Tags: clearleft



Monday, July 6th, 2020

Announcing the Clearleft podcast

I’ve been working on something new for the past few months and now I’d like to share it with you…

The Clearleft Podcast.

Now I know what you’re thinking: aren’t there enough podcasts in the world already? Well, frankly, no. Unless you also concede that there are enough books and records and films in the world already too (to be fair, this is a reasonable thought to have when you’re navigating Amazon, Spotify, and Netflix).

In any case, this podcast is going to be a bit different.

In our field, the usual podcast format is in the form of a conversation: a host or hosts interviewing a guest or guests. Those are great. I’ve certainly enjoyed being the guest on many a great podcast. But I wanted to do something a bit more like an audio documentary.

If you’ve seen a lot of documentaries you’ll know that there are two key factors to getting a great story:

  1. the source material and
  2. the editing.

That’s what makes the Clearleft podcast different.

For the source material, I’ve interviewed my colleagues at Clearleft as well as our peers in other companies. I’ve also gathered great material from conference talks—we’ve got a wealth of wonderful insights from multiple editions of events like UX London, Leading Design, Ampersand, Responsive Day Out, Patterns Day, and dConstruct.

A lot of work has gone into the editing. It probably works out at about an hour of work per minute of podcast. I know that seems excessive, but I really wanted to get a snappy feel for each episode, juxtaposing multiple viewpoints.

The focus of the episode will be around a particular topic rather than a person and will feature lots of different voices woven together. The really challenging part is threading a good narrative. It’s kind of like preparing a conference talk in that respect—I’ve always found the narrative thread to be the hardest but most rewarding part of putting a talk together.

It’s simultaneously exciting and nerve-wracking to put this out into the world. But I think you’re going to enjoy it.

Visit the website for the podcast and choose your preferred method of subscribing. There’s the RSS feed, but the Clearleft podcast is also available on Apple Podcasts, Google Podcasts, Spotify, Stitcher, Deezer, TuneIn, Castro, and Overcast.

The first episode will go live later this week. In the meantime, there’s a short trailer to give you a taste of what’s to come.

The episodes will be grouped together into seasons. I reckon a season will around six episodes long. So you can expect the first season to be released over the next six weeks.

Hope you like it!


Tuesday, May 26th, 2020

S01E04: Cassie Evans - Behind the Source

This is a lovely little interview with Cassie—it really is an honour and a privilege to work with her!

Friday, May 8th, 2020

SofaConf 2020 - a technical write-up | Trys Mudford

Trys describes the backend architecture of the excellent Sofa Conf website. In short, it’s a Jamstack dream: all of the convenience and familiarity of using a database-driven CMS (Craft), combined with all the speed and resilience of using a static site generator (Eleventy).

I love the fact that anyone on the Clearleft events team can push to production with a Slack message.

I also love that the site is Lighthousetastically fast.

Home | SofaConf 2020

You don’t want to miss this! A five-day online conference with a different theme each day:

  1. Monday: Product Strategy
  2. Tuesday: Research
  3. Wednesday: Service Design
  4. Thursday: Content Strategy
  5. Friday: Interaction Design

Speakers include Amy Hupe, Kelly Goto, Kristina Halvorson, Lou Downe, Leisa Reichelt and many more still to be announce, all for ludicrously cheap ticket prices.

I know it sounds like I’m blowing my own trumpet because this is a Clearleft event, but I had nothing to do with it. The trumpets of my talented co-workers should be blasting in harmonious chorus.

(It’s a truly lovely website too!)

Monday, May 4th, 2020

It’s OK.

This is for everyone at Clearleft, but I’m sharing it here for you too.

Thursday, April 2nd, 2020

Visual Design Inspiration from Agency Websites–And Other Tangential Observations | Jim Nielsen’s Weblog

Tyring to do make screenshots of agency websites is tricky if the website is empty HTML with everything injected via JavaScript.

Granted, agencies are usually the ones pushing the boundaries. “Pop” and “pizazz” are what sell for many of them (i.e. “look what we can do!”) Many of these sites pushed the boundaries of what you can do in the browser, and that’s cool. I like seeing that kind of stuff.

But if you asked me what agency websites inspired both parts me, I’d point to something like Clearleft or Paravel. To me, they strike a great balance of visual design with the craft of building for an accessible, universal web.

Monday, March 30th, 2020

Prioritising Requirements | Trys Mudford

Over the past few years, I’ve given quite a few workshops and talks on evaluating technology. This methodical approach to evaluation and prioritisation from Trys is right up my alley!

In any development project, there is a point at which one must decide on the tech stack. For some, that may feel like a foregone conclusion, dictated by team appetite and experience.

Even if the decision seems obvious, it’s always worth sense-checking your thought process. Along with experience and gut-feelings, we also have blind-spots and biases.

I feel like there’s a connection here to having good design principles—the kind that explicitly value one facet over another.

Monday, March 23rd, 2020

Workshop Countdown Clock

Here’s a nifty little progressive web app that Trys whipped up so that Clearlefties running workshops remotely still get to have their beloved countdown clock.

Tuesday, March 17th, 2020


Clearleft is a remote-working company right now. I mean, that’s hardly surprising—just about everyone I know is working from home.

We made this decision on Friday. It was clear that the spread of COVID-19 was going exponential (even with the very incomplete data available in the UK). Despite the wishy-washy advice from the government—which has since pivoted drastically—we made the decision to literally get ahead of the curve. We had one final get-together in the studio yesterday to plan logistics and pick up equipment. Then it was time to start this chapter.

I’ve purloined:

  • one Aeron chair,
  • one big monitor,
  • a wired keyboard,
  • a wireless mouse, and
  • noise-cancelling headphones.

Cassie kindly provided the use of her van to get that stuff home. The Aeron chair proved to be extremely tricky to get through my narrow front door. For a while there, it looked like I’d need to take the door off the hinges but with a whole lotta pushin’ and a-pullin’ Jessica and I managed to somehow get it in.

Now I’ve got a reasonable home studio set up, I can get back to working on that conference talk I’m prepar… Oh.

Yeah, I guess I’ve got a stay of execution on that. For the past few months I’ve had my head down preparing a new hour-long talk for An Event Apart. Yes, it takes me that long to put a talk together—it feels kinda like writing a book. I’d like to think it’s because I’m so meticulous, but the truth is that I’m just very slow at most things. Also, I’m a bad one for procrastinating.

For the past week or so, while I’ve been making pretty darn good progress on the talk, a voice in the back of my head has been whispering “Hey, maybe the conference won’t even happen!” In answer to which, the voice in the front of my head has been saying “Would you shut the fuck up? I’m trying to work here!”

I was due to debut the talk at An Event Apart Seattle in May. Sure enough, that event has quite rightly been cancelled. So have a lot of other excellent events. It’s a real shame, and my heart goes out to event organisers who pour so much of themselves into their events; their love, their care, and not least, their financial risk.

I speak at quite a few events every year. I really, really enjoy it. For one, public speaking is one of the few things I think I’m actually any good at. Also, I just love the chance to meet my peers and collectively nerd out together for a short while.

Then there’s the travel. This year I was planning on drastically reducing my plane travel. I had bagged myself speaking slots in European cities that I could reach by train: Cologne, Strasbourg, even Lisbon, along with domestic destinations like Nottingham, Manchester, and Plymouth. I was quite looking forward to some train adventures. But those will have to wait.

Right now I’m going to settle into this new home routine. It’s not entirely new to me. Back in the early 2000s, I worked from home as a freelancer. Back then, Jessica and I worked not just in the same room, but on opposite ends of the same table!

We’ve got more room now. Jessica has her own office space. I’m getting used to mine. But as Jessica pointed out:

I’ve worked from home for 20(!) years, I love it, I’m made for it, I can’t imagine not doing it—and I’ve gotten absolutely nothing done for the past week.

Newly WFH folks, the situation now is totally unconducive to concentration and productivity. Be gentle with yourselves.

Tuesday, March 3rd, 2020

Getting your priorities right | Clearleft

A ludicrously useful grab-bag of prioritisation techniques from Chris—so, so handy for workshops and sprint planning.

Tuesday, February 18th, 2020


Trys and James recently unveiled their Utopia project. They’ve been tinkering away at it behind the scenes for quite a while now.

You can check out the website and read the blog to get the details of how it accomplishes its goal:

Elegantly scale type and space without breakpoints.

I may well be biased, but I really like this project. I’ve been asking myself why I find it so appealing. Here are a few of the attributes of Utopia that strike a chord with me…

It’s collaborative

Collaboration is at the heart of Clearleft’s work. I know everyone says that, but we’ve definitely seen a direct correlation: projects with high levels of collaboration are invariably more successful than projects where people are siloed.

The genesis for Utopia came about after Trys and James worked together on a few different projects. It’s all too easy to let design and development splinter off into their own caves, but on these projects, Trys and James were working (literally) side by side. This meant that they could easily articulate frustrations to one another, and more important, they could easily share their excitement.

The end result of their collaboration is some very clever code. There’s an irony here. This code could be used to discourage collaboration! After all, why would designers and developers sit down together if they can just pass these numbers back and forth?

But I don’t think that Utopia will appeal to designers and developers who work in that way. Born in the spirit of collaboration, I suspect that it will mostly benefit people who value collaboration.

It’s intrinsic

If you’re a control freak, you may not like Utopia. The idea is that you specify the boundaries of what you’re trying to accomplish—minimum/maximum font sizes, minumum/maximum screen sizes, and some modular scales. Then you let the code—and the browser—do all the work.

On the one hand, this feels like surrending control. But on the other hand, because the underlying system is so robust, it’s a way of guaranteeing quality, even in situations you haven’t accounted for.

If someone asks you, “What size will the body copy be when the viewport is 850 pixels wide?”, your answer would have to be “I don’t know …but I do know that it will be appropriate.”

This feels like a very declarative way of designing. It reminds me of the ethos behind Andy and Heydon’s site, Every Layout. They call it algorithmic layout design:

Employing algorithmic layout design means doing away with @media breakpoints, “magic numbers”, and other hacks, to create context-independent layout components. Your future design systems will be more consistent, terser in code, and more malleable in the hands of your users and their devices.

See how breakpoints are mentioned as being a very top-down approach to layout? Remember the tagline for Utopia, which aims for fluid responsive design?

Elegantly scale type and space without breakpoints.

Unsurprisingly, Andy really likes Utopia:

As the co-author of Every Layout, my head nearly fell off from all of the nodding when reading this because this is the exact sort of approach that we preach: setting some rules and letting the browser do the rest.

Heydon describes this mindset as automating intent. I really like that. I think that’s what Utopia does too.

As Heydon said at Patterns Day:

Be your browser’s mentor, not its micromanager.

The idea is that you give it rules, you give it axioms or principles to work on, and you let it do the calculation. You work with the in-built algorithms of the browser and of CSS itself.

This is all possible thanks to improvements to CSS like calc, flexbox and grid. Jen calls this approach intrinsic web design. Last year, I liveblogged her excellent talk at An Event Apart called Designing Intrinsic Layouts.

Utopia feels like it has the same mindset as algorithmic layout design and intrinsic web design. Trys and James are building on the great work already out there, which brings me to the final property of Utopia that appeals to me…

It’s iterative

There isn’t actually much that’s new in Utopia. It’s a combination of existing techniques. I like that. As I said recently:

I’m a great believer in the HTML design principle, Evolution Not Revolution:

It is better to evolve an existing design rather than throwing it away.

First of all, Utopia uses the idea of modular scales in typography. Tim Brown has been championing this idea for years.

Then there’s the idea of typography being fluid and responsive—just like Jason Pamental has been speaking and writing about.

On the code side, Utopia wouldn’t be possible without the work of Mike Reithmuller and his breakthroughs on responsive and fluid typography, which led to Tim’s work on CSS locks.

Utopia takes these building blocks and combines them. So if you’re wondering if it would be a good tool for one of your projects, you can take an equally iterative approach by asking some questions…

Are you using fluid type?

Do your font-sizes increase in proportion to the width of the viewport? I don’t mean in sudden jumps with @media breakpoints—I mean some kind of relationship between font size and the vw (viewport width) unit. If so, you’re probably using some kind of mechanism to cap the minimum and maximum font sizes—CSS locks.

I’m using that technique on Resilient Web Design. But I’m not changing the relative difference between different sized elements—body copy, headings, etc.—as the screen size changes.

Are you using modular scales?

Does your type system have some kind of ratio that describes the increase in type sizes? You probably have more than one ratio (unlike Resilient Web Design). The ratio for small screens should probably be smaller than the ratio for big screens. But rather than jump from one ratio to another at an arbitrary breakpoint, Utopia allows the ratio to be fluid.

So it’s not just that font sizes are increasing as the screen gets larger; the comparative difference is also subtly changing. That means there’s never a sudden jump in font size at any time.

Are you using custom properties?

A technical detail this, but the magic of Utopia relies on two powerful CSS features: calc() and custom properties. These two workhorses are used by Utopia to generate some CSS that you can stick at the start of your stylesheet. If you ever need to make changes, all the parameters are defined at the top of the code block. Tweak those numbers and watch everything cascade.

You’ll see that there’s one—and only one—media query in there. This is quite clever. Usually with CSS locks, you’d need to have a media query for every different font size in order to cap its growth at the maximum screen size. With Utopia, the maximum screen size—100vw—is abstracted into a variable (a custom property). The media query then changes its value to be the upper end of your CSS lock. So it doesn’t matter how many different font sizes you’re setting: because they all use that custom property, one single media query takes care of capping the growth of every font size declaration.

If you’re already using CSS locks, modular scales, and custom properties, Utopia is almost certainly going to be a good fit for you.

If you’re not yet using those techniques, but you’d like to, I highly recommend using Utopia on your next project.

Friday, February 14th, 2020

Variable fonts’ past, present and future, according to Dalton Maag

In this interview, Biance Berning says:

Cassie Evans from Clearleft is an interesting person to follow as she combines web animation with variable font technology, essentially exploring the technology’s practicality and expression.

Hells yeah!

We’re only just scratching the surface of what variable fonts can do within more interactive and immersive spaces. I think we’ll see a lot more progress and experimentation with that as time goes on.

Friday, December 13th, 2019

Self Treat

It’s been an absolute pleasure having Holly, Laçin, and Beyza at Clearleft while they’ve been working on this three-month internship project:

Self Treat is a vision piece designed to increase self-management of minor health conditions.

You can also read the blog posts they wrote during the process:

Monday, October 14th, 2019

The rise of research ops — a view from the inside | Clearleft

I moderated this panel in London last week, all about the growing field of research ops—I genuinely love moderating panels. Here, Richard recounts some of the thought nuggets I prised from the mind casings of the panelists.

Wednesday, July 24th, 2019

Jon Aizlewood · Agile and design — How to avoid Frankensteining your product

Jon’s ranting about Agile here, but it could equally apply to design systems:

Agile and design is like looking at a picture through a keyhole. By slicing big things into smaller things, designers must work incrementally. Its this incrementalism that can lead to what I call the ‘Frankensteining’ of a digital product or service.

Tuesday, July 23rd, 2019

Patterns Day video and audio

If you missed out on Patterns Day this year, you can still get a pale imitation of the experience of being there by watching videos of the talks.

Here are the videos, and if you’re not that into visuals, here’s a podcast of the talks (you can subscribe to this RSS feed in your podcasting app of choice).

On Twitter, Chris mentioned that “It would be nice if the talks had their topic listed,” which is a fair point. So here goes:

It’s fascinating to see emergent themes (other than, y’know, the obvious theme of design systems) in different talks. In comparison to the first Patterns Day, it felt like there was a healthy degree of questioning and scepticism—there were plenty of reminders that design systems aren’t a silver bullet. And I very much appreciated Yaili’s point that when you see beautifully polished design systems that have been made public, it’s like seeing the edited Instagram version of someone’s life. That reminded me of Responsive Day Out when Sarah Parmenter, the first speaker at the very first event, opened everything by saying “most of us are winging it.”

I can see the value in coming to a conference to hear stories from people who solved hard problems, but I think there’s equal value in coming to a conference to hear stories from people who are still grappling with hard problems. It’s reassuring. I definitely got the vibe from people at Patterns Day that it was a real relief to hear that nobody’s got this figured out.

There was also a great appreciation for the “big picture” perspective on offer at Patterns Day. For myself, I know that I’ll be cogitating upon Danielle’s talk and Emil’s talk for some time to come—both are packed full of ineresting ideas.

Good thing we’ve got the videos and the podcast to revisit whenever we want.

And if you’re itching for another event dedicated to design systems, I highly recommend snagging a ticket for the Clarity conference in San Francisco next month.

Thursday, July 4th, 2019

Movie Knight

I mentioned how much I enjoyed Mike Hill’s talk at Beyond Tellerrand in Düsseldorf:

Mike gave a talk called The Power of Metaphor and it’s absolutely brilliant. It covers the monomyth (the hero’s journey) and Jungian archetypes, illustrated with the examples Star Wars, The Dark Knight, and Jurassic Park.

At Clearleft, I’m planning to reprise the workshop I did a few years ago about narrative structure—very handy for anyone preparing a conference talk, blog post, case study, or anything really:

Ellen and I have been enjoying some great philosophical discussions about exactly what a story is, and how does it differ from a narrative structure, or a plot. I really love Ellen’s working definition: Narrative. In Space. Over Time.

This led me to think that there’s a lot that we can borrow from the world of storytelling—films, novels, fairy tales—not necessarily about the stories themselves, but the kind of narrative structures we could use to tell those stories. After all, the story itself is often the same one that’s been told time and time again—The Hero’s Journey, or some variation thereof.

I realised that Mike’s monomyth talk aligns nicely with my workshop. So I decided to prep my fellow Clearlefties for the workshop with a movie night.

Popcorn was popped, pizza was ordered, and comfy chairs were suitably arranged. Then we watched Mike’s talk. Everyone loved it. Then it was decision time. Which of three films covered in the talk would we watch? We put it to a vote.

It came out as an equal tie between Jurassic Park and The Dark Knight. How would we resolve this? A coin toss!

The toss went to The Dark Knight. In retrospect, a coin toss was a supremely fitting way to decide to watch that film.

It was fun to watch it again, particularly through the lens of Mike’s analyis of its Jungian archetypes.

But I still think the film is about game theory.

Monday, July 1st, 2019

Patterns Day Two

Who says the sequels can’t be even better than the original? The second Patterns Day was The Empire Strikes Back, The Godfather Part II, and The Wrath of Khan all rolled into one …but, y’know, with design systems.

If you were there, then you know how good it was. If you weren’t, sorry. Audio of the talks should be available soon though, with video following on.

The talks were superb! I know I’m biased becuase I put the line-up together, but even so, I was blown away by the quality of the talks. There were some big-picture questioning talks, a sequence of nitty-gritty code talks in the middle, and galaxy-brain philosophical thoughts at the end. A perfect mix, in my opinion.

Words cannot express how grateful I am to Alla, Yaili, Amy, Danielle, Heydon, Varya, Una, and Emil. They really gave it their all! Some of them are seasoned speakers, and some of them are new to speaking on stage, but all of them delivered the goods above and beyond what I expected.

Big thanks to my Clearleft compadres for making everything run smoothly: Jason, Amy, Cassie, Chris, Trys, Hana, and especially Sophia for doing all the hard work behind the scenes. Trys took some remarkable photos too. He posted some on Twitter, and some on his site, but there are more to come.

Me on stage. Inside the Duke of York's for Patterns Day 2

And if you came to Patterns Day 2, thank you very, very much. I really appreciate you being there. I hope you enjoyed it even half as much as I did, because I had a ball!

Once again, thanks to buildit @ wipro digital for sponsoring the pastries and coffee, as well as running a fun giveaway on the day. Many thank to Bulb for sponsoring the forthcoming videos. Thanks again to Drew for recording the audio. And big thanks to Brighton’s own Holler Brewery for very kindly offering every attendee a free drink—the weather (and the beer) was perfect for post-conference discussion!

It was incredibly heartwarming to hear how much people enjoyed the event. I was especially pleased that people were enjoying one another’s company as much as the conference itself. I knew that quite a few people were coming in groups from work, while other people were coming by themselves. I hoped there’d be lots of interaction between attendees, and I’m so, so glad there was!

You’ve all made me very happy.

Why your design system should include content | Clearleft

Rachel makes the case for integrating content design patterns into component libraries:

Instead of content design systems and visual design systems existing in isolation, the ideal is one design system that accommodates everything, marrying the content and design together in the way it will actually be used and experienced.

Sunday, June 30th, 2019

The Patterns Day Edition | Amy Hupe, content designer.

Amy’s talk at Patterns Day was absolutely brilliant! Here’s an account of the day from her perspective.

The evident care Jeremy put into assembling the lineup meant an incredible mix of talks, covering the big picture stuff right down to the nitty gritty, and plenty in between.

Her observation about pre-talk nerves is spot-on:

I say all of this because it’s important for me and I think anyone who suffers with anxiety about public speaking, or in general, to recognise that having a sense of impending doom doesn’t mean that doom is actually impending.