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116 The Principles of Beautiful Web Design Application: Logo and Content By the end of Chapter 2, the Knoxville Reflexology Group redesign project was making great progress. It had wireframes approved, and I had learned through the use of my mood boards what colors Carrie might like to see in the final design. Before the actual site design could begin, though, I had to nail down the KRG branding. The hand-drawn sketch of the logo was streamlined. A vector version of the original logo wasn't available, so I had to recreate it using vector graphics software. Even though it has a hand-drawn look, the shapes are clean and crisp, as you can see in Figure 3.37. The color is solid and the logo leverages negative space. The branding of KRG is now personal and professional at the same time. Figure 3.37. KRG Logo With the logo cleaned up and refined, it was now time to turn our attention to the KRG website. The approach to the website was to create a sense of cleanliness and sterility. To reinforce that message, I opted for the approach of using minimal texture in the design of the site, as you can see in Figure 3.38. Similar to Nathan Hartwell's website mentioned earlier in this chapter, there aren't even any subtle textures used in the new KRG redesign.
Texture 117 Figure 3.38. The site design The texture of the site, if there is any at all, is in the content itself. The background color and the signature blue/green were alternated for variation, and the emphasis was placed on the images and the content. A slight text-shadow was used on some type for added emphasis and to aid with readability. For now, it’s time for us to move on to the next chapter of this design adventure: typography!
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Summary of Contents Preface . . . .
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iv The Principles of Beautiful Web
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Table of Contents Preface . . . . .
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ix Color Scheme Designer 3 . . . .
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xi Creative Image Treatments . . .
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xiv bathroom with the work that we
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xvi Tips, Notes, and Warnings Hey,
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2 The Principles of Beautiful Web D
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10 The Principles of Beautiful Web
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2 Chapter Color Whether you’re de
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Color 51 reason, it’s often used
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Color 53 Figure 2.5. Calming stones
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Color 55 Figure 2.7. These wind tur
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Color 57 Chromatic Value The measur
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Color 59 Figure 2.12. The tradition
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Color 61 thick that you’re unable
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Color 63 Another example of saturat
Page 81 and 82: Color 65 An Analogous Color Scheme
Page 83 and 84: Color 67 Figure 2.22. Blinksale’s
Page 85 and 86: Color 69 put off by the stark contr
Page 87 and 88: Color 71 Figure 2.27. Cross Cross C
Page 89 and 90: Color 73 Figure 2.30. The Bulls+Arr
Page 91 and 92: Color 75 Figure 2.34. The adventuro
Page 93 and 94: Color 77 Table 2.1. Counting from 1
Page 95 and 96: Color 79 Scheme Designer 3 works. U
Page 97 and 98: Color 81 Figure 2.39. Pictaculous C
Page 99 and 100: Color 83 Figure 2.41. A mood board
Page 101 and 102: 3 Chapter Texture There are many we
Page 103 and 104: Texture 87 Figure 3.2. The A-Team b
Page 105 and 106: Texture 89 Figure 3.5. Geometric an
Page 107 and 108: Texture 91 Rounded Corners So we’
Page 109 and 110: Texture 93 Figure 3.10. Ithaca Even
Page 111 and 112: Texture 95 Figure 3.12. Speed Kids
Page 113 and 114: Texture 97 Figure 3.14. Perspective
Page 115 and 116: Texture 99 Figure 3.17. A clear and
Page 117 and 118: Texture 101 Although repetitious ba
Page 119 and 120: Texture 103 declaration background-
Page 121 and 122: Texture 105 Figure 3.25. Three repe
Page 123 and 124: Texture 107 Figure 3.27. Team Fanny
Page 125 and 126: Texture 109 said, just because you
Page 127 and 128: Texture 111 This site certainly fal
Page 129 and 130: Texture 113 Another notable example
Page 131: Texture 115 Figure 3.36. Minimalism
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