Web Design Manifesto 2012
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
Big Web Show No. 65 | Tim Brown of Typekit and Nice Web Type
IN EPISODE NO. 65 of The Big Web Show (“everything web that matters”), I interview Tim Brown of Typekit and Nice Web Type on where we are with web fonts, real web type in real web context, using Dribbble to develop a tone of voice, how saving small snippets of other people’s content can turn you into a blogger, Samantha Warren’s Style Tiles, molten leading orbital content, pages versus chunks, the type-driven design, web font fallbacks, the connection between leading and font family, transitioning from university work to Typekit, and much more.
Listen to The Big Web Show #65: Tim Brown.
Links mentioned in this show are numerous, enlightening, and available for your pleasure.
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Web type links from an interview with Typekit and Nice Web Type’s Tim Brown
FacitWeb on Typekit:
Modular scales — meaningful numbers for layout:
More Meaningful Typography:
Web Font Specimen:
Real Web Type in Real Web Context:
How I use Twitter:
On leaving Vassar:
Font Events – Typekit Blog:
Ffffallback – a webfont fallback app:
Nice Web Type:
The Articulate Web Designer of Tomorrow – 24 Ways:
Orbital Content – A List Apart:
Fonts in Use:
Facit web font:
Nice Web Type:
Design by Front:
Style Tiles – Samantha Warren:
Molten Leading – Nice Web Type:
Tim Brown on Dribbble:
Principles of Typography on the Web:
A Better Franklin
It’s funny. My daughter always asks what’s my favorite color, and I can never answer, ’cause I love them all. With color, it depends on context and it’s all about combination. But a favorite font? You bet I’ve got one. It’s Franklin Gothic, and especially Franklin Gothic Condensed. Has been for years.
For several years now I’ve used a licensed Franklin Gothic web font by someone other than Webtype here. It was good but not perfect.
Webtype’s Franklin Condensed is as close to perfect as web fonts can come in October, 2011. (And as they improve it, the look and feel here will improve as well.) The font is so good that it emboldened me to apply it to other parts of the page that formerly had to make do with Helvetica. See, for instance, my footer. It’s not a work of art, but it’s now much more pleasant to read in every environment I’ve tested.
I’m still conservative about web fonts (primarily because of bandwidth issues); this site’s body text is still set in Georgia, one of the world’s most beautiful screen fonts as we all agree. This morning, simply to break away from the herd, I tried replacing Georgia with Palatino, an engaging, readable, widely available font that comes with Windows 2000/XP (“Palatino Linotype”) and the Macintosh (“Palatino”). On its own, the Palatino was lovely. But it couldn’t stand up to the heavier elements of this site’s somewhat cartoonish look and feel. So back to Georgia I went.
The site is overdue for a redesign: the last redesign (e.g. the current look and feel) was a retro tribute to the site’s 1990s look. A new look is coming, but for the interim, I’m grateful to my friends at Webtype for their craftsmanship.
An Event Apart: On Web Typography
IN HIS TALK at An Event Apart in Atlanta, GA 2011, Jason Santa Maria outlined the current state of web fonts and how to approach typography online. Here’s my notes from his talk: LukeW | An Event Apart: On Web Typography.
An Event Apart Atlanta 2011
YOU FIND ME ENSCONCED in the fabulous Buckhead, Atlanta Intercontinental Hotel, preparing to unleash An Event Apart Atlanta 2011, three days of design, code, and content strategy for people who make websites. Eric Meyer and I co-founded our traveling web conference in December, 2005; in 2006 we chose Atlanta for our second event, and it was the worst show we’ve ever done. We hosted at Turner Field, not realizing that half the audience would be forced to crane their necks around pillars if they wanted to see our speakers or the screen on which slides were projected.
Also not realizing that Turner Field’s promised contractual ability to deliver Wi-Fi was more theoretical than factual: the venue’s A/V guy spent the entire show trying to get an internet connection going. You could watch audience members twitchily check their laptops for email every fourteen seconds, then make the “no internet” face that is not unlike the face addicts make when the crack dealer is late, then check their laptops again.
The food was good, our speakers (including local hero Todd Dominey) had wise lessons to impart, and most attendees had a pretty good time, but Eric and I still shudder to remember everything that went wrong with that gig.
Not to jinx anything, but times have changed. We are now a major three-day event, thanks to a kick-ass staff and the wonderful community that has made this show its home. We thank you from the bottoms of our big grateful hearts.
I will see several hundred of you for the next three days. Those not attending may follow along:
- An Event Apart Atlanta three-day schedule
- A Feed Apart – live tweeting, Monday through Wednesday
- AEA Atlanta Flickr Group
- An Event Apart Facebook page
Filed under: An Event Apart, Announcements, Appearances, apps, Atlanta, Authoring, Best practices, business, cities, client services, clients, Code, Community, Compatibility, conferences, content, content strategy, creativity, CSS, CSS3, Design, Designers, development, editorial, Education, eric meyer, events, Fonts, Formats, glamorous, Happy Cog™, HTML, HTML5, Ideas, industry, Information architecture, interface, IXD, Jeremy Keith, Platforms, Real type on the web, Redesigns, Responsive Web Design, Scripting, speaking, spec, Standards, State of the Web, The Profession, Usability, User Experience, UX, W3C, Web Design, Web Design History, Web Standards, webfonts, webkit, webtype, work, Working, Zeldman
HTML5, CSS3, UX, Design: Links from An Event Apart Boston 2011
THE SHOW IS OVER, but the memories, write-ups, demos, and links remain. Enjoy!
Speakers, attendees, parties, and the wonders of Boston, captured by those who were there.
Jeremy Keith quite effectively live-blogs my opening keynote on the particular opportunities of Now in the field of web design, and the skills every designer needs to capitalize on the moment and make great things.
Related to my talk: Jeremy Keith’s original write-up on a notorious but all-too-common practice. If your boss or client tells you to design this pattern, just say no. Design that does not serve users does not serve business.
“In his opening keynote … Jeffrey Zeldman talked about the skills and opportunities that should be top of mind for everyone designing on the Web today.” Luke Wroblewski’s write-up.
“As a consultant, [Whitney] spends a lot of time talking about UX and inevitably, the talk turns to deliverables and process but really we should be establishing a philosophy about how to treat people, in the same way that visual design is about establishing a philosophy about how make an impact. Visual design has principles to achieve that: contrast, emphasis, balance, proportion, rhythm, movement, texture, harmony and unity.” In this talk, Whitney proposed a set of 10 principles for UX design.
Live blogging by Jeremy Keith. Veerle, a noted graphic and interaction designer from Belgium, shared her process for discovering design through iteration and experimentation.
Luke’s live awesomeness cannot be captured in dead written words, but Mr Keith does a splendid job of quickly sketching many of the leading ideas in this key AEA 2011 talk.
See also: funky dance moves with Luke Wroblewski, a very short video I captured as Luke led the crowd in the opening moves of Michael Jackson’s “Thriller.”
“The next talk here at An Event Apart in Boston is one I’ve really, really, really been looking forward to: it’s a presentation by my hero Ethan Marcotte.”
Ethan’s amazing talk—a key aspect of design in 2011 and AEA session of note—as captured by the great Luke Wroblewski.
“In his presentation at An Event Apart in Boston, MA 2011 Jared Spool detailed the importance and role of links on Web pages.” No writer can capture Jared Spool’s engaging personality or the quips that produce raucous laughter throughout his sessions, but Luke does an outstanding job of noting the primary ideas Jared shares in this riveting and highly useful UX session.
Luke W: “In his All Our Yesterdays presentation at An Event Apart in Boston, MA 2011 Jeremy Keith outlined the problem of digital preservation on the Web and provided some strategies for taking a long term view of our Web pages.”
Although it is hard to pick highlights among such great speakers and topics, this talk was a highlight for me. As in, it blew my mind. Several people said it should be a TED talk.
Luke: “In his Idea to Interface presentation at An Event Apart in Boston, MA 2011 Aarron Walter encouraged Web designers and developers to tackle their personal projects by walking through examples and ways to jump in. Here are my notes from his talk.”
Compiled by the speaker, links include Design Personas Template and Example, the story behind the illustrations in the presentation created by Mike Rhode, Dribble, Huffduffer, Sketchboards, Mustache for inserting data into your prototypes, Keynote Kung Fu, Mocking Bird, Yahoo Design Patterns, MailChimp Design Pattern Library, Object Oriented CSS by Nicole Sullivan and more!
“In his Smoke Gets In Your Eyes presentation at An Event Apart in Boston, MA 2011 Andy Clarke showcased what is possible with CSS3 animations using transitions and transforms in the WebKit browser.” Write-up by the legendary Luke Wroblewski.
The “Mad Men” opening titles re-created entirely in CSS3 animation. (Currently requires Webkit browser, e.g. Safari, Chrome.)
Anthony Calzadilla, a key collaborator on the Mad Men CSS3 animation, showcases his works.
Pure CSS3 box-shadow page curl effect. Mentioned during Ethan Marcotte’s Day 3 session on exploring CSS3.
Fascinating article by Anton Peck (who attended the show). Proposed: a solution to a key problem with CSS transitions. (“Even now, my main issue with transitions is that they use the same time-length value for the inbound effect as they do the outbound. For example, when you create a transition on an image with a 1-second duration, you get that length of time for both mousing over, and mousing away from the object. This type of behavior should be avoided, for the sake of the end-user!”)
Ethan Marcotte: “Hello. I am here to discuss CSS3 gradients. Because, let’s face it, what the web really needed was more gradients.”
Like it says.
By the incomparable John Allsopp.
These sessions were not captured
Some of our best talks were not captured by note-takers, at least not to my knowledge. They include:
- Eric Meyer: CSS Anarchist’s Cookbook
- Mark Boulton: Outing the Mind: Designing Layouts That Think for You
- Jeff Veen: Disaster, DNA, and the Fathomless Depth of the Web
It’s possible that the special nature of these presentations made them impossible to capture in session notes. (You had to be there.)
There are also no notes on the two half-day workshop sessions, “Understand HTML5 With Jeremy Keith,” and “Explore CSS3 With Ethan Marcotte.”
What have I missed?
Attendees and followers, below please add the URLs of related educational links, write-ups, and tools I’ve missed here. Thanks!
Filed under: An Event Apart, Archiving, Boston, Career, cities, Code, Community, conferences, content, creativity, CSS, CSS3, Design, Designers, development, Education, events, Fonts, glamorous, Happy Cog™, HTML, HTML5, Ideas, industry, Information architecture, IXD, Layout, Marketing, Markup, people, photography, Real type on the web, The Profession, This never happens to Gruber, Typekit, Usability, User Experience, UX, W3C, Web Design, Web Design History, Web Standards, webfonts, Websites, webtype, Zeldman
The Big Web Show No. 46: Get Your Web Type on with FontDeck co-founder Richard Rutter
RICHARD RUTTER, designer, technologist, information architect, writer, and co-founder of Fontdeck and Clearleft, joins Dan Benjamin and me to discuss the technical, aesthetic, and business aspects of putting real type on the web in Big Web Show Episode No. 44, now at 5by5.tv and iTunes for your listening pleasure.
An Event Apart Seattle 2011
I’m enjoying An Event Apart Seattle 2011 and you’re not. Despair not, help is available:
- For real-time Twitter aggragation, watch afeedapart.com.
- Enjoy AEA Seattle photos in our Flickr group.
- Watch Luke Wroblewski dance.
- Watch An Event Apart dance for Luke Wroblewski.
- Nod along to the interstitial audio playlist.
Filed under: An Event Apart, Code, content, content strategy, CSS, CSS3, Design, HTML, HTML5, mobile, Platforms, Seattle, The Profession, Typography, Usability, User Experience, UX, Web Design, Web Design History, Web Standards, Websites, webtype
2010: The Year in Web Standards
WHAT A YEAR 2010 has been. It was the year HTML5 and CSS3 broke wide; the year the iPad, iPhone, and Android led designers down the contradictory paths of proprietary application design and standards-based mobile web application design—in both cases focused on user needs, simplicity, and new ways of interacting thanks to small screens and touch-sensitive surfaces.
It was the third year in a row that everyone was talking about content strategy and designers refused to “just comp something up” without first conducting research and developing a user experience strategy.
Even outside the newest, best browsers, things were better than ever. Modernizr and eCSStender brought advanced selectors and @font-face to archaic browsers (not to mention HTML5 and SVG, in the case of Modernizr). Tim Murtaugh and Mike Pick’s HTML5 Reset and Paul Irish’s HTML5 Boilerplate gave us clean starting points for HTML5- and CSS3-powered sites.
Web fonts were everywhere—from the W3C to small personal and large commercial websites—thanks to pioneering syntax constructions by Paul Irish and Richard Fink, fine open-source products like the Font Squirrel @Font-Face Generator,
open-source liberal font licensing like FontSpring’s, and terrific service platforms led by Typekit and including Fontdeck, Webtype, Typotheque, and Kernest.
Print continued its move to networked screens. iPhone found a worthy adversary in Android. Webkit was ubiquitous.
Insights into the new spirit of web design, from a wide variety of extremely smart people, can be seen and heard on The Big Web Show, which Dan Benjamin and I started this year (and which won Video Podcast of the Year in the 2010 .net Awards), on Dan’s other shows on the 5by5 network, on the Workers of the Web podcast by Alan Houser and Eric Anderson, and of course in A List Apart for people who make websites.
Zeldman.com: The Year in Review
A few things I wrote here at zeldman.com this year (some related to web standards and design, some not) may be worth reviewing:
- iPad as the New Flash 17 October 2010
- Masturbatory novelty is not a business strategy.
- Flash, iPad, and Standards 1 February 2010
- Lack of Flash in the iPad (and before that, in the iPhone) is a win for accessible, standards-based design. Not because Flash is bad, but because the increasing popularity of devices that don’t support Flash is going to force recalcitrant web developers to build the semantic HTML layer first.
- An InDesign for HTML and CSS? 5 July 2010
- Stop Chasing Followers 21 April 2010
- The web is not a game of “eyeballs.” Never has been, never will be. Influence matters, numbers don’t.
- Crowdsourcing Dickens 23 March 2010
- Like it says.
- My Love/Hate Affair with Typekit 22 March 2010
- Like it says.
- You Cannot Copyright A Tweet 25 February 2010
- Like it says.
- Free Advice: Show Up Early 5 February 2010
- Love means never having to say you’re sorry, but client services means apologizing every five minutes. Give yourself one less thing to be sorry for. Take some free advice. Show up often, and show up early.
A few things I wrote elsewhere might repay your interest as well:
- The Future of Web Standards 26 September, for .net Magazine
- Cheap, complex devices such as the iPhone and the Droid have come along at precisely the moment when HTML5, CSS3 and web fonts are ready for action; when standards-based web development is no longer relegated to the fringe; and when web designers, no longer content to merely decorate screens, are crafting provocative, multi-platform experiences. Is this the dawn of a new web?
- Style vs. Design written in 1999 and slightly revised in 2005, for Adobe
- When Style is a fetish, sites confuse visitors, hurting users and the companies that paid for the sites. When designers don’t start by asking who will use the site, and what they will use it for, we get meaningless eye candy that gives beauty a bad name.
Happy New Year, all!