I enjoyed chatting to Larry Botha on the Fixate On Code podcast—I hope you’ll enjoy hearing it.
Thursday, February 8th, 2018
Friday, February 2nd, 2018
Thursday, February 1st, 2018
Global Diversity CFP Day—Brighton edition
There are enough middle-aged straight white men like me speaking at conferences. That’s why the Global Diversity Call-For-Proposals Day is happening this Saturday, February 3rd.
The purpose is two-fold. One is to encourage a diverse range of people to submit talk proposals to conferences. The other is to help with the specifics—coming with ideas, writing a good title and abstract, preparing the presentation, and all that.
If you’ve ever thought about submitting a talk proposal to a conference but just don’t know where to start, or if you’re just interested in the idea, please do come along on Saturday. It’s starts at 11am and will be all wrapped up by 3pm.
Friday, January 26th, 2018
The gorgeous website for this year’s Ampersand conference might well be one of the first commercial uses of variable fonts in the wild. Here, Richard documents all the clever things Mark did to ensure good fallbacks for browsers that don’t yet support variable fonts.
Thursday, January 25th, 2018
Design ops for design systems
Leading Design was one of the best events I attended last year. To be honest, that surprised me—I wasn’t sure how relevant it would be to me, but it turned out to be the most on-the-nose conference I could’ve wished for.
Seeing as the event was all about design leadership, there was inevitably some talk of design ops. But I noticed that the term was being used in two different ways.
Sometimes a speaker would talk about design ops and mean “operations, specifically for designers.” That means all the usual office practicalities—equipment, furniture, software—that designers might need to do their jobs. For example, one of the speakers recommended having a dedicated design ops person rather than trying to juggle that yourself. That’s good advice, as long as you understand what’s meant by design ops in that context.
There’s another context of use for the phrase “design ops”, and it’s one that we use far more often at Clearleft. It’s related to design systems.
Now, “design system” is itself a term that can be ambiguous. See also “pattern library” and “style guide”. Quite a few people have had a stab at disambiguating those terms, and I think there’s general agreement—a design system is the overall big-picture “thing” that can contain a pattern library, and/or a style guide, and/or much more besides:
- Styleguides, Pattern Libraries and Design Languages
- Design Systems vs. Pattern Libraries vs. Style Guides – What’s the Difference?
- Design Systems, Style Guides, and Pattern Libraries: Oh My!
- What’s the difference between style guides, pattern libraries, and design systems?
None of those great posts attempt to define design ops, and that’s totally fair, because they’re all attempting to define things—style guides, pattern libraries, and design systems—whereas design ops isn’t a thing, it’s a practice. But I do think that design ops follows on nicely from design systems. I think that design ops is the practice of adopting and using a design system.
There are plenty of posts out there about the challenges of getting people to use a design system, and while very few of them use the term design ops, I think that’s what all of them are about:
- Why Design Systems Fail
- Tips for in-house teams in a free market software culture
- Putting your design system into practice
Clearly design systems and design ops are very closely related: you really can’t have one without the other. What I find interesting is that a lot of the challenges relating to design systems (and pattern libraries, and style guides) might be technical, whereas the challenges of design ops are almost entirely cultural.
I realise that tying design ops directly to design systems is somewhat limiting, and the truth is that design ops can encompass much more. I like Andy’s description:
Design Ops is essentially the practice of reducing operational inefficiencies in the design workflow through process and technological advancements.
Now, in theory, that can encompass any operational stuff—equipment, furniture, software—but in practice, when we’re dealing with design ops, 90% of the time it’s related to a design system. I guess I could use a whole new term (design systems ops?) but I think the term design ops works well …as long as everyone involved is clear on the kind of design ops we’re all talking about.
Tuesday, January 23rd, 2018
In fact, you can do more than saving the date: you can snap up a super early bird ticket for whopping £85 saving.
Friday, November 24th, 2017
Boxman’s talk about complexity, reasoning, philosophy, and design is soooo good!
Wednesday, November 22nd, 2017
It had been a while since we had a movie night at Clearleft so I organised one for last night. We usually manage to get through two movies, and there’s always a unifying theme decided ahead of time.
For last night, I decided that the broad theme would be …transport. But then, through voting on Slack, people could decide what the specific mode of transport would be. The choices were:
- getaway car,
- truck, or
Nobody voted for submarines. That’s a shame, but in retrospect it’s easy to understand—submarine films aren’t about transport at all. Quite the opposite. Submarine films are about being trapped in a metal womb/tomb (and many’s the spaceship film that qualifies as a submarine movie).
There were some votes for taxis and trucks, but the getaway car was the winner. I then revealed which films had been pre-selected for each mode of transport.
- Collateral, Michael Mann, 2004 (86% 🍅)
- Night On Earth, Jim Jarmusch, 1991 (73% 🍅)
- Taxi Driver, Martin Scorsese, 1976 (99% 🍅)
- Baby Driver, Edgar Wright, 2017 (93% 🍅)
- Wheelman, Jeremy Rush, 2017 (88% 🍅)
- Drive, Nicolas Winding Refn, 2011 (93% 🍅)
- The Driver, Walter Hill, 1978 (80% 🍅)
- Below, David Twohy, 2002 (64% 🍅)
- Crimson Tide, Tony Scott, 1995 (87% 🍅)
- The Hunt For Red October, John McTiernan, 1990 (86% 🍅)
I thought Baby Driver would be a shoe-in for the first film, but enough people had already seen it quite recently to put it out of the running. We watched Wheelman instead, which was like Locke meets Drive.
So what would the second film be?
Well, some of those films in the full list could potentially fall into more than one category. The taxi in Collateral is (kinda) being used as a getaway car. And if you expand the criterion to getaway vehicle, then Furiosa’s war rig surely counts, right?
Okay, we were just looking for an excuse to watch Fury Road again. I mean, c’mon, it was the black and chrome edition! I had the great fortune of seeing that on the big screen a while back and I’ve been raving about it ever since. Besides, you really don’t need an excuse to rewatch Fury Road. I loved it the first time I saw it, and it just keeps getting better and better each time. The editing! The sound! The world-building!
With every viewing, it feels more and more like the film for our time. It may have been a bit of stretch to watch it under the thematic umbrella of getaway vehicles, but it’s a getaway for our current political climate: instead of the typical plot involving a gang driving at full tilt from a bank heist, imagine one where the gang turns around, ousts the bankers, and replaces the whole banking system with a matriarchal community.
“Hope is a mistake”, Max mansplains (maxplains?) to Furiosa at one point. He’s wrong. Judicious hope is what drives us forward (or, this case, back …to the citadel). Watching Fury Road again, I drew hope from the character of Nux. An alt-warboy in thrall to a demagogue and raised on a diet of fake news (Valhalla! V8!) can not only be turned by tenderness, he can become an ally to those working for a better world.
Saturday, November 11th, 2017
I spoke my brains on the Venturi’s Voice podcast. It’s a random walk through topics like sharing, writing, publishing, and bizzzzznis.
Wednesday, November 8th, 2017
A profile of Clearleft from the nice people at InVision.
Although there is this:
Tuesday, November 7th, 2017
Questions prompted by the Clearleft gathering in Norway to discuss AI.
Wednesday, November 1st, 2017
Good advice on writing code that is understandable to your fellow humans (and your future self).
Monday, October 23rd, 2017
I love what Ben is doing with this single-serving site (similar to my design principles collection)—it’s a collection of handy links and resources around voice UI:
Designing a voice interface? Here’s a useful list of lists: as many guiding principles as we could find, all in one place. List compiled and edited by Ben Sauer @bensauer.
BONUS ITEM: Have him run a voice workshop for you!
Sunday, October 22nd, 2017
Pattern Libraries, Performance, and Progressive Web Apps
Ever since its founding in 2005, Clearleft has been laser-focused on user experience design.
Recently we’ve been doing a lot of strategic design work—the really in-depth long-term engagements that begin with research and continue through to design consultancy and collaboration. That means we’ve got availability for front-end development work. Whether it’s consultancy or production work you’re looking for, this could be a good opportunity for us to work together.
There are three particular areas of front-end expertise we’re obsessed with…
We caught the design systems bug years ago, way back when Natalie started pioneering pattern libraries as our primary deliverable (or pattern portfolios, as we called them then). This approach has proven effective time and time again. We’ve spent years now refining our workflow and thinking around modular design. Fractal is the natural expression of this obsession. Danielle and Mark have been working flat-out on version 2. They’re very eager to share everything they’ve learned along the way …and help others put together solid pattern libraries.
Thinking about it, it’s no surprise that we’re crazy about performance at Clearleft. Like I said, our focus on user experience, and when it comes to user experience on the web, nothing but nothing is more important than performance. The good news is that the majority of performance fixes can be done on the front end—images, scripts, fonts …it’s remarkable how much a good front-end overhaul can make to the bottom line. That’s what Graham has been obsessing over.
Progressive Web Apps
Over the years I’ve found myself getting swept up in exciting new technologies on the web. When Clearleft first formed, my head was deep into DOM Scripting and Ajax. Half a decade later it was HTML5. Now it’s service workers. I honestly think it’s a technology that could be as revolutionary as Ajax or HTML5 (maybe I should write a book to that effect).
I’ve been talking about service workers at conferences this year, and I can’t hide my excitement:
There’s endless possibilities of what you can do with this technology. It’s very powerful.
Combine a service worker with a web app manifest and you’ve got yourself a Progressive Web App. It’s not just a great marketing term—it’s an opportunity for the web to truly excel at delivering the kind of user experiences previously only associated with native apps.
I’m very very keen to work with companies and organisations that want to harness the power of service workers and Progressive Web Apps. If that’s you, get in touch.
Whether it’s pattern libraries, performance, or Progressive Web Apps, we’ve got the skills and expertise to share with you.
Monday, July 3rd, 2017
Wednesday, April 19th, 2017
Designing the Patterns Day site
You can probably tell from looking at the Patterns Day website that it wasn’t made by a crack team of designers and developers—it’s something I threw together over the course of a few days. I had a lot of fun doing it.
I like designing in the browser. That’s how I ended up designing Resilient Web Design, The Session, and Huffduffer back in the day. But there’s always the initial problem of the blank page. I mean, I had content to work with (the information about the event), but I had no design direction.
My designery colleagues at Clearleft were all busy on client projects so I couldn’t ask any of them to design a website, but I thought perhaps they’d enjoy a little time-limited side exercise in producing ideas for a design direction. Initially I was thinking they could all get together for a couple of hours, lock themselves in a room, and bash out some ideas as though it were a mini hack farm. Coordinating calendars proved too tricky for that. So Jon came up with an alternative: a baton relay.
Anyway, Jon suggested something kind of like that, but instead of a file being batted back and forth between two designers, the file would passed along from designer to designer. Each designer gets one art board in a Sketch file. You get to see what the previous designers have done, leaving you to either riff on that or strike off in a new direction.
The only material I supplied was an early draft of text for the website, some photos of the first confirmed speakers, and some photos I took of repeating tiles when I was in Porto (patterns, see?). I made it clear that I wasn’t looking for pages or layouts—I was interested in colour, typography, texture and “feel.” Style tiles, yes; comps, no.
Jon kicks things off and immediately sets the tone with bright, vibrant colours. You can already see some elements that made it into the final site like the tiling background image of shapes, and the green-bordered text block. There are some interesting logo ideas in there too, some of them riffing on LEGO, others riffing on illustrations from Christopher Alexander’s book, A Pattern Language. Then there’s the typeface: Avenir Next. I like it.
Jimmy G is up next. He concentrates on the tiles idea. You can see some of the original photos from Porto in the art board, alongside his abstracted versions. I think they look great, and I tried really hard to incorporate them into the site, but I couldn’t quite get them to sit with the other design elements. Looking at them now, I still want to get them into the site …maybe I’ll tinker with the speaker portraits to get something more like what James shows here.
Ed picks up the baton and immediately iterates through a bunch of logo ideas. There’s something about the overlapping text that I like, but I’m not sure it fits for this particular site. I really like the effect of the multiple borders though. With a bit more time, I’d like to work this into the site.
Batesy is the final participant. He has some other nice ideas in there, like the really subtle tiling background that also made its way into the final site (but I’ll pass on the completely illegible text on the block of bright green). James works through two very different ideas for the logo. One of them feels a bit too busy and chaotic for me, but the other one …I like it a lot.
I immediately start thinking “Hmm …how could I make this work in a responsive way?” This is exactly the impetus I needed. At this point I start diving into CSS. Not only did I have some design direction, I’m champing at the bit to play with some of these ideas. The exercise was a success!
Feel free to poke around the Patterns Day site. And while you’re there, pick up a ticket for the event too.
Tuesday, March 28th, 2017
Building and maintaining an open-source project is hard work. That observation is about as insightful as noting the religious affiliation of the pope or the scatological habits of woodland bears.
Nolan Lawson wrote a lengthy post describing what it feels like to be an open-source maintainer.
Outside your door stands a line of a few hundred people. They are patiently waiting for you to answer their questions, complaints, pull requests, and feature requests.
You want to help all of them, but for now you’re putting it off. Maybe you had a hard day at work, or you’re tired, or you’re just trying to enjoy a weekend with your family and friends.
But if you go to github.com/notifications, there’s a constant reminder of how many people are waiting
Most of the comments on the post are from people saying “Yup, I hear ya!”
Jan wrote a follow-up post called Sustainable Open Source: The Maintainers Perspective or: How I Learned to Stop Caring and Love Open Source:
Just because there are people with problems in front of your door, that doesn’t mean they are your problems. You can choose to make them yours, but you want to be very careful about what to care about.
A collection of resources for individuals, communities, and companies who want to learn how to run and contribute to an open source project.
Fractal isn’t really a Clearleft project, at least not in the same way that something like Silverback or UX London is. We’re sponsoring Fractal as much as we can, but an open-source project doesn’t really belong to anyone; everyone is free to fork it and take it. But I still want to make sure that Mark and Danielle have time at work to contribute to Fractal. It’s hard to balance that with the bill-paying client work though.
I invited Remy around to chat with them last week. It was really valuable. Mind you, Remy was echoing many of the same observations made in Nolan’s post about how draining this can be.
So nobody here is under any illusions that this open-source lark is to be entered into lightly. It can be a gruelling exercise. But then it can also be very, very rewarding. One kind word from somebody using your software can make your day. I was genuinely pleased as punch when Danish agency Shift sent Mark a gift to thank him for all his hard work on Fractal.
People can be pretty darn great (which I guess is an underlying principle of open source).
Friday, March 24th, 2017
Mind you, the real issue is not finding the right words to describe what I do, but rather figuring out just what the heck it is that I actually do in the first place.
Instead, I try to make sure that the people doing the actual coding—Mark, Graham, and Danielle—are happy and have everything they need to get on with their work. From outside, it might look like my role is managerial, but I see it as the complete opposite. They’re not in service to me; I’m in service to them. If they’re not happy, I’m not doing my job.
There’s another aspect to this role of technical director, and it’s similar to the role of a creative director. Just as a creative director is responsible for the overall direction and quality of designs being produced, I have an oversight over the quality of front-end output. I don’t want to be a bottleneck in the process though, and to be honest, most of the time I don’t do much checking on the details of what’s being produced because I completely trust Mark, Graham, and Danielle to produce top quality code.
But I feel I should be doing more. Again, it’s not that I want to be a bottleneck where everything needs my approval before it gets delivered, but I hope that I could help improve everyone’s output.
Now the obvious way to do this is with code reviews. I do it a bit, but not nearly as much as I should. And even when I do, I always feel it’s a bit late to be spotting any issues. After all, the code has already been written. Also, who am I to try to review the code produced by people who are demonstrably better at coding than I am?
Instead I think it will be more useful for me to stick my oar in before a line of code has been written; to sit down with someone and talk through how they’re going to approach solving a particular problem, creating a particular pattern, or implementing a particular user story.
I suppose it’s really not that different to rubber ducking. Having someone to talk out loud with about potential solutions can be really valuable in my experience.
So I’m going to start doing more code previews. I think it will also incentivise me to do more code reviews—being involved in the initial discussion of a solution means I’m going to want to see the final result.
But I don’t think this should just apply to front-end code. I’d also like to exercise this role as technical director with the designers on a project.
All too often, decisions are made in the design phase that prove problematic in development. It usually works out okay, but it often means revisiting the designs in light of some technical considerations. I’d like to catch those issues sooner. That means sticking my nose in much earlier in the process, talking through what the designers are planning to do, and keeping an eye out for any potential issues.
So, as technical director, I won’t be giving feedback like “the colour’s not working for me” or “not sure about those type choices” (I’ll leave that to the creative director), but instead I can ask questions like “how will this work without hover?” or “what happens when the user does this?” as well as pointing out solutions that might be tricky or time-consuming to implement from a technical perspective.
What I want to avoid is the swoop’n’poop, when someone seagulls in after something has been designed or built and points out all the problems. The earlier in the process any potential issues can be spotted, the better.
And I think that’s my job.
Tuesday, March 21st, 2017
An even thornier problem than the Clock of the Long Now.
Friday, March 17th, 2017
A website dedicated to one of the most, um, interesting solutions to the Yucca Mountain nuclear waste storage problem:
- Engineer cats that change colour in response to radiation.
- Create the culture/legend/history that if your cat changes colour, you should move some place else.
There are T-shirts!