Tags: ratio

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Tuesday, November 6th, 2018

How to get on the #indieweb!

As well as graciously hosting Indie Web Camp Berlin on the weekend at Mozilla’s offices, Yulia has also drawn this super-cute comic.

Sunday, November 4th, 2018

When your design system fails — HeyDesigner

You could create components that strike the perfect balance between reuse and context sensitivity. But defining the components of your design system is just the first step. It has to make its way into the product. If it doesn’t, a design system is like a language with no extant literature or seminal texts.

Marissa Christy outlines the reasons why your design system might struggle:

  1. The redesign isn’t prioritized
  2. The tech stack is changing
  3. Maintenance takes discipline

But she also offers advice for counteracting these forces:

  1. Get buy-in from the whole team
  2. Prioritize a lightweight re-skin on older parts of the product
  3. Treat a design system like any other product project: start small
  4. Don’t wait for others. Lead by example.
  5. Finally, don’t compare yourself to others on the internet

Friday, November 2nd, 2018

The CSS Working Group At TPAC: What’s New In CSS? — Smashing Magazine

Rachel gives us the run-down on what’s coming soon to Cascading Style Sheets near you, including an aspect-ratio unit and a matches selector (as originally proposed by Lea).

Tuesday, October 30th, 2018

Web 2.0 … The Machine is Us/ing Us - YouTube

Looking back on this classic explainer video from eleven years ago, I know exactly what’s meant by this comment:

its weird that when i first saw this video it made me think of the future, and now i watch it and it reminds me of the past..

Web 2.0 ... The Machine is Us/ing Us

Monday, October 15th, 2018

We are Oxvik

Ooh, this is an exciting collaboration! Jon and Brian have teamed up to form a lovely little cooperative.

Monday, October 8th, 2018

Workplace topology | Clearleft

The hits keep on comin’ from Clearleft. This time, it’s Danielle with an absolutely brilliant and thoughtful piece on the perils of gaps and overlaps in pattern libraries, design systems and organisations.

This is such a revealing lens to view these things through! Once you’re introduced to it, it’s hard to “un-see” problems in terms of gaps and overlaps in categorisation. And even once the problems are visible, you still need to solve them in the right way:

Recognising the gaps and overlaps is only half the battle. If we apply tools to a people problem, we will only end up moving the problem somewhere else.

Some issues can be solved with better tools or better processes. In most of our workplaces, we tend to reach for tools and processes by default, because they feel easier to implement. But as often as not, it’s not a technology problem. It’s a people problem. And the solution actually involves communication skills, or effective dialogue.

That last part dovetails nicely with Jerlyn’s equally great piece.

Friday, October 5th, 2018

Designing design systems | Clearleft

I know I’m biased because I work with Jerlyn, but I think this in-depth piece by her is really something! She suveys the design system landscape and proposes some lo-fi governance ideas based around good old-fashioned dialogue.

Developing a design system takes collaboration between the makers of the design systems and the different users of the system. It’s a continual process that doesn’t have to require a huge investment in new departments or massive restructuring.

It can start small.

Tuesday, September 25th, 2018

ColorBox by Lyft Design

I don’t really understand what this colour tool is doing or what it’s for, but I like it.

Monday, September 24th, 2018

Preparing a conference talk

I gave a talk at the State Of The Browser conference in London earlier this month. It was a 25 minute spiel called The Web Is Agreement.

While I was putting the talk together, I posted some pictures of my talk preparation process. People seemed to be quite interested in that peek behind the curtain, so I thought I’d jot down the process I used.

There are two aspects to preparing a talk: the content and the presentation. I like to keep the preparation of those two parts separate. It’s kind of like writing: instead of writing and editing at the same time, it’s more productive to write any old crap first (to get it out of your head) and then go back and edit—“write drunk and edit sober”. Separating out those two mindsets allows you to concentrate on the task at hand.

So, to begin with, I’m not thinking about how I’m going to present the material at all. I’m only concerned with what I want to say.

When it comes to preparing the subject matter for a talk, step number zero is to banish your inner critic. You know who I mean. That little asshole with the sneering voice that says things like “you’re not qualified to talk about this” or “everything has already been said.” Find a way to realise that this demon is a) speaking from inside your head and b) not real. Maybe try drawing your inner critic. Ridiculous? Yes. Yes, it is.

Alright, time to start. There’s nothing more intimidating than a blank slidedeck, except maybe a blank Photoshop file, or a blank word processing document. In each of those cases, I find that starting with software is rarely a good idea. Paper is your friend.

I get a piece of A3 paper and start scribbling out a mind map. “Mind map” is a somewhat grandiose term for what is effectively a lo-fi crazy wall.

Mind mapping.
Step 1

The idea here is to get everything out of my head. Don’t self-censor. At this stage, there are no bad ideas. This is a “yes, and…” exercise, not a “no, but…” exercise. Divergent, not convergent.

Not everything will make it into the final talk. That’s okay. In fact, I often find that there’s one thing that I’m really attached to, that I’m certain will be in the talk, that doesn’t make the cut. Kill your darlings.

I used to do this mind-mapping step by opening a text file and dumping my thoughts into it. I told myself that they were in no particular order, but because a text file reads left to right and top to bottom, they are in an order, whether I intended it or not. By using a big sheet of paper, I can genuinely get things down in a disconnected way (and later, I can literally start drawing connections).

For this particular talk, I knew that the subject matter would be something to do with web standards. I brain-dumped every vague thought I had about standards in general.

The next step is what I call chunking. I start to group related ideas together. Then I give a label to each of these chunks. Personally, I like to use a post-it note per chunk. I put one word or phrase on the post-it note, but it could just as easily be a doodle. The important thing is that you know what the word or doodle represents. Each chunk should represent a self-contained little topic that you might talk about for 3 to 5 minutes.

Chunking.
Step 2

At this point, I can start thinking about the structure of the talk: “Should I start with this topic? Or should I put that in the middle?” The cost of changing my mind is minimal—I’m just moving post-it notes around.

With topics broken down into chunks like this, I can flesh out each one. The nice thing about this is that I’ve taken one big overwhelming task—prepare a presentation!—and I’ve broken it down into smaller, more manageable tasks. I can take a random post-it note and set myself, say, ten or fifteen minutes to jot down an explanation of it.

The explanation could just be bullet points. For this particular talk, I decided to write full sentences.

Expanding.
Step 3

Even though, in this case, I was writing out my thoughts word for word, I still kept the topics in separate files. That way, I can still move things around easily.

Crafting the narrative structure of a talk is the part I find most challenging …but it’s also the most rewarding. By having the content chunked up like this, I can experiment with different structures. I like to try out different narrative techniques from books and films, like say, flashback: find the most exciting part of the talk; start with that, and then give the backstory that led up to it. That’s just one example. There are many possible narrative stuctures.

What I definitely don’t do is enact the advice that everyone is given for their college presentations:

  1. say what you’re going to say,
  2. say it, and
  3. recap what you’ve said.

To me, that’s the equivalent of showing an audience the trailer for a film right before watching the film …and then reading a review of the film right after watching it. Just play the film! Give the audience some credit—assume the audience has no knowledge but infinite intelligence.

Oh, and there’s one easy solution to cracking the narrative problem: make a list. If you’ve got 7 chunks, you can always give a talk on “Seven things about whatever” …but it’s a bit of a cop-out. I mean, most films have a three-act structure, but they don’t start the film by telling the audience that, and they don’t point out when one act finishes and another begins. I think it’s much more satisfying—albeit more challenging—to find a way to segue from chunk to chunk.

Finding the narrative thread is tricky work, but at least, by this point, it’s its own separate task: if I had tried to figure out the narrative thread at the start of the process, or even when I was chunking things out, it would’ve been overwhelming. Now it’s just the next task in my to-do list.

I suppose, at this point, I might as well make some slides.

Slides.
Step 4

I’m not trying to be dismissive of slides—I think having nice slides is a very good thing. But I do think that they can become the “busy work” of preparing a presentation. If I start on the slides too soon, I find they’ll take up all my time. I think it’s far more important to devote time to the content and structure of the talk. The slides should illustrate the talk …but the slides are not the talk.

If you don’t think of the slides as being subservient to the talk, there’s a danger that you’ll end up with a slidedeck that’s more for the speaker’s benefit than the audience’s.

It’s all too easy to use the slides as a defence mechanism. You’re in a room full of people looking towards you. It’s perfectly reasonable for your brain to scream, “Don’t look at me! Look at the slides!” But taken too far, that can be interpreted as “Don’t listen to me!”

For this particular talk, there were moments when I wanted to make sure the audience was focused on some key point I was making. I decided that having no slide at all was the best way of driving home my point.

But slidedeck style is quite a personal thing, so use whatever works for you.

It’s a similar story with presentation style. Apart from some general good advice—like, speak clearly—the way you present should be as unique as you are. I have just one piece of advice, and it’s this: read Demystifying Public Speaking by Lara Hogan—it’s really, really good!

(I had to apologise to Lara last time I saw her, because I really wanted her to sign my copy of her book …but I didn’t have it, because it’s easily the book I’ve loaned out to other people the most.)

I did a good few run-throughs of my talk. There were a few sentences that sounded fine written down, but were really clumsy to say out loud. It reminded me of what Harrison Ford told George Lucas during the filming of Star Wars: “You can type this shit, George, but you can’t say it.”

I gave a final run-through at work to some of my Clearleft colleagues. To be honest, I find that more nerve-wracking than speaking on a stage in front of a big room full of strangers. I think it’s something to do with the presentation of self.

Finally, the day of the conference rolled around, and I was feeling pretty comfortable with my material. I’m pretty happy with how it turned out. You can read The Web Is Agreement, and you can look at the slides, but as with any conference talk, you kinda had to be there.

Sunday, September 16th, 2018

Your Public Library Is Where It’s At + Subtraction.com

Fuck yeah, libraries!

Even more radically, your time at the library comes with absolutely no expectation that you buy anything. Or even that you transact at all. And there’s certainly no implication that your data or your rights are being surrendered in return for the services you partake in.

This rare openness and neutrality imbues libraries with a distinct sense of community, of us, of everyone having come together to fund and build and participate in this collective sharing of knowledge and space. All of that seems exceedingly rare in this increasingly commercial, exposed world of ours. In a way it’s quite amazing that the concept continues to persist at all.

And when we look at it this way, as a startlingly, almost defiantly civilized institution, it seems even more urgent that we make sure it not only continues to survive, but that it should also thrive, too.

Sunday, September 9th, 2018

The Web Is Agreement

This presentation on web standards was delivered at the State Of The Browser conference in London in September 2018.

Web standards don’t exist.

At least, they don’t physically exist. They are intangible.

They’re in good company.

Feelings are intangible, but real. Hope. Despair.

Ideas are intangible: liberty, justice, socialism, capitalism.

The economy. Currency. All intangible. I’m sure we’ve all had those “college thoughts”:

Money isn’t real, man! They’re just bits of metal and pieces of paper ! Wake up, sheeple!

Nations are intangible. Geographically, France is a tangible, physical place. But France, the Republic, is an idea. Geographically, North America is a real, tangible, physical land mass. But ideas like “Canada” and “The United States” only exist in our minds.

Faith—the feeling—is intangible.

God—the idea—is intangible.

Art—the concept—is intangible.

A piece of art is an insantiation of the intangible concept of what art is.

Incidentally, I quite like Brian Eno’s working definition of what art is. Art is anything we don’t have to do. We don’t have to make paintings, or sculptures, or films, or music. We have to clothe ourselves for practical reasons, but we don’t have to make clothes beautiful. We have to prepare food to eat it, but don’t have to make it a joyous event.

By this definition, sports are also art. We don’t have to play football. Sports are also intangible.

A game of football is an instantiation of the intangible idea of what football is.

Football, chess, rugby, quiditch and rollerball are equally (in)tangible. But football, chess and rugby have more consensus.

(Christianity, Islam, Judaism, and The Force are equally intangible, but Christianity, Islam, and Judaism have a bit more consensus than The Force).

HTML is intangible.

Markup.

A web page is an instantiation of the intangible idea of what HTML is.

But we can document our shared consensus.

A rule book for football is like a web standard specification. A documentation of consensus.

By the way, economics, religions, sports and laws are all examples of intangibles that can’t be proven, because they all rely on their own internal logic—there is no outside data that can prove football or Hinduism or capitalism to be “true”. That’s very different to ideas like gravity, evolution, relativity, or germ theory—they are all intangible but provable. They are discovered, rather than created. They are part of objective reality.

Consensus reality is the collection of intangibles that we collectively agree to be true: economy, religion, law, web standards.

We treat consensus reality much the same as we treat objective reality: in our minds, football, capitalism, and Christianity are just as real as buildings, trees, and stars.

Sometimes consensus reality and objective reality get into fights.

Some people have tried to make a consensus reality around the accuracy of astrology or the efficacy of homeopathy, or ideas like the Earth being flat, 9-11 being an inside job, the moon landings being faked, the holocaust never having happened, or vaccines causing autism. These people are unfazed by objective reality, which disproves each one of these ideas.

For a long time, the consensus reality was that the sun revolved around the Earth. Copernicus and Galileo demonstrated that the objective reality was that the Earth (and all the other planets in our solar system) revolve around the sun. After the dust settled on that particular punch-up, we switched up our consensus reality. We changed the story.

Stories.

That’s another way of thinking about consensus reality: our currencies, our religions, our sports and our laws are stories that we collectively choose to believe.

Web standards are a collection of intangibles that we collectively agree to be true. They’re our stories. They’re our collective consensus reality. They are what web browsers agree to implement, and what we agree to use.

The web is agreement.

The Web Is Agreement by Paul Downey.

For human beings to collaborate together, they need a shared purpose. They must have a shared consensus reality—a shared story.

Once a group of people share a purpose, they can work together to establish principles.

Design principles are points of agreement. There are design principles underlying every human endeavour. Sometimes they are tacit. Sometimes they are written down.

Patterns emerge from principles.

Patterns upon Principles upon Purpose.

Here’s an example of a human endeavour: the creation of a nation state, like the United States of America.

  1. The purpose is agreed in the declaration of independence.
  2. The principles are documented in the constitution.
  3. The patterns emerge in the form of laws.

HTML elements, CSS features, and JavaScript APIs are all patterns (that we agree upon). Those patterns are informed by design principles.

HTML, CSS, and JavaScript.

I’ve been collecting design principles of varying quality at principles.adactio.com.

Here’s one of the design principles behind HTML5. It’s my personal favourite—the priority of constituencies:

In case of conflict, consider users over authors over implementors over specifiers over theoretical purity.

“In case of conflict”—that’s exactly what a good design principle does! It establishes the boundaries of agreement. If you disagree with the design principles of a project, there probably isn’t much point contributing to that project.

Also, it’s reversible. You could imagine a different project that favoured theoretical purity above all else. In fact, that’s pretty much what XHTML 2 was all about.

XHTML 1 was simply HTML reformulated with the syntax of XML: lowercase tags, lowercase attributes, always quoting attribute values.

Remember HTML doesn’t care whether tags and attributes are uppercase or lowercase, or whether you put quotes around your attribute values. You can even leave out some closing tags.

So XHTML 1 was actually kind of a nice bit of agreement: professional web developers agreed on using lowercase tags and attributes, and we agreed to quote our attributes. Browsers didn’t care one way or the other.

But XHTML 2 was going to take the error-handling model of XML and apply it to HTML. This is the error handling model of XML: if the parser encounters a single error, don’t render the document.

Of course nobody agreed to this. Browsers didn’t agree to implement XHTML 2. Developers didn’t agree to use it. It ceased to exist.

It turns out that creating a format is relatively straightforward. But how do you turn something into a standard? The really hard part is getting agreement.

Sturgeon’s Law states:

90% of everything is crap.

Coincidentally, 90% is also the percentage of the world’s crap that gets transported by ocean. Your clothes, your food, your furniture, your electronics …chances are that at some point they were transported within an intermodal container.

These shipping containers are probably the most visible—and certainly one of the most important—standards in the physical world. Before the use of intermodal containers, loading and unloading cargo from ships was a long, laborious, and dangerous task.

Along came Malcom McLean who realised that the whole process could be made an order of magnitude more efficient if the cargo were stored in containers that could be moved from ship to truck to train.

But he wasn’t the only one. The movement towards containerisation was already happening independently around the world. But everyone was using different sized containers with different kinds of fittings. If this continued, the result would be a tower of Babel instead of smoothly running global logistics.

Malcolm McLean and his engineer Keith Tantlinger designed two crate sizes—20ft and 40ft—that would work for ships, trucks, and trains. Their design also incorporated an ingenious twistlock mechanism to secure containers together. But the extra step that would ensure that their design would win out was this: Tantlinger convinced McLean to give up the patent rights.

This wasn’t done out of any hippy-dippy ideology. These were hard-nosed businessmen. But they understood that a rising tide raises all boats, and they wanted all boats to be carrying the same kind of containers.

Without the threat of a patent lurking beneath the surface, ready to torpedo the potential benefits, the intermodal container went on to change the world economy. (The world economy is very large and intangible.)

The World Wide Web also ended up changing the world economy, and much more besides. And like the intermodal container, the World Wide Web is patent-free.

The first ever web server—Tim Berners-Lee’s NeXT machine.

Again, this was a pragmatic choice to help foster adoption. When Tim Berners-Lee and his colleague Robert Cailleau were trying to get people to use their World Wide Web project they faced some stiff competition. Lots of people were already using Gopher. Anyone remember Gopher?

The seemingly unstoppable growth of the Gopher protocol was somewhat hobbled in the early ’90s when the University of Minnesota announced that it was going to start charging fees for using it. This was a cautionary lesson for Berners-Lee and Cailleau. They wanted to make sure that CERN didn’t make the same mistake.

On April 30th, 1993, the code for the World Wide Project was made freely available.

This is for everyone.

Robert Cailleau’s copy of the document that put the World Wide Web into the public domain.

If you’re trying to get people to adopt a standard or use a new hypertext system, the biggest obstacle you’re going to face is inertia. As the brilliant computer scientist Grace Hopper used to say:

The most dangerous phrase in the English language is “We’ve always done it this way.”

Grace Hopper.

Rear Admiral Grace Hopper waged war on business as usual. She was well aware how abritrary business as usual is. Business as usual is simply the current state of our consensus reality. She said:

Humans are allergic to change.

I try to fight that.

That’s why I have a clock on my wall that runs counter‐clockwise.

Our clocks are a perfect example of a ubiquitous but arbitrary convention. Why should clocks run clockwise rather than counter-clockwise?

One neat explanation is that clocks are mimicing the movement of a shadow across the face of a sundial …in the Northern hemisphere. Had clocks been invented in the Southern hemisphere, they would indeed run counter-clockwise.

A sundial in the Southern hemisphere.

But on the clock face itself, why do we carve up time into 24 hours? Why are there 60 minutes in an hour? Why are there are 60 seconds in a minute?

24 by 60 by 60.

It probably all goes back to Babylonian accountants. Early cuneiform tablets show that they used a sexagecimal system for counting—that’s because 60 is the lowest number that can be divided evenly by 6, 5, 4, 3, 2, and 1.

But we don’t count in base 60; we count in base 10. That in itself is arbitrary—we just happen to have a total of ten digits on our hands.

So if the sexagesimal system of telling time is an accident of accounting, and base ten is more widespread, why don’t we switch to a decimal timekeeping system?

It has been tried. The French revolution introduced not just a new decimal calendar—much neater than our base 12 calendar—but also decimal time. Each day had ten hours. Each hour had 100 minutes. Each minute had 100 seconds. So much better!

10 by 100 by 100.

It didn’t take. Humans are allergic to change. Sexagesimal time may be arbitrary and messy but …we’ve always done it this way.

Incidentally, this is also why I’m not holding my breath in anticipation of the USA ever switching to the metric system.

Instead of trying to completely change people’s behaviour, you’re likely to have more success by incrementally and subtly altering what people are used to.

That was certainly the case with the World Wide Web.

The Hypertext Transfer Protocol sits on top of the existing TCP/IP stack.

The key building block of the web is the URL. But instead of creating an entirely new addressing scheme, the web uses the existing Domain Name System.

HTTP upon TCP/IP; URLs upon DNS.

Then there’s the lingua franca of the World Wide Web. These elements probably look familiar to you:

<body> <title> <p> <h1> <h2> <h3> <ol> <ul> <li> <dl> <dt> <dd>

You recognise this language, right? That’s right—it’s SGML. Standard Generalised Markup Language.

Specifically, it’s CERN SGML—a flavour of SGML that was already popular at CERN when Tim Berners-Lee was working on the World Wide Project. He used this vocabulary as the basis for the HyperText Markup Language.

Because this vocabulary was already familiar to people at CERN, convincing them to use HTML wasn’t too much of a hard sell. They could take an existing SGML document, change the file extension to .htm and it would work in one of those new fangled web browsers.

HTML upon SGML.

In fact, HTML worked better than expected. The initial idea was that HTML pages would be little more than indices that pointed to other files containing the real meat and potatoes of content—spreadsheets, word processing documents, whatever. But to everyone’s surprise, people started writing and publishing content in HTML.

Was HTML the best format? Far from it. But it was just good enough and easy enough to get the job done.

It has since changed, but that change has happened according to another design principle:

Evolution, not revolution

From its humble beginnings with the handful of elements borrowed from CERN SGML, HTML has grown to encompass an additional 100 elements over its lifespan. And yet, it’s still technically the same format!

This is a classic example of the paradox called the Ship Of Theseus, also known as Trigger’s Broom.

You can take an HTML document written over two decades ago, and open it in a browser today.

Even more astonishing, you can take an HTML document written today and open it in a browser from two decades ago. That’s because the error-handling model of HTML has always been to simply ignore any tags it doesn’t recognise and render the content inside them.

That pattern of behaviour is a direct result of the design principle:

Degrade Gracefully

…document conformance requirements should be designed so that Web content can degrade gracefully in older or less capable user agents, even when making use of new elements, attributes, APIs and content models.

Here’s a picture from 2006.

Tantek Çelik, Brian Suda, Ryan King, Chris Messina, Mark Norman Francis, and Jeremy Keith.

That’s me in the cowboy hat—the picture was taken in Austin, Texas. This is an impromptu gathering of people involved in the microformats community.

Microformats, like any other standards, are sets of agreements. In this case, they’re agreements on which class values to use to mark up some of the missing elements from HTML—people, places, and events. That’s pretty much it.

And yes, they do have design principles—some very good ones—but that’s not why I’m showing this picture.

Some of the people in this picture—Tantek Çelik, Ryan King, and Chris Messina—were involved in the creation of BarCamp, a series of grassroots geek gatherings.

BarCamps sound like they shouldn’t work, but they do. The schedule for the event is arrived at collectively at the beginning of the gathering. It’s kind of amazing how the agreement emerges—rough consensus and running events.

In the run-up to a BarCamp in 2007, Chris Messina posted this message to the fledgeling social networking site, twitter.com:

how do you feel about using # (pound) for groups. As in #barcamp [msg]?

This was when tagging was all the rage. We were all about folksonomies back then. Chris proposed that we would call this a “hashtag”.

I wasn’t a fan:

Thinking that hashtags disrupt the reading flow of natural language. Sorry @factoryjoe

But it didn’t matter what I thought. People agreed to this convention, and after a while Twitter began turning the hashtagged words into links.

In doing so, they were following another HTML design principle:

Pave the cowpaths

It sounds like advice for agrarian architects, but its meaning is clarified:

When a practice is already widespread among authors, consider adopting it rather than forbidding it or inventing something new.

Twitter had previously paved a cowpath when people started prefacing usernames with the @ symbol. That convention didn’t come from Twitter, but they didn’t try to stop it. They rolled with it, and turned any username prefaced with an @ symbol into a link.

The aperand symbol.

The @ symbol made sense because people were used to using it from email. The choice to use that symbol in email addresses was made by Ray Tomlinson. He needed a symbol to separate the person and the domain, looked down at his keyboard, saw the @ symbol, and thought “that’ll do.”

Perhaps Chris followed a similar process when he proposed the symbol for the hashtag.

The octothorpe symbol.

It could have just as easily been called a “number tag” or “octothorpe tag” or “pound tag”.

This symbol started life as a shortcut for “pound”, or more specifically “libra pondo”, meaning a pound in weight. Libra pondo was abbreviated to lb when written. That got turned into a ligature ℔ when written hastily. That shape was the common ancestor of two symbols we use today: £ and #.

The eight-pointed symbol was (perhaps jokingly) renamed the octothorpe in the 1960s when it was added to telephone keypads. It’s still there on the digital keypad of your mobile phone. If you were to ask someone born in this millenium what that key is called, they would probably tell you it’s the hashtag key. And if they’re learning to read sheet music, I’ve heard tell that they refer to the sharp notes as hashtag notes.

If this upsets you, you might be the kind of person who rages at the word “literally” being used to mean “figuratively” or supermarkets with aisles for “10 items or less” instead of “10 items or fewer”.

Tough luck. The English language is agreement. That’s why English dictionaries exist not to dictate usage of the language, but to document usage.

It’s much the same with web standards bodies. They don’t carve the standards into tablets of stone and then come down the mountain to distribute them amongst the browsers. No, it’s what the browsers implement that gets carved in stone. That’s why it’s so important that browsers are in agreement. In the bad old days of the browser wars of the late 90s, we saw what happened when browsers implemented their own proprietary features.

Standards require interoperability.

Interoperability requires agreement.

Standards atop Interoperability atop Agreement.

So what we can learn from the history of standardisation?

Well, there are some direct lessons from the HTML design principles.

The priority of constituencies

Consider users over authors…

Listen, I want developer convenience as much as the next developer. But never at the expense of user needs.

I’ve often said that if I have the choice between making something my problem, and making it the user’s problem, I’ll make it my problem every time. That’s the job.

I worry that these days developer convenience is sometimes prized more highly than user needs. I think we could all use a priority of constituencies on every project we work on, and I would hope that we would prioritise users over authors.

Degrade gracefully

Web content can degrade gracefully in older or less capable user agents…

I know that I go on about progressive enhancement a lot. Sometimes I make it sound like a silver bullet. Well, it kinda is.

I mean, you can’t just buy a bullet made of silver—you have to make it yourself. If you’re not used to crafting bullets from silver, it will take some getting used to.

Again, if developer convenience is your priority, silver bullets are hard to justify. But if you’re prioritising users over authors, progressive enhancement is the logical methodology to use.

Evolution, not revolution

It’s a testament to the power and flexibility of the web that we don’t have to build with progressive enhancement. We don’t have to build with a separation of concerns like structure, presentation, and behaviour.

We don’t have to use what the browser gives us: buttons, dropdowns, hyperlinks. If we want to, we can make these things from scratch using JavaScript, divs and ARIA attributes.

But why do that? Is it because those native buttons and dropdowns might be inconsistent from browser to browser.

Consistency is not the purpose of the world wide web.

Universality is the key principle underlying the web.

Our patterns should reflect the intent of the medium.

Use what the browser gives you—build on top of those agreements. Because that’s the bigger lesson to be learned from the history of web standards, clocks, containers, and hashtags.

Future atop Present atop Past.

Our world is made up of incremental improvements to what has come before. And that’s how we will push forward to a better tomorrow: By building on top of what we already have instead of trying to create something entirely from scratch. And by working together to get agreement instead of going it alone.

The future can be a frightening prospect, and I often get people asking me for advice on how they should prepare for the web’s future. Usually they’re thinking about which programming language or framework or library they should be investing their time in. But these specific patterns matter much less than the broader principles of working together, collaborating and coming to agreement. It’s kind of insulting that we refer to these as “soft skills”—they couldn’t be more important.

Working on the web, it’s easy to get downhearted by the seemingly ephemeral nature of what we build. None of it is “real”; none of it is tangible. And yet, looking at the history of civilisation, it’s the intangibles that survive: ideas, philosophies, culture and concepts.

The future can be frightening because it is intangible and unknown. But like all the intangible pieces of our consensus reality, the future is something we construct …through agreement.

Now let’s agree to go forward together to build the future web!

Wednesday, September 5th, 2018

The principles behind Bulb’s design – Making Bulb – Medium

This is a great piece by Alla, ostensibly about Bulb’s design principles, but it’s really about what makes for effective design principles in general. It’s packed full of great advice, like these design principles for design principles:

  • Good principles are genuine
  • Good principles have a point of view
  • Good principles are memorable

Tuesday, August 21st, 2018

Monotype restored the font Walbaum, a 200-year-old serif typeface — Quartzy

The history and restoratin of a neglected typeface, complete with this great explanation of optical sizing:

Nix illustrated the point with an analogy: “Imagine if we all decided that 10-year-old boys would be the optimal human form,” he says. “Rather than having babies, we just shrunk 10-year-old boys to baby size, and enlarge them to the size of a full grown man. That’s kind of what we’re combatting.”

Monday, August 20th, 2018

How can designers get better at learning from their mistakes?

Jon has seven answers:

  1. Build a culture to learn from mistakes
  2. Embrace healthy critique
  3. Fail little and often
  4. Listen to users
  5. Design. Learn. Repeat
  6. Create a shared understanding
  7. Always be accountable

It’s gratifying to see how much of this was informed by the culture of critique at Clearleft.

Saturday, August 11th, 2018

Weft. — Ethan Marcotte

I think we often focus on designing or building an element, without researching the other elements it should connect to—without understanding the system it lives in.

Friday, August 10th, 2018

Creating the “Perfect” CSS System – Gusto Design – Medium

This is great advice from Lindsay Grizzard—getting agreement is so much more important than personal preference when it comes to collaborating on a design system.

When starting a project, get developers onboard with your CSS, JS and even HTML conventions from the start. Meet early and often to discuss every library, framework, mental model, and gem you are interested in using and take feedback seriously. Simply put, if they absolutely hate BEM and refuse to write it, don’t use BEM.

It’s all about the people, people!

“Designer + Developer Workflow,” an article by Dan Mall

Dan compares the relationship between a designer and developer in the web world to the relationship between an art director and a copywriter in the ad world. He and Brad made a video to demonstrate how they collaborate.

Accessible Comics - Axess Lab

Nice! It sounds like Lucy and Andy went above and beyond the call of duty when it came to the alt text for 100 Demon Dialogues.

Monday, July 23rd, 2018

Astronomical Typography

Typography meets astronomy in 16th century books like the Astronomicum Caesareum.

It is arguably the most typographically impressive scientific manual of the sixteenth century. Owen Gingerich claimed it, “the most spectacular contribution of the book-maker’s art to sixteenth-century science.”

Friday, July 20th, 2018

What walls are for – disambiguity

Digital things look ‘finished’ too soon. When something is a work in progress on a wall, it looks unfinished, so you keep working on it. moving things around, reshaping things, connecting things, erasing things, and making them again. Walls make it easier to iterate. Iteration, in my opinion, is massively correlated with quality.