{"id":901,"date":"2015-01-08T13:03:48","date_gmt":"2015-01-08T13:03:48","guid":{"rendered":"https:\/\/themes.simonbouchard.com\/studio8\/?page_id=901"},"modified":"2015-01-08T13:03:48","modified_gmt":"2015-01-08T13:03:48","slug":"masonry-3-columns","status":"publish","type":"page","link":"https:\/\/themes.simonbouchard.com\/studio8\/blog\/masonry-3-columns\/","title":{"rendered":"Masonry 3 columns"},"content":{"rendered":"
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Masonry 3 Columns<\/sup><\/h3>

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Design Principles<\/a> \/<\/span>

Visual weight & direction<\/a><\/h3><\/div>
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Every element on a web page exerts a visual force that attracts the eye of the viewer. The greater the force, the more the eye is attracted. These forces also appear to act on other elements, imparting a visual direction to their potential movement and suggesting where you should look next.\n\n
Read more<\/a><\/div><\/div><\/article>\n
Design Principles<\/a> \/<\/span>

Visual perception & the principles of Gestalt<\/a><\/h3><\/div>
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In 1910, psychologist Max Wertheimer had an insight when he observed a series of lights flashing on and off at a railroad crossing. It was similar to how the lights encircling a movie theater marquee flash on and off.\r\n\r\n
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Design Principles<\/a> \/<\/span>

Space and the figure-ground relationship<\/a><\/h3><\/div>
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If you see graphic design as a process of arranging shapes on a canvas, then you\u2019re only seeing half of what you work with. The negative space of the canvas is just as important as the positive elements that we place on the canvas.\n\n
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News<\/a> \/<\/span>

Why you should include your developer in the design process<\/a><\/h3><\/div>
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Should designers be able to code? This topic never seems to die, with its endless blog posts, Twitter discussions and conference talks. But the developer\u2019s involvement in the design process seems to be addressed very little. \r\n\r\n
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Editorials<\/a> \/<\/span>

A design philosophy<\/a><\/h3><\/div>
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Philosophy of design is the study of assumptions, foundations, and implications of design. The field is defined by an interest in a set of problems, or an interest in central or foundational concerns in design. In addition to these central problems for design as a whole, many philosophers of design consider these problems as they apply to particular disciplines (e.g. philosophy of art). \n\n
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Editorials<\/a> \/<\/span>

Dieter rams 10 principles of design<\/a><\/h3><\/div>
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Rams began studies in architecture and interior decoration at Wiesbaden School of Art in 1947. Soon after in 1948, he took a break from studying to gain practical experience and conclude his carpentry apprenticeship. \r\n\r\n
Read more<\/a><\/div><\/div><\/article>\n
News<\/a> Tutorials<\/a> \/<\/span>

The right typeface can make all the difference<\/a><\/h3><\/div>
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In traditional typography, a font is a particular size, weight and style of a typeface. Each font was a matched set of metal type, one piece (called a \u201csort\u201d) for each glyph, and a typeface comprised a range of fonts that shared an overall design.\r\n\r\n
Read more<\/a><\/div><\/div><\/article>\n
News<\/a> Tutorials<\/a> \/<\/span>

Choosing the right business cards<\/a><\/h3><\/div>
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Business cards are cards bearing business information about a company or individual. They are shared during formal introductions as a convenience and a memory aid. A business card typically includes the giver\u2019s name, company or business affiliation and contact information such as street addresses, telephone number, fax number, e-mail addresses and website.\r\n\r\n
Read more<\/a><\/div><\/div><\/article>\n<\/div>
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