This is a recording of my Evaluating Technology talk from An Event Apart in Denver just over a year ago. This was the last time I ever gave this talk, and I think you can tell that the delivery is well-practiced; I’m very happy with how this turned out.
In this 60-minute presentation recorded live at An Event Apart Denver 2017, Jeremy Keith helps you learn to evaluate tools and technologies in a way that best benefits the people who use the websites you design and develop.
I was in Boston last week to give a talk. I ended up giving four.
I was there for An Event Apart which was, as always, excellent. I opened up day two with my talk, The Way Of The Web.
This was my second time giving this talk at An Event Apart—the first time was in Seattle a few months back. It was also my last time giving this talk at An Event Apart—I shan’t be speaking at any of the other AEAs this year, alas. The talk wasn’t recorded either so I’m afraid you kind of had to be there (unless you know of another conference that might like to have me give that talk, in which case, hit me up).
After giving my talk in the morning, I wasn’t quite done. I was on a panel discussion with Rachel about CSS grid. It turned out to be a pretty good format: have one person who’s a complete authority on a topic (Rachel), and another person who’s barely starting out and knows just enough to be dangerous (me). I really enjoyed it, and the questions from the audience prompted some ideas to form in my head that I should really note down in a blog post before they evaporate.
The next day, I went over to MIT to speak at Design 4 Drupal. So, y’know, technically I’ve lectured at MIT now.
I really enjoyed giving this talk. The audience were great, and they had lots of good questions afterwards. There’s a video, which is basically my voice dubbed over the slides, followed by a good half of questions afterwards.
Lea had been in touch to ask if I would speak at this meet-up, and I was only too happy to oblige. I tried doing something I’ve never done before: a book reading!
No, not reading from Going Offline, my current book which I should encouraging people to buy. Instead I read from Resilient Web Design, the free online book that people literally couldn’t buy if they wanted to. But I figured reading the philosophical ramblings in Resilient Web Design would go over better than trying to do an oral version of the service worker code in Going Offline.
And with that, my time in Boston was at an end. I was up at the crack of dawn the next morning to get the plane back to England where Ampersand awaited. I wasn’t speaking there though. I thoroughly enjoyed being an attendee and absorbing the knowledge bombs from the brilliant speakers that Rich assembled.
The next place I’m speaking will much closer to home than Boston: I’ll be giving a short talk at Oxford Geek Nights on Wednesday. Come on by if you’re in the neighbourhood.
How many third-party scripts are loading on our web pages these days? How can we objectively measure the value of these (advertising, a/b testing, analytics, etc.) scripts—considering their impact on web performance, user experience, and business goals? We’ve learned to scrutinize content hierarchy, browser support, and page speed as part of the design and development process. Similarly, Trent will share recent experiences and explore ways to evaluate and discuss the inclusion of 3rd-party scripts.
Trent is going to speak about third-party scripts, which is funny, because a year ago, he never would’ve thought he’d be talking about this. But he realised he needed to pay more attention to:
any request made to an external URL.
Or how about this:
A resource included with a web page that the site owner doesn’t explicitly control.
When you include a third-party script, the third party can change the contents of that script.
Here are some uses:
content delivery networks,
You get data from things like analytics and A/B testing. You get income from ads. You get content from CDNs.
But Trent has concerns. First and foremost, the user experience effects of poor performance. Also, there are the privacy implications.
Why does Trent—a designer—care about third party scripts? Well, over the years, the areas that Trent pays attention to has expanded. He’s progressed from image comps to frontend to performance to accessibility to design systems to the command line and now to third parties. But Trent has no impact on those third-party scripts. That’s very different to all those other areas.
Trent mostly builds prototypes. Those then get handed over for integration. Sometimes that means hooking it up to a CMS. Sometimes it means adding in analytics and ads. It gets really complex when you throw in third-party comments, payment systems, and A/B testing tools. Oftentimes, those third-party scripts can outweigh all the gains made beforehand. It happens with no discussion. And yet we spent half a meeting discussing a border radius value.
Delivering a performant, accessible, responsive, scalable website isn’t enough: I also need to consider the impact of third-party scripts.
Trent has spent the last few months learning about third parties so he can be better equiped to discuss them.
UX, performance and privacy impact
We feel the UX impact every day we browse the web (if we turn off our content blockers). The Food Network site has an intersitial asking you to disable your ad blocker. They promise they won’t spawn any pop-up windows. Trent turned his ad blocker off—the page was now 15 megabytes in size. And to top it off …he got a pop up.
Privacy can harder to perceive. We brush aside cookie notifications. What if the wording was “accept trackers” instead of “accept cookies”?
Remarketing is that experience when you’re browsing for a spatula and then every website you visit serves you ads for spatula. That might seem harmless but allowing access to our browsing history has serious privacy implications.
Web builders are on the front lines. It’s up to us to advocate for data protection and privacy like we do for web standards. Don’t wait to be told.
Categories of third parties
Ghostery categories third-party providers: advertising, comments, customer interaction, essential, site analytics, social media. You can dive into each layer and see the specific third-party services on the page you’re viewing.
Analyse and itemise third-party scripts
We have “view source” for learning web development. For third parties, you need some tool to export the data. HAR files (HTTP ARchive) are JSON files that you can create from most browsers’ network request panel in dev tools. But what do you do with a .har file? The site har.tech has plenty of resources for you. That’s where Trent found the Mac app, Charles. It can open .har files. Best of all, you can export to CSV so you can share spreadsheets of the data.
You can visualise third-party requests with Simon Hearne’s excellent Request Map. It’s quite impactful for delivering a visceral reaction in a meeting—so much more effective than just saying “hey, we have a lot of third parties.” Request Map can also export to CSV.
Know industry averages
Trent wanted to know what was “normal.” He decided to analyse HAR files for Alexa’s top 50 US websites. The result was a massive spreadsheet of third-party providers. There were 213 third-party domains (which is not even the same as the number of requests). There was an average of 22 unique third-party domains per site. The usual suspects were everywhere—Google, Amazon, Facebook, Adobe—but there were many others. You can find an alphabetical index on better.fyi/trackers. Often the lesser-known domains turn out to be owned by the bigger domains.
News sites and shopping sites have the most third-party scripts, unsurprisingly.
Trent realised he needed to listen and understand why third-party scripts are being included. He found out what tag managers do. They’re funnels that allow you to cram even more third-party scripts onto your website. Trent worried that this was a Pandora’s box. The tag manager interface is easy to access and use. But he was told that it’s more like a way of organising your third-party scripts under one dashboard. But still, if you get too focused on the dashboard, you could lose focus of the impact on load times. So don’t blame the tool: it’s all about how it’s used.
Establish a centre of excellence. Put standards in place—in a cross-discipline way—to define how third-party scripts are evaluated. For example:
Determine the value to the business.
Avoid redundant scripts and services.
Fit within the established performance budget.
Document those decisions, maybe even in your design system.
Also, include third-party scripts within your prototypes to get a more accurate feel for the performance implications.
On a live site, you can regularly audit third-party scripts on a regular basis. Check to see if any are redundant or if they’re exceeding the performance budget. You can monitor performance with tools like Calibre and Speed Curve to cover the time in between audits.
Make your case
Do competitive analysis. Look at other sites in your sector. It’s a compelling way to make a case for change. WPO Stats is very handy for anecdata.
You can gather comparative data with Web Page Test: you can run a full test, and you can run a test with certain third parties blocked. Use the results to kick off a discussion about the impact of those third parties.
Talk it out
Work to maintain an ongoing discussion with the entire team. As Tim Kadlec says:
Everything should have a value, because everything has a cost.
The products we design today must connect with customers across different screen sizes, contexts, and even voice or chat interfaces. As such, we create emotional expressiveness in our products not only through visual design and language choices, but also through design details such as how interface elements move, or the way they sound. By using every tool at our disposal, including audio and animation, we can create more expressive products that feel cohesive across all of today’s diverse media and social contexts. In this session, Val will show how to harness the design details from different media to build overarching themes—themes that persist across all screen sizes and user and interface contexts, creating a bigger emotional impact and connection with your audience.
I’m going to attempt to live blog her talk. Here goes…
This is about products that intentionally express personality. When you know what your product’s personality is, you can line up your design choices to express that personality intentionally (as opposed to leaving it to chance).
Tunnel Bear has a theme around a giant bear that will product you from all the bad things on the internet. It makes a technical product very friendly—very different from most VPN companies.
Mailchimp have been doing this for years, but with a monkey (ape, actually, Val), not a bear—Freddie. They’ve evolved and changed it over time, but it always has personality.
But you don’t need a cute animal to express personality. Authentic Weather is a sarcastic weather app. It’s quite sweary and that stands out. They use copy, bold colours, and giant type.
Personality can be more subtle, like with Stripe. They use slick animations and clear, concise design.
Being expressive means conveying personality through design. Type, colour, copy, layout, motion, and sound can all express personality. Val is going to focus on the last two: motion and sound.
Expressing personality with motion
Animation can be used to tell your story. We can do that through:
Easing choices (ease-in, ease-out, bounce, etc.),
Duration values, and offsets,
The properties we animate.
Here are four personality types…
Calm, soft, reassuring
You can use opacity, soft blurs, small movements, and easing curves with gradual changes. You can use:
scale + fade,
blur + fade,
blur + scale + fade.
Pro tip for blurs: the end of blurs always looks weird. Fade out with opacity before your blur gets weird.
You can use Penner easing equations to do your easings. See them in action on easings.net. They’re motion graphs plotting animation against time. The flatter the curve, the more linear the motion. They have a lot more range than the defaults you get with CSS keyword values.
For calm, soft, and reassuring, you could use easeInQuad, easeOutQuad, or easeInOutQuad. But that’s like saying “you could use dark blue.” These will get you close, but you need to work on the detail.
Confident, stable, strong
You can use direct movements, straight lines, symmetrical ease-in-outs. You should avoid blurs, bounces, and overshoots. You can use:
scale + fade,
direct start and stops.
You can use Penner equations like easeInCubic, easeOutCubic and easeInOutCubic.
Lively, energetic, friendly
You can use overshoots, anticipation, and “snappy” easing curves. You can use:
overshoot + scale,
anticipation + overshoot
To get the sense of overshoots and anticipations you can use easing curves like easeInBack, easeOutBack, and easeInOutBack. Those aren’t the only ones though. Anything that sticks out the bottom of the graph will give you anticipation. Anything that sticks out the top of the graph will give you overshoot.
If cubic bezier curves don’t get you quite what you’re going for, you can add keyframes to your animation. You could have keyframes for: 0%, 90%, and 100% where the 90% point is past the 100% point.
Stripe uses a touch of overshoot on their charts and diagrams; nice and subtle. Slack uses a bit of overshoot to create a sense of friendliness in their loader.
Playful, fun, lighthearted
You can use bounces, shape morphs, squashes and stretches. This is probably not the personality for a bank. But it could be for a game, or some other playful product. You can use:
squash and stretch (springs.
The easing curve for elastic movement is more complicated Penner equation that can’t be done in CSS. GreenSock will help you visual your elastic easings. For springs, you probably need a dedicated library for spring motions.
Expressing personality with sound
We don’t talk about sound much in web design. There are old angry blog posts about it. And not every website should use sound. But why don’t we even consider it on the web?
We were burnt by those terrible Flash sites with sound on every single button mouseover. And yet the Facebook native app does that today …but in a much more subtle way. The volume is mixed lower, and the sound is flatter; more like a haptic feel. And there’s more variation in the sounds. Just because we did sound badly in the past doesn’t mean we can’t do it well today.
People say they don’t want their computers making sound in an office environment. But isn’t responsive design all about how we don’t just use websites on our desktop computers?
Amber Case has a terrific book about designing products with sound, and she’s all about calm technology. She points out that the larger the display, the less important auditive and tactile feedback becomes. But on smaller screens, the need increases. Maybe that’s why we’re fine with mobile apps making sound but not with our desktop computers doing it?
People say that sound is annoying. That’s like saying siblings are annoying. Sound is annoying when it’s:
not appropriate for the situation,
played at the wrong time,
lacks user control.
But all of those are design decisions that we can control.
So what can we do with sound?
Sound can enhance what we perceive from animation. The “breathe” mode in the Calm meditation app has some lovely animation, and some great sound to go with it. The animation is just a circle getting smaller and bigger—if you took the sound away, it wouldn’t be very impressive.
Sound can also set a mood. Sirin Labs has an extreme example for the Solarin device with futuristic sounds. It’s quite reminiscent of the Flash days, but now it’s all done with browser technologies.
Sound is a powerful brand differentiator. Val now plays sounds (without visuals) from:
They have strong associations for us. These are earcons: icons for the ears. They can be designed to provoke specific emotions. There was a great explanation on the Blackberry website, of all places (they had a whole design system around their earcons).
Here are some uses of sounds…
Alerts and notifications
You have a new message. You have new email. Your timer is up. You might not be looking at the screen, waiting for those events.
Apple TV has layers of menus. You go “in” and “out” of the layers. As you travel “in” and “out”, the animation is reinforced with sound—an “in” sound and an “out” sound.
When you buy with Apple Pay, you get auditory feedback. Twitter uses sound for the “pull to refresh” action. It gives you confirmation in a tactile way.
Marking positive moments
This is a great way of making a positive impact in your user’s minds—celebrate the accomplishments. Clear—by Realmac software—gives lovely rising auditory feedback as you tick things off your to-do list. Compare that to hardware products that only make sounds when something goes wrong—they don’t celebrate your accomplishments.
Here are some best practices for user interface sounds:
UI sounds be short, less than 400ms.
End on an ascending interval for positive feedback or beginnings.
End on a descending interval for negative feedback, ending, or closing.
Give the user controls to top or customise the sound.
When it comes to being expressive with sounds, different intervals can evoke different emotions:
Consonant intervals feel pleasant and positive.
Dissonant intervals feel strong, active, or negative.
Large intervals feel powerful.
Octaves convey lightheartedness.
People have made sounds for you if you don’t want to design your own. Octave is a free library of UI sounds. You can buy sounds from motionsound.io, targetted specifically at sounds to go with motions.
Let’s wrap up by exploring where to find your product’s personality:
What is it trying to help users accomplish?
What is it like? (its mood and disposition)
You can workshops to answer these questions. You can also do research with your users. You might have one idea about your product’s personality that’s different to your customer’s. You need to project a believable personality. Talk to your customers.
Designing for Emotion has some great exercises for finding personality. Conversational Design also has some great exercises in it. Once you have the words to describe your personality, it gets easier to design for it.
So have a think about using motion and sound to express your product’s personality. Be intentional about it. It will also make the web a more interesting place.
Una works at the Bustle Digital Group, which publishes a lot of different properties. She used to work at Watson, at Bluemix and at Digital Ocean. They all have something in common (other than having blue in their logos). They all had design systems that failed.
It’s a broad term. It can be a styleguide or visual pattern library. It can be design tooling (like a Sketch file). It can be a component library. It can be documentation of design or development usage. It can be voice and tone guidelines.
When Una was in College, she had a print rebranding job—letterheads, stationary, etc. She also had to provide design guidelines. She put this design guide on the web. It had colours, heading levels, type, logo treatments, and so on. It wasn’t for an application, but it was a design system.
Primer by Github is a good example of this. You can download pre-made icons, colours, etc.
Code usage guidelines
AirBnB has a really good example of this. It’s a consistent code style. You can even include it in your build step with eslint-config-airbnb and stylelint-config-airbnb.
Design usage documentation
Carbon by IBM does a great job of this. It describes the criteria for deciding when to use a pattern. It’s driven by user experience considerations. They also have general guidelines on loading in components—empty states, etc. And they include animation guidelines (separately from Carbon), built on the history of IBM’s magnetic tape machines and typewriters.
Voice and tone guidelines
Of course Mailchimp is the classic example here. They break up voice and tone. Voice is not just what the company is, but what the company is not:
Fun but not silly,
Confident but not cocky,
Smart but not stodgy,
and so on.
Voiceandtone.com describes the user’s feelings at different points and how to communicate with them. There are guidelines for app users, and guidelines for readers of the company newsletter, and guidelines for readers of the blog, and so on. They even have examples of when things go wrong. The guidelines provide tips on how to help people effectively.
Why do design systems fail?
Una now asks who in the room has ever started a diet. And who has ever finished a diet? (A lot of hands go down).
Nobody uses it
At Digital Ocean, there was a design system called Buoy version 1. Una helped build a design system called Float. There was also a BUI version 2. Buoy was for product, Float was for the marketing site. Classic example of 927. Nobody was using them.
Una checked the CSS of the final output and the design system code only accounted for 28% of the codebase. Most of the CSS was over-riding the CSS in the design system.
Happy design systems scale good standards, unify component styles and code and reduce code cruft. Why were people adding on instead of using the existing sytem? Because everyone was being judged on different metrics. Some teams were judged on shipping features rather than producing clean code. So the advantages of a happy design systems don’t apply to them.
It’s like going to the gym. Small incremental changes make a big difference over the long term. If you just work out for three months and then stop, you’ll lose all your progress. It’s like that with design systems. They have to stay in sync with the live site. If you don’t keep it up to date, people just won’t use it.
It’s really important to have a solid core. Accessibility needs to be built in from the start. And the design system needs ownership and dedicated commitment. That has to come from the organisation.
You have to start somewhere.
Communication is multidimensional; it’s not one-way. The design system owner (or team) needs to act as a bridge between designers and developers. Nobody likes to be told what to do. People need to be involved, and feel like their needs are being addressed. Make people feel like they have control over the process …even if they don’t; it’s like perceived performance—this is perceived involvement.
Ask. Listen. Make your users feel heard. Incorporate feedback.
Good communication is important for getting buy-in from the people who will use the design system. You also need buy-in from the product owners.
Showing is more powerful than telling. Hackathans are like candy to a budding design system—a chance to demonstrate the benefits of a design system (and get feedback). After a hackathon at Digital Ocean, everyone was talking about the design system. Weeks afterwards, one of the developers replaced Bootstrap with BUI, removing 20,000 lines of code! After seeing the impact of a design system, the developers will tell their co-workers all about it.
You need to build with composability and change in mind. Primer, by Github, has a core package, and then add-ons for, say, marketing or product. That separation of concerns is great. BUI used a similar module-based approach: a core codebase, separate from iconography and grid.
Semantic versioning is another important part of having a solid architecture for your design system. You want to be able to push out minor updates without worrying about breaking changes.
Use the same convention in your design files, like Sketch.
What about tech stack choice? Every company has different needs, but one thing Una recommends is: don’t wait to namespace! All your components should have some kind of prefix in the class names so they don’t clash with existing CSS.
Una mentions Solid by Buzzfeed, which I personally think is dreadful (count the number of !important declarations—you can call it “immutable” all you want).
AtlasKit by Atlassian goes all in on React. They’re trying to integrate Sketch into it, but design tooling isn’t solved yet (AirBnB are working on this too). We’re still trying to figure out how to merge the worlds of design and code.
This is what it’s all about. Using the design system has to be the path of least resistance. If the new design system is harder to use than what people are already doing, they won’t use it.
Provide hooks and tools for the people who will be using the design system. That might be mixins in Sass or it might be a script on a CDN that people can just link to.
Start early, update often. Design systems can be built retrospectively but it’s easier to do it when a new product is being built.
Bugs and cruft always increase over time. You need a mechanism in place to keep on top of it. Not just technical bugs, but visual inconsistencies.
So the five pillars of ensuring a successful design system are:
When you’re starting, begin with a goal:
We are building a design system because…
Then review what you’ve already got (your existing codebase). For example, if the goal of having a design system is to increase page performance, use Web Page Test to measure how the current site is performing. If the goal is to reduce accessibility problems, use webaim.org to measure the accessibility of your current site (see also: pa11y). If the goal is to reduce the amount of CSS in your codebase, use cssstats.com to test how your current site is doing. Now that you’ve got stats, use them to get buy-in. You can also start by doing an interface inventory. Print out pages and cut them up.
Once you’ve got buy-in and commitment (in writing), then you can make technical decisions.
You can start with your atomic elements. Buttons are like the “Hello world!” of design systems. You’ve colours, type, and different states.
Then you can compose elements by putting the base elements together.
Do you include layout in the system? That’s a challenge, and it depends on your team. If you do include layout, to what extent?
Regardless of layout, you still need to think about space: the space between base elements within a component.
Bake in accessibility: every hover state should have an equal (not opposite) focus state.
Think about states, like loading states.
Then you can start documenting. Then inform the users of the system. Carbon has a dashboard showing which components are new, which components are deprecated, and which components are being updated.
Keep consistent communication. Design and dev communication has to happen. Continuous iteration, support and communication are the most important factors in the success of a design system. Code is only 10% of a sytem.
If you’re the only one at your organisation that cares about the benefits of a design system, you won’t get buy-in, and if you don’t get buy-in, the design system will fail. Maybe there’s something more appropriate for your team? After all, not everyone needs to go to the gym to get fit. There are alternatives.
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.
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.
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.
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:
variable fonts, and
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.
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.
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.
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:
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.
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.
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:
Flexbox and grid are pretty easy to get used to, and
…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.
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).
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.
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:
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:
Successful design patterns don’t exist in a vacuum.
Successful design systems solve specific problems.
Successful design systems start with content and with people.
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.
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.
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.
In two weeks time, I’ll be in Seattle for An Event Apart. I’ll be giving a brand new talk. The title is The Way Of The Web (although perhaps a more accurate title would be The Layers Of The Web).
Here’s the description:
There’s a direct evolution line from my previous talks—Resilence and Evaluating Technology—to this new one. (Spoiler: everything I talk about is in some way related to progressive enhancement …even if I never use the words “progressive" or “enhancement" in the talks.)
I’ve been preparing this new talk for months. It started with a mind map—an A3 sheet of paper with disconnected thoughts, like something from the scene in the crime movie where they enter the lair of the serial killer and find a crazy wall.
Then I set it aside and began procrastinating. But it was the good kind of procrastinating, right? I mean, I had made a start and all those thoughts were now bubbling around in my head.
Eventually I forced myself to put things in some sort of order and started creating slides. That’s the beginning of the horrible process bouncing between thinking “this is pretty good!” and “this is absolute crap!” To be honest, I never actually know if a talk is any good until I give it in front of an audience (practice runs at work are great for getting feedback but they’re not the same as doing the talk for real).
Anyway, I think the talk is ready to roll. If you see me giving this talk and you’re interested in diving deeper into the topics raised, I’ve gathered together some of sources I used.
This is the rarely-seen hour-long version of my Resilience talk. It’s the director’s cut, if you will, featuring an Arthur C. Clarke sub-plot that goes from the telegraph to the World Wide Web to the space elevator.
A presentation from the Beyond Tellerrand conference held in Düsseldorf in May 2017. I also presented a version of this talk at An Event Apart, Smashing Conference, Render, Frontend United, and From The Front.
I’m going to show you some code. Who wants to see some code?
All right, I’ll show you some code. This is code. This is a picture of code.
The code base in this case is the deoxyribonucleic acid. This is literally a photograph of code. It’s the famous Photograph 51, which was taken by Rosalind Franklin, the X-ray crystallographer. And it was thanks to her work that we were able to decode the very structure of DNA.
Base-4, unlike the binary base that we work with, with computers, it’s base-4 A-C-G-T: Adenine, Cytosine, Guanine, Thymine. From those four simple ingredients we get DNA, and from DNA we get every single life form on our planet: mammals, birds, fish, plants. Everything is made of DNA. This huge variety from such simple building blocks.
What’s interesting, though, is if you look at this massive variety of life on our planet, you start to see some trends over time as life evolves through the process of natural selection. You see a trend towards specialisation, a species becoming really, really good at something as the environment selects for fitness. A trend towards ubiquity as life attempts to spread as far as possible. And, interestingly, a trend towards cooperation, that a group could be more powerful than an individual.
Now we’re no different to any other life form, and this is how we have evolved over time from simpler beginnings. I mean, we like to think of ourselves as being a more highly evolved species than other species, but the truth is that every species of life on this planet is the most highly evolved species of life on this planet because they’re still here. Every species is fit for its environment. Otherwise they wouldn’t be here.
This is the process, this long, slow process of natural selection. It’s messy. It takes a long time. It relies on errors in the code to get selected for. This is the process that we human beings have gone through, same as every other species on the planet.
But then we figured out a way to hack the process. We figured out a way to get a jumpstart on evolution, and that’s through technology. Through technology we can bypass the process of natural selection and augment ourselves, extend our capabilities like this.
This is a very early example of technology. It existed for millions of years in this form, ubiquitous, across the planet. This is the Acheulean hand ax. We didn’t need to evolve a sharp cutting tool at the end of our limb because, through technology, we were able to create a sharp cutting tool at the end of our limb. Then through that we were able to extend our capabilities and shape our environment.
We shape our tools and, thereafter, the tools shape us.
And we have other tools. This is a modern tool, the pencil. I’m sure you’ll all familiar with it. You use it all the time. I think it’s a great piece of technology, great affordance on there. Built in progress bar, and it’s got an undo at the end.
What’s interesting is if you look at the evolution of technology and you compare it to the evolution of biology, you start to see some of the same trends; trends towards specialisation, ubiquity, and cooperation.
The pencil does one thing really, really well. The Acheulean hand ax does one thing really, really well.
All over the world you found Acheulean hand axes, and all over the world you will find the pencil in pretty much the same form.
And, most importantly of all, cooperation. No human being can make a pencil. Not by themselves. It requires cooperation.
There’s a famous book by Leonard Read called I, Pencil, and it’s told from the point of view of a pencil and describing how it requires cooperation. It requires human beings to come together to fell the trees to get the wood, to get the graphite, to put it all together. No single human being can do that by themselves. We have to cooperate to create technology.
You can try to create technology by yourself, but you’re probably going to have a hard time. Like Thomas Thwaites, he’s an artist in the U.K. You might have seen his most recent project. He tried to live as a goat for a year.
This is from a while back where he attempted to make a toaster from scratch. When I say from scratch, I mean from scratch. He wanted to mine his own metals. He wanted to smelt the steel. He wanted to create the plastic, wire it all up, and do it all by himself. It was a very interesting process. It didn’t really work out. I mean it worked for like a second or two when he plugged it in and then completely burned out, and it was prohibitively expensive.
When it comes to technology, cooperation is built in, along with those other trends: specialisation, ubiquity.
It’s easy to think when we compare these trends in biology and technology and we see the overlap, to fall into the trap of thinking they’re basically the same process, but they’re not. Underneath the hood the process is very different.
In biology it’s natural selection, this long, messy, slow process. But kind of like DNA, it’s very simple building blocks that results in amazing complexity. With technology it’s kind of the other way around. Nature doesn’t imagine the end result of a species and then work towards that end result. Nature doesn’t imagine an elephant or an ostrich. It’s just, that’s the end result of evolution. Whereas with technology, we can imagine things, design things, and then build them. Picture something in our mind that we want to exist in the world and then work together to build that.
Now one of my favourite examples of imagining technology and then creating it is a design school called Chindogu created by Kenji Kawakami. He started the International Chindogu Society in 1995. There’s goals, principles behind Chindogu, and the main one is that these things, these pieces of technology must be not exactly useful, but somehow not all together useless.
I’ll show you what I mean and you get the idea. You look at these things and you think, uh, that’s crazy. But actually, is it crazy or is it brilliant? Like this, I think, well, that’s ridiculous. Well— actually, not entirely useless, not exactly useful, but, you know, keeping your shoes dry in the rain. That seems sort of useful.
They’re described as being un-useless. These are un-useless objects. But why not? I mean why not harvest the kinetic energy of your child to clean the floors? If you don’t have a child, that’s fine. It works other ways.
These things, I mean they’re fun to imagine and to create, but you couldn’t imagine them actually in the world being used. You couldn’t imagine mass adoption. Like, I found this thing from the book of Chindogu from 1995, and it describes this device where you kind of put a camera on the end of a stick so you can take self portraits, but you couldn’t really imagine anyone actually using something like this out in the world, right?
These are all examples of what we see in the history of technology. From Acheulean hand axes to pencils to Chindogu, there are bits of hardware. When we think of technology, that’s what we tend to think of: bits of hardware. And the hardware is augmenting the human. The human is using the hardware to gain benefit.
Something interesting happened in the 20th Century when we started to get another layer in between the human and the hardware, and that’s software. Then the human can interact with the software, and the software can interact with the hardware. I would say the best example of this, looking back through the history of technology of the last 100 years or so, would be the Apollo Program, the perfect mixture of human, software, and hardware.
By the way, seeing as we were just talking about selfies and selfie sticks, I just want to point out that this picture is one of the very few examples of an everyone-elsie. This picture was taken by Michael Collins in the Command Module, and Neil Armstrong and Buzz Aldrin are in that spaceship, and every human being alive on planet earth is also in this picture with one exception, Michael Collins, the person taking the picture. It’s an everyone-elsie.
I think the Apollo program is the pinnacle of human achievement so far, I would say, and this perfect example of this mixture of, like, amazing humans required to do this, amazing hardware to get them there, and amazing software. It’s hard to imagine how it would have been possible to send people to the moon without the work of Margaret Hamilton. Writing the onboard flight software and also creating entire schools of thought of software engineering.
Since then, and looking through the trend of technology from then onwards, what you start to notice is that the hardware becomes less and less important, and the software is what really starts to count with Moore’s law and everything like that, that we can put more and more complexity into the software. Maybe the end goal of technology is eventually that the hardware becomes completely irrelevant, fades away. This idea of design dissolving in behaviour.
This idea of the hardware becoming irrelevant in a way was kind of what was at the heart of the World Wide web project created by Tim Berners-Lee when he was at CERN because there at CERN — CERN is an amazing place, but everybody just kind of does whatever they want. It’s crazy. There’s almost no hierarchy, which means everybody uses whatever kind of computer they want. You can’t dictate to people at CERN you all must use this operating system. That was at the heart of the World Wide web project, the idea to make the hardware irrelevant. It shouldn’t matter what kind of computer you’ve got. You should still be able to access information.
We kind of take that for granted today, but it is quite a revolutionary thought. We don’t worry about it today. You make a website, of course you can look at it on a Windows device or a Mac or a Linux machine or an iPhone, an iOS device, or an Android device. Of course. But it wasn’t clear at the time. You know back at the time you would make software for specific operating systems, so this idea of making hardware irrelevant was kind of revolutionary.
The World Wide web project is a classic example of a piece of technology that didn’t come out of nowhere. It built on what came before. Like every other piece of technology, it built on what was already there. You can’t have Twitter or Facebook without the World Wide Web, and you can’t have the World Wide web without the Internet. You can’t have the Internet without computers. You can’t have computers without electricity. You can’t have electricity without the Industrial Revolution. Building on the shoulders of giants all the way up.
There’s also this idea of the adjacent possible. It’s when these things become possible. You couldn’t have had the World Wide web right after the Industrial Revolution because these other steps hadn’t yet taken place. It’s something that the author Steven Johnson takes about: the adjacent possible. It was impossible to invent the microwave oven in 16th Century Holland because there were too many other things that needed to be invented in the way.
It’s easy to see this as an inevitable process that, of course electricity follows industrialisation. Of course computers come, and of course the Internet comes. And there is a certain amount of inevitability. This happens all the time in the history of technology where there’s simultaneous inventions and people are beating one another to the patent office by hours to patent, whether it’s radio or the telephone or any of these devices that it seemed inevitable.
I don’t think the specifics are inevitable. Something like the World Wide web was inevitable, but the World Wide web we got was not. Something like the Internet was inevitable, but not the Internet that we got.
The World Wide web project itself has these building blocks: HTTP, the protocol, URLs as identifiers, and HTML was a simple format. Again, these formats are built upon what came before. Because it turns out that making the technology—creating a format or a protocol or spec for identifying things—not to belittle the work, but that’s actually not the hard part. The hard part is convincing people to use the protocol, convincing people to use the format.
That’s where you butt up against humans. How do you convince humans? Which always reminds me of Grace Hopper, an amazing computer scientist, rear admiral Grace Hopper, co-inventor of COBOL and the inventor of the compiler, without which we wouldn’t have computing as we know it today. She bumped up against this all the time, that people were reluctant to try new things. She had this phrase. She said, “Humans are allergic to change.” Now, she used to try and fight that. In fact, she used to have a clock on her wall that went backwards to simply demonstrate that it’s an arbitrary convention. You could change the convention.
She said the most dangerous phrase in the English language is, “We’ve always done it that way.” So she was right to notice that humans are allergic to change. I think we could all agree on that.
But her tactic was, “I try to change that,” whereas with Tim Berners-Lee and the World Wide Web, he sort of embraced it. He sort of went with it. He said, “Okay. I’ve got these things I want to convince people to use, but humans are allergic to change,” and that’s why he built on top of what was already there.
He didn’t create these things from scratch. HTTP, the protocol, is built on top of TCP/IP, the work of Bob Kahn and Vint Cerf. The URLs work on top of the Domain Name System and the work of Jon Postel. And HTML, this very simple format, was built on top of a format, a flavour of SGML, that everybody at CERN was already using. So it wasn’t a hard sell to get people to use HTML because it was very familiar.
In fact, if you were to look at SGML back then in use at CERN, you would see these elements.
These are SGML elements used in CERN SGML. You could literally take a CERN SGML document, change the file extension to .htm, and it was an HTML document.
It’s true. Humans are allergic to change, so go with that. Don’t make it hard for them.
Now of course, we got these elements in HTML. This is where they came from. It’s just taking wholesale from SGML. Over time, we got a whole bunch more elements. We got more semantic richness added to HTML, so we can structure our documents more clearly.
Where it gets really interesting is that we also got more behavioural elements added to HTML, the elements that browsers recognise and do quite advanced things with like video and audio and canvas.
<canvas> <video> <audio> <picture> <datalist>
Now what’s interesting is that I find it fascinating that we can evolve a format like this. We can just keep adding things to the format. The reason why we could do that is because these elements were designed with backwards compatibility built in. If you have an open video tag, closing video tag, you can put content in between there for the browsers that don’t understand the video tag.
The same with canvas. You can put fallback content in there, so you don’t have to wait for every browser to support one of these elements. You can start using it straight away and still provide something for older browsers. That’s very deliberate.
The canvas element was actually a proprietary element created by Apple and other browsers saw it and said, “Oh, yeah, we like that. We’re going to take that,” and they started standardising on it. To begin with, it was a standalone element like img. You put a closing slash there or whatever. But when it got standardised, they deliberately added a closing tag so that people could put fallback content in there. What I’m saying is it wasn’t an accident. It was designed.
Now Chris yesterday mentioned the HTML design principles, and this is one of them—that when you’re creating new elements, new attributes, you should design them in such a way that “the content can degrade gracefully in older or less capable user agents even when making use of these new elements, attributes, APIs, content models.” It is a design decision. There are HTML design principles. They’re very good.
I like design principles. I like design principles a lot. I actually collect them. I’m a bit of a nerd for design principles, and I collect them at this URL:
There you will find design principles for software, for organisations, for people, for schools of thought. There’s Chindogu design principles I’ve collected there.
I guess why I’m fascinated by principles is where they sit. Jina talked about this yesterday in relation to a design system, in that you begin with the goals. This is like the vision, what you’re trying to achieve, and then the principles define how you’re going to achieve that. Then the patterns are the result of the principles. The principles are based on the goals, which result in the patterns.
In the case of the World Wide Web, the goal is to make hardware irrelevant. Access to information regardless of hardware. The principles are encoded in the HTML design principles, and then the patterns are those elements that we get, those elements that are designed with backwards compatibility in mind.
Now when we look at new things added to HMTL, new features, new browser APIs, what we tend to ask, of course, is: how well does it work?
How well does this thing do what it claims it’s going to do? That’s an excellent question to ask whenever you’re evaluating a new technology or tool. But I don’t think it’s the most important question. I think it’s just as important to ask: how well does it fail?
How well does it fail?
If you look at those HTML elements, which have been designed that way, they fail well. They fail well in older browsers. You can have that fallback content. I think this is a good lens to look at technology through because what we tend to do, when there’s a new browser API, we go to Can I Use, and we see, well, what’s the support like? We see some green, and we see some red. But the red doesn’t tell you how well it fails.
Here’s an example: CSS shapes. If you go to caniuse.com and you look at the support, there’s some green, and there’s some red. You might think there’s not enough green, so I’m not going to use it. But what you should really be asking is, how well does it fail?
In the case of CSS shapes, here’s an example of CSS shapes in action. I’ve got a border radius on this image, and on this text here I’ve said, shape-outside: circle on the image, so the text is wrapping around that circle. How well does it fail? Well, let’s look at it in a browser that doesn’t support CSS shapes, and we see the text goes in a straight line.
I’d say it fails pretty well because this is what would have happened anyway, and the text wrapping around the circle was kind of an enhancement on top of what would have happened anyway. Actually, it fails really well, so you might as well go ahead and use it. You might as well go ahead and use it even if it was only supported in one browser or two browsers because it fails well.
Let’s use that lens of asking how well does it work and how well does it fail to look at some of the technologies that you’ve probably been hearing about—some of the buzzwords in the world of front-end development. Let’s start with this. This is a big buzzword these days: service workers.
Who has heard of service workers? Okay. Quite a few.
Who is using service workers? Not so many. Interesting.
The rest of you, you’ve heard of it, and you’re currently probably in the state of evaluating the technology, trying to decide whether you should use this technology.
I’m not going to explain how service workers work. I guess I’ll just describe what it can do. It’s an amazing piece of technology that you kind of install on the user’s machine and then it sits there like a virus intercepting requests, which sounds scary, but actually is really powerful because you can really improve performance. You can serve things from a cache. You get access to the cache API. You can make things work offline, which is kind of amazing, because you’ve got access to those requests.
I was trying to describe it the other day and the best way I could think of describing it was a service worker is like doing a man-in-the-middle attack on your own website, but in a good way—in a good way. There’s endless possibilities of what you can do with this technology. It’s very powerful. And, at the very least, you can make a nice, custom, offline page instead of the dinosaur game or whatever people would normally get when they’re offline. You can have a custom offline page in the same way you could have a custom 404 page.
The Guardian have a service worker on their site, and they do a crossword puzzle. You’re on the train, you’re trying to read that article, but there’s no internet connection. Well, you can play the crossword puzzle. Little things like that, so it can be used for real delight. It’s a great technology.
Well, let’s see what the support is like on Can I Use. Not bad. Not bad at all. Some good green there, but there’s quite a bit of red. If this is the reason why you haven’t used service workers yet because you see the support and you think, “Not enough support. I’m not going to invest my time,” I think you haven’t asked the question, “how well does it fail?” This is where I think the absolute genius of service worker comes in.
Service workers fail superbly because here’s what happens with a service worker. The first time someone visits your site there, of course, is no service worker installed on the client. They must first visit your site, get the downloads, have that service worker installed, which means every browser doesn’t support service workers for the first visit.
Then, on subsequent visits, you can use the service worker for the browsers that support it as this enhancement. Provide the custom offline page. Cache those assets. Do offline first stuff. But you’re not going to harm any of those browsers that are in the red on Can I Use, and that’s deliberate in the design of service workers. It’s been designed that way. I think service workers fail really well.
Let’s look at another hot topic.
Who has heard of web components? Who is using web components—the real thing now? Okay. Wow. Brave. Brave person.
Web components actually aren’t a specific technology. web components is an umbrella term. I mean, in a way, service workers is kind of an umbrella term because it’s what you get access to through service workers that counts. You get access to the fetch API and the cache API and even notifications through a service worker.
With web components, it’s this term for a combination of specs, a combination of APIs like custom elements, the very sinister sounding shadow DOM, which is not as scary as it sounds, and there’s other things in there too like HTML imports and template. All of this stuff together is given the label web components. The idea is we’ve already got these very powerful elements in HTML, and it’s great when they get added to HTML, but it takes a long time. The standards process is slow. What if we could just make our own elements? That’s what you get to do with custom elements. You get to make shit up.
These common patterns. You keep having to reinvent the wheel. Let’s make an element for that. The only requirement with a custom element is that you have to have a hyphen in there. This is kind of a long-term agreement with the spec makers that they will never make an HTML element with a hyphen in it. Therefore, it’s kind of a safe space to use a hyphen in a made up element.
Okay, but if you just make up an element like this, it’s effectively the same as having a span in your document. It doesn’t do anything. It’s the other specs that make it come to life, like having HTML imports that link off to a file that describes what the browser is supposed to do with this new element that you’ve created.
Web components are intended as a solution to this, so it sounds pretty great. How well does it work? Well, let’s see what the browser support is like for some parts of web components. Let’s take custom elements. Yeah, some green, but there’s an awful lot of red. Never mind, as we’ve learned from looking at things like CSS shapes and service workers. But the red doesn’t tell us anything because the lack of support in a browser doesn’t answer the question, how well does it fail? How well do web components fail?
This is where it gets interesting because the answer to the question, “How well do web components fail?” is …it depends.
It depends on how you use the web components. It depends on if you applied the same kind of design principles that the creators of HTML applied when they’re making new elements.
Let’s say you make an image-gallery element, and you make it so that the content of the image gallery is inside the open and closing tag.
Now in a non-supporting browser this is actually acceptable because they won’t understand what this image-gallery thing is. They won’t throw an error because HTML is very tolerant of stuff it doesn’t understand. They’ll just display the images as images. That’s acceptable.
In fact, there’s demo sites to demonstrate the power of web components that do this. The Polymer Project, there’s a whole collection of web components, and they created an entire online shop to demonstrate how cool web components are, and this is the HTML of that shop.
The body element simply contains a shop-app custom element and then a script, and all the power is in the script. Here the web component fails really badly because you get absolutely nothing. That’s what I mean when I say it depends. It depends entirely on how we use them.
Now the good news is, as we saw from looking at Can I Use, it’s very early days with web components. We haven’t figured out yet what the best practices are, so we can set the course of the future here. We can decide that there should be design principles for how we collectively use this powerful technology like web components.
See, the exciting thing about web components is that they give us developers the same power that previously only browser makers had. But the scary thing about web components is that they give us developers the same power that previously only browser makers had. With great power, et cetera, et cetera, and we should rise to the challenge of that responsibility.
What’s interesting about both these things we’re looking at is that, like I said, they’re not really a single technology in themselves. They’re kind of these umbrella terms. With service worker it’s an umbrella term for fetch and cache and notifications, background sync — very cool stuff. With web components it’s an umbrella term for custom elements and HTML imports and shadow DOM and all this stuff.
But they’re both coming from the same place, the same sort of point of view, which is this idea that we, web developers, should be given that power and that responsibility to have access to these low-level APIs rather than just waiting for standards bodies to give us access through new APIs. This is all encapsulated in a school of thought called The Extensible Web, that we should have access to these low-level APIs.
The Extensible web is effectively — it’s literally a manifesto. There’s a manifesto for The Extensible Web. It’s just a phrase. It’s not a technology, just words, but words are very powerful when it comes to technology, when it comes to adopting technology. Words can get you very far. Ajax is just a word. It’s just a word for technologies that already existed at the time, but Jesse James Garrett put a word on it, and it made it easier to talk about it, and it helped the adoption of those technologies.
Responsive web Design: what Ethan did was he put a phrase to a collection of technologies: media queries, fluid layouts, fluid images. Wrapped it all up in a very powerful term, Responsive web Design, and the web was never the same.
Progressive Web Apps
Here’s a term you’ve probably heard of over the last couple of days: progressive web apps. Anybody who went to the Microsoft talk yesterday at lunchtime would have heard about progressive web apps. It’s just a term. It’s just an umbrella term for other technologies underneath. Progressive web app is the combination of having your site run over HTTPS, so it’s secure, which by the way is a requirement for running a service worker, and then also having a manifest file, which contains all this metadata. Chris mentioned it yesterday. You point to your icons and metadata about your site. All that adds up to, hey, you’ve got a progressive web app.
It’s a good sounding — I like this term. It’s a good sounding term. It was created by Frances Berriman and her husband, Alex Russell, to describe this. Again, a little bit of a manifesto in that these sites should be responsive and intuitive and they need to fulfil these criteria. But I worry sometimes about the phrasing. I mean, all the technologies are great. And you will actually get rewarded if you use these technologies. If you use HTTPS, you got a service worker, you got a manifest file. On Chrome for Android, if someone visits your site a couple of times, they’ll be prompted to add the site to the home screen just as though it were a native app. It will behave like a native app in the app switcher. You’re getting rewarded for these best practices.
But when I see the poster children for progressive web apps, my heart sinks when I see stuff like this. This is the Washington Post progressive web app, but this is what you get if you visit on the “wrong” device. In this case I’m visiting on a desktop browser, and I’m being told to come back with a mobile browser. Oh, how the tables have turned! It was not that long ago when we were being turned away on our mobile devices, and now we’re turning people away on desktops.
This was a solved problem. We did this with responsive web design. The idea of having a separate site for your progressive web app - no, no, no. We’re going back to the days of m.sites and the “real” website. No. No. I feel this is the wrong direction.
I worry that maybe this progressive web app terminology might be hurting it and the way that Google are pushing this app shell model. Anything can be a progressive web app, anything on the web.
I mean I’ve got things that I’ve turned into progressive web apps, and some of them might be, okay, maybe you consider this site, Huffduffer, as an app. I don’t know what a web app is, but people tell me it might be a web app. But I’ve also got like a community website, and it fulfils all the criteria. I guess it’s a progressive web app. My personal site, it’s a blog, but technically it’s a progressive web app. I put a book online. A book is an app now because it fulfils all the criteria. Even a single page collecting design principles is technically a progressive web app.
I worry about the phrasing, potentially limiting people when they come to evaluate the technology. “Oh, progressive web app, well, that’s not for me because I’m not building apps. I’m building some other kind of site.” I think that would be a real shame because literally every site on the web can benefit from those technologies, which brings me to the next question when we’re evaluating technology. Who benefits from the technology?
Broadly speaking, I would say there’s kind of two schools of who could benefit from a particular technology on the Web. Does the technology benefit the developer or does the technology benefit the user? Much like what Chris was showing yesterday with the Tetris blocks and kind of going on a scale from technologies that benefit users to technologies that benefit developers.
Now I would say that nine times out of ten there is no conflict. Nine times out of ten a piece of technology is beneficial to the developer and beneficial to the user. You could argue that any technology that benefits the developer is de facto a benefit to the user because the developer is working better, working faster, therefore they can get the website out, and that’s good for the user.
Let’s talk about technologies that directly impact users versus the technologies that directly impact developers. Now personally I’m going to generally fall down on the side of technologies that benefit users over technologies that benefit developers. I mean, you look at something like service workers. There isn’t actually a benefit to developers. If anything, there’s a tax because you’ve got to get your head around service workers. You’ve got a new thing to learn. You’ve got to get your head down, learn how it works, write the code. It’s actually not beneficial for developers, but the end result—offline pages, faster performance—hugely beneficial for users. I’ll fall down on that side.
Going back to when I told you I was a nerd for design principles. Well, I actually have a favourite design principle and it’s from the HTML design principles. It’s the one that Chris mentioned yesterday morning. It’s known as the priority of constituencies:
In case of conflict, consider users over authors over specifiers over theoretical purity.
That’s pretty much the way I evaluate technology too. I think of the users first. And the authors, that’s us, we have quite a strong voice in that list, but it is second to users.
Now when we’re considering the tools and we’re evaluating who benefits from this tool, “Is it developers, or is it users, or is it both?” I think we need to stop and make a distinction about the kinds of tools we work with. I’m trying to work out how to phrase this distinction, and I kind of think of it as inward facing tools and outward facing tools: inward facing tools developers use; outward facing tools that directly touch end users.
Now when it comes to evaluating these technologies, my attitude is, whatever works for you. Now we can have arguments and say, “Oh, I prefer this tool over that tool”, but it really doesn’t matter. What matters is: does it work for you? Does it make you work faster? Does it make your team work faster? That’s really the only criteria because none of these directly touch the end user.
The most important question—I’d say this is true of evaluating any technology—is, what are the assumptions?
What are the assumptions?
What are the assumptions that have been baked into the tool you’re about to use, because I guarantee you there are assumptions baked into those tools. I know that because those tools were created by humans. And we humans, we have biases. We have assumptions, and we can’t help but encode those biases and assumptions into what we make. It’s true of anything we make. It’s particularly true of software.
We talk about opinionated software. But in a way, all software is opinionated. You just have to realise where the opinions lie. This is why you can get into this situation where we’re talking about frameworks and libraries, and one person is saying, “Oh, this library rocks”, and the other person is saying, “No, this library sucks!” They’re both right and they’re both wrong because it entirely depends on how well the philosophy of that tool matches your own philosophy.
If you’re using a tool that’s meant to extend your capabilities and that tool matches your own philosophy, you will work with the tool, and you will work faster and better. But if the philosophy of the tool has a mismatch with your own philosophy, you’re going to fight that tool every step of the way. That’s why people can be right and wrong about these frameworks. What works for one person doesn’t work for another. All software is opinionated.
It makes it really hard to try and create un-opinionated software. At Clearleft we’ve got this tool. It’s an open source project now called Fractal for building pattern libraries, working with pattern libraries. The fundamental principle behind it was that it should be as agnostic as possible, completely agnostic to build tools, completely agnostic to templating languages, that it should be able to work just about anywhere. It turns out it’s really, really hard to make agnostic software because you keep having to make decisions that favour one thing over another at every step.
Whether it’s writing the documentation or showing an example, you have to show the example in some templating language. You have to choose a winner in the documentation to demonstrate something. It’s really hard to write agnostic software. Every default you add to a piece of software shows your assumptions because those defaults matter.
But I don’t want to make it sound like these tools have a way of working and there’s no changing it, that the assumptions are baked in and there’s nothing you can do about it; that you can’t fight against those assumptions. Because there are examples of tools being used other than the uses for which they were intended right throughout the history of technology. I mean, when Alexander Graham Bell created the telephone, he thought that people would use it to listen to concerts that were happening far away. When Edison created the gramophone, he thought that people would record their voices so they could have conversations at a distance. Those two technologies ended up being used for the exact opposition purposes than what their inventors intended.
Here’s an example from the history of technology from Hedy Lamarr, the star of the silver screen the first half of the 20th Century here in Europe. She ended up married to an Austrian industrialist arms manufacturer. After the Anschluss, she would sit in on those meetings taking notes. Nobody paid much attention to her, but she was paying attention to the technical details.
She managed to get out of Nazi occupied Europe, which was a whole adventure in itself. Made her way to America, and she wanted to do something for the war effort, particularly after an incident where a refuge ship was sunk by a torpedo. A whole bunch of children lost their lives, and she wanted to do something to make it easier to get the U-boats. She worked on a system for torpedoes. It was basically a guidance system for radio controlled torpedoes.
The problem is, if you have a radio frequency you’re using to control the torpedo to guide it towards its target, if the enemy figure out what the frequency is, they can jam the signal and now you can no longer control the torpedo. Together with a composer named George Antheil, Hedy Lamarr came up with this system for constantly switching the frequency, so both the torpedo and the person controlling it are constantly switching the radio frequency to the same place, and now it’s much, much harder to jam that transmission.
Okay. But what’s that got to do with us, some technology for guided missiles in World War II? In this room, I’m guessing you’ve got devices that have WiFi and Bluetooth and GPS, and all of those technologies depend on frequency hopping. That wasn’t the use for which it was created, but that’s the use we got out of it.
I get that out in the real world as well: “I guess this technology is coming”, you know, with self-driving cars, machine learning, whatever it happens to be. I guess we’ve just got to accept it. There’s even this idea of technological determinism that technology is the driving force of human history. We’re just along for the ride. It’s the future. Take it.
The ultimate extreme of this attitude of technological determinism is the idea of the technological singularity, kind of like the rapture for the nerds. It’s an idea borrowed from cosmology where you have a singularity at the heart of a black hole. You know a star collapses to as dense as possible. It creates a singularity. Nothing can escape, not even light.
The point is there’s an event horizon around a black hole, and it’s impossible from outside the event horizon to get any information from what’s happening beyond the event horizon. With a technological singularity, the idea is that technology will advance so quickly and so rapidly there will be an event horizon, and it’s literally impossible for us to imagine what’s beyond that event horizon. That’s the technological singularity. It makes me uncomfortable.
But looking back over the history of technology and the history of civilisation, I think we’ve had singularities already. I think the Agricultural Revolution was a singularity because, if you tried to describe to nomadic human beings before the Agricultural Revolution what life would be like when you settle down and work on farms, it would be impossible to imagine. The Industrial Revolution was kind of a singularity because it was such a huge change from agriculture. And we’re probably living through a third singularity now, an information age singularity.
But the interesting thing is, looking back at those previous singularities, they didn’t wipe away what came before. Those things live alongside. We still have agriculture at the same time as having industry. We still have nomadic peoples, so it’s not like everything gets wiped out by what comes before.
In fact, Kevin Kelly, who is a very interesting character, he writes about technology. In one of his books he wrote that no technology has ever gone extinct, which sounds like actually a pretty crazy claim, but try and disprove it. And he doesn’t mean it is a technology sitting in a museum somewhere. He means that somewhere in the world somebody is still using that piece of technology, some ancient piece of farming equipment, some ancient piece of computer equipment.
He writes these very provocational sort of books with titles like What Technology Wants, and The Inevitable, which makes it sound like he’s on the side of technological determinism, but actually his point is a bit more subtle. He’s trying to point out that there is an inevitability to what’s coming down the pipe with these technologies, but we shouldn’t confuse that with not being able to control it and not being able to steer the direction of those technologies.
Like I was saying, something like the World Wide Web was inevitable, but the World Wide Web we got was not. I think it’s true of any technology. We can steer it. We can choose how we use the technologies.
Looking at Kevin Kelly and his impressive facial hair, you might be forgiven for thinking that he’s Amish. He isn’t Amish, but he would describe himself as Amish-ish in that he’s lived with the Amish, and he thinks we can learn a lot from the Amish.
It turns out they get a very bad reputation. People think that the Amish reject technology. It’s not true. What they do is they take their time.
The Amish are steadily adopting technology at their pace. They are slow geeks.
I think we could all be slow geeks. We could all be a bit more Amish-ish. I don’t mean in our dress sense or facial hair. I mean in the way that we are slow geeks and we ask questions of our technology. We ask questions like, “How well does it work?” but also, “How well does it fail?” That we ask, “Who benefits from this technology?” And perhaps most importantly that we ask, “What are the assumptions of those technologies?”
Because when I look back at the history of human civilisation and the history of technology, I don’t see technology as the driving force; that it was inevitable that we got to where we are today. What I see as the driving force are people, remarkable people, it’s true, but people nonetheless.
And you know who else is remarkable? You’re remarkable. And your attitude shouldn’t be, “It’s the future. Take it.” It should be, “It’s the future. Make it.” And I’m looking forward to seeing the future you make. Thank you.
Once I had a design direction for the Patterns Day site, I started combining my marked-up content with some CSS. Ironically for an event that’s all about maintainability and reusability, I wrote the styles for this one-page site with no mind for future use. I treated the page as a one-shot document. I even used ID selectors—gasp! (the IDs were in the HTML anyway as fragment identifiers).
The truth is I didn’t have much of a plan. I just started hacking away in a style element in the head of the document, playing around with colour, typography, and layout.
I started with the small-screen styles. That wasn’t a conscious decision so much as just the way I do things automatically now. When it came time to add some layout for wider viewports, I used a sprinkling of old-fashioned display: inline-block so that things looked so-so. I knew I wanted to play around with Grid layout so the inline-block styles were there as fallback for non-supporting browsers. Once things looked good enough, the fun really started.
Jen was very patient in talking me through the concepts, syntax, and tools for using CSS grids. Top tip: open Firefox’s inspector, select the element with the display:grid declaration, and click the “waffle” icon—instant grid overlay!
For the header of the Patterns Day site, I started by using named areas. That’s the ASCII-art approach. I got my head around it and it worked okay, but it didn’t give me quite the precision I wanted. I switched over to using explicit grid-row and grid-column declarations.
It’s definitely a new way of thinking about layout: first you define the grid, then you place the items on it (rather than previous CSS layout systems where each element interacted with the elements before and after). It was fun to move things around and not have to worry about the source order of the elements …as long as they were direct children of the element with display:grid applied.
Without any support for sub-grids, I ended up having to nest two separate grids within one another. The logo is a grid parent, which is inside the header, also a grid parent. I managed to get things to line up okay, but I think this might be a good use case for sub-grids.
The logo grid threw up some interesting challenges. I wanted each letter of the words “Patterns Day” to be styleable, but CSS doesn’t give us any way to target individual letters other than :first-letter. I wrapped each letter in a b element, made sure that they were all wrapped in an element with an aria-hidden attribute (so that the letters wouldn’t be spelled out), and then wrapped that in an element with an aria-label of “Patterns Day.” Now I could target those b elements.
For a while, I also had a br element (between “Patterns” and “Day”). That created some interesting side effects. If a br element becomes a grid item, it starts to behave very oddly: you can apply certain styles but not others. Jen and Eric then started to test other interesting elements, like hr. There was much funkiness and gnashing of specs.
It was a total nerdfest, and I loved every minute of it. This is definitely the most excitement I’ve felt around CSS for a while. It feels like a renaissance of zen gardens and layout reservoirs (kids, ask your parents).
After a couple of days playing around with grid, I had the Patterns Day site looking decent enough to launch. I dabbled with some other fun CSS stuff in there too, like gratuitous clip paths and filters when hovering over the speaker images, and applying shape-outside with an image mask.
I remember that being a theme at An Event Apart San Francisco too, when it seemed like every speaker had words to say about ill-judged use of Bootstrap. That theme was certainly in my presentation when I talked about “the fallacy of assumed competency”:
large company X uses technology Y,
company X must know what they are doing because they are large,
As well as over-arching themes, it was also interesting to see which technologies were hot topics at An Event Apart. There was one clear winner here—CSS Grid Layout.
Microsoft—a sponsor of the event—used An Event Apart as the place to announce that Grid is officially moving into development for Edge. Jen talked about Grid (of course). Rachel talked about Grid (of course). And while Eric and Una didn’t talk about it on stage, they’ve both been writing about the fun they’ve been having having with Grid. Una wrote about 3 CSS Grid Features That Make My Heart Flutter. Eric is documenting the overall of his site with Grid. So when we were all gathered together, that’s what we were nerding out about.
There are some great resources out there for levelling up in Grid-fu:
Rachel’s extensive Grid by Example is the perfect way to find the Grid solution to your layout scenario.
With Jen’s help, I’ve been playing with CSS Grid on a little site that I’m planning to launch tomorrow (he said, foreshadowingly). I took me a while to get my head around it, but once it clicked I started to have a lot of fun. “Fun” seems to be the overall feeling around this technology. There’s something infectious about the excitement and enthusiasm that’s returning to the world of layout on the web. And now that the browser support is great pretty much across the board, we can start putting that fun into production.
Jeffrey likes the new talk I debuted at An Event San Francisco. That’s nice!
Summarizing it here is like trying to describe the birth of your child in five words or less. Fortunately, you can see Jeremy give this presentation for yourself at several upcoming An Event Apart conference shows in 2017.