IN EPISODE № 127 of The Big Web Show, Jared Spool of User Interface Engineering and I discuss the goals and workings of Center Centre, a new school Jared cofounded with Dr Leslie Jensen Inman to create the next generation of industry-ready UX designers. Topics include “teaching students to learn,” what schools can and can’t do, working with partner companies, “Project Insanity,” and designing a program to make students industry-ready.
UNEXAMINED PRIVILEGE is the real source of cruelty in Facebook’s “Your Year in Review”—a feature conceived and designed by a group to whom nothing terrible has happened yet. A brilliant upper-middle-class student at an elite university conceived Facebook, and college students, as everyone knows, were its founding user group. The company hires recent graduates of expensive and exclusive design programs and pays them several times the going rate to brainstorm and execute exciting new features.
I’m not saying that these brilliant young designers are heartless, or that individuals among them haven’t personally experienced tragedy—that would be mathematically impossible. I have taught some of these designers, and worked with others. Those I’ve known are wonderful people who want to make a difference in the world. And in theory (and sometimes in practice) a platform like Facebook lets them do that.1
But when you put together teams of largely homogenous people of the same class and background, and pay them a lot of money, and when most of those people are under 30, it stands to reason that when someone in the room says, “Let’s do ‘your year in review, and front-load it with visuals,’” most folks in the room will imagine photos of skiing trips, parties, and awards shows—not photos of dead spouses, parents, and children.
So it comes back to this. When we talk about the need for diversity in tech, we’re not doing it because we like quota systems. Diverse backgrounds produce differing points of view. And those differences are needed if we are to put the flowering of internet genius to use actually helping humanity with its many terrifying and seemingly intractable problems.
If we keep throwing only young, mostly white, mostly upper middle class people at the engine that makes our digital world go, we’ll keep getting camera and reminder and hookup apps—things that make an already privileged life even smoother—and we’ll keep producing features that sound like a good idea to everyone in the room, until they unexpectedly stab someone in the heart.
1 Of course, not all my former students and employees work at Facebook; most don’t. But those who have gone there had other, equally lucrative options; they took the job to make Facebook, and maybe the world, a little better.
MIKE MONTEIRO is a man on a mission. He wants to improve design by fixing the core of it, which is the relationship between designer and client. Too many of us fear our clients—the people whose money keeps our lights on, and who hire us to solve business problems they can’t solve for themselves. And too many clients are even more frustrated and puzzled by their designers than the designers are by the clients.
It’s the designer’s job to fix this, which is why Mike first wrote Design Is A Job, and spent two years taking the message into conference halls and meeting rooms from New Zealand to New York.
I wish every designer could read this book. I can’t tell you how many friends of mine—many of whom I consider far better designers than I am—struggle every day with terrible anxieties over how a client will react to their work. And the problem isn’t limited to web and interaction designers. Anybody who designs anything burns cycles in fear and acrimony. I too waste hours worrying about the client’s reaction—but a dip into Mike’s first book relaxes me like a warm milk bath, and reminds me that collaboration and persuasion are the essence of my craft and well within my power to execute.
If the designer’s side of things were the only part of the problem Mike had addressed, it would be enough. But there is more:
- Next Mike will help clients understand what they should expect from a designer and learn how to hire one they can work with. How he will do that is still a secret—although folks attending An Event Apart San Francisco this week will get a clue.
- Design education is the third leg of the chair, and once he has spread his message to clients, Mike intends to fix that or die trying. As Mike sees it (and I agree) too many design programs turn out students who can defend their work in an academic critique session among their peers, but have no idea how to talk to clients and no comprehension of their problems. We are creating a generation of skilled and talented but only semi-employable designers—designers who, unless they have the luck to learn what their expensive education didn’t teach them, will have miserably frustrating careers and turn out sub-par work that doesn’t solve their clients’ problems.
We web and interaction designers are always seeking to understand our user, and to solve the user’s problems with empathy and compassion. Perhaps we should start with the user who hires us.
There’s Always More
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AVI FLOMBAUM, dean of The Flatiron School, is my guest in Big Web Show Episode No. 89. A 28-year-old Rubyist, Skillsharer, storyteller and entrepreneur, Avi founded Designer Pages and NYC on Rails before creating The Flatiron School—a 12 week, full-time program designed to turn you into a web developer.
Listen to Episode No. 89 of The Big Web Show.
URLS, URLS, URLS
IN EPISODE No. 77 of The Big Web Show, I interview returning guest Sarah Parmenter about designing an app for the homeless; the challenges of multi-device design; teaching HTML and CSS to young people; designing a complex reader app; the ideal number of employees for a small design studio; Brooklyn vs. small-town UK; and more.
The Big Web Show features special guests on topics like web publishing, art direction, content strategy, typography, web technology, and more. It’s everything web that matters.
Sarah Parmenter Photo by Pete Karl II.
“WE ARE ALL PUBLISHERS,” claims Issue No. 353 of A List Apart for people who make websites. Design books with CSS3; craft a responsive web résumé.
by NELLIE MCKESSON
While historically, it’s been difficult at best to create print-quality PDF books from markup alone, CSS3 now brings us the Paged Media Module, which targets print book formatting. “Paged” media exists as finite pages, like books and magazines, rather than as long scrolling stretches of text, like most websites. With a single CSS stylesheet, publishers can take XHTML source content and turn it into a laid-out, print-ready PDF. You can take your XHTML source, bypass desktop page layout software like Adobe InDesign, and package it as an ePub file. It’s a lightweight and adaptable workflow, which gets you beautiful books faster. Nellie McKesson, eBook Operations Manager at O’Reilly Media, explains how to build books with CSS3.
by ANDREW HOFFMAN
Grizzled job hunting veterans know too well that a sharp résumé and near-flawless interview may still leave you short of your dream job. Competition is fierce and never wanes. Finding new ways to distinguish yourself in today’s unforgiving economy is vital to a designer/developer’s survival. Happily, web standards whiz and mobile web developer Andrew Hoffman has come up with a dandy differentiator that is just perfect for A List Apart readers. Learn how to author a clean résumé in HTML5/CSS3 that scales well to different viewport sizes, is easy to update and maintain, and will never grow obsolete.
Illustration by Kevin Cornell for A List Apart.
CO-FOUNDER of Mule Design and raconteur Mike Monteiro wants to help you do your job better. From contracts to selling design, from working with clients to working with each other, his brief book Design Is A Job is packed with knowledge you need to know. This is one of the most in-demand titles we at A Book Apart have yet published, and the long, long wait for its release (and yours) is finally over!
— Enjoy an exclusive Preview of Design Is A Job in Issue No. 348 of A List Apart, for people who make websites.
— Buy Design Is A Job directly from the makers at A Book Apart.
Also of interest:
TOMORROW, WHICH IS also my birthday, I begin teaching “Selling Design” to second-year students in the MFA Interaction Design program at School of Visual Arts, New York. Liz Danzico and Steve Heller created and direct the MFA program, and this is my second year teaching this class, whose curriculum I pull out of my little blue beanie.
In this class we explore collaboration and persuasion for interaction designers. Whether you work in a startup, studio, or traditional company; whether you design print, products, purely digital experiences, or any combination thereof; whether you’re the sole proprietor, part of a tightly focused team, or a link in a long chain of connected professionals, it is only by collaborating skillfully with others—and persuading them tactfully and convincingly when points of view differ and yours is right—that you can hope to create designs that make a dent in the universe.
During this spring semester, we’ll explore collaboration and persuasion from many points of view, and hear from (and interact with) many accomplished designers who will serve as special guest speakers. For our opening get-acquainted session, we’ll focus on texts that explore the some of the most basic, traditional (and rarely taught) aspects of design professionalism from the worlds of web, interaction, and print design:
by Jeff Gothelf – A List Apart
- Draw together
- Show raw work (frequently)
- Teach the discipline
- Be transparent
- Take credit for your wins
by Cassie McDaniel – A List Apart
- Critique as collaborative tool
- Presenting designs
- What is good feedback?
- Negotiate criticism
- The designer as collaborator
by Aarron Walter – A List Apart
- Personality is the platform for emotion
- A history of personality in design
- Creating a design persona for your website [or other project]
- Tapbots: Robot love
- Caronmade: octopi, unicorns, and mustachios
- Housing Works: a name with a face
- The power of personality
by Andy Rutledge
You should read this entire brief book, but for now, sample these bits:
by Sam Harrison – HOW Magazine
Dyson is used as an example of a product that currently dominates the market, even though nobody initially believed in the inventor’s idea. Lessons:
- Tell a personal story
- Create emotional experiences for decision makers
- See what’s behind rejections
by Arfa Mirza, Smashing Magazine
- Understand the nature of your client
- Have a rationale for every part of your design
- Show the best design options only
- Defend your design, but don’t become defensive
- Solicit good feedback and benefit from it
by Jacob Cass – Just Creative
Narrative of standing up to new-client pressure to do something against the designer’s self-interest, or which devalues design. Story told here is about money but it could be about any designer/client conflict in which the designer needs to gently educate the client. (Some designer/client conflicts require the client to educate the designer, but that’s another matter.)
by Jacob Cass – Just Creative
Basic article outlines ten background materials any designer (not just logo designers) should prepare to encourage confidence on the client’s part:
- Positive testimonials
- A thorough design process
- Awards won/published work
- A strong portfolio
- Design affiliations
- Great customer service
- Business Professionalism
- Appropriate questions