I wrote this book in 2001 for print designers whose clients want websites, print art directors who’d like to move into full–time web and interaction design, homepage creators who are ready to turn pro, and professionals who seek to deepen their web skills and understanding.
Here we are in 2009, and print designers and art directors are scrambling to move into web and interaction design.
The dot-com crash killed this book. Now it lives again. While browser references and modem speeds may reek of 2001, much of the advice about transitioning to the web still holds true.
Attention, K-Mart shoppers. The PDF now includes proper Acrobat bookmarks, courtesy of Robert Black. Thanks, Robert!
Tiny URL, Big Trouble
Joshua Schachter explains how URL shorteners like TinyURL, bit.ly, etc., originally created to prevent long URLs from breaking in 1990s e-mail clients, and now used primarily as a means of monetizing someone else’s content, are bad:
They “add another layer of indirection to an already creaky system, [making what] used to be transparent … opaque,” slowing down web use by adding needless lookups, and potentially disguising spam.
Shorteners “steal search juice” from the original publishers. (For example, with the Digg bar and Digg short URL, your content makes Digg more valuable and your site less valuable; the more content you create, the richer you make Digg.)
“A new and potentially unreliable middleman now sits between the link and its destination. And the long-term archivability of the hyperlink now depends on the health of a third party.”
Anyone who creates web content should read Joshua’s post. I’m sold and will dial way back on my use of the zeldman.com short URL. The question remains, what to do when you need to paste a long, cumbersome link into a 140-character service like Twitter. (If you do nothing, Twitter itself will shorten the link via TinyURL.)
Web designers and developers power the global economy, but almost nothing is known about who we are, where we live, how we work, what tools we use.
The A List Apart survey (2007 survey, 2007 detailed findings, 2008 survey) of over 32,000 full-time, part-time, and freelance web designers, developers, and related user experience professionals began answering questions about who works in this field, where we are located, which kinds of businesses and organizations employ us, under which titles we work, what we earn, how satisfied and secure we are, and so on.
Complementing this information, in 2008 Web Directions North conducted a State of the Web 2008 survey of designers, developers, and other web professionals to find out more about our philosophies, technologies, and best practices. The findings include details and analysis of all responses to over 50 questions. You can read all the questions, download the complete (anonymized) set of responses, read detailed analysis, and more.
Today, January 15, marks the first application deadline for students to apply to the MFA Interaction Design program at School of Visual Arts. The school will continue to accept applications on a rolling admissions basis as space allows, but don’t count on spaces staying open long—the program is limited to fifteen students. An application timeline shows what students can expect between today and April.
In a city that also boasts Parsons, Pratt, and Cooper Union, New York’s School of Visual Arts holds a unique place. There are no full-time professors; instead, faculty are drawn from the ranks of New York’s top full-time practitioners. They are working designers, art directors, painters, sculptors, and so on. Sal Devito, a creative director for whom I was privileged to work in the 1990s, is a legendary SVA instructor; so is Milton Glaser.
As you would expect, the faculty of the MFA Interaction Design program includes some of the brightest people in user experience. (By some fluke, I am also a faculty member.) Liz Danzico, former experience director of Happy Cog Studios, chairs the program.
A good education is hard to find. When it comes to web and interaction design, it’s almost impossible. I’m honored to be one of the faculty in the School of Visual Art’s MFA Interaction Design program, and look forward to teaching and learning there.
There’s a new aneventapart.com in town, featuring a 2009 schedule and a reformulated design. I designed the new site and Eric Meyer coded. (Validation freaks, only validator.nu is up to the task of recognizing the HTML 5 DOCTYPE used and validating against it; the validator.w3.org and htmlhelp.com validators can’t do this yet. Eric chose HTML 5 because it permits any element to be an HREF, and this empowered him to solve complex layout problems with simple, semantic markup. Eric, I know, will have loads more to say about this.)
Family branding concerns drove the previous design. Quite simply, the original An Event Apart site launched simultaneously with the 2005 redesign of A List Apart. Jason Santa Maria‘s stripped-down visual rethink was perfect for the magazine and is imitated, written about, and stolen outright to this day. It was a great design for our web magazine because it was created in response to the magazine’s content. It didn’t work as well for the conference because its design wasn’t driven by the kind of content a conference site publishes. But it was the right conference design for 2005 because the goal at that time was to create a strong brand uniting the long-running web design magazine with the new web design conference that sprang from it.
New goals for a new environment
In 2009, it’s less important to bolt the conference to the magazine by using the same layout for both: by now, most people who attend or have thought about attending An Event Apart know it is the A List Apart web design conference. What’s important in 2009 is to provide plenty of information about the show, since decisions about conference-going are being made in a financially (and psychologically) constricted environment. In 2005, it was enough to say “A List Apart has a conference.” Today more is needed. Today you need plenty of content to explain to the person who controls the purse strings just what you will learn and why a different conference wouldn’t be the same or “just as good.”
The redesign therefore began with a content strategy. The new design and new architecture fell out of that.
Action photos and high contrast
The other thing I went for—again, in conscious opposition to the beautifully understated previous design—was impact. I wanted this design to feel big and spacious (even on an iPhone’s screen) and to wow you with, for lack of a better word, a sense of eventfulness. And I think the big beautiful location images and the unafraid use of high contrast help achieve that.
Reinforcing the high contrast and helping to paint an event-focused picture, wherever possible I used action shots of our amazing speakers holding forth from the stage, rather than the more typical friendly backyard amateur head shot used on every other conference site (including the previous version of ours). I wanted to create excitement about the presentations these brilliant people will be making, and live action stage photos seemed like the way to do that. After all, if I’m going to see Elvis Costello perform, I want to see a picture of him onstage with his guitar—not a friendly down-to-earth shot of him taking out the garbage or hugging his nephews.
Every website faces two key questions: 1. What content do we have at hand? 2. What content should we produce? Answering those questions is the domain of the content strategist. Alas, real content strategy gets as little respect today as information architecture did in 1995. MacIntyre defines the roles, tools, and value of this emerging user experience specialist.
It’s time to stop pretending content is somebody else’s problem. If content strategy is all that stands between us and the next fix-it-later copy draft or beautifully polished but meaningless site launch, it’s time to take up the torch—time to make content matter. Halvorson tells how to understand, learn, practice, and plan for content strategy.
IA is about selling ideas effectively, designing with accuracy, and working with complex interactivity to guide different types of customers through website experiences. The more your client knows about IA’s processes and deliverables, the likelier the project is to succeed.
Agile development was made for tough economic times, but does not fit comfortably into the research-heavy, iteration-focused process designers trust to deliver user- and brand-based sites. How can we update our thinking and methods to take advantage of what agile offers?
About the magazine
A List Apart explores the design, development, and meaning of web content, with a special focus on web standards and best practices. Issue No. 273 was edited by Krista Stevens with Erin Kissane and Carolyn Wood; produced by Erin Lynch; art-directed by Jason Santa Maria; illustrated by Kevin Cornell; technical-edited by Aaron Gustafson, Ethan Marcotte, Daniel Mall, and Eric Meyer; and published by Happy Cog.
Two greatly gifted user experience professionals are contributing their time and talent to Happy Cog.
A veteran strategist and instructor, user experience director Kevin Hoffman creates compelling online experiences via patient research and sparkling creative insight. Prior to joining Happy Cog, he spent more than a decade building sites, developing strategies, and leading projects for colleges and universities in Baltimore. Kevin joins our Philadelphia office; we are thrilled to have him.
Co-inventor of a patented search tool for American Express, user experience consultant Whitney Hess has a bachelor’s in writing, a master’s in Human-Computer Interaction from Carnegie Mellon, and ten years’ experience making complex sites work beautifully. Her work for the New York office of Happy Cog will soon bear public fruit; we are delighted to have her on our team.
Welcome, Kevin and Whitney.
[tags]Whitney Hess, Kevin Hoffman, UX, userexperience, happycog, talent[/tags]
As in finance, so on the web: self-regulation has failed. Nearly ten years after specifications first required it, video captioning can barely be said to exist on the web. The big players, while swollen with self-congratulation, are technically incompetent, and nobody else is even trying. So what will it take to support the human and legal rights of hearing impaired web users? It just might take the law, says Joe Clark.
When broken links frustrate your site’s visitors, a typical 404 page explains what went wrong and provides links that may relate to the visitor’s quest. That’s good, but now you can do better. With Dean Frickey’s custom 404, when something’s amiss, pertinent information is sent not only to the visitor, but to the developer—so that, in many cases, the problem can be fixed! A better 404 means never having to say you’re sorry.
Before you can solve a user’s problems, you must see them as that user sees them. Once you understand what drives people’s behavior, not only do new ideas flow freely, but the ideas that flow are appropriate and useful. Indi Young tells how to get out of your own way and hear what your users are telling you.
As designers or marketers, we share a desire that our tables and forms be easy to scan, read, and use. Does the widely practiced shading of alternate rows help, hurt, or have no effect? A previous study proving inconclusive, designer and researcher Jessica Enders has tackled the conundrum again, coming up with statistically relevant data and a set of recommendations.
[tags]jessicaenders, indiyoung, mentalmodels, zebrastripe, zebrastriping, alistapart, ALA, happycog, publications[/tags]