DOCSLIB.ORG

Comparisons of Post-Baccalaureate and Graduate Typeface Design

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Comparisons of Post-Baccalaureate and Graduate Typeface Design LEARNING TO SEE: COMPARISONS OF post-baCCALAUREATE AND GRADUATE TYPEfACE DESIGN EDUCATION IN ENGLAND, THE NETHERLANDS, AND THE UNITED STATES IN THE EARLY TWENTY-FIRST CENTURY by Patrick Gosnell, BFA A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Fine Arts with a Major in Communication Design August 2015 Committee Members: Claudia Röschmann, Chair Michael Niblett Maia Wright i COPYRIGHT by Patrick Gosnell 2015 ii FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Patrick Gosnell, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. iii DEDICATION This work is dedicated to Karen, Janie, and Sammie— the incredible loves of my life. – Philippians 4:13 – iv acKNOWLedgements I would like to sincerely thank my professor, mentor, and friend, Claudia Röschmann, for all of the guidance and support she so willingly provided me during my graduate studies at Texas State University. Her passion for excellence in all things is an inspiration, and has pushed me far beyond my own expectations. I am grateful to have bore witness to her exceedingly generous spirit. I know that, because of her example, I will be far better prepared for the next phase of my career. I would also like to thank my other thesis committee members, Michael Niblett and Maia Wright, for their enthusiastic engagement throughout the entirety of this project. Without your feedback and encouragement I would have never completed this work in such a timely manner. On a special note, thank you, Maia, for always believing in what I had to say, and for helping me to phrase it in such a way that people would actually care to read it. Your wisdom and council are always appreciated. My heartfelt thanks also extend to the rest of the full- and part-time faculty within the Communication Design department. It is an honor to have learned from you and to have taught alongside you for this short while. You have made coming to class (and to work) the most pleasurable experience imaginable. I would especially like to applaud the tireless efforts of Christine Haney, who keeps our program running day in, day out—without fail. Most importantly, I want to thank my wife and best friend, Karen, who has been nothing but supportive of every decision that had to be made during graduate school. She is always by my side, and I could not have done this without her. Lastly, I would like to thank my parents, Don and Katie, and Karen’s parents, Tim and Ann, for their unwavering love and support, even while listening to my rants about proper kerning or old style numerals. v taBLE OF contents Page ACKNOWLEDGEMENTS .................................................................................................v LIST OF TABLES................................................................................................................ix LIST OF FIGURES ..............................................................................................................x CHAPTER I. INTRODUCTION .......................................................................................... 1 II. CHANGING PERSPECTIVES IN TyPE DESIGN .......................................3 Definition of Terms...................................................................................3 The Role of Type Design ...........................................................................4 Historical Background ..............................................................................7 Research ...................................................................................................8 Regarding the Exclusivity of Programs ......................................................9 III. EDUCATIONAL SYSTEMS STUDY ............................................................11 Education in England ..............................................................................11 Education in the Netherlands ................................................................. 12 Education in the United States .................................................................13 The Bologna Process ............................................................................... 14 Undergraduate Graphic Design Education ...............................................15 Impact on Type Design Education .......................................................... 17 IV. A BRIEF HISTORY OF TyPE DESIGN EDUCATION .............................22 A Secretive Practice .................................................................................22 The Role of Industry ...............................................................................24 Educational Programs .............................................................................26 vi V. CASE STUDIES .............................................................................................30 Master of Arts in Typeface Design, University of Reading .......................30 Schedule ........................................................................................ 34 Teachers ........................................................................................ 34 Pedagogy ........................................................................................35 Function ....................................................................................... 37 Students and Culture ..................................................................... 37 Benefits ......................................................................................... 38 Forecast ......................................................................................... 39 Type]Media Master’s Program, Royal Academy of Art .............................40 Schedule ........................................................................................42 Teachers ........................................................................................ 43 Pedagogy ....................................................................................... 43 Function .......................................................................................46 Students and Culture .....................................................................47 Benefits .........................................................................................48 Forecast .........................................................................................48 Type@Cooper Certificate Program, The Cooper Union ..........................49 Schedule ........................................................................................49 Teachers .........................................................................................51 Pedagogy ....................................................................................... 52 Function ....................................................................................... 54 Students and Culture ..................................................................... 56 Benefits ......................................................................................... 56 vii Forecast ......................................................................................... 57 Typography as Language Certificate Program, School for the Visual Arts .. 58 Schedule ........................................................................................ 58 Teachers ........................................................................................ 59 Pedagogy .......................................................................................60 Function ....................................................................................... 61 Students and Culture ..................................................................... 61 Benefits .........................................................................................62 Forecast .........................................................................................62 VI. CONCLUSION .............................................................................................66 APPENDIX SECTION ......................................................................................................72 REFERENCES ................................................................................................................. 179 viii LIST OF taBLES Table Page 1. Geographic Diversity of Students in the MATD Program ...............................................64 2. Geographic Diversity of Students in the Type]Media Program .........................................64 3. Geographic Diversity of Students in the Typography as Language Program ..................... 65 ix LIST OF FIGURES Figure Page 1. TheE ducation System of England ................................................................................... 19 2. TheE ducation System of the Netherlands .......................................................................20 3. The Education System of the United States ..................................................................... 21 x CHAPTER I introduction
Load more

Recommended publications
  • Shaping New Knowledges
    PAPER ABSTRACT BOOK SHAPINGSHAPING NEWNEW KNOWLEDGESKNOWLEDGES ROBERT CORSER SHARON HAAR 2016 ACSA 104TH ANNUAL MEETING Shaping New Knowledges CO-CHAIRS Robert Corser, University of Washington Sharon Haar, University of Michigan HOST SCHOOLS University of Washington Copyright © 2016 Association of Collegiate Schools of Architecture, Inc., except where otherwise restricted. All rights reserved. No material may be reproduced without permission of the Association of Collegiate Schools of Architecture. Association of Collegiate Schools of Architecture 1735 New York Ave., NW Washington, DC 20006 www.acsa-arch.org 2 – 2016 ACSA 104th Annual Meeting Abstract Book CONTENTS THURSDAY, MARCH 17 FRIDAY, MARCH 18 SATURDAY, MARCH 19 2:00PM - 3:30PM 11:00AM - 12:30PM 9:00AM - 10:30AM 05 Acting Out: The Politics and Practices of 15 Divergent Modes of Engagement: 31 Beginnings in the Context of New Interventions: Session 1 Exploring the Spectrum of Collaborative Knowledge Mireille Roddier, U. Michigan and Participatory Practices: Session 1 Catherine Wetzel, IIT Caryn Brause, U. Massachusetts, Amherst James Sullivan, Louisiana State U. 06 Architecture is Philosophy: Beyond the Joseph Krupczynski, U. Massachusetts, Post-Critical: Session 1 Amherst 32 Open: Hoarding, Updating, Drafting: Mark Thorsby, Lone Star College The Production of Knowledge in Thomas Forget, U. N. Carolina @ Charlotte 16 Knowledge Fields: Between Architecture Architectural History and Landscape: Session 1 Sarah Stevens, U. of British Columbia Cathryn Dwyre, Pratt Institute 07 Open: Challenging Materiality: Industry Chris Perry, RPI Collaborations Reshaping Design 33 Water, Water Everywhere…: Session 1 Julie Larsen, Syracuse U. Jori A. Erdman, Louisiana State U. Roger Hubeli, Syracuse U. 17 Knowledge in the Public Interest Nadia M.
    [Show full text]
  • What Knowledge Is of Most Worth in Engineering Design Education?
    Integrated Design: What Knowledge is of Most Worth in Engineering Design Education? Richard Devon Sven Bilén 213 Hammond 213 Hammond Pennsylvania State University Pennsylvania State University PA 16802 PA 16802 [email protected] sbilé[email protected] Alison McKay Alan de Pennington Dep’t. of Mechanical Engineering Dep’t. of Mechanical Engineering University of Leeds University of Leeds Leeds LS2 9JT, UK Leeds LS2 9JT, UK [email protected] [email protected] Patrick Serrafero Javier Sánchez Sierra Ecole Centrale de Lyon Esc. Sup. de Ingenieros de Tecnun 17 Chemin du Petit Bois Universidad de Navarra F-69130 Lyon-Ecully, France 20018 San Sebastián, Spain [email protected] [email protected] Abstract This paper is based on the premise that the design ideas and methods that cut across most fields of engineering, herein called integrated design, have grown rapidly in the last two or three decades and that integrated design now has the status of cumulative knowledge. This is old news for many, but a rather limited approach to teaching design knowledge is still common in the United States and perhaps elsewhere. In many engineering departments in the United States, students are only required to have a motivational and experiential introductory design course that is followed several years later by an experiential and discipline-specific capstone course [1]. Some limitations of the capstone approach, such as too little and too late, have been noted [2]. In some departments, and for some students, another experiential design course may be taken as an elective. A few non-design courses have an experiential design project added following a design across the curriculum approach.
    [Show full text]
  • Type ID and History
    History and Identification of Typefaces with your host Ted Ollier Bow and Arrow Press Anatomy of a Typeface: The pieces of letterforms apex cap line serif x line ear bowl x height counter baseline link loop Axgdecender line ascender dot terminal arm stem shoulder crossbar leg decender fkjntail Anatomy of a Typeface: Design decisions Stress: Berkeley vs Century Contrast: Stempel Garamond vs Bauer Bodoni oo dd AAxx Axis: Akzidenz Grotesk, Bembo, Stempel Garmond, Meridien, Stymie Q Q Q Q Q Typeface history: Blackletter Germanic, completely pen-based forms Hamburgerfonts Alte Schwabacher c1990 Monotype Corporation Hamburgerfonts Engraver’s Old English (Textur) 1906 Morris Fuller Benton Hamburgerfonts Fette Fraktur 1850 Johan Christian Bauer Hamburgerfonts San Marco (Rotunda) 1994 Karlgeorg Hoefer, Alexei Chekulayev Typeface history: Humanist Low contrast, left axis, “penned” serifs, slanted “e”, small x-height Hamburgerfonts Berkeley Old Style 1915 Frederic Goudy Hamburgerfonts Centaur 1914 Bruce Rogers after Nicolas Jenson 1469 Hamburgerfonts Stempel Schneidler 1936 F.H.Ernst Schneidler Hamburgerfonts Adobe Jenson 1996 Robert Slimbach after Nicolas Jenson 1470 Typeface history: Old Style Medium contrast, more vertical axis, fewer “pen” flourishes Hamburgerfonts Stempel Garamond 1928 Stempel Type Foundry after Claude Garamond 1592 Hamburgerfonts Caslon 1990 Carol Twombley after William Caslon 1722 Hamburgerfonts Bembo 1929 Stanley Morison after Francesco Griffo 1495 Hamburgerfonts Janson 1955 Hermann Zapf after Miklós Tótfalusi Kis 1680 Typeface
    [Show full text]
  • Versidad Autónoma Metropolitana, Unidad Azcapotzalco
    Este material tiene fines pedagógicos y su función es servir como apoyo en las prácticas educativas que se llevan a cabo en las licenciaturas que se imparten en la División de Ciencias y Artes para el Diseño de la Universidad Autónoma Metropolitana, unidad Azcapotzalco. En este sentido, el único fin de esta obra es generar y compartir material de apoyo para el proceso de enseñanza-aprendizaje en el campo del diseño. Asimismo, el autor de esta presentación es responsable de todo su contenido y la obra se encuentra protegida bajo una licencia de Creative Commons 4.0. Para más información se puede consultar el sitio https://creativecommons.org/. Escuela tipográfica alemana del estilo gótico hasta nuestros días Apoyo A lA UEA Clave UEA: 1424013 Nombre UEA: Temas Selectos de Tipografía Clave UEA 1423014 Nombre UEA: Teoría y metodología Aplicada I (Apoyo a Diseño de Mensajes Gráficos) Guión argumental Revisar los tipógrafos e impresores clave de la escuela alemana del estilo gótico hasta nuestros días y su influencia en desarrollo de la forma tipográfica en el pasado a la actualidad. Escuela tipográfica alemana del estilo gótico hasta nuestros días Alfonso García Reyes 1 Escuela tipográfica alemana del estilo gótico hasta nuestros días Objetivo Conocer las generalidades y los momentos clave de la historia de la tipográfica alemana desde el estilo gótico hasta la fecha, desarrollando criterios propios para asociar forma y producción al contexto histórico y su aplicación. Desarrollar una apreciación de los diversos estilos históricos alemanes desde el estilo gótico a la fecha, y como estos sirvieron de base para formar criterios, encontrar el estilos tipográficos apropiados para proyectos de diseño e interpretar un nuevo estilo tipográfico con las herramientas digitales.
    [Show full text]
  • A Real Case Study in the Hospitality Industry
    Preta - Design Sprint Methodology A real case study in the Hospitality Industry By Michelle Catta We are a Hospitality Education Network . We empower our students to develop their technical skills & theoretical knowledge through our renowned campuses across the world. We provide internationally recognized certifications for student accomplishments. What is a Design Sprint? AGENDA How does it work? Framework to support divergent and convergent thinking Set the Stage 6 Critical Roles for any Design Sprint Team Let's Go for it! Head of design (CDO) at Innex. Researcher of innovation and collective intelligence and guest professor in the master MBDesign at UPC School (Universitat Politècnica de Catalunya) What is a Design Sprint? A design sprint is a framework for answering critical business questions through design, prototyping, and testing ideas with users. A BRIEF HISTORY OF THE DESIGN SPRINT How does it work? FRAMEWORK TO SUPPORT DIVERGENT AND CONVERGENT THINKING 1 2 3 4 5 UNDERSTAND SKETCH DECIDE PROTOTYPE TEST WHO IS IT FOR? In short, Design Sprint process is for everyone, including those of you in the hospitality sector. It's a versatile tool that can be used in almost every industry. It is an excellent way to stop the old defaults and replace them with a smarter, more respectful, and more effective way of solving problems that brings out the best contributions of everyone on the team—including the decision-maker—and helps you spend your time on work that really matters. Set the Stage 1 2 3 4 5 Pick a Facilitator. They will Get a Decider (or two).
    [Show full text]
  • A Catalogue of the Wood Type at Rochester Institute of Technology David P
    Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 11-1-1992 A Catalogue of the wood type at Rochester Institute of Technology David P. Wall Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Wall, David P., "A Catalogue of the wood type at Rochester Institute of Technology" (1992). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. School ofPrinting Management and Sciences Rochester Institute ofTechnology Rochester, New York Certificate ofApproval Master's Thesis This is to Certify that the Master's Thesis of David P. Wall With a major in Graphic Arts Publishing has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master ofScience degree at the convocation of DECEMBER 1992 Da,e Thesis Committee: David Pankow Thesis Advisor Marie Freckleton Graduate Program Coordinator George H. Ryan Direcmr or Designa[e A Catalogue of the Wood Type at Rochester Institute of Technology by David P. Wall A thesis project submitted in partial fulfillment of the requirements for the degree of Master of Science in the School of Printing Management and Sciences in the College of Graphic Arts and Photography of the Rochester Institute ofTechnology November 1992 Project Advisor: Professor David Pankow Introduction type,' When Adobe Systems introduced in 1990 their first digital library of 'wood the event marked the latest step forward in a tradition dating back to 1828, when Darius Wells, ofNew Wells' York City, perfected the equipment and techniques needed to mass produce wood type.
    [Show full text]
  • Making User-Focused Prototype Using Design Sprint to Test, Design, And
    Making User-focused Prototype Using Design Sprint to Test, Design, and Prototype Mobile App Rapidly Nian Hwei Wong Bachelor’s thesis October 2016 Degree Programme in Media 2 ABSTRACT Tampereen ammattikorkeakoulu Tampere University of Applied Sciences Degree Programme in Media WONG, NIAN HWEI: Making User-focused Prototype Using Design Sprint to Test, Design and Prototype Mobile App Rapidly Bachelor's thesis 45 pages, appendices 7 pages October 2016 The aim of this study was to examine Google Venture Design Sprint (sprint) as a rapid design process and how it had helped to kick-start a design project in order to test, design and prototype for a mobile app in a large organisation. Based on the study, the objective of the practical project was to improve Vattenfall My Pages mobile app prototype based on the user test conducted during the sprint. The sprint was conducted at Vattenfall Digital Channels to redesign My Pages mobile app. Observations were made during the sprint and analyses were recorded. Participants from the sprint were also interviewed. Apart from the sprint being experimented as a rapid design process, the rapid sketching and prototyping methods that are used during the sprint process were also studied. The theoretical section of the thesis examined the user experience design techniques used in the sprint. The practical part focused on the visual design improvements of a high-fidelity mobile app prototype based on the data collected from the sprint’s user test. Throughout the sprint, it was found that the techniques used in the sprint provided effec- tive and reliable ways to help design team to work on the mobile app design project that involved a large number of stakeholders.
    [Show full text]
  • Arch 482: Web Weaving [email protected] Tu Th ~ 9:00 - 10:20 ~ Gould 114 Architecture Hall G55 Winter, 2018 206.543.2132
    Digital Media & Design Computing Curriculum Brian Johnson Arch 482: Web Weaving [email protected] Tu Th ~ 9:00 - 10:20 ~ Gould 114 Architecture Hall G55 Winter, 2018 206.543.2132 About this course: Learn the basic web technologies that control content (HTML), appearance (CSS), and behavior (JavaScript), as well as what is needed to create an interactive web site using HTML forms, server-side scripting (using PHP) and basic database operations (using MySQL). Beyond the "how to," learn about good design practices for content preparation, navigation design and site management, plus strategies for supporting visitors connecting with everything from smart phones to desktops (responsive web design). Practice your developing skills by executing a series of projects that gradually build a personal website on the UW web servers. Cap it off with a team project where you can mix in your own ideas about online data or media services, social networks and design, and see what you can create. Prerequisites: Students registering for the course should be computer literate. That is, they should have an understanding of basic word-processing and text editing, file transfer, use of email, use of a web-browser, and basic use of image editing tools (e.g. Photoshop). Goals for the quarter: • To understand the fundamental technologies that underpin the “wild wild web.” • To understand current web capabilities, technologies and limitations. • To develop hands-on skill and judgement in design/construction of simple web sites. • To become confident and capable of creating or maintaining content using simple tools. • To create a web site which demonstrates what you have learned.
    [Show full text]
  • Industrial Designers Society of America (IDSA) Fact Sheet The
    Industrial Designers Society of America (IDSA) Fact Sheet . The Industrial Designers Society of America began in 1965 out of the merger of several organizations to include American Designers Institute (ADI), Industrial Designers Institute (IDI), Industrial Designers Education Association (IDEA), Society of Industrial Designers (SID) and American Society of Industrial Designers (ASID). IDSA’s core purpose is to advance the profession of industrial design through education, information, community and advocacy. IDSA creates value by . Publishing Innovation, a quarterly professional journal of industrial design practice and education in America . Developing and organizing a joint national conference and education symposium each year, which brings together industrial designers, educators, business executives and students from all over the world . Hosting five district conferences annually where design practitioners, educators and students gather to consider the state of the profession . Creating and conducting the annual International Design Excellence Awards® (IDEA) and distributing information on the winners to the business, general, international and US design media . Hosting a website to communicate with the industrial design community, to keep members informed and to provide a place for unique content and dialogue to share . Distributing designBytes email that highlights the latest news and trends in the design world . Providing statistical research studies on professional practice, and the structure and financing of consulting and corporate design organizations . Advocating for the industrial design community to federal agencies and state governments . Serving as the primary information resource on design for national newspapers, magazines and television networks . Acting as a clearinghouse for design information requested by the general public . To serve the interests and activities of its members, IDSA formed 16 special interest sections .
    [Show full text]
  • Managing Uncertainty and Expectations in Building Design and Construction
    SmartMarket Report Produced in Partnership with: Managing Uncertainty and Expectations in Building Design and Construction Premier Industry Partners: Industry Partners: ■ Design and Construction Intelligence SmartMarket Report McGraw Hill Construction Managing Uncertainty and Expectations in Design and President Construction Kathryn E. Cassino SmartMarket Report About McGraw Hill McGraw Hill Construction Executive Editor Research & Analytics/ Harvey M. Bernstein, F.ASCE, LEED AP Construction Industry Insights & Alliances McGraw Hill Construction’s data, Editorial Advisor and Chief Author analytics, and media businesses— Vice President, Industry Stephen A. Jones Insights & Alliances Dodge, Sweets, Architectural Record, Harvey M. Bernstein, F.ASCE, LEED AP Editorial Director and Engineering News-Record— Michele A. Russo, LEED AP create opportunities for owners, Senior Director, Research & Analytics Burleigh Morton Managing Editor architects, engineers, contractors, Donna Laquidara-Carr, LEED AP building product manufacturers, Director, Research Communications and distributors to strengthen their Michele A. Russo, LEED AP Senior Director, Head of Marketing market position, size their markets, William Taylor prioritize prospects, and target and Reproduction or dissemination build relationships that will win more of any information contained Creative Manager, Media business. McGraw Hill Construction herein is granted only by contract Juan Ramos serves more than one million or prior written permission from Art Director customers through its
    [Show full text]
  • Global Type.Indd
    Global Type Browser Specification December 27th, 2010 Google Earth or NASA World Wind could become the basis of a somewhat new and sophis- ticated kind of archive regar- ding typefaces, type designers, foundries and type history. The time wheel allows users to select items in time. The position is in the left upper edge of the screen. Depending on the time interval, there come up diffe- rent buttoms and different types. In the right upper corner you will find the compass, similar to the time wheel different tastes. All at once, the user interface should look like this: And there is the Hot Box that comes comes up when you hit the space bar: Depending on the geographical area and the time wheel the globe will be represented more or less zoomed. Whenever there is a point of typographic interest, a hot spot gloes up. Beneath the hot spot the title and a little picture come up. If selected, the chosen point will turn into the center, and the navigation disappears. The single elements of the specific hot spot appear. Johannes Gutenberg Pietro Bembo Claude Garamond Firmin Didot Linotype typesetting machine 1982: A movie about type history from Purup Electronics, Cœbenhavn, Denmark. There should be around 200 Hot spots. Date Location Creator/company Event – 4000 Mesopotamia Phoenicians Phoenician alphabet – 3200 Egypt 1 Egyptians Hieroglyphs – 3100 Crete Minoean Linear A script – 3000 Middle america Mayans Mayan hieroglyphs – 1340 Egypt 2 Echnaton & Nofretete Monotheism – 800 Greece Hellenics Greek alphabet – 246 China 1 Qin Shihiangdi Conventions about scripts 113 Rome Imperator Trajanus Trajan’s column 200 Northern europe Scandinavian people Runes 800 Corbie Karl the Great Carolingian minuscle 1040 China 2 Delta of Yangzi Invention of printing 1452 Mainz Johannes Gutenberg 42-line bible 1470 Vienna Nicolaus Jenson Jenson 1496 Vienna Francesco Griffo Bembo 1530 Paris Claude Garamond Garamond 1737 Paris Pierre Simon Fournier Typograhic measure system 1757 Birmingham John Baskerville Baskerville 1768 Parma Giambattista Bodoni Bodoni 1896 Berlin H.
    [Show full text]
  • Responsive Web Design.Docx
    Theresa Agostinelli, Librarian, Instructional & Educational Services Monroe Township Public Library, theresacahill@hotmail What is Responsive Web Design? Responsive web sites adapt gracefully to different screen sizes. For example, a site may display in three columns on a laptop or desktop computer, in two columns on a tablet, and in one column on a smartphone. This is illustrated in the above image. It is using the same content, but displaying it differently depending on the width of the screen. Instead of creating a desktop version of a site, and then a mobile version, one site is used for all devices. Web designers used to design for laptop and desktop computers. Now, with users accessing the Internet through laptops, desktop computers, smartphones, tablets, televisions, refrigerators, and more, many web designers have reversed their way of thinking. Instead of designing primarily for laptop and desktop users, and then creating a separate mobile app, many designers are now designing first for mobile users. Mobile first designs should be simpler than traditional layouts, since loading times can vary across devices. Designers may want to limit their use of images and enhance their designs through the use of white space, typography, and cascading style sheets (CSS.) Advantages of Responsive Web Design Responsive websites create a consistent user experience across various devices. Webmasters can make changes one time and those changes will carry over to all of their users. If the site is using a separate mobile app, changes must be made to the full website, as well as the mobile site, for users to see those changes.
    [Show full text]