Category: User Experience

To Save Real News

Post author By L. Jeffrey Zeldman
Post date 19 December 2016

IN a world where newspapers are dying and half the public believes fake news, what online news experiences need is design that is branded, authoritative, and above all, readable:

Branded, because we need to convert the current hummingbird model (where readers flit from flower to flower) back to the idea that your news source matters—and that it is worth your time to return to a source you trust.

Brand helps the social-media-driven seeker notice that they’re returning time and again to a certain resource, facilitating a mental model shift back toward destination web browsing. When every site looks the same, it’s easy to see all content as equal—all spun from the same amorphous mass. A strong brand, which is individual to the given newspaper, can cut through that amorphousness, which is the first step in building (or rebuilding) loyalty.

Authoritative, because combating fake news means visually cueing the reliability of a particular source—one staffed by real journalists and editors, with real sources in real countries. In the coming years this will be more important than ever.

Readable, because an informed public needs to grasp stories that can’t always be reduced to headlines or sound bytes. Readability means even longer articles actually get read, sometimes even all the way through. Readability requires a combination of typeface, type size, leading, measure, hierarchy, contrast, etc.—as well as the introduction of visual information, both to break up the flow of text, and to further illuminate what is being said.

Do Not Go Gentle into that iTunes Store

Post author By L. Jeffrey Zeldman
Post date 16 November 2016

AT HOME, sick with a cold and bored, my daughter buys a single packet of “My School Dance” in a freemium iTunes game. The manufacturer charges her (well, charges me) for ten packets. This same “accidental” 10x overcharge happens across three different games by the same manufacturer in the span of about an hour.

American Express notifies me of the spurious charges, but won’t let me dispute them until they are “posted.” I spend half an hour on the phone with a very nice gentleman at Amex learning this. Why would Amex notify customers about a charge days before they can do anything to resolve it? I don’t know. And I don’t ask the gentleman on the phone. His job is hard enough.

A few days pass. Amex “posts” the false charges and emails me with a link to resolve the problem on Amex’s “dispute a charge” web service.

Amex’s “dispute a charge” web service “encounters an error” when I try to use it to resolve the problem.

This happens every time I try. I try for three days.

So I call Amex, but I can’t resolve the problem because I don’t have the card in my wallet.

So I head to iTunes, where I should have gone in the first place, and click through two or three generations of iTunes “Report a Problem” interfaces: visually different generations of iTunes software, with different user paths, all still being served by Apple. Generations of iTunes software that, when they fail, link to other generations of iTunes software, which also fail.

I click and click my way through five years of iTunes interfaces.

Finally I find an iTunes page where I can manually “Report a problem” for each of the 27 false charges. (Three of the charges, remember, were legitimate. I’m willing to pay for the three items my daughter intended to buy. But not 30.)

If one software product overcharges your kid by a multiple of 10, that could be a software bug. When three products from the same manufacturer all do it, that’s not a bug, it’s a deliberate attempt to defraud families, by overcharging on purpose and hiding behind the opacity of iTunes’s purchase reporting. Simply put, the manufacturer is dishonest, and figures iTunes’s support section is impenetrable enough that you’ll eventually give up trying to get a refund.

But they didn’t count on my tenacity. I’m the Indiana Jones of this motherfucker. I have studied maps and bribed natives and found my way to the hidden iTunes refund page that actually, sometimes, works.

On this page, I inform Apple of the fraud 27 times, in 27 different boxes. Each time, after reporting, I click a blue button, which generally returns an error message that iTunes was unable to process my request. So I enter the data and click the button again. It’s only 27 boxes of shit. I’ve got all the time in the world.

The page tells me that only two refunds went through. Every other request ends with an error message saying iTunes could not process my request, and encouraging me to try again later.

Instead, I leave the page open, and, about ten minutes later, I manually reload it. When I do so, the display updates—I guess this generation of iTunes software preceded “Ajax”—and I learn that most of my refunds have gone through.

So the software actually works about 33% of the time, even though it indicates that it only works 5% of the time. Remember that wait-ten-minutes-then-randomly-reload-to-see-if-anything-changed trick. It’s the sign of excellently designed consumer software.

I’ve put over two hours of my time into this. Going on billable hours, I’ve probably lost money, even if I get all my overcharges refunded. But there’s a principle here. Several principles, actually. Tricking kids is wrong. Stealing is wrong. Building a beautiful front-end but neglecting customer service is wrong. Mainly, I’ve just had enough of 2016’s bullshit.

Fuck you, 2016.

Also published in Medium.

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Solve the Right Problem: Derek Featherstone on designing for extremes

Post author By L. Jeffrey Zeldman
Post date 5 November 2016

Derek Featherstone at An Event Apart

12 LESSONS from An Event Apart San Francisco – ? 3: Derek Featherstone was the 10th speaker at An Event Apart San Francisco, which ended Wednesday. His session, Extreme Design, showed how creating great experiences for people with disabilities results in better designs for everyone.

Focusing relentlessly on accessibility helps us think of extreme scenarios and ask questions like “how can we make this work eyes free?” and “how can we make this work with the least amount of typing?” Most importantly, it leads to deeper design thinking that solves problems for everyone who uses our sites and products.

A Map For The Blind

One of my favorite examples from Derek’s presentation had to do with a map. A Canadian city was expanding geographically to encompass some of the surrounding suburbs. The city’s website was charged with letting all citizens know about the change. The web team did what you or I would probably do: they created a map that clearly showed the old and new city limits.

Unfortunately, this visual map was by definition inaccessible to blind citizens, so the city brought in Derek and his colleagues to design an equivalent experience for the unsighted. Derek’s team and the web team pondered typical solutions—such as laborious written descriptions of the city’s shifting geographic borders. But these were not user-friendly, nor did they get to the heart of the problem.

Maybe creating a verbal equivalent of a visual map wasn’t the answer. Derek’s team kept digging. Why was the map created in the first place, they asked. What was the point of it? What were users supposed to take away from it?

It turned out, people wanted to know if their street fell within the new city boundaries because, if it did, then their taxes were going to go up.

Solving for a map wasn’t the point at all. Allowing people to find out if their home address fell inside the new city limits was the point.

A simple data entry form accomplished the task, and was by definition accessible to all users. It was also a much quicker way even for sighted user to get the information they wanted. By solving for an extreme case—people who can’t see this map—the web teams were able to create a design that worked better for everyone.

Tomorrow I’ll be back with another top takeaway from another AEA San Francisco 2016 speaker. The next AEA event, An Event Apart St. Louis, takes place January 30-February 1, 2017.

Also published at Medium.

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Measure Customer Time, Not Organization Time: Gerry McGovern

Post author By L. Jeffrey Zeldman
Post date 3 November 2016

12 LESSONS from An Event Apart San Francisco – ? 1: Gerry McGovern was the 12th speaker at An Event Apart San Francisco, which ended yesterday. His session Top Task Management: Making it Easier to Prioritize tackled the firehose of content and interactions web and interaction designers and developers are called upon to support.

Gerry shared example after example of cases where most of this stuff didn’t matter at all to the person using the site or service, and drew the commonsense—but too rare in the corporate world—conclusion that if we spend our time making stuff that matters to our organization instead of stuff that matters to our customer, we will lose our customer. (“Nobody reads your annual report.”)

One of my favorite takeaways from Gerry’s session was about performance, but not in the way you probably think. Gerry pointed out that, in organizations, we are always measuring our own performance: how quickly did we turn that project around? Did we launch on time? Instead of dressing up our navel gazing with analytics that are about our tasks, we should measure our customers’ speed. How quickly do our sites and products help our customers achieve their goals? How can we identify and remove additional obstacles to completion, so our customers achieve their goals faster and faster?

We need to manage speed on the page, not just the speed of the page load. Manage the customer’s time on task. We won’t become customer-centric until we change our metrics—focusing on customers’ time to complete tasks, not on internal speed, and not just on the mechanical speed of page load—although page load speed (and perceived page load speed) are also terribly important, of course, and are part of improving the customer’s time to complete their task.

“If you solve the customer’s problem, they’ll solve your problem.” When you understand your customer’s top task, and focus relentlessly on helping them achieve it, you build a relationship that works for organization and customer alike.

Tomorrow I’ll be back with another top takeaway from another AEA San Francisco 2016 speaker. The next AEA event, An Event Apart St. Louis, takes place January 30-February 1, 2017.

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Private Parts: unlikely advocate fights for online privacy, anonymity

Post author By L. Jeffrey Zeldman
Post date 30 October 2016

MESMERIZED as we have been by the spectacle of the flaming garbage scow of U.S. election news, it would have been easy to miss this other narrative. But in the past few days, just as Google, AT&T, and Time-Warner were poised to turn the phrase “online privacy” into a George Carlin punchline, in marched an unlikely hero to stop them: the American Federal Government. Who have just…

approved broad new privacy rules on Thursday that prevent companies like AT&T and Comcast from collecting and giving out digital information about individuals — such as the websites they visited and the apps they used — in a move that creates landmark protections for internet users.

— Broadband Providers Will Need Permission to Collect Private Data, by Cecilia Kang, The New York Times, Oct. 27, 2016

Given the increasingly deep bonds between corporate overlords and elected officials, this strong assertion of citizens’ right to privacy comes as something of a surprise. It’s especially startling given the way things had been going.

On Friday, Oct. 21, shortly before a massive DDOS attack took out most U.S. websites (but that’s another story), ProPublica reported that Google had quietly demolished its longstanding wall between anonymous online ad tracking and user’s names. I quote ProPublica’s reporting at length because the details matter:

When Google bought the advertising network DoubleClick in 2007, Google founder Sergey Brin said that privacy would be the company’s “number one priority when we contemplate new kinds of advertising products.”

And, for nearly a decade, Google did in fact keep DoubleClick’s massive database of web-browsing records separate by default from the names and other personally identifiable information Google has collected from Gmail and its other login accounts.

But this summer, Google quietly erased that last privacy line in the sand – literally crossing out the lines in its privacy policy that promised to keep the two pots of data separate by default. In its place, Google substituted new language that says browsing habits “may be” combined with what the company learns from the use Gmail and other tools.

The change is enabled by default for new Google accounts. Existing users were prompted to opt-in to the change this summer.

The practical result of the change is that the DoubleClick ads that follow people around on the web may now be customized to them based on your name and other information Google knows about you. It also means that Google could now, if it wished to, build a complete portrait of a user by name, based on everything they write in email, every website they visit and the searches they conduct.

The move is a sea change for Google and a further blow to the online ad industry’s longstanding contention that web tracking is mostly anonymous.

—Google Has Quietly Dropped Ban on Personally Identifiable Web Tracking, by Julia Angwin, ProPublica, Oct. 21, 2016

Et tu, Google

Google has long portrayed itself as one of the good guys, and in many ways it continues to be that. I can’t think of any other insanely powerful mega-corporation that works so hard to advocate web accessibility and performance—although one of its recipes for improved web performance, making up a whole new proprietary markup language and then using its search engine dominance to favor sites that use that language and, of necessity, host their content on Google servers over sites that use standard HTML and host their own content, is hardly a white hat move. But that, too, is another story.

On privacy, certainly, Google had shown ethics and restraint. Which is why their apparent decision to say, “f–– it, everyone else is doing it, let’s stop anonymizing the data we share” came as such an unpleasant shock. And that sense of shock does not even take into account how many hundreds of millions of humans were slated to lose their privacy thanks to Google’s decision. Or just how momentous this change of heart is, given Google’s control and knowledge of our searches, our browsing history, and the contents and correspondents of our email.

Minority Report

Scant days after ProPublica broke the Google story, as a highlight of the proposed merger of AT&T and Time-Warner, came the delightful scenario of TV commercials customized just for you, based on combined knowledge of your web using and TV viewing habits. And while some humans might see it as creepy or even dangerous that the TV they’re watching with their family knows what they were up to on the internet last night, from an advertiser’s point of view the idea made $en$e:

Advertisers want … to combine the data intensity of internet advertising with the clear value and ability to change peoples’ perceptions that you get with a television ad. If you believe in a future where the very, very fine targeting of households or individuals with specific messaging makes economic sense to do at scale, what this merger does is enable that by making more audience available to target in that way.

—Individualized Ads on TV Could Be One Result of AT&T-Time Warner Merger by Sapna Maheshwari, The New York Times, Oct. 26

An unlikely privacy advocate

Into this impending privacy hellscape marched the U.S. Government:

Federal officials approved broad new privacy rules on Thursday that prevent companies like AT&T and Comcast from collecting and giving out digital information about individuals — such as the websites they visited and the apps they used — in a move that creates landmark protections for internet users. …

The new rules require broadband providers to obtain permission from subscribers to gather and give out data on their web browsing, app use, location and financial information. Currently, broadband providers can track users unless those individuals tell them to stop.

The passage of the rules deal a blow to telecommunications and cable companies like AT&T and Comcast, which rely on such user data to serve sophisticated targeted advertising. The fallout may affect AT&T’s $85.4 billion bid for Time Warner, which was announced last week, because one of the stated ambitions of the blockbuster deal was to combine resources to move more forcefully into targeted advertising.

—Broadband Providers Will Need Permission to Collect Private Data, by Cecilia Kang, The New York Times, Oct. 27

What happens next

The consequences of these new rules—exactly how advertising will change and networks will comply, the effect on these businesses and those that depend on them (i.e. newspapers), how Google in particular will be effected, who will cheat, who will counter-sue the government, and so on—remain to be seen. But, for the moment, we’re about to have a bit more online privacy and anonymity, not less. At least, more online privacy from advertisers. The government, one assumes, will continue to monitor every little thing we do online.

Co-published in Medium.

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Spotify to music subscribers: drop dead

Post author By L. Jeffrey Zeldman
Post date 9 October 2016

SINCE AT LEAST 2010, subscribers to Spotify’s paid music service have asked the company to include the ability to sort playlists alphabetically in the desktop player. It’s the sort of drop-dead obvious feature that should have been built into the player while it was still in alpha. Yet, after six years of requests by paying customers, the feature still does not exist. Many good people work at Spotify and take pride in working to create the best possible music service. But the management in charge of feature requests does not seem to care about or respect customers.

Spotify subscribers organize their music in playlists. Any serious music listener will soon have dozens, if not hundreds, of playlists. They appear in the sidebar in reverse chronological order of the date of their creation. From a programmatic standpoint, the order is random. The inability to sort playlists alphabetically soon makes listening to one’s entire collection problematic. You ignore most of your playlists because you can’t find them, and waste time recreating existing playlists because you’ve forgotten they exist—or can’t find them.

For years, Spotify users have taken to the company’s message boards to request that this basic, rudimentary, obviously necessary feature be added. And for years, Spotify’s official message-keepers have strung users along. Reading these message boards is a study in corporate indifference. In this board, for example, which began in 2012, one customer after another explains why the ability to alphabetize their list of playlists is necessary if they are to continue using the service. It’s almost comical to watch the customer support folks react to each post as if it is a new idea; or attempt to pacify the customer by assuring her that staff is “working around the clock to implement this feature.” That last comment was made in 2015, three years into the thread; there’s been no word about the feature since.

The desktop player does let users change the order of a given playlist by dragging it up or down. That feature would suffice for someone who had three playlists. It might even work for someone with a dozen playlists. But for someone with several dozen or more playlists, manual drag and drop is not only no solution, it’s actually insulting.

What Spotify has done is create an all-you-can-eat buffet, and equipped its customers with a toothpick in place of a knife and fork or chopsticks.

The problem can’t be that difficult to solve, as Spotify has added alphabetization of playlists to its phone and tablet apps. Yet the desktop, a primary source for folks who listen to music while working, remains as primitive as it was in 2010.

Six years of alternately pretending not to know that your paying customers require a basic tool to manage their subscriptions, and pretending to be working on a solution, shows a basic disregard for the paying customer. Which kind of goes along with a disregard for the working musician, who isn’t exactly getting rich off the Spotify royalties that have replaced CD sales.

Apple Music has rubbed me the wrong way since Apple first crammed it into their increasingly dysfunctional iTunes player (whose poor usability is what drove me to Spotify in the first place). I hate that Apple Music shows up on all my Apple devices, even though I don’t subscribe to it, and even after I’ve turn it off in Settings. In this regard, Apple today is like Microsoft in the 1990s. And I don’t mean that in a good way.

But, as obnoxious and overdesigned as it is, there’s one thing I like about Apple Music: it just may drive the complacent management at Spotify to actually start listening to their customers.

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Ten Years Ago on the Web

Post author By L. Jeffrey Zeldman
Post date 22 September 2016

2006 DOESN’T seem forever ago until I remember that we were tracking IE7 bugs, worrying about the RSS feed validator, and viewing Drupal as an accessibility-and-web-standards-positive platform, at the time. Pundits were claiming bad design was good for the web (just as some still do). Joe Clark was critiquing WCAG 2. “An Inconvenient Truth” was playing in theaters, and many folks were surprised to learn that climate change was a thing.

I was writing the second edition of Designing With Web Standards. My daughter, who is about to turn twelve, was about to turn two. My dad suffered a heart attack. (Relax! Ten years later, he is still around and healthy.) A List Apart had just added a job board. “The revolution will be salaried,” we trumpeted.

Preparing for An Event Apart Atlanta, An Event Apart NYC, and An Event Apart Chicago (sponsored by Jewelboxing! RIP) consumed much of my time and energy. Attendees told us these were good shows, and they were, but you would not recognize them as AEA events today—they were much more homespun. “Hey, kids, let’s put on a show!” we used to joke. “My mom will sew the costumes and my dad will build the sets.” (It’s a quotation from a 1940s Andy Hardy movie, not a reflection of our personal views about gender roles.)

Jim Coudal, Jason Fried and I had just launched The Deck, an experiment in unobtrusive, discreet web advertising. Over the next ten years, the ad industry pointedly ignored our experiment, in favor of user tracking, popups, and other anti-patterns. Not entirely coincidentally, my studio had just redesigned the website of Advertising Age, the leading journal of the advertising profession.

Other sites we designed that year included Dictionary.com and Gnu Foods. We also worked on Ma.gnolia, a social bookmarking tool with well-thought-out features like Saved Copies (so you never lost a web page, even if it moved or went offline), Bookmark Ratings, Bookmark Privacy, and Groups. We designed the product for our client and developed many of its features. Rest in peace.

I was reading Adam Greenfield’s Everyware: The Dawning Age of Ubiquitous Computing, a delightfully written text that anticipated and suggested design rules and thinking for our present Internet of Things. It’s a fine book, and one I helped Adam bring to a good publisher. (Clearly, I was itching to break into publishing myself, which I would do with two partners a year or two afterwards.)

In short, it was a year like any other on this wonderful web of ours—full of sound and fury, true, but also rife with innovation and delight.

As part of An Event Apart’s A Decade Apart celebration—commemorating our first ten years as a design and development conference—we asked people we know and love what they were doing professionally ten years ago, in 2006. If you missed parts one, two, three, or four, have a look back.

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Pinterest giveth, and Pinterest taketh away

Post author By L. Jeffrey Zeldman
Post date 18 March 2016

AS MY design career has taken on more and more strategic and managerial freight, I’ve done less and less hands-on design. This year, I decided to change that. As part of my reimmersion, I found myself reading less, and absorbing visual information more. Enter Pinterest.

I’d played with the app when it first came out—who didn’t?—but it didn’t stick with me the way a handful of apps do. It didn’t become an obsession, and so I gradually forgot about it. That’s just how apps work for me. They’re heroin, or they’re nothing.

But the moment my days began filling with sketching, and coding, and Photoshop comping, the genius of Pinterest, and the addictive high it provides when used obsessively and compulsively, was revealed to me.

In borderline religious ecstasy, I became a Pinterest junkie, compelled to collect and catalog every artist I’ve ever loved—every type designer, illustrator, filmmaker, social absurdity, comic book character, and book designer; every half-forgotten cartoonist; every city or nation I’ve visited.

Using Pinterest not only revived long-dead visual design brain cells, it created new ones. Work-related layouts and color schemes came easier as I spent more and more “downtime” collecting and cataloging half-forgotten styles, genres, and artists—and discovering new ones.

I ? Pinterest

As part of this work—for work it is; call it “research” if you prefer—I spent hours rearranging Boards on my profile for maximum aesthetic effect and rhythm. And more hours choosing and replacing the cover illustration for each Board. (If you don’t use Pinterest, here’s a summary: it lets you pin any image you find on the web, or on your own computer desktop or mobile device, to a virtual whiteboard. Pinterest calls each whiteboard you create a “Board,” and each image you affix to it a “Pin.” Part of the fun comes from sequencing Boards on your profile for aesthetic or educational reasons; choosing the featured image for each Board is likewise important and fun.)

Until a few days ago, you could edit and re-edit the featured image for each Board whether you were using Pinterest on the web (that is, via desktop computer), your phone, or your tablet. Doing these things worked differently on the different devices—choosing the featured image was actually faster and less tedious on iPhone and iPad than it was on the web—but the functionality was available in all three places, because Pinterest recognized that brands exist between devices, and that folks interact with your service on different devices at different times, as they choose.

Likewise, until a few days ago, you could change the order of Boards on your profile via drag and drop whether you were using Pinterest on the web or your tablet. (Likely because of screen space constraints, this functionality was not available on iPhone, where the display of Board content necessarily differs from the more desktop-design-focused method used on the web and on iPad.) Users like me changed the order of Boards to create visual interest, set up ironic contrasts, create visual rhythms up and down the screen, and so on. I’m a designer. I have my ways. These details are important to me—and, I imagine, to many other users, since Pinterest is a drug for visual obsessives.

An unexpected change

Then, a few days ago, Pinterest released an update that removed this functionality from the iPhone and iPad (and, I’m assuming, from Android as well). There was no blog post announcing the change. And no rationale offered for taking away features that mattered a lot to users like me. Pinterest knows these features matter, because Pinterest has our data. That’s the difference between making a digital product folks interact with via the internet, and making, say, a toilet plunger. If I manufacture toilet plungers, I can make assumptions about how folks use my product, but I probably don’t have much real data. If I make an application people use via http, I know everything.

Now, it’s not like people were complaining about the ability to edit their Boards: “We have too much freedom! This software provides too many delightful functions. Please remove two of them. But only from my mobile device.”

No. The features are still there on the website. So Pinterest knows people like these features.

And it’s not like the features are too difficult to put into mobile devices, since they already existed in those mobile devices.

A failure to communicate

You may ask why I’m telling you all this instead of telling it to Pinterest. Good question. The answer is, I tried telling Pinterest, but they don’t provide a forum for it. And that is the biggest problem. A company that makes products people love should have a way to communicate with those people. Not grudgingly offer them a few character-limited form fields on a “survey” page that isn’t even referenced in the site’s navigation.

When the features stopped working on my iPhone and iPad, I assumed something had gone wrong with my apps, so I deleted and reinstalled them. (Remember, there was no announcement; but then why would any company announce that it was taking away loved features for no apparent reason?)

When deleting and reinstalling didn’t help, I sought help and contact pages on Pinterest (and was only able to find them via third-party search engine).

In trying to file a bug report, I ended up in a pleasant (but confusing) conversation with a very nice Pinterest employee who explained that I wasn’t experiencing a bug: the software engineers had made a conscious decision to remove the functions I use every day … and had no intention of restoring them. She wasn’t able to tell me why, or point me to a URL that would offer a rationale, but she did tell me I could use Pinterest’s “Recommend a feature” form to “recommend” that the software engineers put those features back.

Since “Recommend a feature” is hidden from site navigation, the kindly person with whom I was in dialog provided a link where I could type in a few characters requesting that Pinterest restore the “drag Board order” functionality. There wasn’t room in the form fields to explain why I thought the feature should be restored, but at least I was able to make the request. The form asked if I was a Business account user, which I am. I don’t remember when or why I bought the Business tier of service. Maybe for the analytics. Maybe just because, as someone who makes stuff myself, I choose to pay for software so I can support the good people who make it, and do what I can to help their product stick around.

(It’s the same reason I remained a Flickr Pro user even after Yahoo gave the whole world 2GB of photo storage space for free. If everything is free, and nobody pays, services you love tend to go away. Half of web history is great services disappearing in the night after investors were dissatisfied with only reasonable profits.)

I don’t know why my paid status mattered to Pinterest, but I couldn’t help feeling there would be a prejudice in favor of my comment if I checked the box letting them know I was a paying customer. Even though it was information they requested, checking the box made me feel dirty. I also wondered why they were asking me. I mean, don’t they know? I gave them the email address they use for my login. I was logged in. They know my status. Are they just checking to see if I know it, too?

There can only be one (feature request)

But I digress. Because here is the main point. The moment I submitted the tiny, inadequate form requesting the restoration of a recently removed feature, the site set a cookie and sent me a message thanking me for completing the “survey.” It wasn’t a survey, but I guess one task completion message is as good as another.

Then I tried to use the inadequate form to report my second concern—the one about the removal of the ability to choose a featured image for my Board. The way this had always worked on the tablet was far superior to the tedious, painstaking way it works on my desktop. On the tablet, you could scroll through all your images with the flick of a finger, select the image you wanted, and complete the task in a few seconds. On the desktop, you had to click your way through every image on your Board in reverse chronological order. It’s the difference between flicking through a calendar, and clicking backwards from today, to yesterday, to the day before yesterday, and so on. The tablet version was fast, easy, intuitive—you interact directly with your content; you can see all relevant content at a glance. The desktop version is cumbersome and 1999-ish. If I had to pick which platform must lose the functionality I relied on, I would not have chosen the tablet. No customer who used the feature in both places would.

But I wasn’t able to share even a few characters of this thought with Pinterest, because once you submit a “survey” requesting a feature, a steel wall in the guise of a cookie slams down, and you cannot make a second feature suggestion.

Not even the next day. (Which is today. Which I just tried.)

This is a love letter

And that is why, as a hardcore fan and user of Pinterest, a service I love and use compulsively, I am using the public web rather than Pinterest’s somewhat unhelpful help center, to share my request with the brilliant software engineers who create this fabulous product.

And with designers, because these are the mistakes we all make when we create products and content sites. We think we are all about the people who use what we create. But we are probably frustrating the pants off them with our arbitrary design decisions and inadequate customer feedback mechanisms.

Also published on Medium.

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The Year in Design

Post author By L. Jeffrey Zeldman
Post date 24 December 2015

Mobile is today’s first screen. So design responsively, focusing on content and structure first.
Websites and apps alike should remove distractions and let people interact as directly as possible with content.
90 percent of design is typography. And the other 90 percent is whitespace.
Boost usability and pleasure with progressive disclosure: menus and functions that appear only when needed.
One illustration or original photo beats 100 stock images.
Design your system to serve your content, not the other way around.
Remove each detail from your design until it breaks.
Style is the servant of brand and content. Style without purpose is noise.
Nobody waits. Speed is to today’s design what ornament was to yesterday’s.
Don’t design to prove you’re clever. Design to make the user think she is.

Also published in Medium

Translated into German (also here) by Mark Sargent

Translated into French by Jean-Baptiste Sachsé

Translated into Turkish by omerbalyali.

Translated into Spanish by Tam Lopez Breit.

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Ad Blocking Phase II

Post author By L. Jeffrey Zeldman
Post date 19 December 2015

THE WORLD has finally caught up with Been, Inc. Three years ago, this tiny start-up company shared my studio space in New York. Their product idea was remarkably original: instead of passively accepting the data collection and loss of privacy that comes with most ad networks on the web, what if people had a choice—to either block ads and third-party trackers entirely, or earn rewards for letting ads through?

The initial web-based product, playfully designed by Monkey Do, took the scariness and complexity out of tracking issues, and returned the decision making power to the consumer. Unfortunately, the mainstream web wasn’t ready for ad blocking, and consumers en masse either weren’t ready to think about privacy, or simply didn’t know the company’s value proposition because of its nonexistent marketing budget. (The only thing that kills products faster than no marketing is poor execution—although a handful of products have survived both.)

To stay afloat in the face of mass indifference, the company temporarily pivoted, using a portion of their technology to facilitate sharing of web content between consumers, much like the late lamented Ma.gnolia or Pocket’s new Recommended section. But where Ma.gnolia and Pocket were/are text-powered, the pivoted Been app was primarily visual, which helped it gain traction in the eduation market. Grade-school teachers and kids loved using the app for research projects—and their support helped the company stay in business long enough for the internet to catch up with their ideas.

Version 2.0 of their Choice app for iOS is the product of years of work on user privacy, data ownership, and control. iOS fans can download it at www.been.mobi/getv2edu.

The company’s site explains the push-button mechanics through which you can choose to block ads and third-party trackers in your apps and Safari, or earn rewards by letting ads through and sharing (strictly non-personal) information with Been. (Earn Mode is limited to US users for now.)

When I foolhardily put down my deposit on a New York studio that was larger and more costly than what I needed, my hope was that it would attract a like-minded community of designers and tech companies from whom I would learn and be inspired. That was certainly the case with my friends at Been! I wish them great success at helping to bring the changes our web needs.

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Progressive Enhancement FTW with Aaron Gustafson

Post author By L. Jeffrey Zeldman
Post date 4 December 2015

LONGTIME developer, lecturer, and web standards evangelist Aaron Gustafson and I discuss the newly published update to Aaron’s best-selling industry classic “love letter to the web,” Adaptive Web Design: Crafting Rich Experiences With Progressive Enhancement, 2nd Edition (New Riders, 2015) in Episode ? 140 of The Big Web Show—everything web that matters.

Topics covered include: Aaron’s superhero origin story as a creator of progressively enhanced websites and applications; “we’re not building things we haven’t built on the web before;” “creating opportunities for people outside your comfort zone;” development in the world of Node.js; “every interface is a conversation;” “visual design is an enhancement;” “interaction is an enhancement;” nerding out over early web terminal interfaces; Microsoft, Opera, and more.

Sponsored by DreamHost, Braintree, and Thankful.

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Save 35% off Aaron Gustafson’s Adaptive Web Design: Crafting Rich Experiences With Progressive Enhancement, 2nd Edition when you enter discount code AARON35 at checkout.

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https://www.aaron-gustafson.com/about/ – About Aaron
http://adaptivewebdesign.info/2nd-edition/ – Adaptive Web Design Second Edition (“95% new material”)
[PDF] – Read the first chapter free (PDF)
http://adaptivewebdesign.info – First Edition, May 2011 (read the entire first edition free)
http://webstandardssherpa.com – Web Standards Sherpa
https://github.com/easy-designs/batch-ua-parser.php – UA Parser Script by Aaron – on Github
https://www.aaron-gustafson.com/notebook/ – Notebook: Aaron’s blog
https://www.aaron-gustafson.com/speaking-engagements/ – Engagements: Aaron’s speaking page, using Quantity Queries
http://alistapart.com/article/quantity-queries-for-css – “Quantity Queries for CSS” by Heydon Pickering in A List Apart
http://alistapart.com/author/agustafson – A List Apart: articles by Aaron Gustafson
http://alistapart.com/article/goingtoprint – Eric Meyer’s “CSS Design: Going to Print” in A List Apart
https://www.whatsapp.com – Whatsapp

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? 139: Every Time We Touch—Josh Clark, author of “Designing For Touch”

Post author By L. Jeffrey Zeldman
Post date 20 November 2015
No Comments on ? 139: Every Time We Touch—Josh Clark, author of “Designing For Touch”

TOUCH introduces physicality to designs that were once strictly virtual, and puts forth a new test: How does this design feel in the hand? Josh Clark’s new book, Designing For Touch, guides designers through this new touchscreen frontier, and is the launchpad for today’s Big Web Show conversation.

In a fast-paced, freewheeling conversation, Josh and I discuss why game designers are some of our most talented and inspiring interaction designers; the economy of motion; perceptions of value when viewing objects on touchscreen versus desktop computer; teaching digital designers to think like industrial designers (and vice-versa); long press versus force touch; how and when to make gestures discoverable; and much more.

Sponsored by DreamHost and BrainTree. Big Web Show listeners can save 15% when ordering Designing For Touch at abookapart.com with discount code DFTBIGWEB. Discount valid through the end of January 2016.

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Big Web Show Episode ? 139
Big Medium
Designing For Touch

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Zen & The Art of iTunes Failure

Post author By L. Jeffrey Zeldman
Post date 25 October 2015
No Comments on Zen & The Art of iTunes Failure

REBUILDING iTunes library from scratch over two days got app working again. Fine use of lazy weekend.

Had to sacrifice all custom playlists dating back to 2002, including An Event Apart playlists and delivery room mix from Ava’s birth.

Playlists still exist on old iPod but can’t be copied from it back to iTunes. (All software I’ve tried freezes & fails.)

Playlists still exist as code snippets inside .itl file in old iTunes folder, but numerous trials prove iTunes can’t launch from that folder any more. Thus I can’t temporarily launch from old folder, export playlists, switch back to safe new folder, and import them, thereby saving them.

And iTunes can’t import old .itl files. I Googled. I tried anyway.

13 years of custom playlists. From before, during, and after my marriage. Including one my daughter called “princess music” and danced to when she was three. Gone.

But, really, so what? Over time we lose everything. This loss is nothing. Attachment is futile. Always move forward, until you stop moving.

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Publishing v. Performance—or, The Soul of the Web

Post author By L. Jeffrey Zeldman
Post date 29 July 2015
No Comments on Publishing v. Performance—or, The Soul of the Web

MY SOUL is in twain. Two principles on which clued-in web folk heartily agree are coming more and more often into conflict—a conflict most recently thrust into relief by discussions around the brilliant Vox Media team, publishers of The Verge.

The two principles are:

Building performant websites is not only a key differentiator that separates successful sites from those which don’t get read; it’s also an ethical obligation, whose fulfillment falls mainly on developers, but can only happen with the buy-in of the whole team, from marketing to editorial, from advertising to design.
Publishing and journalism are pillars of civilized society, and the opportunity to distribute news and information via the internet (and to let anyone who is willing to do the work become a publisher) has long been a foundational benefit of the web. As the sad, painful, slow-motion decline of traditional publishing and journalism is being offset by the rise of new, primarily web-based publications and news organizations, the need to sustain these new publications and organizations—to “pay for the content,” in popular parlance—is chiefly being borne by advertising…which, however, pays less and less and demands more and more as customers increasingly find ways to route around it.

The conflict between these two principles is best summarized, as is often the case, by the wonderfully succinct Jeremy Keith (author, HTML5 For Web Designers). In his 27 July post, “On The Verge,” Jeremy takes us through prior articles beginning with Nilay Patel’s Verge piece, “The Mobile Web Sucks,” in which Nilay blames browsers and a nonexistent realm he calls “the mobile web” for the slow performance of websites built with bloated frameworks and laden with fat, invasive ad platforms—like The Verge itself.

“The Verge’s Web Sucks,” by Les Orchard, quickly countered Nilay’s piece, as Jeremy chronicles (“Les Orchard says what we’re all thinking”). Jeremy then points to a half-humorous letter of surrender posted by Vox Media’s developers, who announce their new Vox Media Performance Team in a piece facetiously declaring performance bankruptcy.

A survey of follow-up barbs and exchanges on Twitter concludes Jeremy’s piece (which you must read; do not settle for this sloppy summary). After describing everything that has so far been said, Mr Keith weighs in with his own opinion, and it’s what you might expect from a highly thoughtful, open-source-contributing, standards-flag-flying, creative developer:

I’m hearing an awful lot of false dichotomies here: either you can have a performant website or you have a business model based on advertising. …

Tracking and advertising scripts are today’s equivalent of pop-up windows. …

For such a young, supposedly-innovative industry, I’m often amazed at what people choose to treat as immovable, unchangeable, carved-in-stone issues. Bloated, invasive ad tracking isn’t a law of nature. It’s a choice. We can choose to change.

Me, I’m torn. As a 20-year-exponent of lean web development (yes, I know how pretentious that sounds), I absolutely believe that the web is for everybody, regardless of ability or device. The web’s strength lies precisely in its unique position as the world’s first universal platform. Tim Berners-Lee didn’t invent hypertext, and his (and his creation’s) genius doesn’t lie in the deployment of tags; it subsists in the principle that, developed rightly, content on the web is as accessible to the Nigerian farmer with a feature phone as it is to a wealthy American sporting this year’s device. I absolutely believe this. I’ve fought for it for too many years, alongside too many of you, to think otherwise.

And yet, as a 20-year publisher of independent content (and an advertising professional before that), I am equally certain that content requires funding as much as it demands research, motivation, talent, and nurturing. Somebody has to pay our editors, writers, journalists, designers, developers, and all the other specialtists whose passion and tears go into every chunk of worthwhile web content. Many of you reading this will feel I’m copping out here, so let me explain:

It may indeed be a false dichotomy that “either you can have a performant website or you have a business model based on advertising” but it is also a truth that advertisers demand more and more for their dollar. They want to know what page you read, how long you looked at it, where on the web you went next, and a thousand other invasive things that make thoughtful people everywhere uncomfortable—but are the price we currently pay to access the earth’s largest library.

I don’t like this, and I don’t do it in the magazine I publish, but A List Apart, as a direct consequence, will always lack certain resources to expand its offerings as quickly and richly as we’d like, or to pay staff and contributors at anything approaching the level that Vox Media, by accepting a different tradeoff, has achieved. (Let me also acknowledge ALA’s wonderful sponsors and our longtime partnership with The Deck ad network, lest I seem to speak from an ivory tower. Folks who’ve never had to pay for content cannot lay claim to moral authority on this issue; untested virtue is not, and so on.)

To be clear, Vox Media could not exist if its owners had made the decisions A List Apart made in terms of advertising—and Vox Media’s decisions about advertising are far better, in terms of consumer advocacy and privacy, than those made by most web publishing groups. Also to be clear, I don’t regret A List Apart’s decisions about advertising—they are right for us and our community.

I know and have worked alongside some of the designers, developers, and editors at Vox Media; you’d be proud to work with any of them. I know they are painfully aware of the toll advertising takes on their site’s performance; I know they are also doing some of the best editorial and publishing work currently being performed on the web—which is what happens when great teams from different disciplines get together to push boundaries and create something of value. This super team couldn’t do their super work without salaries, desks, and computers; acquiring those things meant coming to some compromise with the state of web advertising today. (And of course it was the owners, and not the employees, who made the precise compromise to which Vox Media currently adheres.)

Put a gun to my head, and I will take the same position as Jeremy Keith. I’ll even do it without a gun to my head, as my decisions as a publisher probably already make clear. And yet, two equally compelling urgencies in my core being—love of web content, and love of the web’s potential—make me hope that web and editorial teams can work with advertisers going forward, so that one day soon we can have amazing content, brilliantly presented, without the invasive bloat. In the words of another great web developer I know, “Hope is a dangerous currency—but it’s all I’ve got.”

Also published in Medium.

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This Week In The Death of Publishing & The Web

Post author By L. Jeffrey Zeldman
Post date 13 July 2015
No Comments on This Week In The Death of Publishing & The Web

FAST COMPANY writes:

Apple, like Facebook, has entered into a standoff with the publishing industry and the open, if for-profit, web. And it’s being done under the aegis of design: choose a better reading experience on our curated platform, they offer, or let us clean up that pesky advertising on the open web.

Source: Apple Saves Publishing… For Itself

N.B. This is not the first time this conversation has arisen, nor will it be the last. Off the top of my head, see also:

The Death of the Open Web, New York Times 2010
The Web Is Dead, Wired 2010
The Web Is Dead, Long Live The Internet, Wired 2010
Orbital Content A List Apart 2011
Readability 2.0 is Disruptive Two Ways, zeldman.com 2011
This Is A Website, zeldman.com 2013
Who’s Afraid of the Big Bad Medium? zeldman.com 2015
The Web Is Not Poor Man’s Native, in progress 2015

? Is the web under threat? Will Facebook or Apple kill or save journalism? Share your thoughts or your favorite links on the subject. Bonus points for older articles.

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