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we’re still seeing some great engagement on Tweets that include a link without an image. In fact—that screenshot shows that link-based Tweets without images can get even more click-throughs that those with images.

Our click-rate did grow, but not by very much. My theory on this is that with an inline image, there’s more content for the user to consume without leaving Twitter (which is probably what Twitter wants), so they’re not much more likely to click-through.

t can be easy to get carried away with something that shows so much promise like this, but don’t forget that your followers probably want to see some variety from your Tweets. As you can see from our analytics near the top of this post, we’re still seeing some great engagement on Tweets that include a link without an image. In fact--that screenshot shows that link-based Tweets without images can get even more click-throughs that those with images.

this trend is not always about skeuomorphism – which implies a connection to a past incarnation of a similar design – but rather often about realism [2]: a purely visual style that tries to imitate real-world materials and textures, exemplified by Apple's tacky over-use of leather textures in some of their own apps.

skeuomorphic designs tend to look realistic (to make the connection with the original object clear), and realistic designs tend to be skeuomorphic (otherwise the realism would look out of place).

touch target couldn't be smaller than a certain size (Apple's Human Interface Guidelines recommend at least 44 by 44 pixels).

showing less on the screen, but doing more with it.

realism done wrong can morph into kitsch

the problem of getting skeuomorphism wrong: making something look like a physical object, but not work like it

That problem is that when borrowing elements from a design's previous incarnation, you often also bring its limitations along for the ride, even when these limitations have no reason to exist anymore

When done right, skeuomorphism and realism will trigger strong associations with real-world counterparts. This is both a strength and a weakness: sometimes, the association can be so strong that it will stop you from improving on what's already been done.

Gone were the shadows, highlights, gradients, and textures of iOS apps. Instead, Metro offered flat squares of color with big typography.

Microsoft's new design philosophy certainly seemed to strike a chord within the tech sphere, with many praising Metro's strong focus on typography and colors.

And while flat design is often purely visual, it does resonate with designer's love of minimalist concepts, embodied by the famous Antoine de Saint-Exupery that “perfection is achieved not when there is nothing left to add, but when there is nothing left to take away”.

Two of the most talked-about games in recent month, Letterpress and Hundreds both feature flat designs. In fact, Letterpress creator Loren Brichter even revealed that the whole game only uses a single image!

When you have a high-definition display and screen-optimized fonts, you quickly realize you don't need much else to create beautiful work.

is pushing many designers towards prototyping in the browser directly, foregoing static mockups entirely.

Add all this together and you begin to see why many designers are moving away from texture-heavy realism towards the more flexible and lighter-weight flat style.

keep in mind that the needs of users should always come before our aesthetic pursuits

visual style is nothing more than a means to an end [15]. If the situation calls for realism, go nuts on textures and highlights. On the other hand, if a flat aesthetic achieves the design's goal better then it might be time to go on a gradient diet.

With the recent releases of their newer mobile apps, Google has started pushing a style that some describe as "almost flat" [18], or maybe "skeuominimalism" [19]. Unlike the drastic visual wastelands of Gmail or Google Reader, this new style uses elements like shadows and gradients in a tasteful, subtle way. This style offers the best of both world: realism's affordances and subtle hints combined with the purity and simplicity off flat design.

another way to look at it is that it's simply design done right: seeking efficiency and simplicity without sacrificing usability to the altar of minimalism.

I will pick a camp and put my chips in with flat design (specifically, Google's less-extreme variety).

Google is not so much pioneering a new style as showing us what digital design looks like when it's done right

catch up with what the web has to offer, we'll have to get our hands dirty and start coding [21]. And when you're both designing and coding a layout, you start to appreciate the value of keeping things lightweight.

Flat design also forces you to really care about typography and layout, two areas where web design has traditionally lagged behind its more established print cousin.

A whopping 804 KB per page is comprised of images. Three years ago, images comprised just 372 KB of a page’s total payload.

images are one of the single greatest impediments to front-end performance. All too often, they’re either in the wrong format or they’re uncompressed or they’re not optimized to load progressively — or all of the above.

Today, 38% of pages use Flash, compared to 52% in 2010. This is a good thing. Nothing against Flash, per se, but if Apple has no plans ever to support it, its obsolescence is inevitable in our increasingly mobile-first world.

use of custom fonts has exploded — from 1% in 2010 to 33% today.

But custom fonts have a dark side: they can incur a significant performance penalty.

These days, images on the web have to work hard. They need to be high-res enough to satisfy users with retina displays, and they also need to be small enough in size that they don’t blow your mobile data cap in one fell swoop. Responsive web design attempts to navigate this tricky terrain, with varying degrees of success.

Google published findings, based on Google Analytics data, which suggest that load times have gotten marginally faster for desktop users, and up to 30% faster for mobile users.

Here at Strangeloop/Radware, we’ve found the opposite. Using WebPagetest, we’ve been testing the same 2,000 top Alexa-ranked ecommerce sites since 2010, and our data tells us that top ecommerce pages have gotten 22% slower in the past year.

This quick-and-dirty case study illustrates how network speed doesn’t directly correlate to load time. For example, download bandwidth increases 333% from DSL (1.5Mbps) to cable (5Mbps), yet the performance gain is only 12%.

Move scripts to the bottom of the page

It’s better to move scripts from the top to as low in the page as possible. One reason is to enable progressive rendering, but another is to achieve greater download parallelization.

Make JavaScript and CSS external

If users on your site have multiple page views per session and many of your pages re-use the same scripts and stylesheets, you could potentially benefit from cached external files. Pages that have few (perhaps only one) page view per session may find that inlining JavaScript and CSS results in faster end-user response times.

Reduce DNS lookups

Minify JavaScript

In addition to minifying external scripts, you can also minify inlined script blocks. Even if you’re already gzipping your scripts, minifying them will still reduce the size by at least 5%.

On a desktop, only 20% of the time it takes to display a Web page comes from downloading files. The rest of the time is spent processing HTTP requests and loading style sheets, script files and images. It takes even longer on a smartphone because its CPU, memory and cache size are much smaller than a desktop’s.

Having a fast website is all about making the hard decisions and getting rid of what’s not at the core of your experience. If it doesn’t add a lot of value, remove it.

Reduce DependenciesFewer files to download means fewer HTTP requests and faster loading times. Reduce Image DimensionsOn top of the extra download time, precious processing power and memory are used to resize high-resolution images. Reduce Client-Side ProcessingRethinking the use of JavaScript and keeping it to a minimum are best.

Ads in the News Feed are Page Post Link Ads.  To develop them, keep in mind the following specifications: 500 characters of allotted text, anything beyond that will be truncated Attached links contain an image, title, and the domain in the body text Depending on the length of the body text, 2 to 3 lines can be filled within the ad Images should be 90 x 90 pixels

News Feed CTR’s can be up to 10x higher than standard Facebook ads.

Have a voice. In their pin descriptions, most users simply state in words what the image is already showing. Wasted copy! Express why you're pinning something, what you like about it, some cheeky comment. Pin something you don’t like, and say why! You want followers to get to know you, to engage with your personality and/or your brand.

Each pin is an impression. One that garners no re-pins or likes is a wasted opportunity.

Have a vision. A corollary to the previous tip. Your boards should reflect a consistent, unique visual identity. If they don’t, you may want to consider whether your brand does.

Post lots of content from outside Pinterest! The site tends to become an echo chamber, with most users finding everything on their boards from other boards. Be a source of fresh content to those people. The re-pin has it’s place (a strategic tool to grab someone’s attention). But really, 98% of your pins should be from external sources.

Fluid layouts are often compared to water, but water isn’t always fluid. H2O has three different states, and depending on the temperature can be a solid, liquid, or gas, transitioning seamlessly from one to another at specific points (0ºC, 100ºC). An infinite grid also has multiple states (single column, multi-column, etc.), and should transition as seamlessly as possible between them at specific breakpoints as well. For example, just as ice is an appropriate state for water when the temperature is low, a single-column layout may be the appropriate state for an infinite grid on smaller devices. Water’s state change is caused by the rearrangement of its molecules. When an infinite grid changes state, we rearrange its components.

Each state in a responsive layout tends to be made up of the same components, such as an image gallery or navigation menu. However, as Ethan Marcotte recently outlined, the form these components take can vary dramatically between one state and another, usually involving a change in one or more of the following attributes: Hierarchy: What’s its order and prominence in the layout? Density: How much detail do you show? Interaction: Should it be a list of links or a dropdown? A carousel or a group of images? Width: Is it fixed (a specific width), flexible (set with max-width), or fractional (set with percentages)?

Pixels size an element relative to a particular resolution Ems size an element relative to its font size; large rems size it relative to the document’s base font size Percentages size an element relative to its container VH and VW units size an element relative to the viewport

Absolute units like pixels effectively give a layout a sell-by date, locking it to a finite resolution range in which it will “work.” Proportional units (ems, rems, and percentages) enable you to define the important relationships between elements, and are a crucial first step on the road to resolution independence.

lets say my largest state is 75em wide (any larger and the white space starts to dwarf the content), and my smallest is 34em (any smaller and the measure is less than optimal). In the largest state it makes sense for my navigation to be a horizontal list (interaction) at the top (hierarchy), but in the smallest state it might make more sense to move it to the bottom of the layout (hierarchy), or collapse it into a show/hide list (interaction). Designing these independently of one another helps you be more objective about what is best for each state, rather than stretching a one-size-fits-all solution across every state.

Just like water changes to steam when its molecules get too far apart, one state should change to another when the relationships between its components begin to break down, such as when the measure is getting too wide, or the left-aligned logo is getting so far from the right-aligned menu that the visual connection between them is broken.

The number of states you require will depend on how much your layout changes from one extreme to the other. For example, my smallest state has a single column with a collapsed menu, and my largest state has three columns and an expanded menu. However neither state looks quite right between 34em and 53em, so I’ve added an “in-between” state which maintains the smallest state’s single column article, but expands the menu and divides the footer into three columns to make the most of the space available. This smooths out the transition from one extreme to another quite nicely.

With each state change, remember to reconsider the hierarchy, density, interaction, and width of each component

the goal is to make the most of the space available, relative to your content, to maximize readability and presentation.

To deal with this issue, Web developers can borrow from some of their tried-and-true methods. For years, websites have used browser detection to deliver different CSS stylesheets to different browsers. A similar approach is used to craft responsive designs - when sites load different layouts depending on the device being used to view it. Likewise, this sort of tactic could be used to handle graphics

That's exactly what they're doing at O3 World, an interactive agency based in Philadelphia. To account for different screen resolutions, they've begun creating multiple sets of graphics, which are delivered dynamically, depending on the user's screen resolution.

best practices are in the curation space. Here's where you should start1.  If you don't add context, or opinion, or voice and simply lift content, it's stealing.2.  If you don't provide attribution, and a link back to the source, it's stealing.3.  If you take a large portion of the original content, it's stealing.4.  If someone asks you not to curate their material, and you don't respect that request, it's stealing.5.  Respect published rights. If images don't allow creative commons use, reach out to the image creator--don't just grab it and ask questions later.

There are a number of companies building cool solutions you can explore if you're looking for curation tools. Among them: Curata, CurationSoft, Scoop.it, Google+, Storify.com, PearlTrees.com, MySyndicaat.com, Curated.by, Storyful,Evri, Paper.li, Pearltrees, and of course Magnify.net (where I hang my hat).