The techniques explained throughout this document answer the initial question in more detail, but the main reasons we use Illustrator include:

It takes time and discipline—a keen eye on pixel accuracy—for some of these techniques to be effective. Once learned, they give the designer that employs them a great advantage since he or she can work much more efficiently and quickly. Nearly all designers that have passed through the AREA 17 design studio retain this method of working.

While some designers may be surprised to learn that we design in Illustrator, it quickly becomes clear why Illustrator is much better suited to creating user centered web systems than Photoshop and other raster-based tools as it’s based on vectors which are related to numbers and numbers are the basis of code.

Update: The Pixel School was formalized at a time when Photoshop was the dominant screen design software. Foremost, it is a set of design principles and the techniques demonstrated in Illustrator can be applied using most modern vector-based tools, such as Sketch or our favorite Figma . Over the last year, we’ve started to shift away from Illustrator and soon we will update this guide to reflect this change.

The Pixel School is a living document, updated as we refine our design approach and process. It is part of a series of guides that define how we do things as an agency. While all other guides are private, we have made the Pixel School available to the public.

Disenchanted with the quality of design on the web, Arnaud created the Pixel School in 1999. It became a cornerstone of his design process and the predominant characteristic of his influential body of work. In 2005, Arnaud established the Pixel School as AREA 17’s design methodology. Later, it was formalized in collaboration with Kemp Attwood , David Lamothe and Martin Rettenbacher .

The Pixel School is a design methodology created by Arnaud Mercier (May 10, 1972 – September 26, 2011) and formalized by AREA 17 . It is a defined way of working that has great impact on the final product. It consists of a set of design principles and the techniques to achieve them.

The “Layers” panel (Windows > Layers) is really powerful when it comes to organising files. Think of Illustrator layers as folders like in Photoshop and try to keep objects organised by grouping them into multiple layers and sublayers. A decent file organisation helps you not only to establish a proper system for your design, but also to hand-off your files easier and to find your way through archived files much faster.

The image quality depends on the scale percentage, the more we scale down a big image the stronger the pixel artefacts, even with a rasterize filter applied.

Then when working on responsive designs for tablet and mobile we mostly need to scale down images (rather then scaling them up). This means we should have some pixel buffer when exporting for high-resolution screens to test on tablet or mobile. However, scaling down images in Illustrator ends up in blurry edges and fuzzy pixel attributes, so we need to add a rasterize filter ( Effect > Rasterize) with “Art Optimization” on each individual image object to avoid this happening. Choose the resolution setting to be “Use Document Raster Effects Resolution” so the effect will apply always to the global image raster setting. This is helpful when we need to export for instance in 2x, 144dpi (200%).

We tend to “Place” images at the exact size to our artboard. This is very important to keep our file size small and to have a good performance in Illustrator.

Place dialog box: [ command ] + [ shift ] + [ P ] The “Include Linked Files” checkbox should stay unchecked when saving the file in Illustrator (File > Save as).

When placing raster images in Illustrator make sure to link to them instead of embedding them (See screenshot).

Keeping all raster images in a folder “Links” and placing them to the artboard keeps the actual Illustrator file small and easy to manage. Generally all image editing takes place in Photoshop and will be updated automatically.

Each major design update is saved as a new Illustrator file with an updated version number.

Each project is split into multiple design rounds: — Design exploration (Initial moodboards, art direction) — Design (Designs to be presented to the client) — Development (Design production and hand off)

We share design and document files internally and with clients on our studio website — studio.area17.com . The following file naming rules apply:

Internal – There is an internal folder in each of the above folders to be used for working files and internal preview images for A17 eyes only.

00 strategy – SOW, proposals, contracts 01 project management – meeting notes, schedules, briefs, questionnaires, etc. 02 requirements – requirements documentation, incl. business, functional, QA, etc. 03 architecture – wireframes, sitemap, flow-charts, diagrams, prototypes etc. 04 assets – brand assets, tech assets, analytics, ad specs etc. 05 references – design research, competitive landscape etc. 06 design explorations – initial moodboards, art direction organized in rounds 07 design – designs to be presented to the client, organized in rounds 08 development – design specifications, design working files, graphic assets 09 deliverables – source files, development files, cms user guide etc.

At AREA 17 we use the following folder stucture for projects. Folders which don’t apply get deleted (and numbers will adapt):

Missing files, lost typefaces and folders that are not properly sorted can become a problem when facing a deadline. A decent file organization helps designers and developers to easily share files between each other and it helps you to find your way much faster through any archived files from years back.

At AREA 17 we believe that clarity and order should not only be applied to our design work but also to our internal file organization.

Aligning the vertical columns on our 5 x 5 pixels grid will help to move objects faster and calculate measurements easier. However choosing a column width of a multiple of 5 might not always be possible and shouldn’t be a strict limitation.

In the beginning of each project at AREA 17 we spend time on choosing a good vertical grid which best suits the project requirements. Having defined layouts of different resolutions is becoming more important, so thinking about fixed versus fluid grids and possible “break points” for responsive layouts is part of the exercise.

Align text to the baseline, preferably choosing a line height which is a multiple of 5 (e.g. 15, 20, 25, 30, …) to keep easy control of your layout. In case that is not possible, we align the first line of a paragraph on the baseline grid. The goal should remain legibility and fine type setting.

The 5 x 5 pixel grid comes also into play as baseline grid for all elements such as type, images, strokes and other objects. This helps to establish a vertical rhythm which improves readability and creates harmony within page elements.

However sometimes objects do not align on the 5 x 5 pixel grid. This can happen for example if you need to stick to a certain image ratio (4:3 or 16:9) or if your text paragraph leading doesn’t look good when aligned on multiples of 5.

Additionally the option “Auto Size” (Type > Area Type Options > Auto Size) automatically adapts your text bounding area to the amount of text which makes the file much cleaner. This can be set globally as well (Preferences > Type > Auto Size New Area Type) so whenever a new text area is being created this feature gets applied.

When working with paragraphs of text make use of the “Area Type Options” feature which allows the first baseline to be set to “leading” thus matching the 5 x 5 pixel grid (Type >Area Type Options > First Baseline: Leading). Apart from your text areas being perfectly aligned to the 5 x 5 pixel grid, this feature is a real time saver when in explore mode, as changing fonts and type sizes will not “move” fonts from their baseline.

Below is a graphic showing the example of a button aligned to the 5 x 5 pixel grid. Ideally we try to align our design perfectly on the baseline.

So here is how to set the modular grid to 5 x 5 pixels in your Illustrator Preferences.

With the help of the 5 x 5 pixel grid we can establish a consistent repeated pattern which makes our designs more balanced and readable. (Also see 3.2 — Baseline grid )

Choosing objects, image sizes and spacings to be a multiple of your modular pixel grid helps to ensure that all elements are perfectly aligned—pixel perfect—vertically and horizontally. This way moving objects around on the canvas is much easier and faster because the math is simple.

At AREA 17 we have settled on a modular grid of 5 x 5 pixels. Every measurement of the page becomes a multiple of 5, including column width, margin and paddings, image heights and widths, leading and spacing between elements.

Because Illustrator’s vector drawing space is also math-based, the tools provided by the program are more efficient than using the mouse. Moving objects along the grid using the cursor keys, the transform window or the move function is much faster and precise.

The grid defines a mathematical system for the design and provides rules for the size and placement of objects within it. The number of possibilities for any given decision is reduced, making it faster to explore and iterate solutions.

Working with a grid is an essential starting point for any project. It is the controlling principle helping to create an organized graphic system that is tight and easy to understand, while also providing a framework for making design choices.

Grid-based design is a foundational aspect of AREA 17’s design philosophy. Every system we design is based on a grid.

4. Drawing

Web-based graphic work requires pixel accuracy. This means objects must be drawn in Illustrator with great attention to detail. As Massimo Vignelli would say: “There is no room for sloppiness!” For web graphics to appear sharp and crisp, designs must respect the pixel-based displays on which the work is viewed. This is equally true for retina and high resolution screens. Because Illustrator allows for objects to be sized and placed on partial pixels, extra care needs to be taken to ensure objects are on the pixel grid. It also means that one has more control over how the object will be rasterized.

Vector versus pixel objects

Try to use as many vector objects as possible. This will keep the file size small and speeds up the process when exporting in bigger sizes for high resolution devices.

Pixel preview

The Pixel Preview option (View > Pixel Preview) should always be turned on so you can see exactly how objects will be rasterized by Illustrator when exported. Zoom in to see the details of Illustrator’s anti-aliasing and control it’s rendering on the Pixel Grid. Pixel Preview on and off at 400% Zoom level

The pixel method

Even though we work in a vector-based program like Illustrator, we still respect the pixel aspect of the screen. Every new object we add to the page receives a lot of attention regarding how it renders (sharp versus soft anti-aliasing). When drawing, moving and resizing elements on the pixel grid, we take absolute control of their position and size. Square on and off the pixel grid This is the only way to achieve a crisp, pixel perfect design with Illustrator’s design environment. Good logo construction — 200% Zoom level

The black version is drawn on pixel grid specifically for web whereas the blue version has fuzzy edges

Drawing methods

When drawing objects turn on the modular grid [ cmd ] + [ ” ] and work at a larger zoom level. With a modular grid established, shapes are easier to draw because their size is defined by that underlying framework. Our 5 x 5 pixel grid starts to display exact pixels at a zoom level of 600%. 100% zoom level → 1 grid cell = 40 px

100% to 300% zoom level → 1 grid cell = 20 px

300% to 600% zoom level → 1 grid cell = 10 px

600% zoom level and above → 1 grid cell = 5 px Icon on pixel grid at 600% zoom level With the Rectangle Tool [ M ] active, clicking on the canvas opens the Rectangle dialog box showing the dimensions, allowing us to draw faster and more precisely than with the mouse. Rectangle dialog box The Transform Window (Window > Tranform) is a very important control instrument to ensure the position and size of every single object on the artboard. The window displays the dimensions and exact position of each object so you can verify that it is on the pixel grid. With the registration point on one of the corners all fields should contain whole pixels. Transform window If the mouse used, have Smart Guides (View > Smart Guides) turned on to see the dimensions of the shape in real time as it’s drawn. “Snap to Pixel” should be turned off. Smart guides (5 x 5 pixel grid 600%)

Drawing shapes off the grid

Rectangular shapes and straight lines should always be sized and placed on whole pixels. The exception is when an object requires a little more softness. Taking the example of a circle with its reference point at the center, the result will be a mathematically perfect circle, but results in hard edges (Top graphic). For smoother edges slightly reduce the size of the circle (Bottom graphic). Top — Circle too boxy (center and sides on the grid)

Bottom — Smooth circle (center on the grid, not its sides: they are 0.2 pixels off grid) The same principle would apply also to designing with strokes where we tend to draw anchor points off-grid to allow for sharp rendering. The example below shows a simple arrow with anchor points on half pixels (highlighted in yellow). Stroke arrow drawn on half pixels

Transparency masks

Locking up objects in a Transparency Masks (the object is the mask) helps both to easily move them around on full numbers on your grid and to change their colors with just one click. It is also a great way to make all of your project icons consistent in terms of size as the Transparency Mask serves as container with just one defined width and height. In our example of the circle which has it’s sides set to 19.6 x 19.6 pixels and a center registration, a Transparency Mask can be used to position its sides on the pixel grid. This way the circle can be moved around easily on full numbers. 19.6 x 19.6 pixels circle embedded in a 20 x 20 pixels rectangle

Transparency Mask serves as container object so that we can align the box on full pixels (x: 0px + y: 0px) Also when designing logos and icons we often end up with complex objects consisting of shapes and strokes. Transparency Masks help to simplify the work flow by having just one object to select on the canvas. Example of objects made out of strokes and shapes locked up with a Transparency Mask. “Transparency Masks” need more attention when exporting for high definition devices. We need to adjust shapes and strokes to guarantee sharpness at a larger scale. Also, note that you need to unmask all objects when exporting as .SVG files. (See 8.3 – SVG Files)

Swatches

The Swatches panel allows you not only to change a color in the entire document with just one action, it also gives you a good overview over all the colors used in your design. Try to keep the color scheme tight and easy to implement. Keep Swatches organised by creating folder groups (Strokes, text, links, accent, etc. …) and deleting all unnecessary colors. Swatches panel organization for Dering Hall Swatches are a first step to CSS colors and keeping them organized will ease the transition to the build. CSS color swatches for Dering Hall Note that you need to check the Color Type to be “Global” in the Swatch Options in order to be able to apply color changes to the entire document. Global swatches dialog box

Appearance

With the Appearance panel you can design complex graphic work with just a single object. Example button that is made up of a text object — Changing the text will adjust the button width itself as it is based on the character length. Example of custom text underline — Adding custom effects to the text objects allows you to customize the underline so it will grow with the length of the text. You might need to adjust the position of the text by 0.1 pt until the line becomes pixel perfect. To be able to copy all attributes of an object with one click, make sure to enable Appearance in the Eyedropper Options. Double click the Eyedropper in the tools panel. Eyedropper Options

Tip — Use the Eyedropper tool and hold down the [ shift ] key to select a specific color in a photo

Symbols