Archive: April, 2018

It feels a little strange to refer to Going Offline as “my” book. I may have written most of the words in it, but it was only thanks to the work of others that they ended up being the right words in the right order in the right format.

I’ve included acknowledgements in the book, but I thought it would be good to reproduce them here in the form of hypertext…

Everyone should experience the joy of working with Katel LeDû and Lisa Maria Martin. From the first discussions right up until the final last-minute tweaks, they were unflaggingly fun to collaborate with. Thank you, Katel, for turning my idea into reality. Thank you, Lisa Maria, for turning my initial mush of words into a far more coherent mush of words.

Jake Archibald and Amber Wilson were the best of technical editors. Jake literally wrote the spec on service workers so I knew I could rely on him to let me know whenever I made any factual missteps. Meanwhile Amber kept me on the straight and narrow, letting me know whenever the writing was becoming unclear. Thank you both for being so generous with your time.

Thanks to my fellow Clearlefty Danielle Huntrods for giving me feedback as the book developed.

Finally, I want to express my heartfelt thanks to everyone who has ever taken the time to write on their website about their experiences with service workers. Lyza Gardner, Ire Aderinokun, Una Kravets, Mariko Kosaka, Jason Grigsby, Ethan Marcotte, Mike Riethmuller, and others inspired me with their generosity. Thank you to everyone who’s making the web better through such kind acts of openness. To quote the original motto of the World Wide Web project, let’s share what we know.

The day is upon us! The hour is at hand! The book is well and truly apart!

That’s right—Going Offline is no longer available for pre-order …it’s just plain available. ABookApart.com is where you can place your order now.

If you pre-ordered the book, thank you. An email is winging its way to you with download details for the digital edition. If you ordered the paperback, the Elves Apart are shipping your lovingly crafted book to you right now.

If you didn’t pre-order the book, I grudgingly admire your cautiousness, but don’t you think it’s time to throw caution to the wind and treat yourself?

Seriously though, I think you’ll like this book. And I’m not the only one. Here’s what people are saying:

I know you have a pile of professional books to read, but this one should skip the line.

—Lívia De Paula Labate

It is so good. So, so good. I cannot recommend it enough.

—Sara Soueidan

Super approachable and super easy to follow regardless of your level of knowledge.

—also Sara Soueidan

You’re gonna want to preorder a copy, believe me.

—Mat Marquis

Beautifully explained without being patronising.

—Chris Smith

I very much look forward to hearing what you think of Going Offline. Get your copy today and let me know what you think of it. Like I said, I think you’ll like this book. Apart.

There’s a veritable smörgåsbord of great workshops on the horizon…

Clearleft presents a workshop with Jan Chipchase on field research in London on May 29th, and again on May 30th. The first day is sold out, but there are still tickets available for the second workshop (tickets are £654). If you’ve read Jan’s beautiful Field Study Handbook, then you’ll know what a great opportunity it is to spend a day in his company. But don’t dilly-dally—that second day is likely to sell out too.

This event is for product teams, designers, researchers, insights teams, in agencies, in-house, local and central government. People who are curious about human interaction, and their place in the world.

I’m really excited that Sarah and Val are finally bringing their web animation workshop to Brighton (I’ve been not-so-subtly suggesting that they do this for a while now). It’s a two day workshop on July 9th and 10th. There are still some tickets available, but probably not for much longer (tickets are £639). The workshop is happening at 68 Middle Street, the home of Clearleft.

This workshop will get you up and running with web animation in less time than it would take to read all the tutorials you have bookmarked. Over two days, you’ll go from beginner or novice web animator to having expert level knowledge of the current web animation landscape. You’ll get an in-depth look at animating with CSS, JavaScript, and SVG through hands-on exercises and learn the most efficient workflows for each.

A bit before that, though, there’s a one-off workshop on responsive web typography from Rich on Thursday, June 29th, also at 68 Middle Street. You can expect the same kind of brilliance that he demonstrated in his insta-classic Web Typography book, but delivered by the man himself.

You will learn how to combine centuries-old craft with cutting edge technology, including variable fonts, to design and develop for screens of all shapes and sizes, and provide the best reading experiences for your modern readers.

Whether you’re a designer or a developer, just starting out or seasoned pro, there will be plenty in this workshop to get your teeth stuck into.

Tickets are just £435, and best of all, that includes a ticket to the Ampersand conference the next day (standalone conference tickets are £235 so the workshop/conference combo is a real bargain). This year’s Ampersand is shaping up to be an unmissable event (isn’t it always?), so the workshop is like an added bonus.

See you there!

Apple Inc. is my accidental marketing department.

On April 29th, 2010, Steve Jobs published his infamous Thoughts on Flash. It thrust the thitherto geek phrase “HTML5” into the mainstream press:

HTML5, the new web standard that has been adopted by Apple, Google and many others, lets web developers create advanced graphics, typography, animations and transitions without relying on third party browser plug-ins (like Flash). HTML5 is completely open and controlled by a standards committee, of which Apple is a member.

Five days later, I announced the first title from A Book Apart: HTML5 For Web Designers. The timing was purely coincidental, but it definitely didn’t hurt that book’s circulation.

Fast forward eight years…

On March 29th, 2018, Apple released the latest version of iOS. Unmentioned in the press release, this update added service worker support to Mobile Safari.

Five days later, I announced the 26th title from A Book Apart: Going Offline.

For a while now, quite a few people have cited Apple’s lack of support as a reason why they weren’t investigating service workers. That excuse no longer holds water.

I expect not understanding how progressive web apps are built (service workers, manifests, https) will be a skill deficit in 6-12 months, much like not understanding @RWD has been for a few of years.

— Lívia De Paula Labate (@livlab) April 15, 2018

Once again, the timing is purely coincidental. But it can’t hurt.

The first copies of Going Offline showed up today! This is my own personal stash, sent just a few days before the official shipping date of next Monday.

To say I was excited when I opened the box of books would be an understatement. I was positively squealing with joy!

Others in the Clearleft office shared in my excitement. Everyone did that inevitable thing, where you take a fresh-out-of-the-box book, open it up and press it against your nose. It’s like the bookworm equivalent of sniffing glue.

Actually, it basically is sniffing glue. I mean, that’s what’s in the book binding. But let’s pretend that we’re breathing in the intoxicating aroma of freshly-minted words.

If you’d like to bury your nose in a collection of my words glued together in a beautifully-designed package, you can pre-order the book now and await delivery of the paperback next week.

Two technical editors worked with me on Going Offline.

Jake was one of the tech editors. He literally (co-)wrote the spec on service workers. There ain’t nuthin’ he don’t know about the code involved. His job was to catch any technical inaccuracies in my writing.

The other tech editor was Amber. She’s relatively new to web development. While I was writing the book, she had a solid grounding in HTML and CSS, but not much experience in JavaScript. That made her the perfect archetypal reader. Her job was to point out whenever I wasn’t explaining something clearly enough.

My job was to satisfy both of them. I needed to explain service workers and all its associated APIs. I also needed to make it approachable and understandable to people who haven’t dived deeply into JavaScript.

I deliberately didn’t wait until I was an expert in this topic before writing Going Offline. I knew that the more familiar I became with the ins-and-outs of getting a service worker up and running, the harder it would be for me to remember what it was like not to know that stuff. I figured the best way to avoid the curse of knowledge would be not to accrue too much of it. But then once I started researching and writing, I inevitably became more au fait with the topic. I had to try to battle against that, trying to keep a beginner’s mind.

My watchword was this great piece of advice from Codebar:

Assume that anyone you’re teaching has no knowledge but infinite intelligence.

It was tricky. I’m still not sure if I managed to pull off the balancing act, although early reports are very, very encouraging. You’ll be able to judge for yourself soon enough. The book is shipping at the start of next week. Get your order in now.

My new book, Going Offline, starts with no assumption of JavaScript knowledge, but by the end of the book the reader is armed with enough code to make any website work offline.

I didn’t want to overwhelm the reader with lots of code up front, so I’ve tried to dole it out in manageable chunks. The amount of code ramps up a little bit in each chapter until it peaks in chapter five. After that, it ramps down a bit with each subsequent chapter.

This tweet perfectly encapsulates the audience I had in mind for the book:

I pre-ordered it, and I’m excited about it. I’ve been curious about service workers for a long time, but have been nervous about actually writing one.

— Matthew J Derocher (@mjamesderocher) April 13, 2018

Some people have received advance copies of the PDF, and I’m very happy with the feedback I’m getting.

Seriously applauding the author for explaining how to run a local server in passing, in like 3 lines.

People do not understand how this is a massive barrier to designers who are interested but don’t know how/are new to coding.

— Lívia De Paula Labate (@livlab) April 5, 2018

Here I am all self-congratulatory “yes, yes, I am understanding service workers much now…”

…when I realize this book is also TEACHING ME JAVASCRIPT pic.twitter.com/X6c3O1UiMz

— Lívia De Paula Labate (@livlab) April 6, 2018

How is this happening: it did not tell me upfront I needed to learn it, it did not even tell me it was going to teach me.

It’s just telling a very detailed and compelling story. It happens to be taking place in the browser, and the browser happens to speak JavaScript.

— Lívia De Paula Labate (@livlab) April 6, 2018

Ok, I’m done reading @adactio’s Going Offline book and as my wife would say, it’s the bomb dot com.

You can check the thread above for some impressions, but definitely read it. It is a _very_ gentle introduction to technology we are going to use A LOT.

— Lívia De Paula Labate (@livlab) April 15, 2018

Honestly, that is so, so gratifying to hear!

Words cannot express how delighted I am with Sara’s reaction:

Today I finished reading @adactio ’s new book: Going Offline. As someone who rarely ever reads a book cover to cover, this alone says a lot about how good the book is.

It is *so* good. So, so good. I cannot recommend it enough: abookapart.com/products/going-offline

— Sara Soueidan (@SaraSoueidan) April 13, 2018

I’ll tweet about this in time, but for now: THANK YOU for a WONDERFUL book. I can’t believe how approachable you made SWs with your writing style. I’d recommend it to everyone in a heart beat.

— Sara Soueidan (@SaraSoueidan) April 12, 2018

She’s walking the walk too:

I’m expecting weird or inconsistent behavior / bugs at this point (still need to test!) BUT I can finally say that sarasoueidan.com is now officially a Progressive Web App. 🎉

✅ HTTPS (long ago)
✅ Service Worker (since yesterday)
✅ Manifest (added today)

— Sara Soueidan (@SaraSoueidan) April 13, 2018

That gives me a warm fuzzy glow!

If you’ve been nervous about service workers, but you’ve always wanted to turn your site into a progressive web app, you should get a copy of this book.

A few people on Twitter have asked about the table of contents for my new book about service workers, Going Offline. Fair enough—why not see the menu before placing your order?

1. Introducing Service Workers Does what is says on the tin. It also talks about switching to HTTPS. This chapter is online at A List Apart so you can try before you buy.
2. Preparing for Offline This chapter talks about how you register a service worker, and introduces the concept of promises in JavaScript.
3. Making Fetch Happen Yes, this chapter title is a Mean Girls reference; fight me. The chapter explains fetch events and shows how a service worker can intercept them.
4. Cache Me if you Can This puntastic chapter is all about caching, and shows you can use caches in your service worker script.
5. Service Worker Strategies This is the heart of the book, where you get decide what kind of strategy you want to implement—when to go to the network, when to go a cache, and so on. And as a last resort, you can have a custom offline page.
6. Refining Your Service Worker Building on the previous chapter, this one looks at how you can use different strategies for different kinds of files—images, pages, etc.
7. Tidying Up This chapter is about good service worker hygiene like deleting old caches. It also introduces some more coding style options.
8. The Offline Experience By this chapter, the service worker script is done. But there’s still plenty of room for enhancements on that custom offline page, including the use of offline storage.
9. Progressive Web Apps The book finishes with an explanation of progressive web apps, and a step-by-step guide to creating your own web app manifest.

Sound good? Pre-order your copy of the book now and you’ll have it in your hands ten days from now.

The first ten minutes of my talk at An Event Apart Seattle consisted of me geeking about science fiction. There was a point to it …I think. But I must admit it felt quite self-indulgent to ramble to a captive audience about some of my favourite works of speculative fiction.

The meta-narrative I was driving at was around the perils of prediction (and how that’s not really what science fiction is about). This is something that Arthur C. Clarke pointed out repeatedly, most famously in Hazards of Prophecy. Ironically, I used Clarke’s meisterwork of a collaboration with Stanley Kubrick as a rare example of a predictive piece of sci-fi with a good hit rate.

When I introduced 2001: A Space Odyssey in my talk, I mentioned that it was fifty years old (making it even more of a staggering achievement, considering that humans hadn’t even reached the moon at that point). What I didn’t realise at the time was that it was fifty years old to the day. The film was released in American cinemas on April 2nd, 1968; I was giving my talk on April 2nd, 2018.

Over on Wired.com, Stephen Wolfram has written about his own personal relationship with the film. It’s a wide-ranging piece, covering everything from the typography of 2001 (see also: Typeset In The Future) right through to the nature of intelligence and our place in the universe.

When it comes to the technology depicted on-screen, he makes the same point that I was driving at in my talk—that, despite some successful extrapolations, certain real-world advances were not only unpredicted, but perhaps unpredictable. The mobile phone; the collapse of the soviet union …these are real-world events that are conspicuous by their absence in other great works of sci-fi like William Gibson’s brilliant Neuromancer.

But in his Wired piece, Wolfram also points out some acts of prediction that were so accurate that we don’t even notice them.

Also interesting in 2001 is that the Picturephone is a push-button phone, with exactly the same numeric button layout as today (though without the * and # [“octothorp”]). Push-button phones actually already existed in 1968, although they were not yet widely deployed.

To use the Picturephone in 2001, one inserts a credit card. Credit cards had existed for a while even in 1968, though they were not terribly widely used. The idea of automatically reading credit cards (say, using a magnetic stripe) had actually been developed in 1960, but it didn’t become common until the 1980s.

I’ve watched 2001 many, many, many times and I’m always looking out for details of the world-building …but it never occurred to me that push-button numeric keypads or credit cards were examples of predictive extrapolation. As time goes on, more and more of these little touches will become unnoticeable and unremarkable.

On the space shuttle (or, perhaps better, space plane) the cabin looks very much like a modern airplane—which probably isn’t surprising, because things like Boeing 737s already existed in 1968. But in a correct (at least for now) modern touch, the seat backs have TVs—controlled, of course, by a row of buttons.

Now I want to watch 2001: A Space Odyssey again. If I’m really lucky, I might get to see a 70mm print in a cinema near me this year.

I tried do some live-blogging at An Event Apart Seattle. I surprised myself by managing to do all six talks on the first day. I even managed one or two after that, but that was the limit of my stamina. Torre, on the other hand, managed to live-blog every single talk—amazing!

Some of the talks don’t necessarily lend themselves to note-taking—ya kinda had to be there. But some of the the live-blogging I did ended up being surprisingly coherent.

Anyway, I figured it would be good to recap all the ones I managed to do here in one handy list.

1. Beyond Engagement: the Content Performance Quotient by Jeffrey Zeldman. I think I managed to document the essence of what Jeffrey was getting at: for many sites, engagement isn’t the right metric to measure—the idea of a Content Performance Quotient is one alternative.
2. Digital Marketing Strategies for the Busy “Web Master” by Sarah Parmenter. The structure of Sarah’s talk lent itself well to live-blogging, but I strongly disagreed with one or two of her suggestions (like encouraging people to install the disgusting abomination that is Facebook Pixel).
3. Scenario-Driven Design Systems by Yesenia Perez-Cruz. This one was hard to live-blog because it was so packed with so many priceless knowledge bombs—an absolutely brilliant presentation, right up my alley!
4. Graduating to Grid by Rachel Andrew. The afternoon sessions, with their emphasis on CSS, were definitely tricky to capture. I didn’t even try to catch most of the code, but I think I managed to get down most of Rachel’s points about learning new CSS.
5. Fit For Purpose: Making Sense of the New CSS by Eric Meyer. There was a fair bit of code in this one, and lots of gasp-inducing demos too, so my account probably doesn’t do it justice.
6. Everything You Know About Web Design Just Changed by Jen Simmons. There was no way I could document the demos, but I think I managed to convey the excitement in Jen’s talk.
7. Navigating Team Friction by Lara Hogan. I only managed to do two talks on the second day, but I think they came out the best. Lara’s talk was packed full with great advice, but it was so clearly structured that I think I managed to get most of the main points down.
8. Designing Progressive Web Apps by Jason Grigsby. I had a vested interest in the topic of Jason’s talk so I was scribing like crazy. Apart from a few missing diagrams, I think my notes managed to convey most of Jason’s message.

Of course the one talk I definitely couldn’t live-blog was my own. I’ve documented lists of links relating to the subject matter of my talk, but if you weren’t at An Event Apart Seattle, then the only other chance to see the talk is at An Event Apart Boston in June. That’s the only other time I’m giving it.

I thoroughly enjoyed giving the talk in Seattle, particularly when I treated the audience to a scoop: I announced my new book, Going Offline, during the talk (I had been scheming with Katel at A Book Apart and we co-ordinated the timing to a tee).

An Event Apart Seattle just wrapped. It was a three-day special edition and it was really rather good. Lots of the speakers (myself included) were unveiling brand new talks, so there was a real frisson of excitement.

It was interesting to see repeating, overlapping themes. From a purely technical perspective, three technologies that were front and centre were:

• CSS grid,
• variable fonts, and
• service workers.

From listening to other attendees, the overwhelming message received was “These technologies are here—they’ve arrived.” Now, depending on your mindset, that understanding can be expressed as “Oh shit! These technologies are here!” or “Yay! Finally! These technologies are here!”

My reaction is very firmly the latter. That in itself is an interesting data-point, because (as discussed in my talk) my reaction towards new technological advances isn’t always one of excitement—quite often it’s one of apprehension, even fear.

I’ve been trying to self-analyse to figure out which kinds of technologies trigger which kind of reaction. I don’t have any firm answers yet, but it’s interesting to note that the three technologies mentioned above (CSS grid, variable fonts, and service workers) are all additions to the core languages of the web—the materials we use to build the web. Frameworks, libraries, build tools, and other such technologies are more like tools than materials. I tend to get less excited about advances in those areas. Sometimes advances in those areas not only fail to trigger excitement, they make me feel overwhelmed and worried about falling behind.

Since figuring out this split between materials and tools, it has helped me come to terms with my gut emotional reaction to the latest technological advances on the web. I think it’s okay that I don’t get excited about everything. And given the choice, I think maybe it’s healthier to be more excited about advances in the materials—HTML, CSS, and JavaScript APIs—than advances in tooling …although, it is, of course, perfectly possible to get equally excited about both (that’s just not something I seem to be able to do).

Another split I’ve noticed is between technologies that directly benefit users, and technologies that directly benefit developers. I think there was a bit of a meta-thread running through the talks at An Event Apart about CSS grid, variable fonts, and service workers: all of those advances allow us developers to accomplish more with less. They’re good for performance, in other words. I get much more nervous about CSS frameworks and JavaScript libraries that allow us to accomplish more, but require the user to download the framework or library first. It feels different when something is baked into browsers—support for CSS features, or JavaScript APIs. Then it feels like much more of a win-win situation for users and developers. If anything, the onus is on developers to take the time and do the work and get to grips with these browser-native technologies. I’m okay with that.

Anyway, all of this helps me understand my feelings at the end of An Event Apart Seattle. I’m fired up and eager to make something with CSS grid, variable fonts, and—of course—service workers.

It’s the afternoon of the second day of An Event Apart Seattle and Jason is talking about Designing Progressive Web Apps. These are my notes…

Jason wants to talk about a situation you might find yourself in. You’re in a room and in walks the boss, who says “We need a progressive web app.” Now everyone is asking themselves “What is a progressive web app?” Or maybe “How does the CEO even know about progressive web apps?”

Well, trade publications are covering progressive web apps. Lots of stats and case studies are being published. When executives see this kind of information, they don’t want to get left out. Jason keeps track of this stuff at PWA Stats.

Answering the question “What is a progressive web app?” is harder than it should be. The phrase was coined by Frances Berriman and Alex Russell. They listed ten characteristics that defined progressive web apps. The “linkable” and “progressive” characteristics are the really interesting and new characteristics. We’ve had technologies before (like Adobe Air) that tried to make app-like experiences, but they weren’t really of the web. Progressive web apps are different.

Despite this list of ten characteristics, even people who are shipping progressive web apps find it hard to define the damn thing. The definition on Google’s developer site keeps changing. They reduced the characteristics from ten to six. Then it became “reliable, fast, and engaging.” What does that mean? Craigslist is reliable, fast, and engaging—does that mean it’s a progressive web app.

The technical definition is useful (kudos to me, says Jason):

1. HTTPS
2. service worker
3. manifest file

If you don’t have those three things, it’s not a progressive web app.

We should definitely use HTTPS if we want make life harder for the NSA. Also browser makers are making APIs available only under HTTPS. By July, Chrome will mark HTTP sites as insecure. Every site should be under HTTPS.

Service workers are where the power is. They act as a proxy. They allow us to say what we want to cache, what we want to go out to the network for; things that native apps have been able to do for a while. With progressive web apps we can cache the app shell and go to the network for content. Service workers can provide a real performance boost.

A manifest file is simply a JSON file. It’s short and clear. It lists information about the app: icons, colours, etc.

Once you provide those three things, you get benefits. Chrome and Opera on Android will prompt to add the app to the home screen.

So that’s what’s required for progressive web apps, but there’s more to them than that (in the same way there’s more to responsive web design than the three requirements in the baseline definition).

The hype around progressive web apps can be a bit of a turn-off. It certainly was for Jason. When he investigated the technologies, he wondered “What’s the big deal?” But then he was on a panel at a marketing conference, and everyone was talking about progressive web apps. People’s expectations of what you could do on the web really hadn’t caught up with what we can do now, and the phrase “progressive web app” gives us a way to encapsulate that. As Frances says, the name isn’t for us; it’s for our boss or marketer.

Jason references my post about using the right language for the right audience.

Should you have a progressive web app? Well, if you have a website, then the answer is almost certainly “Yes!” If you make money from that website, the answer is definitely “Yes!”

But there’s a lot of FUD around progressive web apps. It brings up the tired native vs. web battle. Remember though that not 100% of your users or customers have your app installed. And it’s getting harder to convince people to install apps. The average number of apps installed per month is zero. But your website is often a customer’s first interaction with your company. A better web experience can only benefit you.

Often, people say “The web can’t do…” but a lot of the time that information is out of date. There are articles out there with outdated information. One article said that progressive web apps couldn’t access the camera, location, or the fingerprint sensor. Yet look at Instagram’s progressive web app: it accesses the camera. And just about every website wants access to your location these days. And Jason knows you can use your fingerprint to buy things on the web because he accidentally bought socks when he was trying to take a screenshot of the J.Crew website on his iPhone. So the author of that article was just plain wrong. The web can do much more than we think it can.

Another common objection is “iOS doesn’t support progressive web apps”. Well, as of last week that is no longer true. But even when that was still true, people who had implemented progressive web apps were seeing increased conversion even on iOS. That’s probably because, if you’ve got the mindset for building a progressive web app, you’re thinking deeply about performance. In many ways, progressive web apps are a trojan horse for performance.

These are the things that people think about when it comes to progressive web apps:

1. Making it feel like a app
2. Installation and discovery
3. Offline mode
4. Push notifications
5. Beyond progressive web app

Making it feel like a app

What is an app anyway? Nobody can define it. Once again, Jason references my posts on this topic (how “app” is like “obscenity” or “brunch”).

A lot of people think that “app-like” means making it look native. But that’s a trap. Which operating system will you choose to emulate? Also, those design systems change over time. You should define your own design. Make it an exceptional experience regardless of OS.

It makes more sense to talk in terms of goals…

Goal: a more immersive experience.

Possible solution: removing the browser chrome and going fullscreen?

You can define this in the manifest file. But as you remove the browser chrome, you start to lose things that people rely on: the back button, the address bar. Now you have to provide that functionality. If you move to a fullscreen application you need to implement sharing, printing, and the back button (and managing browser history is not simple). Remember that not every customer will add your progressive web app to their home screen. Some will have browser chrome; some won’t.

Goal: a fast fluid experience.

Possible solution: use an app shell model.

You want smooth pages that don’t jump around as the content loads in. The app shell makes things seem faster because something is available instantly—it’s perceived performance. Basically you’re building a single page application. That’s a major transition. But thankfully, you don’t have to do it! Progressive web apps don’t have to be single page apps.

Goal: an app with personality.

Possible solution: Animated transitions and other bits of UI polish.

Really, it’s all about delight.

Installation and discovery

In your manifest file you can declare a background colour for the startup screen. You can also declare a theme colour—it’s like you’re skinning the browser chrome.

You can examine the manifest files for a site in Chrome’s dev tools.

Once you’ve got a progressive web app, some mobile browsers will start prompting users to add it to their home screen. Firefox on Android displays a little explainer the first time you visit a progressive web app. Chrome and Opera have add-to-homescreen banners which are a bit more intrusive. The question of when they show up keeps changing. They use a heuristic to decide this. The heuristic has been changed a few times already. One thing you should consider is suppressing the banner until it’s an optimal time. Flipkart do this: they only allow it on the order confirmation page—the act of buying something makes it really likely that someone will add the progressive web app to their home screen.

What about app stores? We don’t need them for progressive web apps—they’re on the web. But Microsoft is going to start adding progressive web apps to their app store. They’ve built a site called PWA Builder to help you with your progressive web app.

On the Android side, there’s Trusted Web Activity which is kind of like PhoneGap—it allows you to get a progressive web app into the Android app store.

But remember, your progressive web app is your website so all the normal web marketing still applies.

Offline mode

A lot of organisations say they have no need for offline functionality. But everyone has a need for some offline capability. At the very least, you can provide a fallback page, like Trivago’s offline maze game.

You can cache content that has been recently viewed. This is what Jason does on the Cloud Four site. They didn’t want to make any assumptions about what people might want, so they only cache pages as people browse around the site.

If you display cached information, you might want to display how stale the information is e.g. for currency exchange rates.

Another option is to let people choose what they want to keep offline. The Financial Times does this. They also pre-cache the daily edition.

If you have an interactive application, you could queue tasks and then carry them out when there’s a connection.

Or, like Slack does, don’t let people write something if they’re offline. That’s better than letting someone write something and then losing it.

Workbox is a handy library for providing offline functionality.

Push notifications

The JavaScript for push notifications is relatively easy, says Jason. It’s the back-end stuff that’s hard. That’s because successful push notifications are personalised. But to do that means doing a lot more work on the back end. How do you integrate with preferences? Which events trigger notifications?

There are third-party push notification services that take care of a lot of this for you. Jason has used OneSignal.

Remember that people are really annoyed by push notifications. Don’t ask for permission immediately. Don’t ask someone to marry you on a first date. On Cloud Four’s blog, they only prompt after the user has read an article.

Twitter’s progressive web app does this really well. It’s so important that you do this well: if a user says “no” to your push notification permission request, you will never be able to ask them again. There used to be three options on Chrome: allow, block, or close. Now there are just two: allow or block.

Beyond progressive web apps

There are a lot of APIs that aren’t technically part of progressive web apps but get bundled in with them. Like the Credentials Management API or the Payment Request API (which is converging with ApplePay).

So how should you plan your progressive web app launch? Remember it’s progressive. You can keep adding features. Each step along the way, you’re providing value to people.

Start with some planning and definition. Get everyone in a room and get a common definition of what the ideal progressive web app would look like. Remember there’s a continuum of features for all five of the things that Jason has outlined here.

Benchmark your existing site. It will help you later on.

Assess your current website. Is the site reasonably fast? Is it responsive? Fix those usability issues first.

Next, do the baseline. Switch to HTTPS. Add a manifest file. Add a service worker. Apart from the HTTPS switch, this can all be done on the front end. Don’t wait for all three: ship each one when they’re ready.

Then do front-end additions: pre-caching pages, for example.

Finally, there are the larger initiatives (with more complex APIs). This is where your initial benchmarking really pays off. You can demonstrate the value of what you’re proposing.

Every step on the path to a progressive web app makes sense on its own. Figure out where you want to go and start that journey.

See also:

• Torre’s notes from this talk.

It’s day two of An Event Apart Seattle (Special Edition). Lara is here to tell us about Navigating Team Friction. These are my notes…

Lara started as a developer, and then moved into management. Now she consults with other organisations. So she’s worked with teams of all sizes, and her conclusion is that humans are amazing. She has seen teams bring a site down; she has seen teams ship amazing features; she has seen teams fall apart because they had to move desks. But it’s magical that people can come together and build something.

Bruce Tuckman carried out research into the theory of group dynamics. He published stages of group development. The four common stages are:

1. Forming. The group is coming together. There is excitement.
2. Storming. This is when we start to see some friction. This is necessary.
3. Norming. Things start to iron themselves out.
4. Performing. Now you’re in the flow state and you’re shipping.

So if your team is storming (experiencing friction), that’s absolutely normal. It might be because of disagreement about processes. But you need to move past the friction. Team friction impacts your co-workers, company, and users.

An example. Two engineers passively-aggressively commenting each other’s code reviews; they feign surprise at the other’s technology choices; one rewrites the others code; one ships to production with code review; a senior team member or manager has to step in. But it costs a surprising amount of time and energy before a manager even notices to step in.

Brains

The Hulk gets angry. This is human. We transform into different versions of ourselves when we are overcome by our emotions.

Lara has learned a lot about management by reading about how our brains work. We have a rational part of our brain, the pre-frontal cortex. It’s very different to our amygdala, a much more primal part of our brain. It categorises input into either threat or reward. If a threat is dangerous enough, the amygdala takes over. The pre-frontal cortex is too slow to handle dangerous situations. So when you have a Hulk moment, that was probably an amygdala hijack.

We have six core needs that are open to being threatened (leading to an amygdala hijacking):

1. Belonging. Community, connection; the need to belong to a tribe. From an evolutionary perspective, this makes sense—we are social animals.
2. Improvement/Progress. Progress towards purpose, improving the lives of others. We need to feel that we do matters, and that we are learning.
3. Choice. Flexibility, autonomy, decision-making. The power to make decisions over your own work.
4. Equality/Fairness. Access to resources and information; equal reciprocity. We have an inherent desire for fairness.
5. Predictability. Resources, time, direction future challenges. We don’t like too many surprises …but we don’t like too much routine either. We want a balance.
6. Significance. Status, visibility, recognition. We want to feel important. Being assigned to a project you think is useless feels awful.

Those core needs are B.I.C.E.P.S. Thinking back to your own Hulk moment, which of those needs was threatened?

We value those needs differently. Knowing your core needs is valuable.

Desk Moves

Lara has seen the largest displays of human emotion during something as small as moving desks. When you’re asked to move your desk, your core need of “Belonging” may be threatened. Or it may be a surprise that disrupts the core need of “Improvement/Progress.” If a desk move is dictated to you, it feels like “Choice” is threatened. The move may feel like it favours some people over others, threatening “Equality/Fairness.” The “Predictability” core need may be threatened by an unexpected desk move. If the desk move feels like a demotion, your core need of “Significance” will be threatened.

We are not mind readers, so we can’t see when someone’s amygdala takes over. But we can look out for the signs. Forms of resistance can be interpreted as data. The most common responses when a threat is detected are:

1. Doubt. People double-down on the status quo; they question the decision.
2. Avoidance. Avoiding the problem; too busy to help with the situation.
3. Fighting. People create arguments against the decision. They’ll use any logic they can. Or they simply refuse.
4. Bonding. Finding someone else who is also threatened and grouping together.
5. Escape-route. Avoiding the threat by leaving the company.

All of these signals are data. Rather than getting frustrated with these behaviours, use them as valuable data. Try not to feel threatened yourself by any of these behaviours.

Open questions are powerful tool in your toolbox. Asked from a place of genuine honesty and curiosity, open questions help people feel less threatened. Closed questions are questions that can be answered with “yes” or “no”. When you spot resistance, get some one-on-one time and try to ask open questions:

• What do you think folks are liking or disliking about this so far?
• I wanted to get your take on X. What might go wrong? What do you think might be good about it?
• What feels most upsetting about this?

You can use open questions like these to map resistance to threatened core needs. Then you can address those core needs.

This is a good time to loop in your manager. It can be very helpful to bounce your data off someone else and get their help. De-escalating resistance is a team effort.

Communication ✨

Listen with compassion, kindness, and awareness.

• Reflect on the dynamics in the room. Maybe somebody thinks a topic is very important to them. Be aware of your medium. Your body language; your tone of voice; being efficient with words could be interpreted as a threat. Consider the room’s power dynamics. Be aware of how influential your words could be. Is this person in a position to take the action I’m suggesting?
• Elevate the conversation. Meet transparency with responsibility.
• Assume best intentions. Remember the prime directive. Practice empathy. Ask yourself what else is going on for this person in their life.
• Listen to learn. Stay genuinely curious. This is really hard. Remember your goal is to understand, not make judgement. Prepare to be surprised when you walk into a room. Operate under the assumption that you don’t have the whole story. Be willing to have your mind changed …no, be excited to have your mind changed!

This tips are part of mindful communication. amy.tech has some great advice for mindful communication in code reviews.

Feedback

Mindful communication won’t solve all your problems. There are times when you’ll have to give actionable feedback. The problem is that humans are bad at giving feedback, and we’re really bad at receiving feedback. We actively avoid feedback. Sometimes we try to give constructive feedback in a compliment sandwich—don’t do that.

We can get better at giving and receiving feedback.

Ever had someone say, “Hey, you’re doing a great job!” It feels good for a few minutes, but what we crave is feedback that addresses our core needs.

	General	Specific and Actionable
Positive Feedback	♥	♦
Negative Feedback	♣	♠

The feedback equation starts with an observation (“You’re emails are often short”)—it’s not how you feel about the behaviour. Next, describe the impact of the behaviour (“The terseness of your emails makes me confused”). Then pose a question or request (“Can you explain why you write your emails that way?”).

observation + impact + question/request

Ask people about their preferred feedback medium. Some people prefer to receive feedback right away. Others prefer to digest it. Ask people if it’s a good time to give them feedback. Pro tip: when you give feedback, ask people how they’d like to receive feedback in the future.

Prepare your brain to receive feedback. It takes six seconds for your amygdala to chill out. Take six seconds before responding. If you can’t de-escalate your amygdala, ask the person giving feedback to come back later.

Think about one piece of feedback you’ll ask for back at work. Write it down. When your back at work, ask about it.

You’ll start to notice when your amygdala or pre-frontal cortex is taking over.

Prevention

Talking one-on-one is the best way to avoid team friction.

Retrospectives are a great way of normalising of talking about Hard Things and team friction.

It can be helpful to have a living document that states team processes and expectations (how code reviews are done; how much time is expected for mentoring). Having it written down makes it a North star you can reference.

Mapping out roles and responsibilities is helpful. There will be overlaps in that Venn diagram. The edges will be fuzzy.

What if you disagree with what management says? The absence of trust is at the centre of most friction.

	Disgree	Agree
Commit	Mature and Transparent	Easiest
Don’t Commit	Acceptable but Tough	Bad Things

Practice finding other ways to address B.I.C.E.P.S. You might not to be able to fix the problem directly—the desk move still has to happen.

But no matter how empathic or mindful you are, sometimes it will be necessary to bring in leadership or HR. Loop them in. Restate the observation + impact. State what’s been tried, and what you think could help now. Throughout this process, take care of yourself.

Remember, storming is natural. You are now well-equipped to weather that storm.

See also:

• Torre’s notes on this talk
• Luke’s note on this talk

I decided that I wanted a new mug.

I already have one very nice mug. It was sent to me by A Book Apart because I wrote the book HTML5 For Web Designers back in 2010. If I wanted another nice mug, it was clear what I had to do. I had to write another book.

So I’ve written a book. It’s called Going Offline and it’s available to pre-order now. It will start shipping a few weeks from now.

I think you will enjoy this book. Here’s why…

You have a website or you make websites for other people. You’re comfortable with HTML and CSS, but maybe you’re a bit apprehensive about JavaScript (like me). You keep hearing lots of talk about service workers and progressive web apps. You’re intrigued. But you’re put off by the resources out there. They all assume a certain level of JavaScript knowledge. What you need is a step-by-step guide to help you make your website work offline …a guide that won’t assume you’re already comfortable with code.

Does that sound like you? Then Going Offline is for you.

Thinking about it, a more accurate title for the book would’ve been Service Workers For Web Designers …although even that would assume too much existing knowledge (like, what the heck a service worker is in the first place).

Pre-order Going Offline today and it will be in your hands in just a few weeks.

Alas, I have no idea when my new mug will be ready.

Alright! It’s time for the final talk of the day at An Event Apart Seattle (Special Edition). Jen is wrapping up a CSStastic afternoon with her talk Everything You Know About Web Design Just Changed. These are my notes…

Ready for another hour of layout in CSS? Well, Jen will be showing no code in this talk. She’s actually nervous about this particular talk. Is she really planning to say “Everything about web design just changed”? That sounds so clickbaity! But she really believes we’re at an inflection point. This may be the sixth such point in the history of the web. One of those points where everything changes and we swap out our techniques.

For the last few years, we’ve been saying that everything changed when mobile came along. But actually, the real fight has been going on for longer than that. It’s the battle between wanting art and dealing with how the web works.

There’s a seminal book called Creating Killer Websites by David Siegel from 1996. In it, he describes the first time he saw the same site in two different browsers. His reaction was panic. The web gave control to the user. David Siegel wanted more control. And that’s how we got spacer gifs and tables for layout.

What are the five major changes in the history of web design?

1. Simple HTML. There was only one kind of layout: flow layout. There’s no CSS, but the browser is still thinking of everything has having a box. Text takes up as much space as it needs. Images take up as much space as their size. This is flow. There wasn’t much you could do until tables came along. They were created for tabular content but abused for layouts. The “We need art!” crowd used what was available to them at the time. Lots of slicing and dicing.
2. Flash. It was hard to get HTML tables to work in multiple browsers. Flash seemed like an amazing chance to start over. And we could do things that were previously only possible in CD-ROMs. As a designer, you take an element and place it where you want to go on the stage (the UI tradition that goes all the way back to Xerox PARC). We made some crazy sites, explored a lot of possibilities, and got a lot of control. But the downside was the lack of accessibility. We went back to getting to grips with the web as its own medium. Jeffrey’s book, Designing With Web Standards, was a rallying cry to allow HTML to return to doing what it was meant to.
3. Fluid Layouts. This was a return to the way the web always behaved—content takes up as much room as it needs to. But this time there’s a certain amount of control over how things are laid out. Still, we pretended that nobody has screens smaller than 640 pixels or bigger than 1024 pixels. We still live with the idea of fluid columns today.
4. Fixed-Width Layouts. The “We need art!” crowd wanted more control than fluid layouts offered. We pretended that everyone’s screen was at least 640 pixels, or later 800 pixels, or later 1024 pixels.
5. Responsive Web Design. Unveiled by Ethan at An Event Apart Seattle in 2011: flexible grid; flexible images; media queries. It’s a return to fluid layouts, but the addition of media queries gives us more control. The idea of fluid image was a bit radical. Up until that point, we thought of images as always being their intrinsic size. But something Ethan said that day was “It’s not just about layout.” And it’s true. For the last eight years, it’s been about more than layout. You set out to redesign your website and end up redesigning your whole business. Responsive web design is, frankly, what the web is now.

But let’s talk about layout. What’s next? Intrinsic Web Design.

Why a new name? Why bother? Well, it was helpful to debate fluid vs. fixed, or table-based layouts: having words really helps. Over the past few years, Jen has needed a term for “responsive web design +”.

Responsive web design has flexible images. Intrinsic web design has flexible images …or fixed images. Whichever you want.

Responsive web design has a fluid columns. Intrinsic web design has fluid columns and rows.

Responsive web design uses media queries. Intrinsic web design doesn’t necessarily need them.

The name comes from words that have been floating in the ether. In Rachel’s talk, the words “sizing” and “intrinsic” came up a lot. This is about the nature of the web.

Let’s look at images specifically. Before responsive web design, images overflow their container if they are bigger than the container. Fluid images (as used in responsive web design) shrink and grow depending on the size of their container. You can also make images fluid in a vertical direction. If we make the image fluid vertically and horizontally, the image looks distorted. But now if we use object-fit: cover we can specify how we want the image to react.

Fixed or fluid? With grid layout, you can mix fixed and fluid. You can make a layout fluid until it hits a minimum size, at which point it stays fixed.

There are four stages of squishiness:

1. fixed
2. fr units (fluid)
3. minmax()(fluid until fixed)
4. auto (a return to flow)

That’s a powerful set of tools that may take us years to explore.

We can do truly two-dimensional layouts: rows and columns. Every one of those four stages of squishiness works for rows as well as columns. This means we can create intentional white space. Jen made a video about this and got the response that this was always possible, but it’s different now: it’s more intentional. You can set heights and widths.

We can have nested contexts now:

1. Flow
2. Flexbox (formatting context)
3. Grid (formatting context)
4. Multicolumn (formatting context)

Floats never created a new formatting context, which is why used clearfix. Now we don’t need hacks. You can mix and match, choosing the best layout tool for the job at hand. You can have a grid layout that has flexbox items within it. The Firefox dev tools allow you to inspect each layout type separately. You can use the nightly build to get the latest tools.

Then we’ve got ways to contract and expand content. We have more options now. For a while, we’ve had the option to squish and grow (e.g. with fluid images). Another is wrapping and reflowing (like we can do with text). Another option now is to add and remove whitespace. Maybe the content size doesn’t need to change; the whitespace shrinks and grows instead. An even more radical option now is to have things slide behind one another and overlap deliberately.

Sometimes you don’t even need to use media queries (meaning we’ve effectively got container queries). But we can still use media queries, as needed, to tweak the details.

So intrinsic web design is:

1. Fluid and fixed
2. Stages of squishiness
3. Truly two-dimensional layouts
4. Nested contexts
5. Expand and contract content
6. Media queries, as needed

We have a whole new sandbox that we can play in. You can find examples at labs.jensimmons.com.

See also:

• Torre’s notes on this talk.

Time for even more CSS goodness at An Event Apart Seattle (Special Edition). Eric’s talk is called Fit For Purpose: Making Sense of the New CSS. Here are my notes…

Eric isn’t going to dive quite as deeply as Rachel, but he is going to share some patterns he has used.

Feature queries

First up: feature queries! Or @supports, if you prefer. You can ask a browser “do you support this feature?” If you haven’t used feature queries, you might be wondering why you have to say the property and the value. Well, think about it. If you asked a browser “do you support display?”, it’s not very useful. So you have to say “do you support display: grid?”

Here’s a nice pattern from Lea Verou for detecting support for custom properties:

@supports (--css: variables)

Here’s a gotcha:

@supports (clip-path: polygon())

That won’t work because polygon() is invalid. This will work:

@supports (clip-path: polygon(0 0))

So to use feature queries, you need to understand valid values for properties.

You can chain feature queries together, or just pick the least-supported thing you’re testing for and test just for that.

Here’s a pattern Eric used when he only wanted to make text sideways, but only if grid is supported:

@supports (display: grid) {
    ...
    @supports (writing-mode: sideways-lr) {
        ...
    }
}

That’s functionally equivalent to:

@supports (display: grid) {
    ...
}
@supports (display:grid) and (writing-mode: sideways-lr) {
    ...
}

Choose whichever pattern makes sense to you. More to the point, choose the pattern that makes sense to your future self when you revisit your code.

Feature queries need to work together with media queries. Sometimes there are effects that you only want to apply on larger viewports. Do you put your feature queries inside your media queries? Or do you put your media queries inside your feature queries?

• MOSS: Media Outside Support Statements
• MISO: Media Inside Supports Object

Use MOSS when you have more media switches than support blocks. Use MISO when you only have a few breakpoints but lots of feature queries.

That’s one idea that Eric has. It’ll be interesting to see how this develops.

And remember, CSS is still CSS. Sometimes you don’t need a feature query at all. You could just use hanging-punctuation without testing for it. Browsers that don’t understand it will just ignore it. CSS has implicit feature queries built in. You don’t have to put your grid layout in a feature query, but you might want to put grid-specific margins and widths inside a feature query for display: grid.

Feature queries really help us get from now to the future.

Flexbox

Let’s move on to flexbox. Flexbox is great for things in a line.

On the An Event Apart site, the profile pictures have social media icons lined up at the bottom. Sometimes there are just a few. Sometimes there are a lot more. This is using flexbox. Why? Because it’s cool. Also, because it’s flexbox, you can create rules about how the icons should behave if one of the icons is taller than the others. (It’s gotten to the point that Eric has forgotten that vertically-centring things in CSS is supposed to be hard. The jokes aren’t funny any more.) Also, what if there’s no photo? Using flexbox, you can say “if there’s no photo, change the direction of the icons to be vertical.” Once again, it’s all about writing less CSS.

Also, note that the profile picture is being floated. That’s the right tool for the job. It feels almost transgressive to use float for exactly the purpose for which it was intended.

On the An Event Apart site, the header is currently using absolute positioning to pull the navigation from the bottom of the page source to the top of the viewport. But now you get overlap at some screen sizes. Flexbox would make it much more robust. (Eric uses the flexbox inspector in Firefox Nightly to demonstrate.)

With flexbox, what works horizontally works vertically. Flexbox allows you to align things, as long as you’re aligning in one direction. Flexbox makes things springy. Everything’s related and pushing against each other in a way that makes sense for this medium. It’s intuitive, even though it takes a bit of getting used to …because we’ve picked up some bad habits. To quote Yoda, “You must unlearn what you have learned.” A lot of the barrier is getting over what we’ve internalised. Eric envies the people starting out now. They get to start fresh. It’s like when people who never had to table layouts see code from that time period: it (quite rightly) doesn’t make any sense. That’s what it’s going to be like when people starting out today see the float-based layouts from Bootstrap and the like.

Grid

That’s going to happen with grid too. We must unlearn what we have learned from twenty years of floats and positioning. What makes it worth is:

1. Flexbox and grid are pretty easy to get used to, and
2. It’s amazing what you can do!

Eric quotes from an article called How We adopted CSS Grid at Scale:

…we agreed to use CSS Grid at the layout level and Flexbox at the component level (arranging child items of components). Although there’s some overlap and in some cases both could be used interchangeably, abiding by this rule helped us avoid any confusion in gray areas.

Don’t be afraid to set these kind of arbitrary limits that aren’t technological, but are necessary for the team to work well together.

Eric hacked his Wordpress admin interface to use grid instead of floats for an activity component (a list of dates and titles). He initially turned each list item into a separate grid. The overall list didn’t look right. What Eric really needed was a subgrid capability, so that the mini grids (the list items) would relate to one another within the larger grid (the list). But subgrid doesn’t exist yet.

In this case, there’s a way to fake it using display: contents. Eric made the list a grid and used display: contents on the list items. It’s as though you’re saying that the contents of the li are really the contents of the ul. That works in this particular case.

The feature queries for that looked like:

@supports (display: grid) {
    ...
    @supports (display: contents) {
        ...
    }
}

Eric is also using the grid “ASCII art” (named areas) technique on his personal site. This works independent of source order. For that reason, make sure your source order makes sense.

Using media queries, Eric defines entirely different layouts simply by using different ASCII art. He’s switching templates.

For a proposed redesign of the An Event Apart site, Eric used CSS grid as a prototyping tool. He took a PDF, sliced it up, exported JPGs, and then used grid to lay out those images in a flexible grid. Rapid prototyping! The Firefox grid inspector really helps here. In less than an hour, he had a working layout. He could test whether the layout was sensible and robust. Then he swapped out the sliced images for real content. That took maybe another hour (mostly because it was faster to re-type the text than try to copy and paste from a PDF). CSS makes it that damn easy now!

So even if you’re not going to put things like grid into production, they can still be enormously useful as design tools (and you’re getting to grips with this new stuff).

See also:

• Torre’s notes from this talk.

It’s time for a gridtastic afternoon at An Event Apart Seattle (Special Edition). Kicking it off is Rachel with her talk Graduating to Grid. Here are my notes…

When Rachel spoke at An Event Apart last year, grid layout was still on the horizon. Then in March 2017, Chrome, Safari, and Firefox all shipped within weeks of one another. Then at An Event Apart Seattle last year, Edge announced that they were shipping too. So within a very short time, CSS grid got really good browser support.

What’s it like being in the middle of a launch of a big new CSS feature? Very quickly, we had 90% browser support. Suddenly it wasn’t just Jen and Rachel talking about grid—everyone was talking about grid. It involved a lot of email. Alas, Rachel couldn’t answer all those questions (she has a job, after all) but she did start collecting those questions. She found that people were excited, confused, and scared. So much to learn!

Rachel put out a survey and asked “How do you feel when a new CSS feature is announced?” Responses included “Oh, no!” and “Tired.” Some of us in the audience can, no doubt, identify with that.

People started emailing Rachel asking for her blessing. Were they doing the right thing? But Rachel can’t tell you what to do. She’s not in your situation. But she can help you develop the skills to make those decisions yourself. She can offer you confidence. She wants everyone to be the amazing CSS layout person on their team. That’s what this talk is for.

First of all, you need to understand CSS. There’s no shortcut here. But that doesn’t mean you need to learn every single property and value by heart. That’s not what CSS is about. That’s like learning phrases in a foreign language—knowing the words for “coffee” or “beer” doesn’t help you grok the language. It’s the same for CSS. There are some core ideas that help CSS layout make sense. You probably have an understanding of them already, but maybe you don’t have the right words for them.

At the heart of this is the first word in the language we’re talking about: cascading. You need to understand the (much-maligned) cascade. And you can’t talk about the cascade without encountering specificity. The MDN page on the cascade and specificity is a good explanation.

Then there’s dimensions. In any language with a horizontal writing mode, the inline dimension runs left to right or right to left, and the block dimension runs down the page from top to bottom. In vertical writing mode, it’s different.

In grid, we talk about the inline axis as rows, and the block axis as columns.

Sizing matters. It has become obvious that no one understands how big anything is. We’re living in a world where you don’t control the size of things.

In older float-based systems, everything is given a percentage. As long as our percentages don’t exceed 100%, everything’s okay. And we’ve got wrappers to keep things within rows. We end up with something that looks like a grid. It involves us doing a lot of calculating. You can do this with flexbox too, but it’s much the same—figuring out percentages. These past layout methods create the appearance of a grid by lining things up.

With the new layout, we don’t have to do the calculations. We need to understand CSS intrinsic sizing and extrinsic sizing (say that ten times fast).

With a regular div, you’ve got a block-level element. The box will stretch as far as it will go, to the viewport width by default. You can specify an intrinsic size by saying, say, width: 500px. That makes 500 pixels wide in the inline direction.

However the content of the box has a size. The maximum size of a string of text is how much space it would take up if it never wrapped. The minimum size is the space it would take up if everything wrapped. Now in CSS we can say width: min-content or width: max-content.

Let’s say our div was in a container that had a width of 20em. The max-content of the contents of the div (which is more than 20 ems) is wider than the width of the div and so the content overflows.

In flexbox, let’s say we’ve got a flex container with four items and we’ve declared that each one should take up max-content. Each item takes up as much space as it needs. Each one uses max-content as its starting point, and then width is removed to make all four items fit in the container. flex: 1 1 auto will distribute space according to the content. flex: 1 1 0 will distribute the space equally (you’re effectively saying that the max-content is zero).

It’s similar with grid layout but with slight differences. Flexbox is starting from max-content and taking space away. Grid is starting from min-content and adding space.

Those content keywords aren’t well supported outside grid layout. They’re safe to use for track sizing.

grid-template-columns: repeat(4, min-content);

That will make everything squished down.

grid-template-columns: repeat(4, max-content);

That one will probably cause an overflow.

grid-template-columns: repeat(4, fit-content(15ch));

That one will make 15 characters an upper limit!

You can make a grid layout using fr units and grid-gap. No need for figuring out percentages. You can use percentages if you like though. You can use percentages for gaps, for example.

Remember, you don’t have to stick with a twelve column grid. Slack started with that because it was what they were used to. Then they realised they didn’t have to.

Imagine a media object pattern, where you don’t want the image to ever be bigger than 300 pixels.

grid-template-columns: fit-content(300px) 1fr

As Rachel creates more layouts with grid, she finds she’s using less and less CSS, which is great. The browser is doing the work. That matches the reality of the situation where you don’t know the size of your content in advance—long titles, and so on.

This is not exciting. But it will let you do exciting things. Learning about sizing is the CSS equivalent of eating your vegetables or getting enough sleep.

“Why is all of this so complicated?”, is something Rachel hears a lot. It’s like all software. People want all the features, and they also want it to be easy to use.

More capability and flexibility means more to learn. But it’s worth remembering that you don’t have to learn everything at once. Once you switch your mindset to the grid way of thinking (where you define things on the layout) it gets easier. It’s all just lines.

If you name your grid lines, e.g. “content-start” and “content-end”, you automatically get a named area called “content.”

It works the other way around too. If you create an area called “content”, you automatically get lines named “content-start” and “content-end”.

You don’t have to use any of that. You have real choice for the first time.

A lot of the assumptions we’ve had in the past about what isn’t possible don’t hold up any more. You can now ask, “what’s the best way to do this?” instead of asking “which patterns does our framework give us?”

Well, that’s fine, you might be thinking, for shiny new things. But what if you’re building things that have an old codebase? Rachel asked “How old is the oldest CSS in your project?” in her survey. People have code that’s over ten years old. But old CSS in your codebase doesn’t mean you can’t use new CSS. You can design components or a section of a page using a new technique. This is where understanding CSS comes in really useful—the cascade, especially.

Rachel shows an example of a page made with Bootstrap. She drops a grid component into that layout. It works fine. Nothing explodes. They coexist side by side.

You can create systems with new layout. You’ve got a lot of choice. You can start to make decisions about which layout method works best for different situation. Other layout methods still exist. Don’t try to recreate floats within grid—just use floats. It’s like when we moved from tables for layout, some people went too far and stopped using tables for tabular data. If you need content to flow around an element, float that element. Likewise, if you’re doing layout in just one dimension, you don’t have to use grid; use flexbox.

Off-the-shelf frameworks are designed to solve generic problems. We end up solving problems we don’t have. Do you want your project to inherit the CSS problems of the rest of the world? Solving your specific problems only will result in lighter, easier to understand code.

You don’t need to lean on somebody else’s framework to get reusable code for your project and your team.

What about working with less capable browsers? (these may not always be old browsers). Let’s go back to 2006 and Yahoo’s graded browser support matrix. It was updated quarterly. It was useful. A lot of discussion around browser support was happening with a lack of understanding on one side (bosses, clients) meeting a lack of confidence on the other (developers). Yahoo’s browser support matrix gave us ammunition. If it was okay for Yahoo to say that it was okay for certain browsers to not receive certain features, then that argument was easier to make.

A lot of the discussion now is about older Internet Explorer—IE11 comes up a lot. If IE10 and 11 are your oldest supported versions, you can use the ms- prefixed grid layout.

Some people are using devices that aren’t updating to new browsers. UC browser for Android is used a lot. It’s very popular in India (35% usage). Many browsers without grid support are mobile browsers, popular in areas where data is expensive.

People want a magical grid polyfill that will make grid work in non-supporting browsers. Please stop asking for that! Why, oh, why would you send more JavaScript to less-capable devices!

You can use feature queries to ask if a browser supports a feature before using it. The great thing about doing this is that you are future-proofing: as browsers get support for features, your code works automatically.

You can create complex layouts for browsers that support them with a few lines of CSS. Being able to do new cool stuff is great. Saving developer time is great. But making the web available to everyone …that’s exciting!

To wrap up, Rachel recounts some of the other responses to her survey. People said they were “Excited!”

See also:

• Torre’s notes from this talk.

I’m at An Event Apart Seattle (Special Edition) taking notes during the talks. Here are my notes from Yesenia’s presentation…

In the last few years, we’ve seen a lot of change in web design as we have to adapt to so many viewports and platforms. We’ve gravitated towards design systems to manage this. Many people have written about the benefits of design systems, like AirBnB.

But how do you define a design system? You could say it’s a collection of reususable components.

Donella Meadows wrote Thinking in Systems. She said:

A system is an interconnected group of elements coherently organized in a way that achieves something.

A good design system inspires people to work with it. A bad system gets bloated and unusable. Yesenia has seen systems fail when there’s too much focus on the elements, and not enough focus on how they come together. Yesenia has learned that we should start our design systems, not with components, or modules, or legos, but with user scenarios.

Yesenia works at Vox Media. They have eight editorial networks. Two and a half years ago, they started a project to move all of their products to one codebase and one design system. Maintaining and iterating on their websites was getting too cumbersome. They wanted to shift away from maintaining discrete brands to creating a cohesive system. They also wanted to help their editorial teams tell stories faster and better.

It was hard. Each brand has its own visual identity, editorial missions, and content needs. So even though they wanted eight brands to use one design system, there needed to be enough flexibility to allow for unique needs.

There were some early assumptions that didn’t work. There was a hunch that they could take smaller modular components to address inconsistencies in design: layout, colour, and typography. They thought a theming system would work well. They started with layout modules, like three different homepage hero elements, or four different story blocks. They thought they could layer colour and typography over these modules. It didn’t work. They weren’t reflecting critical differences in content, tone, and audience. For example, Curbed and Recode are very different, but the initial design system didn’t reflect those difference.

That brings us back to Donella Meadows:

A system is an interconnected group of elements coherently organized in a way that achieves something.

They weren’t thinking about that last part.

They learned that they couldn’t start with just the individual components or patterns. That’s because they don’t exist in a vacuum. As Alla says:

Start with language, not systems.

They started again, this time thinking about people.

• What’s the audience goal?
• Is there a shared audience goal across all brands or are there differences?
• What’s the editorial workflow?
• What range of content should this support?

This led to a much better process for creating a design system.

Start with a fast, unified platform. It should load quickly and work across all devices. All patterns should solve a specific problem. But that doesn’t mean creating a one-size-fits-all solution. A design system doesn’t have to stifle creativity …as long as the variants solve a real problem. That means no hypothetical situations.

Identify scenarios. Brad uses a UI inventory for this. Alla talks about a “purpose-directed inventory”. Map core modules to user journeys to see how patterns fit together in the bigger picture. You start to see families of patterns joined together by a shared purpose. Scenarios can help at every level.

The Salesforce design system starts by saying “Know your use-case.” They have examples of different patterns and where to use them. Thinking in user-flows like this matches the way that designers are already thinking.

Shopify’s Polaris system also puts users and user-flows at the centre: the purpose of each pattern is spelled out.

The 18F Design System doesn’t just provide a type system; it provides an explanation of when and where to use which type system.

At Vox, “features” are in-depth pieces. Before having a unified system, each feature looked very custom and were hard to update. They need to unify 18 different systems into one. They started by identifying core workflows. Audience goals were consistent (consume content, find new content), but editorial goals were quite different.

They ended up with quite a few variations of patterns (like page headers, for example), but only if there was a proven content need—no hypothetical situations.

Brand expression for features is all about the details. They started with 18 very different feature templates and ended up with one robust template that works across device types but still allowed for expression.

The “reviews” pieces had a scorecard pattern. Initially there was one unified pattern that they thought would be flexible enough to cover different scenarios. But these scorecards were for very different things: games; restaurants, etc. So people’s needs were very different. In the end, instead of having one scorecard pattern, they created three. Each one highlighted different content according to the user needs.

Homepages were the most challenging to unify. Each one was very distinct. Identifying core workflows took a lot of work.

What’s the value of the homepage? Who is the audience? What are they looking for?

They talked to their users and distilled their findings down into three user goals for homepages:

• What’s new?
• What’s important?
• What’s helpful?

Those needs then translated into patterns. The story feed is there to answer the question “What’s new?”

When it came to variations on the home page, they needed to make sure their design system could stretch enough to allow for distinctly different needs. There’s a newspaper layout, an evergreen layout, a morning recap layout.

Again, Alla’s advice to focus on language was really helpful.

In the process of naming an element, you work out the function as a group and reach agreement.

The last piece was to have a scalable visual design system. Brands need to feel distinct and express an identity. They did this by having foundational elements (type scale, colour system, and white space) with theming applied to them. Thinking of type and colour as systems was key: they need to cascade.

But how do you tell good variation from bad variation? Variation is good if there’s a specific problem that you need a new pattern to solve—there’s a user scenario driving the variation. A bad variation is visual variation on components that do the same thing. Again, the initial design system provided room for “visual fluff and flair” but they were hypothetical. Those variations were removed.

The combination of a scenario-driven system combined with theming allowed for the right balance of consistency and customisation. Previously, the editorial team were hacking together the layouts they wanted, or developers were creating one-off templates. Both of those approaches were very time-consuming. Now, the reporters can focus on telling better stories faster. That was always the goal.

There’s still a lot of work to do. There’s always a pendulum swing between consistency and variation. Sometimes the design system goes too far in one direction or the other and needs to be recalibrated. They want to be able to add more detailed control over typography and spacing.

To wrap up:

1. Successful design patterns don’t exist in a vacuum.
2. Successful design systems solve specific problems.
3. Successful design systems start with content and with people.

See also:

• Torre’s notes from this talk.
• Luke’s notes from this talk.

It’s time for the second talk at An Event Apart Seattle (Special Edition). Sarah is talking about Digital Marketing Strategies for the Busy “Web Master”. These are the notes I made during the talk…

Recently Sarah was asked for her job title recently and she found it really stressful. She wasn’t comfortable with “Art Director”. And, even though it would probably be accurate, “Social Media Expert” feels icky. A more fitting title would be “Social Media Designer” but that’s not a thing. Ironically the term “Web Master” probably fits us better than it did back in the ’90s.

We have a bit of a defeatist attitude towards social media at the moment. It feels like that space has been claimed and so there’s no point in even starting. But we’re still in the first 10,000 days in the web. There is no social media, Gary Vee says. It’s a slang term for a collection of apps and websites that now dominate attention in our society.

Sarah likes the term “consensual hallucination” (that I borrowed from William Gibson to describe how we did web design for years). It applies to social media.

Once upon a time we had to sell the benefits of just being online to our clients. Our businesses now need to get into the mindset of “How can I help you?” and “What can I do for you?” We’re moving away from being sales-y and getting down to being more honest. We’re no longer saying “Look at what I’ve got.”

The average time spent on social media per day is 1 hour and 48 minutes. The average time spent on the kind of sites we make is 15 seconds.

Quarterly design reviews are a good idea—strategically designing your social media campaigns, reviewing successes and failures.

The first thing to mention is vanity metrics. You might need to sit down and have “the talk” with your boss or client about this. It’s no different to having hit counters on our sites back in the ’90s. While we’re chasing these vanity metrics, we’re not asking what people really want.

Google brought a roadshow to Sarah’s hometown of Leigh-on-Sea a while back. There was a really irritating know-it-all chap in the audience who put his hand up when other people were asking about how to get followers on social media. “You need to post three times a day to all social media channels”, he said. “And you need to use the follow-unfollow method with a bot.” Sarah’s eyes were rolling at this point. Don’t beg for likes and follows—you’re skewing your metrics.

“What about this Snapchat thing?” people asked. Irritating guy said, “Don’t worry about—young people use it to send rude pictures to each other.” Sarah was face-palming at this point.

But this event was a good wake-up call for Sarah. We need to check our personal bias. She had to check her own personal bias against LinkedIn.

What we can do is look for emerging social networks. Find social networks that aren’t yet clogged. People still fixate on displayed numbers instead of the actual connection with people.

We all have a tendency to think of the more successful social networks as something that is coming. Like Snapchat. But if you’re in this space, there’s no time to waste. Sarah has been interviewing for social media people and it’s fascinating to see how misunderstood Snapchat is. One big misconception is that it’s only for youngsters. The numbers might be lower than Facebook, but there’s a lot of video on there. Snapchat’s weakness is “the olds”—the non-intuitive interface makes it cool with young people who have time to invest in learning it; the learning curve keeps the parents out. Because the moment that mums and grandmums appear on a social network, the younger folks get out. And actually, when it comes to putting ads on Snapchat, the interface is very good.

What can we do in 2018?

• By 2019, video will account for 80% of all consumer internet traffic. If you’re not planning for this, you’re missing out.
• Move to HTTPS.
• Make your website mobile ready.

Let’s ban the pop-up. Overlays. Permission dialogs. They’re all terrible. Google has started to penalise websites “where content is not easily accessible.”

Pop-ups are a lazy fix for a complex engagement problem (similar to carousels). It’s a terrible user experience. Do we thing this is adding value? Is this the best way to get someone’s email address? They’re like the chuggers of the web.

Here’s an interesting issue: there are discount codes available on the web. We inform people of this through pop-ups. Then it when it comes to check-out, they know that a discount is possible and so they Google for discount codes. You might as well have a page on your own website to list your own discount codes instead of people going elsewhere for them.

There’s a long tail of conversions, particularly with more expensive products and services. Virgin Holidays has a great example. For an expensive holiday, they ask for just a small deposit up front.

Let’s talk about some specific social networks.

Facebook

Facebook Pixel should be on your website, says Sarah. It collects data about your customers. (Needless to say, I disagree with this suggestion. Stand up for your customers’ dignity.)

Facebook is a very cheap way to publish video. Organic Facebook engagement is highest on posts with videos. (I think I threw up in my mouth a little just typing the words “organic”, “Facebook”, and “engagement” all in a row.) Facebook Live videos have six times the engagement of regular videos.

Sarah just said the word synergy. Twice. Unironically.

Facebook changed its algorithm last year. You’re going to see less posts from business and more posts from people.

Facebook advertising does work, but if it doesn’t work for you, the problem is probably down to your creative. (We’re using the word “creative” as a noun rather than an adjective, apparently.)

Google

With Ad Words, measure success by conversions rather than impressions. You might get thousands of eyeballs looking at a form, but only a handful filling it out. You need to know that second number to understand how much you’re really paying per customer.

trends.google.com is useful for finding keywords that aren’t yet saturated.

Google My Business is under-used, especially if you have a bricks’n’mortar store. It can make a massive difference to small businesses. It’s worth keeping it up to date and keeping it updated.

Instagram

700 million active users (double Twitter, and three times WhatsApp and Facebook Messenger). A lot of people are complaining about the changed algorithm. Social networks change their algorithms to deal with the “problems of success.” Instagram needs to help people with the discoverability of posts, says Sarah (again, I strongly disagree—it disempowers the user; I find Instagram’s we-know-best algorithm to be insultingly patronising).

Hashtags are the plumbing of the social media ecosystem. They’re not there for users to read. They’re for discoverability. Eleven hashtags are optimal.

Instagram Stories are a funny one. People are trying to use them to get around the algorithm, posting screenshots of photos to a story.

Archiving is a handy feature of Instagram. For time-sensitive content (like being closed during a snowstorm), it’s very useful to be able to archive those posts after the fact.

Planoly is a great website for managing your Instagram campaign. You can visually plan your feed. Only recently did Instagram start allowing scheduled posts (as long as they’re square, for some reason).

Influencer marketing is a thing. People trust peer recommendations more than advertising. You can buy micro-influencers quite cheaply.

(Side note: I think I’ve seen this episode of Black Mirror.)

How much do influencers cost? Not as much as you think. The average sponsored post rate is $180.

Case study

We need to have a “Design once. Use Everywhere.” mindset. Others we’ll go crazy. Away is doing this well. They sell a suitcase with built-in USB chargers.

The brands dominating social media are those with the most agile teams with exceptional storytelling skills. Away are very brave with their marketing. They’ve identified what their market has in common—travel—and they’re aiming at the level above that. They’re playing the long game, bringing the value back to the user. It’s all about “How can I help you?” rather than “Look at what I’ve gone.” Away’s creative is compelling, quirky, and fun. They work with influencers who are known to create beautiful imagery. Those influencers were given free suitcases. The cost of giving away those bags was much less than a traditional marketing campaign.

Their product is not front and centre in their campaigns. Travel is front and centre. They also collaborate with other brands. Their Google Ads are very striking. That also translates to physical advertising, like ads on airport security trays.

On Facebook, and on all of the social networks, everything is very polished and art-directed. They’re building a story. The content is about travel, but the through-line is about their suitcases.

When things go bad…

To finish, a semi-amusing story. Cath Kidston did a collaboration with Disney’s Peter Pan. Sarah had a hunch that it might go wrong. On paper, the social campaigns seemed fine. A slow build-up to the Peter Pan product launch. Lots of lovely teasers. They were seeding Instagram with beautiful imagery the day before launch. There was a real excitement building. Then the coveted email campaign with the coveted password.

On the site, people put in their password and then they had to wait. It was a deliberately gated experience. Twenty minutes of waiting. Then you finally get to the store …and there’s no “add to cart” button. Yup, they had left out the most important bit of the interface.

Sarah looked at what people were saying on Twitter. Lots of people assumed the problem was with their computer (after all, the web team wouldn’t be so silly as to leave off the “add to cart” button, right?). People blamed themselves. Cath Kidston scrambled to fix the problem …and threw people back into the 20 minute queue. Finally, the button appeared. So Sarah looked at a few bits ad pieces, and when she hit “add to cart” …she was thrown back to the 20 minute queue.

Sarah reached out to try to talk to someone on the web team. No one wanted to talk about it. If you ever find someone who was on that team, put them in touch.

Anyway, to wrap up…

Ensure the networks you are pursuing make sense for your brand.

Find your story for social media longevity.

See also:

• Torre’s notes on this talk

I’m at An Event Apart Seattle (Special Edition). Jeffrey is kicking off the show with a presentation called Beyond Engagement: the Content Performance Quotient. I’m going to jot down some notes during this talk…

First, a story. Jeffrey went to college in Bloomington, Indiana. David Frost—the British journalist—came to talk to them. Frost had a busy schedule, and when he showed up, he seemed a little tipsy. He came up to the podium and said, “Good evening, Wilmington.”

Jeffrey remembers this and knows that Seattle and Portland have a bit of a rivalry, and so Jeffrey thought, the first time he spoke in Portland, it would be funny to say “Good morning, Seattle!” …and that was the last time he spoke in Portland.

Anyway …”Good morning, Portland!”

Jeffrey wants to talk about content. He spends a lot of time in meetings with stakeholders. Those stakeholders always want things to be better, and they always talk about “engagement.” It’s the number one stakeholder request. It’s a metric that makes stakeholders feel comfortable. It’s measurable—the more seconds people give us, the better.

But is that really the right metric?

There are some kinds of sites where engagement is definitely the right metric. Instagram, for example. That’s how they make money. You want to distract yourself. Also, if you have a big content site—beautifully art-directed and photographed—then engagement is what you want. You want people to spend a lot of time there. Or if you have a kids site, or a games site, or a reading site for kids, you want them to be engaged and spend time. A List Apart, too. It’s like the opposite of Stack Overflow, where you Google something and grab the piece of code you need and then get out. But for A List Apart or Smashing Magazine, you want people to read and think and spend their time. Engagement is what you want.

But for most sites—insurance, universities—engagement is not what you want. These sites are more like a customer service desk. You want to help the customer as quickly as possible. If a customer spends 30 minutes on our site, was she engaged …or frustrated? Was it the beautiful typography and copy …or because she couldn’t find what they wanted? If someone spends a long time on an ecommerce site, is it because the products are so good …or because search isn’t working well?

What we need is a metric called speed of usefulness. Jeffrey calls this Content Performance Quotient (CPQ) …because business people love three-letter initialisms. It’s a loose measurement: How quickly can you solve the customer’s problem? It’s the shortest distance between the problem and the solution. Put another way, it’s a measurement of your value to the customer. It’s a new way to evaluate success.

From the customer’s point of view, CPQ is the time it takes the customer to get the information she came for. From the organisation’s point of view, it’s the time it takes for a specific customer to find, receive, and absorb your most important content.

We’re all guilty of neglecting the basics on our sites—just what it is it that we do? We need to remember that we’re all making stuff to make people’s live’s easier. Otherwise we end up with what Jeffrey calls “pretty garbage.” It’s aesthetically coherent and visually well-designed …but if the content is wrong and doesn’t help anyone, it’s garbage. Garbage in a delightfully responsive grid is still garbage.

Let’s think of an example of where people really learned to cut back and really pare down their message. Advertising. In the 1950s, when the Leo Burnett agency started the Marlboro campaign, TV spots were 60 seconds long. An off-camera white man in a suit with a soothing voice would tell you all about the product while the visuals showed you what he was talking about. No irony. Marlboro did a commercial where there was no copy at all until the very end. For 60 seconds they showed you cowboys doing their rugged cowboy things. Men in the 1950s wanted to feel rugged, you see. Leo Burnett aimed the Marlboro cigarettes at those men. And at the end of the 60 second montage of rugged cowboys herding steers, they said “Come to where the flavour is. Come to Marlboro Country.” For the billboard, they cut it back even more. Just “Come to Marlboro Country.” In fact, they eventually went to just “Marlboro.” Jeffrey knows that this campaign worked well, because he started smoking Marlboros as a kid.

Leaving aside the ethical implications of selling cigarettes to eight-graders, let’s think about the genius of those advertisers. Slash your architecture and shrink your content. Constantly ask yourself, “Why do we need this?”

As Jared Spool says, design is the rendering of intent. Every design is intentional. There is some intent—like engagement—driving our design. If there’s no intent behind the design, it will fail, even if what you’re doing is very good. If your design isn’t going somewhere, it’s going nowhere. You’ve got to stay ruthlessly focused on what the customer needs and “kill your darlings” as Hemingway said. Luke Wroblewski really brought this to light when he talked about Mobile First.

To paraphrase David Byrne, how did we get here?

Well, we prioritised meetings over meaning. Those meetings can be full of tension; different stakeholders arguing over what should be on the homepage. And we tried to solve this by giving everyone what they want. Having a good meeting doesn’t necessarily mean having a good meeting. We think of good meetings as conflict-free where everyone emerges happy. But maybe there should be a conflict that gets resolved. Maybe there should be winners and losers.

Behold our mighty CMS! Anyone can add content to the website. Anyone can create the information architecture …because we want to make people happy in meetings. It’s easy to give everyone what they want. It’s harder to do the right thing. Harder for us, but better for the customer and the bottom line.

As Gerry McGovern says:

Great UX professionals are like whistleblowers. They are the voice of the user.

We need to stop designing 2001 sites for a 2018 web.

One example of cutting down content was highlighted in A List Apart where web design was compared to chess: The King vs. Pawn Game of UI Design. Don’t start by going through all the rules. Teach them in context. Teach chess by starting with a checkmate move, reduced down to just three pieces on the board. From there, begin building out. Start with the most important information, and build out from there.

When you strip down the game to its core, everything you learn is a universal principle.

Another example is atomic design: focus relentlessly on the individual interaction. We do it for shopping carts. We can do it for content.

Another example on A List Apart is No More FAQs: Create Purposeful Information for a More Effective User Experience. FAQ problems include:

• duplicate and contradictory information,
• lack of discernible content order,
• repetitive grammatical structure,
• increased cognitive load, and
• more content than they need.

Users come to any type of content with a particular purpose in mind, ranging from highly specific (task completion) to general learning (increased knowledge).

The important word there is purpose. We need to eliminate distraction. How do we do that?

One way is the waterfall method. Do a massive content inventory. It’s not recommended (unless maybe you’re doing a massive redesign).

Agile and scrum is another way. Constantly iterate on content. Little by little over time, we make the product better. It’s the best bet if you work in-house.

If you work in an agency, a redesign is an opportunity to start fresh. Take everything off the table and start from scratch. Jeffrey’s friend Fred Gates got an assignment to redesign an online gaming platform for kids to teach them reading and management skills. The organisation didn’t have much money so they said, let’s just do the homepage. Fred challenged himself to put the whole thing on the homepage. The homepage tells the whole story. Jeffrey is using this same method on a site for an insurance company, even though the client has a bigger budget and can afford more than just the homepage. The point is, what Fred did was effective.

So this is what Jeffrey is going to be testing and working on: speed of usefulness.

And for those of you who do need to use engagement as the right metric, Jeffrey covered the two kinds of metrics in an article called We need design that is faster and design that is slower.

For example, “scannability” is good for transactions (CPQ), but bad for thoughtful content (engagement). Our news designs need to slow down the user. Bigger type, typographic hierarchy, and more whitespace. Art direction. Shout out to Derek Powazek who designed Fray.com—each piece was designed based on the content. These days, look at what David Sleight and his crew are doing over at Pro Publica.

Who’s doing it right?

The Washington Post, The New York Times, Pro Publica, Slate, Smashing Magazine, and Vox are all doing this well in different ways. They’re bringing content to the fore.

Readability, Medium, and A List Apart are all using big type to encourage thoughtful reading and engagement.

But for other sites …apply the Content Performance Quotient.

See also:

• Luke's notes from this talk
• Torre's notes from this talk