DAN BENJAMIN is my guest on Episode No. 70 of The Big Web Show, the weekly podcast on “everything web that matters.”

Dan is a broadcaster, screencaster, writer, software developer, designer, and entrepreneur. He is the founder of 5by5 Studios, an internet broadcasting network where he hosts a handful of shows with people like John Gruber, Merlin Mann, and me. Dan is the author of Hivelogic and has written for A List Apart and O’Reilly.

For almost two decades, Dan has created publishing tools including those which have powered A List Apart and 5by5. He devised the Email Address Enkoder, co-founded Cork’d, and founded Playgrounder. The latter two have since been acquired by Gary Vaynerchuk and Uncrate, respectively.

Listen to Episode No. 70 of The Big Web Show, featuring Dan Benjamin.

Subscribe to The Big Web Show

The Big Web Show features special guests and topics like web publishing, art direction, content strategy, typography, web technology, and more.

Get episodes delivered to you automatically:

• Audio RSS Feed
• iTunes Audio

Photo © 2011 Bill Wadman

Filed under: Big Web Show, podcasts

Comments off.

THANK YOU for the screen shot. I was actually already aware that the type on my site is big. I designed it that way. And while I’m grateful for your kind desire to help me, I actually do know how the site looks in a browser with default settings on a desktop computer. I am fortunate enough to own a desktop computer. Moreover, I work in a design studio where we have several of them.

This is my personal site. There are many like it, but this one is mine. Designers with personal sites should experiment with new layout models when they can. Before I got busy with one thing and another, I used to redesign this site practically every other week. Sometimes the designs experimented with pitifully low contrast. Other times the type was absurdly small. I experimented with the technology that’s used to create web layouts, and with various notions of web “page” design and content presentation. I’m still doing that, I just don’t get to do it as often.

Many people who’ve visited this site since the redesign have commented on the big type. It’s hard to miss. After all, words are practically the only feature I haven’t removed. Some of the people say they love it. Others are undecided. Many are still processing. A few say they hate it and suggest I’ve lost my mind—although nobody until you has suggested I simply didn’t have access to a computer and therefore didn’t know what I was designing. This design may be good, bad, or indifferent but it is not accidental.

A few people who hate this design have asked if I’ve heard of responsive web design. I have indeed. I was there when Ethan Marcotte invented it, I published his ground-breaking article (and, later, his book, which I read in draft half a dozen times and which I still turn to for reference and pleasure), and I’ve had the privilege of seeing Ethan lecture and lead workshops on the topic about 40 times over the past three years. We’ve incorporated responsive design in our studio’s practice, and I’ve talked about it myself on various stages in three countries. I’m even using elements of it in this design, although you’d have to view source and think hard to understand how, and I don’t feel like explaining that part yet.

This redesign is a response to ebooks, to web type, to mobile, and to wonderful applications like Instapaper and Readability that address the problem of most websites’ pointlessly cluttered interfaces and content-hostile text layouts by actually removing the designer from the equation. (That’s not all these apps do, but it’s one benefit of using them, and it indicates how pathetic much of our web design is when our visitors increasingly turn to third party applications simply to read our sites’ content. It also suggests that those who don’t design for readers might soon not be designing for anyone.)

This redesign is deliberately over the top, but new ideas often exaggerate to make a point. It’s over the top but not unusable nor, in my opinion, unbeautiful. How can passages set in Georgia and headlines in Franklin be anything but beautiful? I love seeing my words this big. It encourages me to write better and more often.

If this were a client site, I wouldn’t push the boundaries this far. If this were a client site, I’d worry that maybe a third of the initial responses to the redesign were negative. Hell, let’s get real: if this were a client site, I wouldn’t have removed as much secondary functionality and I certainly wouldn’t have set the type this big. But this is my personal site. There are many like it, but this one is mine. And on this one, I get to try designs that are idea-driven and make statements. On this one, I get to flounder and occasionally flop. If this design turns out to be a hideous mistake, I’ll probably eventually realize that and change it. (It’s going to change eventually, anyway. This is the web. No design is for the ages, not even Douglas Bowman’s great Minima.)

But for right now, I don’t think this design is a mistake. I think it is a harbinger. We can’t keep designing as we used to if we want people to engage with our content. We can’t keep charging for ads that our layouts train readers to ignore. We can’t focus so much on technology that we forget the web is often, and quite gloriously, a transaction between reader and writer.

Most of you reading this already know these things and already think about them each time you’re asked to create a new digital experience. But even our best clients can sometimes push back, and even our most thrilling projects typically contain some element of compromise. A personal site is where you don’t have to compromise. Even if you lose some readers. Even if some people hate what you’ve done. Even if others wonder why you aren’t doing what everyone else who knows what’s what is doing.

I don’t think you will see much type quite this big but I do think you will see more single-column sites with bigger type coming soon to a desktop and device near you. For a certain kind of content, bigger type and a simpler layout just make sense, regardless of screen size. You don’t even have to use Typekit or its brothers to experiment with big type (awesome as those services are). In today’s monitors and operating systems, yesterday’s classic web fonts—the ones that come with most everyone’s computer—can look pretty danged gorgeous at large sizes. Try tired old Times New Roman. You might be surprised.

The present day designer refuses to die.

Filed under: Ideas, State of the Web, The Essentials, The Profession, Typekit, Typography, Usability, User Experience, UX, Web Design, Web Design History, webfonts, Websites, webtype, Zeldman, zeldman.com

This post has earned 159 responses so far.

LET’S DIG A BIT DEEPER into the latest conflict between web developers who are passionate about the future of HTML, and the WHATWG. (See Mat Marquis in Tuesday’s A List Apart, Responsive Images and Web Standards at the Turning Point, for context, and Jeremy Keith, Secret Src in Wednesday’s adactio.com, for additional clarification.)

The WHATWG was created to serve browser makers, while its product, HTML5, was designed to serve users first, designers (authors) next, browser makers (implementors) last according to the priority of constituencies, which is one of its founding design principles.

There is a tension between this principle of HTML5 (to serve users above designers above browser makers) and the reality of who is the master: namely, browser makers – especially Google, which pays Hixie, the editor of HTML5, his salary. That’s not a knock on Hixie (or Google), it’s just the reality.

One way the tension between principle and reality plays out is in not uncommon incidents like the one we’re reacting to now. According to the priority of constituencies, designer/developer feedback should be welcomed, if not outright solicited. In principle, if there is conflict between what designer/developers advise and what browser makers advise, priority should be given to the advice of designer/developers. After all, their needs matter more according to the priority of constituencies — and designer/developers are closer to the end-user (whose needs matter most) than are browser makers.

Solicitiation of and respect for the ideas of people who actually make websites for a living is what would happen if the HTML5-making activity had been organized according to its own priority of constituencies principle; but that kind of organization (committee organization) echoes the structure of the W3C, and the WHATWG arose largely because browser makers had grown unhappy with some aspects of working within the W3C. In reality, there is one “decider” — the editor of HTML5, Ian Hickson. His decisions are final, he is under no obligation to explain his rationales, and he need not prioritize developer recommendations above a browser maker’s — nor above a sandwich maker’s, if it comes to that. By design, Hixie is a free agent according to the structure he himself created, and his browser maker end-users (masters?) like it that way.

They like it that way because stuff gets done. In a way, browser makers are not unlike web developers, eager to implement a list of requirements. We designer/developers don’t like waiting around while an indecisive client endlessly ponders project requirements, right? Well, neither do browser makers. Just like us, they have people on payroll, ready to implement what the client requires. They can’t afford to sit around twiddling their digits any more than we can. In 2007, the entire world economy nearly collapsed. It is still recovering. Don’t expect any surviving business to emulate a country club soon.

So, has this latest friction brought us to a tipping point? Will anything change?

In theory, if we are frustrated with Mr Hickson’s arbitrary dictates or feel that they are wrong, we can take our ideas and our grievances to the W3C, who work on HTML5 in parallel with the WHATWG. We should probably try that, although I tend to think things will continue to work as they do now. The only other way things could change is if Hixie wakes up one morning and decides benevolent dictator is no longer a role he wishes to play. If I were in charge of the future of the web’s markup language, with not just final cut but every cut, I’m not sure I’d have the courage to rethink my role or give some of my power away. But perhaps I underestimate myself. And perhaps Hixie will consider the experiment.

Filed under: democracy, HTML, HTML5, State of the Web, The Profession, Web Design, Web Design History, Web Standards

This post has earned 26 responses so far.

For your pleasure:

Jason Grigsby: The Immobile Web

Jason Grigsby (@grigs) discusses the next frontier: web-enabled televisions. Key points from this important BDConf speech transcribed by Brad Frost. With Slideshare video.

Jeremy Keith: Secret Src

As usual, Jeremy Keith is the cluefullest person in the room when it comes to the sexual politics of HTML5.

Context Free Patent Art

Just like it says.

Creative Bloq: Ten Questions for Jeffrey Zeldman

“If you’re complaining about IE in 2012, the problem isn’t Internet Explorer … it’s your job. But you can fix that.” One of several nuggets that emerge from my interview with the new design magazine.

Lea Verou: The top 8 web standards myths debunked

Just like it says.

Double Vision – Global Trends in Tablet and Smartphone Use while Watching TV

“Whether to check email or to look up program or product information, using a tablet or smartphone while watching TV is more common than not according to a Q4 2011 Nielsen survey of connected device owners in the U.S., U.K., Germany and Italy. In the U.S., 88 percent of tablet owners and 86 percent of smartphone owners said they used their device while watching TV at least once during a 30-day period. For 45 percent of tablet-tapping Americans, using their device while watching TV was a daily event, with 26 percent noting simultaneous TV and tablet use several times a day. U.S. smartphone owners showed similar dual usage of TV with their phones, with 41 percent saying their use their phone at least once a day while tuned in.”

How we use feature based development to give better quotes

Just like it says.

The Egotistical Puppet King & I

The latest CSSquirrel comic takes a jaded view of recent goings-on amidst the framers of HTML5. Alas, it’s even worse than he thinks.

LingsCars.com Gets a Makeover

Well done, Adaptive Path.

Filed under: links

This post has earned bupkis so far.

IN A SPECIAL ISSUE of A List Apart for people who make websites:

Responsible responsive design demands responsive images — images whose dimensions and file size suit the viewport and bandwidth of the receiving device. As HTML provides no standard element to achieve this purpose, serving responsive images has meant using JavaScript trickery, and accepting that your solution will fail for some users.

Then a few months ago, in response to an article at A List Apart, a W3C Responsive Images Community Group formed — and proposed a simple-to-understand HTML picture element capable of serving responsive images. The group even delivered picture functionality to older browsers via two polyfills: namely, Scott Jehl’s Picturefill and Abban Dunne’s jQuery Picture. The WHATWG has responded by ignoring the community’s work on the picture element, and proposing a more complicated img set element.

Which proposed standard is better, and for whom? Which will win? And what can you do to help avert an “us versus them” crisis that could hurt end-users and turn developers off to the standards process? ALA’s own Mat Marquis explains the ins and outs of responsive images and web standards at the turning point.

Filed under: HTML5, reportage, Responsive Web Design, W3C

Comments off.

I DREAMED that my friend Jason Santa Maria took a job at a popular new startup that had exploded onto the world scene seemingly overnight. A fascinating visual interface was largely responsible for the popularity of the company’s new social software product. It was like a Hypercard stack that came toward you. A post full of exciting social significance just for you would appear in a self-contained deck with rounded corners. The next post would pop up on top of the first. The next, on top of that one. And so on. In my dream, people found this back-to-front pop-up effect thrilling for some reason.

Having imagined the interface, I next dreamed that I went to visit the startup. There were so many cubicles, so many shiny people running around, holding morning standups and singing a strange company song, that I could not locate my friend Jason’s desk. Someone grabbed me and told me the founder wanted to see me.

THE FOUNDER was an ordinary looking white guy in his late twenties. I was surprised that he wore beige chinos with a permapress crease. With all the TV and newspaper hubub around his product, I guess I’d expected a more stylish and charismatic presence.

The founder told me he was concerned because his mother, apparently a cofounder or at least an officer of the company, was of the belief that I had contempt for their product and disliked her personally. I assured him that I liked the product. Further, I had never met his mother, never read or heard a word about her, and felt only goodwill toward her, as I bear toward all people in the abstract. I don’t hate people I don’t know.

“It would be cool if you told mom that yourself,” he said. And suddenly two assistants were whisking me off to speak to her directly.

THE AUDITORIUM-SIZED waiting room outside the founder’s mother’s office was filled with at least a thousand people who had come to talk to her before me. They seemed to have been waiting for hours. There was an air of boredom and rapidly thinning patience, mixed with excitement and the kind of carnival atmosphere that surrounds things that blow up suddenly in the press. It felt like the jury selection room for a celebrity murder case. Only much, much bigger.

The two assistants escorted me to the very front of the auditorium, to an empty row of seats abutting the door to the founder’s mother’s private office. “Special treatment,” I thought. I was thrilled to be cutting to the front of the line, apparently as a result of the founder’s directive to his assistants. The front row chairs were reversed, facing back to the rest of the auditorium, so I was put in the somewhat uneasy position of staring out at the mass of people who had been waiting to see the founder’s mother since long before I arrived.

After a while, Ian Jacobs of the W3C was brought to the front of the room and seated near me.

We waited as other people were shown into the founder’s mother’s presence.

AFTER FIVE or six hours of drowsy waiting, I realized that the room was set up to mirror the software’s interface: people from the very back of the auditorium were first in line, and were shown into the founder’s mother’s presence first. Gradually, the hall of applicants emptied from the back to the front. Those of us in the very front of the line were actually the last people of all who would be admitted to the holy presence. It was a smart marketing touch that apparently permeated the company: everything real people did in the building in some way echoed the characteristics of the software interface — from the end of the line coming first, to the way the rounded conference tables echoed the shapes of individual news posts in the software’s back-to-front news deck.

What a smart company, I thought. And what a good joke on me, as I continued to sit there forever, waiting to see someone I’d never met, who held a baseless grudge against me, which it would one day be my task to talk her out of.

Filed under: dreams, Existence, interface, Jason Santa Maria, Small Business, Standards, Startups, State of the Web, The Essentials, The Profession, W3C

Comments off.

IN ISSUE No. 350 of A List Apart for people who make websites: keep your web type looking right across browsers, platforms, and devices; let users do stuff on your site even when they’re offline.

Say No to Faux Bold

by ALAN STEARNS

Browsers can do terrible things to type. If text is styled as bold or italic and the typeface family does not include a bold or italic font, browsers will compensate by trying to create bold and italic styles themselves. The results are an awkward mimicry of real type design, and can be especially atrocious with web fonts. Adobe’s Alan Stearns shares quick tips and techniques to ensure that your @font-face rules match the weight and styles of the fonts, and that you have a @font-face rule for every style your content uses. If you’re taking the time to choose a beautiful web font for your site, you owe it to yourself and your users to make certain you’re actually using the web font — and only the web font — to display your site’s content in all its glory.

Application Cache is a Douchebag

by JAKE ARCHIBALD

We’re better connected than we’ve ever been, but we’re not always connected. ApplicationCache lets users interact with their data even when they’re offline, but with great power come great gotchas. For instance, files always come from the ApplicationCache, even when the user is online. Oh, and in certain circumstances, a browser won’t know that that the online content has changed — causing the user to keep getting old content. And, oh yes, depending on how you cache your resources, non-cached resources may not load even when the user is online. Lanyrd’s Jake Archibald illuminates the hazards of ApplicationCache and shares strategies, techniques, and code workarounds to maximize the pleasure and minimize the pain for user and developer alike. All this, plus a demo. Dig in.

Illustration by Kevin Cornell for A List Apart

Filed under: A List Apart, architecture, Best practices, type, Usability, User Experience, UX, Web Design

Comments off.

I WAS SOBER SIX MONTHS when my Uncle George took me to lunch and told me he believed his sister, my mother, had Alzheimers. She was 60. Via frequent short visits to Pittsburgh and more phone calls than we’d shared in decades, I helped my dad accept that he needed to take her to the doctor for tests. Then I helped him accept the results.

She declined over ten years. It was like a plane crash in slow motion.

At my Aunt Ruth’s funeral, my mother cried and cried, with no clue who she was crying for. When I joined my parents at the grave site, my mother turned excitedly to my father and pointed at me. “I know that man!” she said.

When she couldn’t talk any longer; after all the in-home nurses had quit; after the cousin who’d come to care for her committed credit card fraud while my mother wandered the house unwashed and raving; after that, I helped my dad accept that mom could no longer live at home.

Oh, and I stayed sober.

The final two years she spent in a facility. It was like visiting a statue. My dad would get her an ice cream and wheel her around the nursing home garden. She ate the ice cream. I’m not sure she saw the trees.

She had a little CD player in her room, and when we visited, we would put on music she liked – that is, music she had liked when she liked anything. Once, I swear I saw her shiver at the melancholy sax riff on a Frank Sinatra ballad. As if someone was there.

Then there was the day her hair turned white. I suppose it had probably turned gradually during the few weeks since I’d last seen her. My career was taking off and I couldn’t visit Pittsburgh as often. For that matter, maybe her hair had turned white a decade before, and the attendants at the nursing facility had just one day decided it wasn’t worth coloring her hair any more.

Alzheimer’s can only be proved via autopsy; it can’t be diagnosed with 100% certainty while the patient lives. My dad’s insurance company used that loophole to avoid covering a dime of the cost of the last ten year’s of my mother’s care.

After she died, after months had elapsed and my dad was still living among all her old things, my then-girlfriend and I volunteered to weed through my mother’s possessions, giving nearly everything to charity. In my mother’s desk drawer, we discovered a note she had written to herself at the onset of the disease, acknowledging that her mind was going. She feared the passage into darkness.

April 24th would have been my mother’s birthday. I think of her with some regularity. Sometimes I wish my mother could have lived to know my daughter, who is now seven. And sometimes I indulge the thought that somewhere, somehow, she does.

Filed under: Existence, experience, glamorous, The Essentials

Comments off.

HAPPY COG Creative Director Christopher Cashdollar is my guest in Episode No. 69 of The Big Web Show, the weekly podcast on “everything web that matters.”

In 35 lively minutes, Chris and I discuss the joys and challenges of redesigning typography mega-site Fonts.com; nimble versus waterfall; process versus inspiration; running a creative department that is interactive in every sense of the word; the two sides of a design education (learning and teaching); fostering collaboration; and the transition from doodling eight-year-old to graphic design student to interactive creative director.

Chris is a multi-disciplinary graphic designer with twelve years of interaction design experience. He is currently the Creative Director for Happy Cog Philadelphia, and an adjunct instructor for Drexel University’s Westphal College of Media Arts and Design.

Listen to Episode No. 69 of The Big Web Show, featuring Chris Cashdollar.

Links

• Fonts.com Beta
• @ccashdollar
• Christopher Cashdollar
• Articles by Chris Cashdollar
• Cash on Dribble
• Happy Cog
• PhilaMade

Subscribe to The Big Web Show

The Big Web Show features special guests and topics like web publishing, art direction, content strategy, typography, web technology, and more.

Get episodes delivered to you automatically:

• Audio RSS Feed
• iTunes Audio

Filed under: Big Web Show, Design, Designers, Web Design

This post has earned one meager response so far.

SEE ME SPEAK about web design, interaction design, publishing, and the future of web content. In the coming months, I’ll be visiting all sorts of nice cities, the better to meet and greet you:

Go Beyond Pixels St. John’s, Newfoundland, Canada

May 25, 2012

Reasons To Be Creative New York

June 14–15, 2012

An Event Apart Boston

June 18–20, 2012

An Event Apart Austin

July 9–11, 2012

An Event Apart DC

August 6–8, 2012

An Event Apart Chicago

August 27–29, 2012

Future of Web and Mobile – London

October 15-17, 2012

An Event Apart San Francisco

November 12–14, 2012

You can keep up with my comings and goings on Lanyrd; follow me on Twitter (@zeldman) and Facebook; and keep watching the skies at An Event Apart, the design conference for people who make websites.

Filed under: Appearances

This post has earned bupkis so far.