Not only are we enabling folks to express themselves uniquely on the web, unlike the cookie cutter looks that all the social sites try to put you into. We’re doing it in a way which is standards-based, interoperable, based on open source, and increases the amount of freedom on the web.
Our static tools and linear workflows aren’t the right fit for the flexible, diverse reality of today’s Web. Making prototyping a central element of your workflows will radically change how you approach problem solution and save you a lot of headaches – and money. But most importantly, you will be creating the right products and features in a way that resonates with the true nature of the Web. A discourse on processes, flexibility, the Web as a material, and how we build things.
A liquid page will resize to fit whatever size browser window (within reason) that the user has available. … the real goal in building a website is to provide the user with a seamless interface to information. The site should not intrude on the user’s thought processes, but should gently guide them to their desired destination. If a site doesn’t look right because it doesn’t fit the user’s browser window, then the design has become intrusive to the user.?—?Glenn Davis, quoted in 15 Minutes, sometime in 1997.
TWO DECADES before Responsive Web Design, we dipped our toes in Liquid Layout?—?a similar but necessarily less refined concept. Glenn Davis of Project Cool fame coined the phrase in 1995 or 1996. (Glenn also came up with“Ice” to describe fixed-width layouts, and “Jello” for layouts that combined some fixed with some flexible elements.)
Liquid Layout was mainly what John Allsopp had in mind when he wrote A Dao of Web Design for A List Apart (quite possibly the most influential article we ever published). The most famous paragraph in that famous article explains…
The control which designers know in the print medium, and often desire in the web medium, is simply a function of the limitation of the printed page. We should embrace the fact that the web doesn’t have the same constraints, and design for this flexibility. But first, we must “accept the ebb and flow of things.”
Everything new is old
Modern designers look back at Allsopp’s article and think John must have been a time traveler who had seen the future of responsive design and mobile devices. In fact, though, John was simply a highly skilled (and extremely articulate) mainstream developer. As such, he was familiar with Liquid Design and frequently used it in his work, along with other ideas mentioned in “Dao,” such as not forcing users to see a particular type size or typeface. To a good developer in those days, what mattered was making something that worked for everyone. (That should still be what good developers care most about, right?)
Liquid design was part of a “works for everyone” approach to web design, but it had limitations. For one thing, breakpoints hadn’t been invented. CSS layout was in its infancy, used by almost no one, except in experimental work. The ability to separate content and behavior from presentation was nonexistent, unless you limited “presentation” to setting type in a single column, letting the user override the type setting, and letting the column reshape itself to fit any viewport.
With so few controls available, Liquid design tended to become unusable in certain settings, and was almost always ugly.
Liquid design was Responsive design’s rough draft
Liquid design was immediately popular with developers when they were given permission to just make stuff?—?i.e. when they weren’t constrained by overly rigid Photoshop layouts. Designers almost never used Liquid design because the layouts moved so quickly into ugliness and unusability?—?too wide to read, or too narrow, or with overlapping columns in early CSS layouts. Designers also disdained Liquid layouts because most of us see our job as imposing brilliant order on ugly chaos, and fixed proportions always seemed to be part of that order.
Fig 1. The Web Standards Project: a liquid layout as seen on a wide computer screen. Designed by Andy Clarke in the early 2000s.
Fig 2. The Web Standards Project: a liquid layout as seen on a narrow computer screen. On the narrow screen, type overlaps and the page becomes unusable.
Ugly on one side. Unusable on the other. It took a special breed of designer to forge ahead with Liquid Layout anyway.
Were it were not for the iPhone and the phones and tablets that rose quickly in its wake, the W3C would likely not have invented breakpoints. And without breakpoints, there could be no Responsive Web Design. And without Responsive Web Design, created by a visually gifted designer and with tools to satisfy his peers, the idea that drove Liquid design back in the 1990s would not, at long last, have caught on.
It’s easy to view our current design thinking as more evolved than what we practiced in the past. And in some ways, it is. But if you read between the lines, it’s fair to say that our thinking was always advanced. It’s only now that our tools are beginning to catch up.
BOY, was this show overdue. For the first time ever on The Big Web Show, I chat with my friend, front-end developer extraordinaire Brad Frost, author of the spanking new book, Atomic Design.
We have fun. We go way over time. We kept talking after the show stopped. There was just so much to discuss—including Pattern Lab and style guides, being there for the iPad launch, working with big brands, how to say no and make the client happy you said it, avoiding antipatterns, mobile versus “the real web” (or the way we saw things in 2009), dressing for success, contributing to open source projects, building a community, the early days of Brad’s career, and that new book of his.
AT FIRST GLANCE, November 2016 has bigger fish to fry than a small, cult holiday celebrated by web developers and designers.
Each day since November 8, 2016 has brought new, and, to some of us, unimaginable challenges to the surface. Half of America is angry and terrified. The other half is angry and celebrating. At a time like now, of what possible use is an annual holiday celebrated mainly on social media by a tiny posse of standards- and accessibility-oriented web developers and designers?
From Blue Beanies to Black Hats
Many web developers have “moved on” from a progressive-enhancement-focused practice that designs web content and web experiences in such a way as to ensure that they are available to all people, regardless of personal ability or the browser or device they use.
Indeed, with more and more new developers entering the profession each day, it’s safe to say that many have never even heard of progressive enhancement and accessible, standards-based design.
The trouble with this top-down approach is threefold:
Firstly, many new developers will build powerful portfolios by mastering tools whose functioning and implications they may not fully understand. Their work may be inaccessible to people and devices, and they may not know it—or know how to go under the hood and fix it. (It may also be slow and bloated, and they may not know how to fix that either.) The impressive portfolios of these builders of inaccessible sites will get them hired and promoted to positions of power, where they train other developers to use frameworks to build impressive but inaccessible sites.
Only developers who understand and value accessibility, and can write their own code, will bother learning the equally exciting, equally edgy, equally new standards (like CSS Grid Layout) that enable us to design lean, accessible, forward-compatible, future-friendly web experiences. Fewer and fewer will do so.
Thirdly, and as a result of the first and second points, more and more web experiences every day are being created that are simply not accessible to people with disabilities (or with the “wrong” phone or browser or device), and this will increase as standards-focused professionals retire or are phased out of the work force, superseded by frameworkistas.
#a11y is Code for “Love Your Neighbor”
This third point is important because people with disabilities are already under attack, by example of the U.S. president-elect, and as part of of a recent rise in hate crimes perpetrated by a small but vocal fringe. This fringe group of haters has always been with us, but now they are out of the shadows. They are organized and motivated, and to an unmeasured degree, they helped Donald Trump win the White House. Now that he’s there, people of good will ardently hope that he will condemn the worst bigots among his supporters, and fulfill his executive duties on behalf of all the people. I’m not saying I expect him to do this today. I’m saying I hope he does—and meantime it behooves us to find ways to do more than just hope. Ways to make change.
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.
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.
This new presentation examines the seemingly ever-deepening complexity of designing for our medium today—a complexity that has driven some longtime web designers I know to declare that web design has become “too hard,” or that “the fun has gone out of it”—and asks what our traditions of designing with web standards can teach us about crafting web experiences for a multi-device, mobile-first world.
Given that my original (unpublished) title for Designing With Web Standards was going to be Forward Compatibility—and given that Forward Compatibility is not so different in concept from today’s phrase, Future-Friendly—I’m guessing that structured, semantically marked-up content, progressive enhancement, and the separation of style from structure and behavior still have a huge role to play in today’s day-to-day web design work.
Oh, dear, I hope that wasn’t a spoiler.
I look forward to sharing these ideas with you in greater detail at An Event Apart. Now celebrating our tenth year of bringing great ideas to our community, and creating a space where the smartest folks in web design and development can meet, mingle, bond, network, and learn together. Follow @aneventapart for show announcements, links to useful web resources, and free giveaways on the 10th of every month in 2016. (This month’s giveaway, ten beautiful fleece comforters monogrammed with the A Decade Apart logo, went to ten lucky winners on February 10th. Keep watching the skies.)
RACHEL ANDREW—longtime web developer and web standards champion, co-founder of the Perch CMS, and author of Get Ready For CSS Grid Layout—is my guest on today’s Big Web Show. We discuss working with CSS Grid Layout, how Grid enables designers to “do something different” with web layout, why designers need to start experimenting with Grid Layout now, how front-end design has morphed into an engineering discipline, learning HTML and CSS versus learning frameworks, and the magic of David Bowie, RIP.
IN “CONTENT Display Patterns” (which all front-end folk should read), Dan Mall points to a truth not unlike the one Ethan Marcotte shared last month on 24 ways. It is a truth as old as standards-based design: Construct your markup to properly support your content (not your design).
Modular/atomic design doesn’t change this truth, it just reinforces its wisdom. Flexbox and grid layout don’t change this truth, they just make it easier to do it better. HTML5 doesn’t change this truth, it just reminds us that the separation of structure from style came into existence for a reason. A reason that hasn’t changed. A reason that cannot change, because it is the core truth of the web, and is inextricably bound up with the promise of this medium.
Separating structure from style and behavior was the web standards movement’s prime revelation, and each generation of web designers discovers it anew. This separation is what makes our content as backward-compatible as it is forward-compatible (or “future-friendly,” if you prefer). It’s the key to re-use. The key to accessibility. The key to the new kinds of CMS systems we’re just beginning to dream up. It’s what makes our content as accessible to an ancient device as it will be to an unimagined future one.
Every time a leader in our field discovers, as if for the first time, the genius of this separation between style, presentation, and behavior, she is validating the brilliance of web forbears like Tim Berners-Lee, Håkon Wium Lie, and Bert Bos.
Every time a Dan or an Ethan (or a Sara or a Lea) writes a beautiful and insightful article like the two cited above, they are telling new web designers, and reminding experienced ones, that this separation of powers matters.
And they are plunging a stake into the increasingly slippery ground beneath us.
Why is it slippery? Because too many developers and designers in our amnesiac community have begun to believe and share bad ideas—ideas, like CSS isn’t needed, HTML isn’t needed, progressive enhancement is old-fashioned and unnecessary, and so on. Ideas that, if followed, will turn the web back what it was becoming in the late 1990s: a wasteland of walled gardens that said no to more people than they welcomed. Let that never be so. We have the power.
As Maimonides, were he alive today, would tell us: he who excludes a single user destroys a universe. Web standards now and forever.
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.
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.
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.
IT WAS the early 2000s. The smoke from 9/11 was still poisoning my New York.
Karen McGrane was a brilliant young consultant who had built the IA practice at Razorfish while still in her early 20s, and was collaborating with my (now ex-)wife on some large, exciting projects for The New York Public Library. Ethan Marcotte was a Dreadlocks-hat-sporting kid I’d met in Cambridge through Dan Cederholm, with whom he sometimes collaborated on tricky, standards-based site designs. The first edition of my Designing With Web Standards was in the can. I figured that, like my previous book, it would sell about 10,000 copies and then vanish along with all the other forgotten web design books.
Nothing happened as I expected it to. The only thing I got right besides web standards was the desire to some day work with Karen, Ethan, and Dan—three dreams that, in different ways, eventually all came true. But nothing, not even the incredible experience of working with these luminaries, could have prepared me for the effect Ethan and Karen and Dan would have on our industry. Even less could I have guessed back then the announcement it’s my pleasure to make today:
It was thrilling to bring you Ethan and Karen’s first industry-changing A Book Apart books. Being allowed to bring you a second set of absolutely essential works on responsive design from these two great minds is a gift no publisher deserves, and for which I am truly grateful.
Building on the concepts in his groundbreaking Responsive Web Design, Ethan now guides you through developing and using design patterns so you can let your responsive layout reach more devices (and people) than ever before.
Karen McGrane effortlessly defined the principles of Content Strategy for Mobile. She’s helped dozens of teams effectively navigate responsive projects, from making the case to successful launch. Now, she pulls it all together to help you go responsive—wherever you are in the process.
WEB DESIGNERS have cared about web performance since the profession’s earliest days. When I started, we saved user bandwidth by employing GIF images that had the fewest possible colors—with no dithering, when possible, and by using actual web text instead of pictures of web text. (Kids, ask your parents about life before CSS enabled, type designers created formats for, browsers finally supported, and Typekit quickly popularized web fonts.)
Later, we learned to optimize JPEGs and blur their backgrounds: the blurrier large swathes of a JPEG image can be, the lower the bandwidth requirements for the image. We found the optimally performant size for repeating background tiles (32 x 32 and 64 x 64 were pretty good) and abandoned experiments like single-pixel-wide backgrounds, which seemed like a good idea but slowed browsers, servers, and computers to a crawl.
We developed other tricks, too. Like, when we discovered that GIF images optimized better if they possessed repeating patterns of diagonal lines, we worked diagonal background images into a design trend. It was the trend that preceded drop shadows, the wicked worn look, and skeuomorpic facades, which were themselves a retro recurrence of one of the earliest styles of commercial web design; that trend, which was always on the heavy side, performance-wise, eventually gave way to a far more performant grid-driven minimalism, which hearkened back to classic 1940s Swiss graphic design, but which our industry (sometimes with little knowledge of design history) called “flat design” and justified as being “born digital” despite its true origins going back to pixels, protractors, and a love of Greek mathematics.
I cannot verify every detail Nate provides, but it is all in line with recommendations I’ve heard over and over at top conferences, and read in articles and books by such performance mavens as Jake Archibald, Lara Hogan, Scott Jehl, and Yesenia Perez-Cruz.
You should also pick up these great books on performance:
(It’s not why I wrote this post, but if you order Scott’s book today, you can save 10% when you enter discount code ABAHARVEST at checkout.)