can turn our attention to some of the smaller details. Actually, the next detail is smaller but still significant: Aside from the logo, this will be the most prominent type on the page. In fact, for many users, especially those entering the site through an article, the headline may need to be even more prominent than the logo.

Our pixel baseline grid can help us determine a size relatively quickly if we use a multiple of 18 to determine the line-height. We can use the same typographic approach for the print, email, and share links that need to appear near the top of the article. But their placement in this column—surrounded by so much space above and below— will make them noticeable when the user scans the page for them.

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Ordering Disorder: Grid Principles for Web Design

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For design pdf disorder grid principles ordering web

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Disorder pdf design grid principles ordering web for

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The items themselves will be indented by one unit. Proin feugiat adipiscing dictum. It appears inline. Donec nisi turpis. Integer justo orci.

We can take advantage of the empty column that we created to the right of the text and to the left of the advertising unit for this purpose. This is a fairly minor element. Curabitur vel urna quis turpis iaculis tincidunt. In our wireframes.

Web grid for pdf design disorder principles ordering

Project 2: Category page As we push forward and design further templates. This page offers a menu of projects and people to choose from within the hypothetical social network of Designery.

At first glance. Take our next template. We can even extend that symmetrical approach to the other items on the page: To that end. In the latter case. The goals that a user has in mind when he encounters this page are different from those he has in mind when he encounters an article.

If we were to simply echo that article page. In the case of the category page.

A rough thumbnail sketch can help us work out these notions: And the area that falls under this line is now more of a blank slate. In a sense. Our sketch suggests that the thumbnails for our projects should occupy a fairly wide middle region, two columns side-by-side. We can consolidate eight units from our unit grid to form that region, and flank it with four units on each side.

In effect, this is the general dynamic of the page: As we add the other elements to the page, we want to keep this in mind and avoid disrupting that dynamic. Bookmark Bookmark. Integer justo orci, pulvinar Nulla facilisi. Integer justo orci, pulvinar quis elementum at, tristique nec dui. Class quis elementum at, tristique nec dui.

Class aptent taciti sociosqu ad litora torquent. The collection of avatar icons of Designery. We can tie their size directly into our grid by making them exactly one unit in size: This allows us to place plenty of thumbnails in this section— eight across and four down. And since this is just a sampling of the thousands of users on Designery. One problem now presents itself. Identifying users by avatar icons alone can be difficult. Normally that can be done by simply rolling over the icon to reveal the name as text label, but here we can be more creative.

By carving out a display area within the grid of icons, we can let users enlarge the thumbnails in place. Class quis elementum at. USERS Everything in Blackletter Lokocrazy Branding.

We can apply a similar solution to the date archives. Class Chapter 4 exeCution aptent taciti sociosqu ad litora torquent. Rather than arrange the years horizontally. Note that the enlarged avatar is x pixels in size. When the user clicks on a year. To the right of the user avatars. This allows it to conform to the grid and remain proportional to the smaller avatar icons.

The wireframe calls for a sort of miniature. In practice. This is one of the more pleasing side effects of using a well- developed grid: This is very straightforward. Oftentimes simplest is best. Throughout the process of assembling this design. Browse by Date and Hot Projects on Designery. Stepping back from the completed design we can see that the general dynamic of the page is quite pleasing.

The page successfully echoes the article template in terms of maintaining a clear aesthetic link and maintaining the branding and typographic styles.

In many ways. As established on the article template. Top Designery. There is a strong symmetry to the page as seen in the project thumbnails with their flanking pieces of textual information. Project 3: Profile page Up next is the user profile page for Designery.

Additional information. Where the category page design was meant to be expansive in its survey of activity across the site.

At left. It still allows our big ad to form a region of its own at the far right. With this basic arrangement in place. Unlike the category page design. The personal information at the top is the obvious place to start. The goal of the page is to allow others to quickly get a sense of who this person is. As with the category page design.

Other users who arrive at this page must recognize immediately that it is devoted to one particular user. Here that line defines the top portion of a new region that extends the dimension of the ad unit.

Also recall there was no ad unit on the category page. We can complete the thought by extending a dividing rule just below the big ad. We could place the avatar icon for the user next to the title of the page for maximum impact. How we use this space is now the question. Recall that shorter lines are easier to read. Some of the bits of information are quite short. Without the avatar icon in that area. That consumes two additional units of width.

Doing so takes up two units of width and effectively creates a narrower column for the biographical information. All of this argues for placing the icon below the title.

I write about design. NY Ad Birthday November NY Birthday November Ad Location New York. MD Web Site subtraction. MD Message Web Site subtraction. Location New York. The avatar icon is close to the profile name at the top of the page.

Though not impossible. The labels hang to the left of the actual information. Below the biographical information.

Recall that we created this by setting up two columns of four units each flanking a single column of eight units. As you can see. Having three kinds of content suggests that we also divide this region into three. And the biographical information resides in a narrower. As a finishing touch for this region. We can still create three columns in the lower portion of the page.

That leaves us with ten units to the left. Here we can remain consistent without being rote. If we place these in the middle column. The resulting structure is shown on the opposite page. From these. Though not perfectly symmetrical. From that page. Using that specification. On that page. Here on the profile page. For one. Recall that on that page we created a grid display of avatar icons that reveal information about the users they represent only when a user clicks.

In a slightly different vein. So rather than trying to adapt the display from the category page. This also heads off another problem: We could recreate that presentation here. Last Updated December Kathy Hale December Last Updated Last Updated Oct 2. Last Updated Last Updated Dec December We can run the text from top to bottom in a simple column. This leaves only the activity content in the right-hand column.

A counterintuitive approach turns out to be more effective in this area: As is typical with many home pages. As with any of our designs. Project 4: Home page Our last major template is the home page. Recall that we went against common practice by designing our other templates first in order to establish conventions and patterns that we can draw upon when tackling the unique challenges of the home page.

We can run through several different layout ideas for this content quickly and without investing undue time and effort. Its unique requirements make sketching even more critical for the home page. Our sketching is therefore even more critical in translating the requirements of the wireframe.

It divides the page into a three main columns: The final sketch for our home page design. This kind of exception makes sense for the home page because. That would create a kind of semantic jumble in which the explanation would appear before the concept. This could be done simply enough by including a short tagline near the branding area: Designery is a public square for design practitioners. We want the brand to broadcast itself more loudly on this page.

As the official gateway for the site. But the right-hand positioning of the logo that we used on other pages makes it difficult to do this. With the logo enlarged. We can even help emphasize this distinction by enlarging the size of the logo. The area where it now resides has been left largely untouched on our other pages. This will aid the readability of the page: In this case. Our sketch calls for three columns.

We know already that the grid can support at least two different configurations of three columns: The effect is that there is both consistency and variety in the display of these editorial elements.