Mozilla are updating their brand identity and they’re doing it in the open. A brave, but fascinating move.
I’m in complete agreement with Heydon here:
But it turns out the only surefire way to make performant Web Stuff is also to just write less. Minify? Okay. Compress? Well, yeah. Cache? Sounds technical. Flat out refuse to code something or include someone else’s code in the first place? Now you’re talking.
Just like the “mobile first” mindset, if you demand that everything must justify its existence, you end up with a better experience for everyone:
I’ve always loved Jeffrey’s writing.
Dan has been researching the history of design systems, annotating as he goes.
An entertaining presentation from South By Southwest on the UI element of last resort.
It’s funny because it’s true.
The trouble with overflow menus is that you didn’t actually take anything away, you just obnoxiously obfuscated it.
Words of warning and advice from Daniel.
Instead of prioritizing, we just sweep complexity under the rug and pretend that it doesn’t exist.
I’m not a fan of the checklist approach to accessibility, but this checklist of checklists makes for a handy starting point and it’s segmented by job role. Tick all the ones that apply to you, and this page will generate a list for you to copy and paste.
A newsletter dedicated to all things related to design systems, style guides, and pattern libraries.
Jason breaks down the myths of inputs being tied to device form factors. Instead, given the inherent uncertainty around input, the only sensible approach is progressive enhancement.
Now is the time to experiment with new forms of web input. The key is to build a baseline input experience that works everywhere and then progressively enhance to take advantage of new capabilities of devices if they are available.
A handy tool for testing the legibility of different typefaces under all sorts of conditions.
I’ve always loved the way that Edward Tufte consistently uses Bembo to typeset his books. Here’s a version made for screen and freely licensed.
The Search For The Holy Grail: How I Ended Up With Element Queries, And How You Can Use Them Today – Smashing Magazine
You can think of this as a short book or a long article, but either way it’s a handy overview of typography on the web:
A concise, referential guide on best web typographic practices.
Mind you, I take issue with this assertion:
Establishing a vertical rhythm is simple.
Ten of us reminisce about where we were and what we were doing a decade ago.
Ten years ago I was writing on my blog. Lots of other people were writing on their blogs back then too. That would soon change, though. Twitter and Facebook were picking up steam and soon they’d be luring bloggers away with enticing and seductive short-form convenience. I’ve stubbornly continued writing on my own site. I fully intend to keep on writing there for the next ten years too.
Accessibility Matters: Meet Our New Book, “Inclusive Design Patterns” (Pre-Release) – Smashing Magazine
I think it’s a safe bet that this new book by Heydon will be absolutely brilliant.
It’s a handbook with valuable, time-saving techniques that will help you avoid hacky workarounds and solve common issues effectively.
A wonderful deep dive into the history of styling languages before CSS. I love spelunking down these internet history potholes—fascinating stuff!
Striking that balance between the reusability of modular components and maintaining a big-picture vision of the overall design:
We should always strive to use patterns in an application. For example, consistent use of colors and font sizes can quickly indicate to the user elements in the UI that can be interacted with. However, avoid using a pattern just because it has been implemented before; rather, use it because it really solves the problem at hand.
A catalogue of objects and observations from cities around the world.
This beautiful poster could be the ideal decoration for your home or office.
You can download the original size (DIN A3) and print it to hang it on the walls in your office or wherever you want.
Jon introduces a new tool with a very interesting observation: up until now, all our graphic design tools have been imperative rather than declarative…
With our current tools we’re telling the computer how to design the vision we have in our head (by tapping on our input devices for every element on the screen); in our future tools we will tell our computers what we want to see, and let them figure out how to move elements around to get there.
Vitaly takes a look at some of the more unusual patterns used in responsive designed.
A thoroughly lovely look at the octothorpe that skewers a myth or two along the way.
Jessman5 on Twitter: “I made a poster from @adactio’s talk about Resilience. :) This took me way too long…”
I love this illustration that Jess made of my Resilience talk at the Render conference.
Ariel and Lisa have redesigned the excellent Spacehack site and it’s looking stellar!
Download it now and watch this space for more titles around building inclusive web apps, collaboration, and maintaining privacy and security.
Did I mention that it’s free?
Here’s a nice little pattern from Dave—showing data tables one column at a time on smaller screens.
Marvellous insights from Mark on how the robustness principle can and should be applied to styeguides and pattern libraries (‘sfunny—I was talking about Postel’s Law just this morning at An Event Apart in Boston).
Being liberal in accepting things into the system, and being liberal about how you go about that, ensures you don’t police the system. You collaborate on it.
So, what about the output? Remember: be ’conservative in what you do’. For a design system, this means your output of the system – guidelines, principles, design patterns, code, etc etc. – needs to be clear, unambiguous, and understandable.
Our Harry’s in the New York Times! Well, an article on dark patterns is in the New York Times, and Harry is Mr. Dark Patterns.
Rachel and Drew have been beta-testing Mark’s Fractal project for organising a library of components for Perch’s interface. Sounds like it’s working out very, very well indeed!
I really enjoyed chatting to Ade on The Design Jones podcast. I rambled on about design, the web, and all that stuff.
Some smart thoughts on web fonts.
This is my kind of talk—John Snow’s cholera map, the Yucca Mountain think-tank, the Pioneer plaque, the Voyager record, the Drake equation, the Arecibo signal, and the love song of J. Alfred Prufrock.
♫ These are a few of my fav-our-ite things! ♫
Mike’s blog is back on the Indie Web.
As someone who designs things for a living, there is a certain amount of professional pride in creating one’s own presence on the internet. It’s kind of like if an architect didn’t design their own house.
Adrian runs through the history of well-crafted websites:
- 1990s: Dynamic websites
- 2002: All-CSS layouts
- 2003: Nice URLs
- 2005: Ajax
- 2009: Custom web fonts
- 2010: Responsive web design
I think he’s absolutely right with his crystal ball too:
What’s a big hint that a site is crafted by forward-looking web developers? I’d say it’s service workers, the most interesting thing happening in web development.
But leaving trends aside, Adrian reminds us:
Some things never go out of style. None of the following is tied to a particular time or event, but each is a sign a website was made by people who care about their craft:
- Semantic markup
- Following accessibility standards
I really, really like this approach. I’ve used something similar in my responsive design workshops, where I get people to break things down into nouns and verbs (objects and actions). I think there’s a lot of crossover with good URL design here too—this is kind of like REST for UX designers.
A look at the tools that AirBnB have made to help them in their design and development process. I hope they’ll share them.
Chris’s homage to I, Pencil.
I, Website, am a complex combination of miracles.
Here’s a well put-together collection of common patterns that are now much easier thanks to flexbox.
This could be a handy replacement for some Google Charts images of graphs. It uses SVG and is responsive by default.
I bet it wouldn’t be too tricky to use this to make some sparklines.
A nice tool for choosing colour palettes that look good and are also accessible.
If you want to keep up to date with all the coolest stuff landing in CSS, I recommend bookmarking this ever-changing page.
I quite like this step-by-step interface for a form, all cleverly handled with the
:focus pseudo-class. I’d want to refine some of the usability issues before using it in production, but the progressive disclosure is nice.
Two (similar) patterns for responsive navigation that don’t involve sweeping everything behind a hamburger icon.
When I’ve experimented with auto-overflowing horizontal patterns like this, I’ve found that a judiciously-placed box shadow can give a nice affordance.
Well, this is rather wonderful! A one-stop-shop for exploring UI patterns on CodePen …this is going to be time sink.
Classic Swiss designs recreated in CSS (with added animation).
Well, we might as well bin the Clearleft website rebranding project. Somebody has beaten us to it.
On universal design: “We’re reframing disability as an opportunity.”
One day someone will write a history of the Internet, in which that great series of tubes will emerge as one long chain of inventions not just geared to helping people connect in more ways, but rather, to help more and more types of people communicate just as nimbly as anyone else.
Blogging through Venn diagrams.
Jon outlines his technique for keeping “the 30,000 foot” view when patterns are coalescing during a project.
See also: Andy P.’s experience of working with Jon this way.
A lovely outlook on designing with progressive enhancement:
There will always be users coming from places you didn’t expect, using devices you didn’t test for.
Michael Bierut on that logo …and graphic design in general.
Graphic designers, whether we admit it or not, are trained for the short term. Most of the things we design have to discharge their function immediately, whether it’s a design for a book or a poster, a website or an infographic, a sign system, or a business card. In school critiques, architecture and industrial design students produce models. Graphic designers produce finished prototypes. As a result, the idea that we create things that are unfinished, that can only accrue value over time, is foreign to us. It’s so easy for us to visualize the future, and so hard to admit that we really can’t. That’s what we face every time we unveil a new logo.
The Buckminster Fuller Institute has put together this collection of resources which explain the ideas behind “comprehensive anticipatory design science.”
Seems especially relevant in light of the first issue of the Journal of Design and Science from MIT.
The legacy of the Black Mountain College lives on.
Here, have some colour palettes.
If you’re intrigued by the kind of design sprints I wrote about recently, here’s a handy collection of resources to get you going.
Something to remember the next time someone describes an experience as “seamless” and means it to be positive:
This is the Amazon move: absolute obfuscation of labor and logistics behind a friendly buy button. The experience for a Sprig customer is super convenient, almost magical; the experience for a chef or courier…? We don’t know. We don’t get to know. We’re just here to press the button.
I feel bad, truly, for Amazon and Sprig and their many peers—SpoonRocket, Postmates, Munchery, and the rest. They build these complicated systems and then they have to hide them, because the way they treat humans is at best mildly depressing and at worst burn-it-down dystopian.
What would it be like if you didn’t have to hide the system?
A new publication from MIT. It deliberately avoids the jargon that’s often part and parcel of peer-reviewed papers, and all of the articles are published under a Creative Commons attribution licence.
The first issue is dedicated to Marvin Minsky and features these superb articles, all of which are independently excellent but together form an even greater whole…
When the cybernetics movement began, the focus of science and engineering was on things like guiding a ballistic missile or controlling the temperature in an office. These problems were squarely in the man-made domain and were simple enough to apply the traditional divide-and-conquer method of scientific inquiry.
Science and engineering today, however, is focused on things like synthetic biology or artificial intelligence, where the problems are massively complex. These problems exceed our ability to stay within the domain of the artificial, and make it nearly impossible for us to divide them into existing disciplines.
This essay proposes a map for four domains of creative exploration—Science, Engineering, Design and Art—in an attempt to represent the antidisciplinary hypothesis: that knowledge can no longer be ascribed to, or produced within, disciplinary boundaries, but is entirely entangled.
The designers of complex adaptive systems are not strictly designing systems themselves. They are hinting those systems towards anticipated outcomes, from an array of existing interrelated systems. These are designers that do not understand themselves to be in the center of the system. Rather, they understand themselves to be participants, shaping the systems that interact with other forces, ideas, events and other designers. This essay is an exploration of what it means to participate.
As our technological and institutional creations have become more complex, our relationship to them has changed. We now relate to them as we once related to nature. Instead of being masters of our creations, we have learned to bargain with them, cajoling and guiding them in the general direction of our goals. We have built our own jungle, and it has a life of its own.
There is one truism that has been constant throughout my career on the web, and it’s this: naming things is hard.
Trent talks about the strategies out there for naming things. He makes specific mention of Atomic Design, which as Brad is always at pains to point out, is just one way of naming things: atoms, molecules, organisms, etc.
In some situations, having that pre-made vocabulary is perfect. In other situations, I’ve seen it cause all sorts of problems. It all depends on the project and the people.
Personally, I like the vocabulary to emerge from the domain knowledge of the people on the project. Building a newspaper website? Use journalism-related terms. Making a website about bicycles? Use bike-related terms.
Everything you never knew you wanted to know about the Millennium Falcon, wrapped up in one unsurprisingly insanely detailed essay from Michael.
A wonderfully thoughtful piece on typography, Jan Tschichold and the web. This really resonated with me:
It’s only been over the past year or so in which I’ve recognised myself as a ‘Web designer’ with a capital W, as I now believe that something happens to information and technology, and even typography itself, when people pass through these interconnected networks and interact with hypertext.
It’s for these reasons that I don’t believe in “digital design” or “designing for screens” and it’s why I’m often attracted to one particular side of this spectrum.
Robin proposes three “principles, suggestions, outlines, or rather things-that-I-ought-to-be nervous-about when setting text on the web”:
- We must prioritise the text over the font, or semantics over style.
- We ought to use and/or make tools that reveal the consequences of typographic decisions.
- We should acknowledge that web typography is only as strong as its weakest point.
There’s an in-depth look at applying progressive enhancement to web type, and every single link in the resources section at the end is worth investigating.
Oh, and of course it’s beautifully typeset.
Myself and Batesy spent last week in Ipswich doing an intense design sprint with Suffolk Libraries. Leon has written up process from his perspective as the client—I’ll try to get a case study up on the Clearleft website soon.
This is really great write-up; it captures the sense of organised chaos:
I can’t recommend this kind of research sprint enough. We got a report, detailed technical validation of an idea, mock ups and a plan for how to proceed, while getting staff and stakeholders involved in the project — all in the space of 5 days.
Well, this pretty much sums up the front-end team at Clearleft:
I’ve often said that at Clearleft, development is always in the service of design. And like Brad, I often find myself defining that work by what it isn’t:
They understand UX principles and best practices, but may not spend their time conducting research, creating flows, and planning scenarios
They have a keen eye for aesthetics, but may not spend their time pouring over font pairings, comparing color palettes, or creating illustrations and icons.
They understand the importance of backend development, but may not spend their time writing backend logic, spinning up servers, load testing, etc.
Really interesting to see how Jason, Lyza, and co. are handling the process side of responsive design by using Agile sprints. This is how we’re doing it at Clearleft too.
There’s a really good point in here about starting with small-screen sketching:
For most of the sprint, we focus on small screens. We’re often asked how things will work on wider screens early in a sprint, but we try to resist thinking about that yet.
If you’ve managed to organize your life to fit inside a New York City apartment, you’re not going to have any trouble adjusting to a big house in the suburbs. The same is true of responsive designs.
If you nail the small screen design, the larger sizes will be easy by comparison.
My concern is that by encouraging the practice of doing UX design without touching the surface of a product, we get shitty designs. In a process where UX and UI are seen as separate things the risk is one comes before the other. The UX designer draws the wireframes, the UI designer gets to turn them into pretty pictures, with no back-and-forth between the two. An iterative process can mitigate some of the damage such an artificial division of labour produces, but I think we still start out on the wrong foot. I think a better practice might entail including visual considerations from the very beginning of the design process (as we are sketching).
Bootstrap is a product of Twitter. If you want your team to work like Twitter’s team, then by all means use Bootstrap. Pick up their design language. Their tool chain. Their decisions. Don’t be surprised when it feels off every time you use it. It will.
The same goes for Material Design. Foundation. These are all products built by other teams to work for their process. Their structure.
Finding the right tool is not what I am advocating for. Making it is.
A very handy tool for figuring out breakpoints for responsive images.
Upload an image in its largest size, play around with the settings, and then generate the breakpoints, the markup, and the resized images for each breakpoint.
A larger screen is now a progressive enhancement. Hell, with things like Siri and Google Now and Amazon’s Echo, we’re getting to the point where even a screen is an enhancement.
We have some new
font keywords that are basically shortcuts to using the system fonts on a device. This article explains the details.
Brad follows up with his thoughts on Dan’s article, emphasising the importance of a developer’s role in not just slavishly recreating what’s in a static comp, but seeing through to the underlying pattern beneath:
It’s so incredibly crucial to treat development as a key part of the design process.
A really terrific article from Dan on building pattern libraries. In summary:
- Naming things is hard,
- Separation of content and presentation is A Good Thing.
There are some really good insights here into getting just the right level of abstraction for a component—not too tightly tied to a specific visual display, but also not too tightly tied to a specific kind of content type:
When thinking about patterns, content strategists are primarily thinking about Content patterns, designers are primarily thinking about Display patterns, and front-end developers are responsible for bringing the two together.
(And it’s great to see Charlotte’s excellent article get a shout-out in the “Related reading” section at the end,)
A terrific analysis of industrial design in film and games …featuring a scene-setting opening that delineates the difference between pleasure and happiness.
‘Sfunny, I was just discussing this with Clare and Charlotte at work: how our office space (and culture) lends itself well to spontaneous exchanges of feedback and opinions.
I’m filing this one away for future reference: combining flexbox with margin:auto is a magical combination.
Using auto margins with Flexbox is an effective way to get all of the flexibility of css floats, without the nastiness of breaking elements out of the document’s normal flow.
Remember this, future self!
Sara enumerates some handy tips aimed squarely at designers exporting SVGs. It focuses on Illustrator in particular but I’m sure a lot of this could equally apply to Sketch.
Paul gives the lowdown on the Google+ responsive relaunch. They set themselves this performance budget:
- 60K of HTML,
- 60K of CSS,
- 60 frames per second animations, and
- 0.6 seconds latency.
And this bit is crucial:
Web technology is no longer limiting us or scaring us into “staying safe” moreover it’s enabling us to get inspired by our surroundings and go and create some truly amazing, Web-Specific design.
This looks like a terrific presentation from Alla on iconography, semiotics, and communication.
The comprehensive style guide and pattern library for North Carolina.
All the videos from the excellent Responsive Field Day are now available. Even better, the audio is also available for your huffduffing pleasure!
All the presentations and panels were great. Sophie Shepherd’s terrific talk has really stuck with me.
Here’s the 20 minute talk I gave at the inaugural Responsive Field Day in Portland.
A nice navigable timeline of historical events from Wikipedia.
I completely agree with Cennydd (and Peter, and Leisa). If anyone working on a project—whether they’re a designer, developer, or anything else—isn’t considering the user experience, then what’s the point of even being there? By extension, labelling your work as “UX Design” is as redundant and pointless as labelling it “Good Design.”
But my complaint is with the label, not the activities. It’s the UX Design label that has little value for me. These activities happen in all good design: if you’re not trying to create positive experience then I don’t really understand what you are doing.
One failure mode is ‘I have run out of paper’, another is ‘my data has been sold to a company I don’t trust’, another is ‘my country has been invaded and they’ve seized all the servers’.
These are things to be designed for. These are user needs too. They have to be embraced.
Just like Nick, John Willshire has put his slides together with the audio from his gobsmackingly good dConstruct presentation on metadesign.