7 Rules for Mixing Multiple Fonts in Good Web Design

Typography can be one of the most creatively rewarding parts of web design, but it can also be one of the most frustrating. Working with just one or two fonts can be challenging enough for most web designers, yet some still insist on using three, four, seven, or even more fonts in their designs. Some people excel at creating sites with complicated typography, while others fail miserably. Read on to find out tricks to creating fantastic website designs with complicated type, as well as some great examples of sites that get it right, and those that get it wrong.

1. Pay attention to scale and proportion.

Multiple fonts work best together when they have similar proportion and scale. For example, Georgia and Verdana have similar shapes, even though one is serif and one is sans serif. The same could be said for Times New Roman and Arial Narrow. Look at specific characters in each font to see how similar they are, as well as entire words.

Fonts don’t necessarily have to be identical in scale and proportion. What you want to look for are either fonts that are very, very similar, or fonts that are very, very different. Fonts that are “kind of the same” are generally going to look strangest when placed near each other. Fonts that are very similar are going to appear to have the same weight on screen in most cases, while fonts that are very different can more easily be played against one another to give emphasis to specific parts of the site.

2. Unify fonts with color or style.

If you throw up six different fonts on your site, with ten different colors, and four different styles, you’re probably just going to give your visitors a headache (if they stick around that long). While you don’t necessarily have to only use one color or one style, you need to be much more careful in how you use them.

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As far as colors go, try to stick to colors either in the same hue or saturation level. You want the colors to mesh, rather than clash.

You have a bit more leeway with font styles, but make sure that the styles you choose make sense with the existing weight and emphasis of the particular fonts you’ve chosen. You can make a heavier font oblique (italic) to de-emphasize it’s weight a bit, or add a strong tag to a lighter-weight font to bring it more in-line with the heavier fonts on your page. Underlining can emphasize both light and heavy fonts without making either appear heavier than they already are.

3. Pay attention to priority and emphasis of different fonts.

This has been touched on a bit already, but the priority and emphasis that different fonts convey naturally has to be taken into account. Some fonts are going to draw more attention than others. It’s one reason using multiple fonts is both incredibly fun and very hard to get right.

You can compensate for heavier or lighter fonts in a few ways. Increasing or decreasing the size is the most obvious. Adding styles and font decorations (oblique, strong, underline, etc.) can also emphasize and even help de-emphasize most fonts.

Changing the color of a font can help, too. If your typography is mostly black, adding in shades of gray to de-emphasize certain parts can work really well. In fact, putting certain type in gray can work even if your design is more colorful (to really unify things, make sure the gray has just a hint of one of the main colors in your other typography).

4. Avoid anything too similar.

Similar fonts are tricky. Using something like Georgia and Garamond right near each other, for example, doesn’t really do much and can end up making one or both fonts look a little off. A lot of non-designer folks might not really see the differences between the fonts and think they just look strange—not quite right. The same can be said for fonts like Verdana and Tahoma or Arial and Helvetica. Try for a bit more variation for the best end-result.

5. Keep body text readable.

While playing around with funky typography can work really well in navigation, headers, and other parts of your site, large chunks of body copy just don’t work well with multiple typefaces. Stick to one, preferably site-wide. Pick a font that’s easy to read and web safe while also being similar in proportion and weight to the other fonts on your site.

6. Don’t overlook different font styles.

We’ve talked about how using different styles and font decorations can change the priority and importance of different typographic elements. But one thing many designers overlook is using multiple styles, sizes, and decorations to achieve the look of mixed typography while still working entirely with web-safe fonts. This technique is also great for designers who are just starting to experiment with web typography, as it eliminates many of the common issues with proportion and scale between different typefaces. Mix italic, bold, small caps, all caps and other styles within the same fonts to get the look of mixed typefaces without the headaches.

7. Trust your instincts.

This is probably the most important thing on this list. Whenever you’re designing anything, you should be sure to take a step back from it often and look at the big picture. If something doesn’t look right or feel right to you, cut it.

It’s no different with typography. If a certain font just doesn’t seem to be working, you’ll have to cut something. In these cases, you have two options: you can cut that font and find another one that works better, or you can scrap all your other fonts and find ones that work better with the one you’re having trouble with. What you do depends on which fonts you’re more attached to.

Mixing Color for the Web with Sass

Color is one of the most powerful components of art and design. We use it to influence mood, create an environment, and tell a story. Over 125 years ago, a great impressionist painter changed the way we think about color by observing light’s role in it. So far, these observations have been largely lost on design for the web, but a preprocessor like Sass gives us a tool to shed new light on our color palettes.

One morning in 1890, Claude Monet began painting the haystacks outside his window. But he didn’t paint just one painting, and he didn’t even paint just one painting at a time. He would have his assistant cart out wheelbarrows of canvases and would work quickly and minimally on each one as the light changed throughout the morning. Sometimes he would work on a painting for just a few minutes before the lighting conditions had changed enough to warrant moving on to the next canvas. When he was finished, Monet had painted twenty-five canvases of the same haystacks in different sunlight, seasons, and weather. The same haystacks, the same base colors—yet presented in myriad ways.

Historically, our ability to translate this kind of flexibility to the web has been limited. We’ve neglected the art of mingling color for emotional impact, while making the most of statically declared CSS color codes. Meanwhile, manipulating color on the fly has been relegated to the arcane realm of programmers.

Thankfully, new tools give us more power over color than ever before. But although color on the web continues to march forward, CSS alone is still pretty inflexible. That’s where preprocessors become useful. Let’s explore some of the capabilities they can lend to our stylesheets:

  • Aliases help us better recognize which colors we’re using.
  • Lightening, darkening, and scaling give us fine-grained flexibility over palettes.
  • Color mixing unlocks our inner Monet and a whole new world of nuance and artistry.

A hex on hex codes

Start with the color declaration: you have to know the exact values of your colors in order to use them. That means that, unless you’re using prefabricated named colors, your style sheet fills up with multiple instances of cryptic hex codes or ambiguous HSL numbers. CSS variables are on the horizon, and they’ll help clarify which color is which with natural language—but what if we don’t actually have a name for our color? That’s the kind of power CSS preprocessors give us. There are several out there to choose from, but my examples rely on Sass. Other preprocessors probably have similar functionality, but I’ll leave you to do that research on your own.

Let’s dig into this to see what I mean.

Now that I’ve established my brand colors, I’ve used them to build a website for Gullfoss Travel Supply Co. The concept behind this hypothetical site is to revitalize well-designed luggage labels that show off where you’ve travelled around the world. Variations of my brand colors exist throughout this site in different (lighter) tints and (darker) shades.

I wanted to give my button a sense of clickability, which I can easily achieve with a simple gradient. The button is based on the color I dubbed $toolbox. The highlight is a lighter version of the swatch and the shadow is a darker version.

While the button color is based on one of my brand colors, two of these colors (my highlight and shadow) are not in my Sass constants. I had to figure them out on my own. I opened up a color picker and manually picked variations of the swatch. Not a big deal, really, but if I want to add a secondary button, this time based on $ol-blue, I’ll need to go back into the color picker once again and figure out the new values.

And each of these buttons needs a hover state, too! The hover highlights and shadows are going to be lighter than those on the normal button, so do I declare four more constants, or do I just fill these values in once and hope I don’t need to use them again later?

As it turns out, Sass can do this for me. It has built-in functions to process these colors without having to keep track of all the variations.

Packing up the color picker for Sass

Simple as that! Now we have a pair of tools to mix color on the fly. Go wild! Okay, don’t go too wild. This can get a bit tricky. Consider this: if we lighten $toolbox by 50 percent, we get a very light version of $toolbox. But if we lighten $ol-blue by 50 percent, it becomes completely white. That’s because $ol-blue is a much lighter color than $toolbox.

In order to know how far we can lighten a color before it turns white, we have to know that color’s lightness value ahead of time. That information is conveniently encoded in its HSL notation. If we subtract the color’s lightness value from 100 percent, the result is the amount we can lighten a color to get to white.

Therefore, in order to master this new color palette, we’ll simply need to memorize the lightness values of each of our colors. Kind of annoying, but hey, it’s better than memorizing hex codes, right? Sure! But I’ll do you one better.

Proportional palettes with color scaling

Sass has another color function called scale-color() that can move a color’s components proportionally. scale-color() works on the red, green, and blue channels in RGB, and the saturation and lightness channels in HSL. (To adjust the hue similarly, you would use the aptly-named adjust-hue() function.)

As I noted before, if we were to lighten $ol-blue by 50 percent, it would become pure white, but if we were to scale the lightness with scale-color() by 50 percent—

scale-color($ol-blue, lightness, 50%);

—it would be halfway between the original color and white.

Now I know exactly how much to scale any of my colors to get to white: it’s always going to be 100 percent. If I scale $ol-blue’s lightness by 99 percent, it will still be 1 percent $ol-blue. Likewise for $toolbox or any other color you can dream up (barring colors that are already so light that they may round up to white earlier); they will always top out at 100 percent lightness.

With scale-color(), you can keep your color palette limited to your base constants, but still have incredible, intuitive flexibility with tints and shades.

In this example, notice I’m only using two of my constants and scaling them as desired. In fact, this can be applied across the entire page. The content on the homepage of the Gullfoss Travel Supply Co. only uses two brand colors, scaled to different lightness values. Despite the simple palette, there’s still a lot of flexibility here.

Mastering color with mixing

There’s one more way you can achieve these kinds of proportional palettes, and that’s with an even more intuitive, more powerful Sass function called mix().

It turns out that mixing with white and black does perceptually the same thing as scaling a color’s lightness but, conveniently, it’s shorter to type. Beyond that, mix can help you easily create a look and feel on your websites that was previously not possible. If we can mix colors like paint now, can we make our websites look more like paintings? I believe we can—but we have to think less like programmers and more like artists.

Consider, again, Monet’s haystack paintings. They’re a remarkable study of light, and wonderful from a purely aesthetic standpoint. But from a design standpoint, there’s a useful lesson to be found in them. In the words of another French impressionist, Pierre Bonnard, “Color does not add a pleasant quality to design—it reinforces it.” Remember the way the color of light affected the appearance of Monet’s haystacks. What if we could take our base colors and easily influence the color in our designs the way he did back in 1890?

Sass’s mix() function unlocks that for us. Let’s take our color palette again and add in just a couple extra colors: a highlight and a shadow. Now let’s mix our brand colors once more, but instead of simply mixing with black and white, let’s use our new colors.

Suddenly the whole palette becomes warm and inviting, and the darker colors are rich and vibrant. Tinting with a yellow highlight gives the palette a sunnier appearance. Shading with a complementary shadow makes the palette feel more natural.

If I decide I don’t like this scheme, I can simply choose new values for those two constants, and the next time the Sass is compiled into CSS, the design will automatically reflect my change.

With this next scheme, I’m starting again with the same brand palette, but now the highlight is bright pink, while the shadow is a dark, desaturated green.

It totally changes the look of the palette, yet it remains based around our original brand. A change to the highlight and shadow colors is automatically reflected in your color palette when the Sass is compiled into CSS. Highlights and shadows can be tweaked to achieve just the right mood or story for your site, without making tedious changes throughout your stylesheets.

Looking back at Gullfoss Travel Supply Co., I’ve demonstrated some of the possibilities with this kind of color mixing on each of the sticker pages. Looking at Olympia’s page, the mood is totally different from the homepage, yet all of the markup, typography, and basic layout stay the same. But since nearly every color has been mixed to some degree with yellow highlights or purple shadows, a new light (literally) has been cast on the page. Now the content background is an eggshell color and the “Add to Cart” button is natural, yet vibrant.

Lincoln’s sticker is colored strongly with tints and shades of red, so I wanted the page to reflect that. I chose reddish highlights and shadows to make the design cohere with the illustration.

When you visit the page for Barton Springs Pool, the cool waters and green leaves are reflected throughout. The difference between the original colors and the new ones is subtle but distinct, and that’s the point. Your colors should work together to create an aesthetic that enhances your design.

But if drama is what you’re after, look no further than The Grid. This page reverses highlights and shadows and lends a look inspired by the movie Tron. Quite a striking change achieved just by swapping out a few constants!

Additional considerations for developing your palette

Nearly every color on these pages is mixed with a highlight or shadow to one degree or another, but sometimes the elements in your design can look a little too homogenous, and they start to blend together. In such cases, feel free to supplement your designs with another set of color mixers. This can give the layers of your pages more depth and really make them pop.

Let’s look again at the page for Lincoln. Remember, I wanted to give it a reddish tint. It’s hard to read text against bright red, so I dialed the highlights back a lot; they’re barely red at all. Then I set the background to green. Because green is red’s complement, it plays a trick on your brain, making the very light colors appear redder, while still maintaining a pleasing contrast ratio. (Note: Because this site is responsive, the background layer isn’t visible on narrow screens.) These separate layers use very different highlights and shadows that interact with each other.

To pursue legibility and readability a bit further for a moment, it’s also essential to keep in mind the accessibility of your color schemes. Take another look at the page for The Grid. If you found it uncomfortable to read, you’re not alone! The menu at the top of the page suffers from a low contrast ratio. According to the WCAG guidelines, it should be 4.5:1, but it comes in well below at just 2.6:1! Good contrast ratios of text and background colors make using a site much more pleasant. There are plenty of tools and recommendations for exploring this topic further.

Before I conclude, I want to go over browser support real quick, just so it’s clear. Because all this color processing is compiled into basic CSS color declarations, everything gets translated into a static declaration, which, of course, every browser today can understand. This means that you can start playing around with these techniques today!

Color on the web has come a long way, and it continues to improve steadily as browsers and devices add support for new technologies. Meanwhile, preprocessor mixing has given color an evolutionary leap forward. It offers us unprecedented power to create tints and shades that help us tell our stories, give our palettes more nuance, and bring out our inner Monet.

8 responsive web design trends that defined 2015

Let’s take a look back at successful trends of the year with an eye towards the future.

1. Captivating storytelling

Mankind has always used stories to convey ideas and share information. Stories activate parts of your brain that simple facts and figures do not. On websites, storytelling creates more engaging and memorable website content.

This storytelling approach has been embraced by sites like Medium and by many web writers who are now using stories to better convey important details, information, and compelling data.

When using storytelling in your responsive website, some basic tips to follow include:

  • Hook readers quickly  and make sure that you have a strong opening that falls above the fold on all viewports so that readers see it immediately
  • Ensure line lengths for your story are optimal for both large and small screens. Lines that are too long are hard to follow, while line that are too short break the flow of normal reading. Strive for a range between six to 75 characters per line and adjust font sizes as needed to achieve the best results.
  • Use visuals where appropriate to accentuate the story, but be mindful of file sizes and ensure quick downloads on all devices
  • Make it easy for readers to share the story with others. Consider placing sharing functionality at both the top and bottom of the content so that readers do not need to scroll to do use these features. This is especially helpful on small screen layouts that require substantial scrolling. Also make sure that these buttons can be easily used on touch screens.

These points can be seen in practice in what Vice does with their homepage layout.

Mobile viewport

Full-size viewport

2. Less is more

Many SEO and website experts have long suggested that “bigger is better.”

Their argument is that a site with lots of pages has the best chance to rank for a wide variety of key terms. The problem with creating incredibly dense websites is that they can be confusing for people to use and they can be difficult to keep updated. Outdated pages and content are often left neglected, creating sites that are bloated and no longer relevant.

Many websites have begun to take the opposite approach to this “bigger is better” recommendation. Smaller sites are hyper-focused on specific topics, eliminating any pages or content that aren’t critical to the user experience.

This “less is more” trend can be seen in the popularity of single-page websites, including parallax sites. You can also see it in sites that have aggressively simplified their sitemaps.

3. Patterns everywhere

When an approach becomes popular and widely used, like responsive web design has, patterns will often begin to emerge.

As explained in Web Design Trends 2015 & 2016 by UXPin:

A web design pattern, aka UI design pattern, is a reusable solution to a commonly occurring problem you might encounter every day.

The value in using a good web design pattern to solve a problem is that users will be familiar and comfortable with your solution. The downside to using established patterns is that if everyone uses the same approach, websites begin to look very much the same and design uniqueness is lost. You must weigh the benefit of using an established pattern against the downside of not being able to design something new and unique.

One common responsive pattern, for example,  is off-canvas navigation.

Smallest viewport

Mid-sized viewport

The tablet view expands the navigation horizontally and adds a primary CTA in the middle of the screen along with four secondary CTAs at the bottom of the screen.

Largest viewport

The navigation and content layout remain the same as the tablet-sized viewport.

When evaluating design patterns, always ask yourself these questions:

  • What problem am I trying to solve?
  • How have others solved this same problem?
  • Is there pattern to those solutions or an established best practice?
  • Is this pattern overused?
  • What barriers, if any, exist to using this pattern on my project?

To learn more about responsive web design patterns, check out some common layout patterns as outlined by Google and a useful responsive library by Brad Frost.

4. Card layouts

One of the most popular design trends today is the “card layout.” Popularized by Pinterest, the card layout has become a widely used approach to presenting easily scannable chunks of content on a website.

Card layouts are very attractive when considering the UX for responsive websites. Because these cards effectively break content down into smaller blocks, those blocks can then be more easily rearranged for different screen sizes and layout needs.

Smallest viewport

Largest viewport

Cards can help improve information distribution, which is why sites like Twitter and Google have followed Pinterest’s lead with this UI pattern and why more and more sites are sure to apply this approach for 2016 and beyond.

5. Hidden menus

Another UI pattern example that has been popular for many years is the hidden menu. From drop-down and fly-out menus that are revealed on hover to the infamous “hamburger icon” to navigation drawers, hidden menus are used to save space while still making those menu option available to a site’s visitors.

While the benefit of saving space on a responsive design is undeniable, there have been a number of people who have argued against the practice of hidden menus. Menus that are hidden to save space are less likely to be accessed than those that are consistently shown.

Smallest viewport

Largest viewport

One experiment actually showed that these hidden navigation items cut engagement time in half.

The challenges of responsive navigation are something that UI designers continue to grapple with. Despite the possible downside to hidden menus, expect this design pattern to remain a popular choice for responsive navigation.

6. Big hero images versus no hero images

The hero image trend is quite interesting.

Many sites use gigantic hero images that span the entire width and height of a screen. Other sites have taken the exact opposite approach to hero images, eschewing their use altogether and preferring only bold colors and rich typography in their place.

Hero images

No hero images

These two competing trends each offer their own benefits and drawbacks. Using rich images can add visual flair to a design, but giant images mean additional time for those images and the site to load. Removing large hero images may decrease the visual richness of a design, but the loss of those images speeds up load time.

Additionally, according to Google/YouTube user experience research, removing these images can actually help create a more appealing site. In their study, researchers found that reducing the visual complexity of a page, while also increasing its prototypically, could actually increase its appeal.

In summary:

Big hero images

  • Visually rich and appealing
  • Slower loading times

No hero images

  • Not as visually rich
  • Faster loading time
  • Less complexity can increase overall appeal

Both of these approaches to hero images are valid and each will likely remain popular in 2016.

7. Rethinking advertising

Online ads and responsive websites have always experienced a challenging relationship.

For years, online ads were sold based on size and locations. This poses a problem with responsive sites since the size and placement of various UI elements will change across different screen sizes. This makes fixed advertising sizes a poor fit in a responsive environment.

In the very near future, all sites – responsive or not, will need to rethink how advertising is used.

8. Improved workflow

Not all trends can be seen visually on the final website. Some trends happen behind the scenes as that site is being designed and developed. An improved responsive workflow is one of those trends.

One important change many designers are using is responsive prototyping.

Instead of static design comps that seek to show different possible breakpoints in a potential design, responsive prototyping tools (like UXPin) create more authentic experiences that can be deploy quickly and easily.

These prototypes will better convey interactions that will allow you to get more informed feedback and to make better overall UI design decisions.

Getting Along With Your Web Designer

You’re all ready to get started creating your web presence and you’ve found a skilled web designer to build your website for you. Do you know what he needs from you to do an efficient job? Good web design requires cooperation between the architect and the user to create a product that will serve its intended function, and you don’t have to be an internet expert to do your part. There are a number of things you can do when working with a web designer during the building and maintenance phases to smooth communications, reduce confusion, get work done faster, and get the results you want.

Building a New Site

If you’re starting from scratch, your first job as a customer is to define what you want the designer to build.

  • Start by doing some research on the internet to see what kind of sites your competitors have and how they are organized.
  • Look at different layouts and navigation styles and decide what you like best.
  • Know what colors and text styles you like and provide good, high-resolution copies of your logos and company graphics.
  • Decide what kind of information you want people to find on your website. Do you only want to sell stuff, or do you also want to provide technical information about your products, processes, or services?
  • Discuss with the designer how to organize your information with efficient navigation and page design.
  • Do you need the customer to provide you with information through the site? Make a list of what information you need to collect and discuss with the designer how it can be collected and conveyed to you.
  • Do you need to use information or graphics from your suppliers on your website? Get the supplier’s permission to use their information. Never use someone else’s exact copy without their permission, this is plagiarism.
  • Write your own content for your website. Remember, you are the expert on your products and services. Even if you are a bad writer, draft the information you want to present on each page and hire a professional writer to polish it for you.
  • Define when the website will be considered completed. At some point, the initial design needs to be considered finished, and any additional changes from that point forward should be considered updates to be billed separately.

There are also some things you shouldn’t do:

  • Don’t ask the designer to start over with a completely new design in the middle of the project or when it is nearly complete. Nothing irritates a designer worse than when you approve a design, then change your mind three weeks later and decide you don’t like it anymore after the website is more than half finished. It creates a lot of extra work and will often cost you more money. It also delays the designer in working on projects for other customers, making everybody unhappy.
  • Don’t keep adding to the design requirements as you go along, making the project bigger and bigger. This is called mission creep, and it hinders the designer in knowing how a project is going to be completed and giving you an estimate of duration and cost. Sometimes changes are unavoidable, but it’s best if you can lay out all your plans at the beginning and stick to them.
  • Don’t make the designer guess what you want. Give as specific instructions as you possibly can and you are more likely to get what you want faster.

Website Maintenance

Once the site is completed, you will probably occasionally need to make changes to the site to update information, add new products, or remove outdated or discontinued items. Here are a few tips to make this process more efficient as well:

  • Be specific, and don’t make the designer hunt through your website to find where the changes need to go. Provide the exact page and location on that page for each change that needs to be made. If some pages contain similar information, copy the URL of the correct page from the address bar in your browser and include it with your list of changes. Designers work on a lot of websites and may forget where everything is in yours if they haven’t looked at it in a while.
  • Try to send changes by email whenever possible. Copying and pasting text from an email or Word document is a lot faster than retyping text from a fax or a document sent by mail, and adding a graphic that is already in a digital format (.jpg or .gif) saves time over scanning it from a brochure and cleaning it up first.
  • If you are making small changes within a body of text such as list, a restaurant menu, or a description, highlight the changes with a different color text so that they can be found with a quick visual inspection instead of a detailed reading and comparison with the old version. If you need to remove text, make sure you show what is to be removed. If you simply omit it from the new copy you send, the designer might not notice that it’s gone.
  • If you think something may be broken and needs to be fixed, describe exactly the steps you took after entering the website to recreate the error. This helps the designer pinpoint the source of the error faster so he can proceed with fixing it.

These are just some basic things you can do to forge a more effective and profitable relationship with your web designer. If you can do your part to make his job more efficient and be an easy client to work with, he will be more happy to serve you in the future, and you’ll get what you need with less trouble and less worry.

What to Ask Your Web Designer

If you need a web designer, but have no clue about the typical web design process, I am quite certain that you must be feeling a bit overwhelmed about what to expect. As web designers, we oftentimes have a myriad of roles to fill when working with their clients, but as the client, you always have a right to know the complete design process up front. Let’s talk a bit about what questions you may want to ask a potential design firm before they get started on your website.

1.) “How much is this going to cost?” Of course you want to know that! Be sure the designer gives you a consultation, which allows you a sneak preview on what they will be able to do for you. You want your designer to be personal with you, not general.

2.) Your designer needs to know the general purpose of your site. What is your main goal? Who is your audience? Will there be interactivity, collaboration, or e-commerce on your website? You should ask the designer if he or she has the capabilities of designing a site that would suit your purpose and mission.

3.) Ask for a contract to review. Take a few days to look over the contract before signing.

4.) Does the designer ask you what you like? Your designer should ask you about your favorite colors on the web, what websites you do or don’t like, and why. Also they should make sure they discuss with you any features that you find unappealing and take note of your opinions.

5.) Who will own the copyrights to the finished product? Make sure you find out whether or not your designer takes full copyrights of the website. Many times designers will also want to use your website designs as part of their portfolio. They should let you know this in advance.

6.) Will your designer also host your site? Make sure you find out how your site will be published and which company will provide your hosting services. How often will you need to make hosting payments and when? Who will secure your domain name, and does this come with hosting?

These are all questions to consider when working with a web designer. As you become familiar with the person you are working with, it will become easier to detect his or her style, and be able to communicate effectively with them. As a designer, I can say that we definitely wear many different hats and work with a variety of organizations on a daily basis…but as the client you will always have a right to ask questions and expect reasonable answers. In your search for a trustworthy web designer, be sure to ask the questions above, and I’m certain you’ll locate the designer with the right answers for you.