please refer to the examples sent for reference""
}
}
}
]
}
The first four lines are just a little bit of meta data so we remember what this test was all about when we look at it again in the future, or indeed if it ever breaks. The tests are the really cool parts and firstly you’ll notice that it’s an array – we’re only going to show one example test here but there is no reason why you can’t place in as many as you want. I’ll explain what each of the lines in the example test means:
name – short test name, I use this in pass/fail messaging later
description – meta data for future reference
selector – the root HTML element from which your HTML will be searched
message – what the app will alert if the initial selector isn’t found
check_for – a wrapper to hold inner tests – those run if the initial selector does match
contains – the type of check, we’re checking that the selector contains specified elements
elements – the HTML elements we are searching for
message – a message for when these don’t match (VAR is substituted when it’s appended to the page with the name of any elements that don’t exist)
It’s very important to pass the function valid JSON (JSONLint is a great tool for this) otherwise you might get a console showing no tests have even been run.
The JavaScript that makes this helpful
Again, this code should never hit a production server so I’ve kept it external. This also means that the only thing that’s needed to be done by the implementation team when they are ready to build is that they delete this code.
“View the full JavaScript:/examples/self-testing-pages-with-javascript/js/tests/test_suite.js
The init function appends the test console to the page and inserts the CSS file required to style it (you don’t need to use pictures of me when tests pass and fail though I see no reason why you shouldn’t), goes and grabs the JSON file referenced and parses it. The methods to pass (tests_pass) and fail (haz_fail) the test I hope are pretty self-explanatory as is the one which creates the test summary once everything has been run (create_summary).
The two interesting functions are init_tests and confirm_html.
init_tests
init_tests:function(i,obj) {
var $master_elm = $(obj.selector);
sleuth.test_page.$logger.append(""
"" + obj.name + ""
"");
var $container = $('#test_' + i);
if (!$master_elm.length) {
var err_sum = obj.message.replace(/VAR/gi, obj.selector);
sleuth.test_page.haz_failed(err_sum, $container);
return;
}
if (obj.check_for) {
$.each(obj.check_for,function(key, value){
sleuth.test_page.assign_checks($master_elm, $container, key, value);
});
} else {
sleuth.test_page.tests_passed($container);
return;
}
}
The function gets sent the number of the current iteration (used to create a unique id for its test summary) and the current object that contains the data we’re testing against as parameters.
We grab a reference to the root element and this is used (pretty much in the example shown right at the start of this article) and its length is checked. If the length is positive we know we can continue to the inner tests (if they exist) but if not we fail the test and don’t go any further. We append the error to the test console for everyone to see.
If we pass the initial check we send the reference to the root element, message contains and the inner object to a function that in this example sends us on to confirm_html (if we had a more complex test suite it would do a lot more).
confirm_html
confirm_html:function(target_selector, error_elm, obj) {
var missing_elms = [];
$.each(obj.elements, function(i, val) {
if (!target_selector.find(val).length) {
missing_elms.push(val);
}
});
if (missing_elms.length) {
var file_list = missing_elms.join('
');
var err_sum = obj.message.replace(/VAR/gi, file_list);
sleuth.test_page.haz_failed(err_sum, error_elm);
return;
}
sleuth.test_page.tests_passed(error_elm);
return;
}
We’re again using an array to check for a passed or failed test and checking its length but this time we push in a reference to each missing element we find.
If the test does fail we’re providing even more useful feedback by informing what elements have been missed out. All the implementation team need do is look for them in the files we’ve sent and include them as expected.
No more silly implementation bugs!
Here is an example of a successful implementation.
Here are some examples of failed implementations – one which fails at finding the root node and one that has the correct root node but none of the inner HTML tests pass.
Is this all we can check for?
Certainly not!
JavaScript provides pretty easy ways to check for attributes, included files (if the files being checked for are being referenced correctly and not 404ing) and even applied CSS.
Want to check that those ARIA attributes are being implemented correctly or that all images contain an alt attribute well this simple test suite can be extended to include tests for this – the sky is pretty much up to your imagination.",2009,Ross Bruniges,rossbruniges,2009-12-12T00:00:00+00:00,https://24ways.org/2009/self-testing-pages-with-javascript/,process
286,Defending the Perimeter Against Web Widgets,"On July 14, 1789, citizens of Paris stormed the Bastille, igniting a revolution that toppled the French monarchy. On July 14 of this year, there was a less dramatic (though more tweeted) takedown: The Deck network, which delivers advertising to some of the most popular web design and culture destinations, was down for about thirty minutes. During this period, most partner sites running ads from The Deck could not be viewed as result.
A few partners were unaffected (aside from not having an ad to display). Fortunately, Dribbble, was one of them. In this article, I’ll discuss outages like this and how to defend against them. But first, a few qualifiers: The Deck has been rock solid – this is the only downtime we’ve witnessed since joining in June. More importantly, the issues in play are applicable to any web widget you might add to your site to display third-party content.
Down and out
Your defense is only as good as its weakest link. Web pages are filled with links, some of which threaten the ability of your page to load quickly and correctly. If you want your site to work when external resources fail, you need to identify the weak links on your site. In this article, we’ll talk about web widgets as a point of failure and defensive JavaScript techniques for handling them.
Widgets 101
Imagine a widget that prints out a Pun of the Day on your site. A simple technique for both widget provider and consumer is for the provider to expose a URL:
http://widgetjonesdiary.com/punoftheday.js
which returns a JavaScript file like this:
document.write(""
The Pun of the Day
Where do frogs go for beers after work? Hoppy hour!
"");
The call to document.write() injects the string passed into the document where it is called. So to display the widget on your page, simply add an external script tag where you want it to appear:
This approach is incredibly easy for both provider and consumer. But there are implications…
document.write()… or wrong?
As in the example above, scripts may perform a document.write() to inject HTML. Page rendering halts while a script is processed so any output can be inlined into the document. Therefore, page rendering speed depends on how fast the script returns the data. If an external JavaScript widget hangs, so does the page content that follows. It was this scenario that briefly stalled partner sites of The Deck last summer.
The elegant solution
To make our web widget more robust, calls to document.write() should be avoided. This can be achieved with a technique called JSONP (AKA JSON with padding). In our example, instead of writing inline with document.write(), a JSONP script passes content to a callback function:
publishPun(""
Pun of the Day
Where do frogs go for beers after work? Hoppy hour!
"");
Then, it’s up to the widget consumer to implement a callback function responsible for displaying the content. Here’s a simple example where our callback uses jQuery to write the content into a target
:
…
function publishPun(content) {
$(‘.punoftheday’).html(content); // Writes content display location
}
View Example 1
Even if the widget content appears at the top of the page, our script can be included at the bottom so it’s non-blocking: a slow response leaves page rendering unaffected. It simply invokes the callback which, in turn, writes the widget content to its display destination.
The hack
But what to do if your provider doesn’t support JSONP? This was our case with The Deck. Returning to our example, I’m reminded of computer scientist David Wheeler’s statement, “All problems in computer science can be solved by another level of indirection… Except for the problem of too many layers of indirection.”
In our case, the indirection is to move the widget content into position after writing it to the page. This allows us to place the widget
Pun of the Day
Where do frogs go for beers after work? Hoppy hour!
The ‘loading-dock’
now includes the widget content, albeit hidden from view (if we’ve styled the ‘hidden’ class with display: none). There’s just one more step: move the content to its display destination. This line of jQuery (from above) does the trick:
$('.punoftheday').append($('.loading-dock').children(':gt(0)'));
This selects all child elements in the ‘loading-doc’
), or a specific HTML tag or attribute, click the binoculars icon (D) for “Finds a node to inspect by ID, tag or attribute” (You can also use Ctrl-F or Apple-F to do this if the DOM Inspector is the frontmost window) :
Type in the name and Bam! You’re there! Pressing F3 will take you to any other instances. Notice also, that when you click on a node in the inspector, it highlights where it is in the browser view with a flashing red border!
Now that we’ve found the troublesome node on the page, we can find out what’s up with it…
Step 2 – Debug that node!
Once the node is selected, we move over to the right hand panel. Choose ‘CSS Style Rules’ from the document menu (E), and all the CSS rules that apply to that node are revealed, in the order that they load:
You’ll notice that right at the top, there is a CSS file you might not recognise, with a file path beginning with “resource://”. This is the browsers default CSS, that creates the basic rendering. You can mostly ignore this, especially if use the star selector method of resetting default browser styles.
Your style sheets come next. See how helpful it is? It even tells you the line number where to find the related CSS rules! If you use CSS shorthand, you’ll notice that the values are split up (e.g margin-left, margin-right etc.).
Now that you can see all the style rules affecting that node, the rest is up to you! Happy debugging!",2005,Jon Hicks,jonhicks,2005-12-22T00:00:00+00:00,https://24ways.org/2005/debugging-css-with-the-dom-inspector/,process
194,Design Systems and Hybrids,"The other day on Twitter, I saw a thread started by Dorian Taylor about why design systems are so hot right now. In the thread, he made the case that they’ve been around for ages and some folks were just slow to catch up. It was an interesting thread, and not the first time I’ve seen folks discuss this. “Design systems are so hot right now” was even used recently in this very publication.
And yes it’s true that they’ve been around for ages. Design artefact collectors’ obsession with reprints of old graphic standards manuals of the past are a reminder. Sometimes old things become new again, either through a rediscovery or awakening (wow, that sounds really deep). But I think that’s definitely what happened here.
Some very opinionated answers that come to mind for me are:
The need for them has increased with the needs of software development. With the increasing number of devices (phones, tablets, watches, etc.), scaling design has required the need to double down on systems thinking and processes.
Investments with huge cost-saving returns. The time investment it takes to onboard new people as you staff up large teams (and the time it takes to fix bugs and inconsistencies) could be better spent building up a system that lets you ship at a faster pace. It also gives you more time to focus on the bigger picture instead of what color a button border is.
If you do have to onboard new designers, the design system is a great educational resource to get up to speed quickly on your organization’s design principles, materials/tools, and methods.
“Here’s the simple truth: you can’t innovate on products without first innovating the way you build them.”
— Alex Schleifer, The Way We Build
These are just some of the reasons. But there is another answer, and a personal conclusion that I’ve reached. It relates to the way I work and what I love working on, but I don’t see it talked about much.
Hybrids Have a Home
I’m a hybrid designer. I code in HTML & CSS (with a preference for Sass). But I don’t call myself a frontend developer. I used to back in the day (I was a UI frontend developer at Apple over a decade ago, but all I wrote was HTML & CSS). I identify with designer because that’s my training and interest, but the ideas of what a frontend developer can do has changed quite a ton over the years. Setting things up in build tools and processes are not my skill. And I know a lot of designers who share this experience with me.
There are also hybrid developers who identify as developers, but have excellent design skills. Buddies like my pal Brandon Ferrua who was on my team at Salesforce is a great example of this. And we worked fantastically together.
Sometimes, companies don’t know how to deal with hybrids. I’ve been told to choose a side, and have even been made to join a development team simply because I could code my designs (and then when I couldn’t deliver the same type of code my teammates could, and I felt like I wasn’t able to use my talents in the most effective way).
There are a lot more folks out there I know of who identify as a hybrid, and many have found ourselves working on design systems. Una Kravets recently had a thread discussing this as well. At Clarity, this came up a lot in hallway conversations, breaks, and the after parties. I think that this job is a haven for folks who often find themselves in the middle.
For companies that get it, these people find joy in getting to use a wider variety of skills and being bridges; advocates that can speak to designers and developers, helping bring unity to an organization. They can wireframe, throw together a prototype, create color systems, architect naming conventions for design tokens. Design systems are their perfect home. I think this has contributed to the uptick in discussions and interest on this subject (in addition to the team- and company-focused reasons).
Keep Design Systems Teams Cross-Functional
Speaking of teams, something some larger companies fall prey to is creating walls and silos where they need not be. If you place all your visual designers in one place, all your coders in another, and so on, you’re not doing yourselves any favors. Meanwhile, your hybrids are caught in the middle not knowing exactly where they belong. Design systems teams should have representatives (whether on a core team, or a virtual/federated team) that bring different skillsets. Design, code, writing, accessibility, product management, and so on. You’ll have a stronger vision on where to take your design system and to make it succeed. Siloing defeats the whole purpose of what design systems are meant for.
Happy holidays, and may the force be with you.
Further Reading
Why Design Systems Fail
Design Systems are for People
Design Systems Handbook",2017,Jina Anne,jina,2017-12-22T00:00:00+00:00,https://24ways.org/2017/design-systems-and-hybrids/,process
200,Care and Feeding of Burnout,"You’ve been doing too much for too long. And it’s broken you. You’re burned out. You’re done.
Illustration by Kate Holden
Occupational burnout is a long-documented effect of stretching yourself further than the limits of your mental and physical health can carry you. And when it finally catches up with you, it can feel like the end of the world. But things can get better. With focused self care, reworking your priorities and lots of time, you can slog through burnout.
What is burnout? The Tl;dr linkdump tour
In this article, we’ll be looking at what you can do when you’re burned out. We’ll be skipping past a lot of information on what burnout is, what causes it and how it impacts the tech industry. We’re able to skip past this because many technologists have already created valuable content targeted to our industry. The videos and writing below may be helpful for readers who are less familiar with burnout.
A Wikipedia article may be a great starting point for learning about occupational burnout.
Understanding burnout: Brandon West
This conference talk by Brandon West covers a lot of burnout 101, from the perspective of a developer relations/community professional.
April Wensel writes about the need for the tech industry to move from the Valley’s burnout culture to a more sustainable model.
Catching Burnout [as] early [as possible]
One of the most challenging things about burnout is that it develops slowly and gradually. Many impacted don’t notice the water warming around them until it’s been brought to a boil, causing a crisis that can’t be overlooked. Catching burnout and taking steps to deal with it as early as possible can help limit the length and severity of your burnout.
Getting in the habit of checking in with yourself regularly about your stress and energy levels can be an effective habit for assessing burnout and for general wellness. The Mayo Clinic recommends asking yourself the following questions to determine if you might be suffering from burnout.
Have you become cynical or critical at work?
Do you drag yourself to work and have trouble getting started once you arrive?
Have you become irritable or impatient with co-workers, customers or clients?
Do you lack the energy to be consistently productive?
Do you lack satisfaction from your achievements?
Do you feel disillusioned about your job?
Are you using food, drugs or alcohol to feel better or to simply not feel?
Have your sleep habits or appetite changed?
Are you troubled by unexplained headaches, backaches or other physical complaints?
According to the Mayo Clinic, answering yes to more than one of these questions can be a sign that you need to take corrective action. We’ll look in more detail about the corrective actions you can take in the rest of this article.
Do less. Now.
To start getting things back on track, you’ll need to start doing less. Less work, less stress, less everything. Many technologists impacted by burnout have written or spoken on taking months or even years off work to give themselves time to recover. This can be a fantastic route back to wellness for those fortunate enough to have the professional and financial security to allow them to take large stretches of time off work. For the much larger group of burned out workers that need to balance earning a paycheck with their wellness, this can be more challenging.
For those of us who need to stay in the cycle of work to fund our daily needs, finding ways to do less can feel like adding another daunting task to the pile. To properly assess where and how you can cut back on your commitments, you’ll need to find a short stretch of time clear of stressors and responsibilities to take stock of what can be scaled back. A long weekend, weekend or even a few hours of time dedicated to looking only at how you can cut back on work and stress can be an effective way to take stock of your responsibilities.
Make a list of stressors and activities to begin to triage. Anything that would damage or seriously disrupt your life if not attended to (doing your taxes, showing up at work, paying rent) should be marked as essential. Grade other activities in your life, marking the ones that aren’t essential and working to temporarily reduce these or remove them from your life. It can feel difficult to let go of things while recovering from burnout. This process can benefit from a second opinion, if you’re working with a coach, therapist or trusted friend to manage your burnout.
Reducing your workload and stressors can let you begin to recover from burnout. You can reintroduce things back into your schedule and life. Reintroduce stressors and activities back into your life slowly, to minimize risk of relapse. Keeping a journal will let you keep tabs on how different activities are impacting your energy levels and state of mind.
Remove toxicity
Toxic people or settings can drain you faster than overwork alone can. While you work to reduce your workload and stress, coworkers, friends, family or bosses who are toxic influences can act as a multiplier for the stressors that remain. Identifying these people and limiting your interactions with them during your recovery can help you get back on track faster and happier. A journal can be an important tool in tracking how interactions with different people impact your wellness and state of mind. If the toxic presence in your life is someone you can avoid or cut out without penalty, burnout is a great reason to finally replace them with healthier relationships.
If you can’t remove them from your life, minimizing the impact toxic people have on your wellness is vital. Work to identify what aspect of the relationship is draining or damaging and create interventions around damaging interactions. While a chronically complaining coworker’s negativity can be stopped short with setting firm conversational boundaries and redirection, a combative boss can be a harder challenge. Seeking allies and advice can make you feel less alone in your battles and provide healthy emotional support.
Ask for help
Trying to find your way back to health and wellness after burning out can be a daunting task. Seeking help from health care professionals, trusted peers or both can give you backup on your journey back to feeling better. With symptoms that can mirror those of depression, burnout can be the precursor to a number of mental and physical ailments. Talk to your doctor immediately if you’re experiencing symptoms of depression or any other health concerns.
Being open with your trusted friends about burnout can let you access valuable support and help explain why you may need extra care and consideration while you recover. Many suffering from burnout report finding maintaining relationships a challenge. Letting your loved ones know what you’re going through and why you may be less available invites them to be more understanding of cancelled plans or other issues while you’re recovering. Burnout can impact memory and cognitive function. Letting your support network assist in decision making during burnout can help add perspective to counterbalance these deficits.
Talking to your friends and peers about your health and needs can offer valuable support. But those who are pushed to a mental or physical health crisis by burnout should work with healthcare professionals to plan their recovery. Sufferers of mild to moderate burnout can also benefit from planning their return to wellness with an experienced practitioner. Medical or counseling professionals may prescribe medicines, talk therapy, group sessions or other therapeutic intervention.
Go easy on yourself
Recovering from burnout is a process that takes energy, time and compassion for yourself. In the same way that toxic people or workplaces can set you back, negative repetitive thoughts will harm your recovery. Recognizing that burnout’s impact on you is a temporary state that isn’t your fault can help you begin to manage your feelings and expectations for yourself. Sufferers often report feeling stupid, lazy or that they lack the skills to do their job. This is natural, as burnout can severely limit your cognitive function, your energy levels and resilience while dramatically increasing your cognitive load. Working with a counselor may help if you’re finding it difficult to be patient with your progress back to health or are troubled by persistent intrusive thoughts.
Burnout can seriously limit the amount of energy you have. Spend as little of the energy you have left beating yourself up as possible. You’re going to be ok. It’s all going to be ok.
This article doesn’t offer one-size-fits all fixes for burnout or overwork, but aims to provide a framework with points to consider that may help shape your wellness. No article can act as a substitute for professionally administered healthcare or robust self care.",2017,Jessica Rose,jessicarose,2017-12-16T00:00:00+00:00,https://24ways.org/2017/care-and-feeding-of-burnout/,process
97,Making Modular Layout Systems,"For all of the advantages the web has with distribution of content, I’ve always lamented the handiness of the WYSIWYG design tools from the print publishing world. When I set out to redesign my personal website, I wanted to have some of the same abilities that those tools have, laying out pages how I saw fit, and that meant a flexible system for dealing with imagery.
Building on some of the CSS that Eric Meyer employed a few years back on the A List Apart design, I created a set of classes to use together to achieve the variety I was after. Employing multiple classes isn’t a new technique, but most examples aren’t coming at this from strictly editorial and visual perspectives; I wanted to have options to vary my layouts depending on content.
If you want to skip ahead, you can view the example first.
Laying the Foundation
We need to be able to map out our page so that we have predictable canvas, and then create a system of image sizes that work with it. For the sake of this article, let’s use a simple uniform 7-column grid, consisting of seven 100px-wide columns and 10px of space between each column, though you can use any measurements you want as long as they remain constant.
All of our images will have a width that references the grid column widths (in our example, 100px, 210px, 320px, 430px, 540px, 650px, or 760px), but the height can be as large as needed.
Once we know our images will all have one of those widths, we can setup our CSS to deal with the variations in layout. In the most basic form, we’re going to be dealing with three classes: one each that represent an identifier, a size, and a placement for our elements.
This is really a process of abstracting the important qualities of what you would do with a given image in a layout into separate classes, allowing you to quickly customize their appearance by combining the appropriate classes. Rather than trying to serve up a one-size-fits-all approach to styling, we give each class only one or two attributes and rely on the combination of classes to get us there.
Identifier
This specifies what kind of element we have: usually either an image (pic) or some piece of text (caption).
Size
Since we know how our grid is constructed and the potential widths of our images, we can knock out a space equal to the width of any number of columns. In our example, that value can be one, two, three, four, five, six, or seven.
Placement
This tells the element where to go. In our example we can use a class of left or right, which sets the appropriate floating rule.
Additions
I created a few additions that be tacked on after the “placement” in the class stack: solo, for a bit more space beneath images without captions, frame for images that need a border, and inset for an element that appears inside of a block of text. Outset images are my default, but you could easily switch the default concept to use inset images and create a class of outset to pull them out of the content columns.
The CSS
/* I D E N T I F I E R */
.pic p, .caption {
font-size: 11px;
line-height: 16px;
font-family: Verdana, Arial, sans-serif;
color: #666;
margin: 4px 0 10px;
}
/* P L A C E M E N T */
.left {float: left; margin-right: 20px;}
.right {float: right; margin-left: 20px;}
.right.inset {margin: 0 120px 0 20px;} /* img floated right within text */
.left.inset {margin-left: 230px;} /* img floated left within text */
/* S I Z E */
.one {width: 100px;}
.two {width: 210px;}
.three {width: 320px;}
.four {width: 430px;}
.five {width: 540px;}
.six {width: 650px;}
.seven {width: 760px;}
.eight {width: 870px;}
/* A D D I T I O N S */
.frame {border: 1px solid #999;}
.solo img {margin-bottom: 20px;}
In Use
You can already see how powerful this approach can be. If you want an image and a caption on the left to stretch over half of the page, you would use:
Caption goes here.
Or, for that same image with a border and no caption:
You just tack on the classes that contain the qualities you need. And because we’ve kept each class so simple, we can apply these same stylings to other elements too:
Caption goes here.
Caveats
Obviously there are some potential semantic hang-ups with these methods. While classes like pic and caption stem the tide a bit, others like left and right are tougher to justify. This is something that you have to decide for yourself; I’m fine with the occasional four or left class because I think there’s a good tradeoff. Just as a fully semantic solution to this problem would likely be imperfect, this solution is imperfect from the other side of the semantic fence. Additionally, IE6 doesn’t understand the chain of classes within a CSS selector (like .right.inset). If you need to support IE6, you may have to write a few more CSS rules to accommodate any discrepancies.
Opportunities
This is clearly a simple example, but starting with a modular foundation like this leaves the door open for opportunity. We’ve created a highly flexible and human-readable system for layout manipulation. Obviously, this is something that would need to be tailored to the spacing and sizes of your site, but the systematic approach is very powerful, especially for editorial websites whose articles might have lots of images of varying sizes. It may not get us fully to the flexibility of WYSIWYG print layouts, but methods like this point us in a direction of designs that can adapt to the needs of the content.
View the example: without grid and with grid.",2008,Jason Santa Maria,jasonsantamaria,2008-12-15T00:00:00+00:00,https://24ways.org/2008/making-modular-layout-systems/,process
25,The Introvert Owner’s Manual,"Nobody realizes that some people expend tremendous energy merely to be normal.
Albert Camus
“Whatever you plan, just make sure there are lots of people there,” said my husband in the run-up to his birthday last year. A few months later, before my own birthday, I uttered, “Whatever you plan, just make sure it is only me and you.”
I am an introvert. It is very likely some of you are too, or that you live, work or fraternise with one. Despite there being quite a few of us out there – some say as many as one third of the population, others as little as ten per cent – I think our professional and social lives are biased towards a definition of normality that is more accepting of the extrovert. I hope that by reading this article you will gain some insight to what goes on inside the head of the introvert(s) that you know and understand how to relate to them in a way that respects their disposition.
Before we go any further, I should define what exactly being an introvert means, and, equally important, what it does not. Only once this is established will you be able to handle your introvert correctly.
What defines an introvert
The simplest and most accurate way of describing an introvert is that she uses up energy in social situations and needs to be in solitude to recharge.
To explain what I mean, let us take the example of the The Sims: when you create a Sim, you can choose (among other characteristics) whether it will be outgoing or not. If the Sim is outgoing, when you play the game you need to make sure it interacts as much as possible with other Sims or its mood indicator (the plumbob) will become red and that is a bad thing. Conversely, if your Sim is not outgoing, when you put it in too many social situations its plumbob will become red too.
So your (real life) introvert might think you are great (you might even be her best friend, her spouse or her child), but if her plumbob is red, or nearly, she might just need a little time and space to recharge before she is ready to interact.
This is not the same thing as being shy or in a bad mood all the time. We are not necessarily awkward in social situations, but, if we have not had the time to recharge, being social might be almost impossible. This explains why your introvert will likely ask who will be at the gathering you have planned, for how long she will have to stay there, and what she will be doing before and after the event. It is the equivalent of you wanting to know if there will be power sockets in the restaurant to charge your iPhone – asking this does not mean you don’t want to attend.
The explanation above might be a simplistic way of looking at things, but I would say it is one that introverts can relate to; call it a minimalist approach to socialisation.
Caring for your introvert
Articles and conversations about introversion usually focus on how to fix the condition and how to make introverts more outgoing: a clear example of our society’s bias towards the normality of extroversion. Avoid this. You will not be able to convert your introvert into an extrovert. Believe it or not, there is nothing wrong with her.
In her 2012 TED talk, “The power of introverts”, Susan Cain pointed to the fact that places like school and work are designed for extroverts: students and workers are required to constantly work in groups and speaking up is highly valued. Both types are evaluated against the same criteria and more often than not people are expected to excel at being outspoken to be considered well rounded.
Obviously, this is not the right way to appraise your introvert. Comparing your introvert with an extrovert using the same parameters and simply asking her to behave more like an extrovert is a mistake and something that will only perpetuate an introvert’s idea that the problem lies with her.
Speaking up
Your introvert is likely to have strong opinions and ideas, and to have been listening to other people speak at meetings and workshops. Help her voice those thoughts by creating an environment where everyone stops and listens when someone speaks instead of one which fosters interruptions. Show her that it is acceptable for someone to take time to think before they speak: silences are OK. Allow her the freedom to be herself instead of pressuring her to change an innate quality.
It is not uncommon to find an introvert who likes to express ideas in writing. The world of web professionals excels in the spread of knowledge that is shared and sought through the written word. Give your introvert the necessary time and tools to write about the job, if she is that way inclined; this might be a good alternative to asking her to speak out.
Group work
I remember the sinking feeling whenever I heard my teachers say the dreaded words: “And now you’re going to break out into groups of…” Being an introvert does not mean you do not like people (or like to be around or work with others). It is just that activities such as group work will invariably drain your introvert’s energy rapidly. Your introvert’s batteries will need to be fully charged for her to be at her best and afterwards she will most likely need to recharge.
Quiet time
These days, one of the things that I value most at work is the ability to have moments to create and to think in solitude. When I am able to have those moments at the right time I will in turn be happy to participate in group conversations and tasks. Allow your introvert to have those moments: this does not mean she will have to work from home one day a week (but maybe it will); it might simply mean allowing her to take her laptop and her notebook and work from the empty side of the office, or from the coffee shop downstairs for an hour or two. In all likelihood she will come back fully recharged and ready to engage in more social activities – her plumbob will again be bright green.
Leadership
Do not think that your introvert cannot lead. Cain notes that introverted leaders are more likely to let their proactive employees run with their ideas instead of taking the ideas as their own. I would say that is a positive attribute in a leader. Maybe next time a project starts, talk to your introvert about the possibility of her being in a leadership position or of having more responsibility: you might be surprised at her ability to plan and foresee potential obstacles in the project.
Final thoughts
You would not tell someone with dyslexia to get better at spelling without giving her the right tools and enough time to do so. Equally, do not ask your introvert to be more outgoing, or to turn her frown upside down, without giving her the space to do so.
I believe that everyone is an introvert at some point. Everyone needs a moment of solitude now and then, and the work we do requires frequent periods of deep focus and concentration. Striving to create workplaces, classrooms, homes that allow introverts to shine and be comfortable in their skin has the potential to also make those places more balanced for everyone else.
Resources and further reading
The power of introverts
10 myths about introverts
Susan Cain’s 2014 TED Talk | Announcing the Quiet Revolution
Help Shy Kids — Don’t Punish Them
The Introvert Advantage
6 Things You Thought Wrong About Introverts
Extraversion and introversion",2014,Inayaili de León Persson,inayailideleon,2014-12-13T00:00:00+00:00,https://24ways.org/2014/the-introvert-owners-manual/,process
299,What the Heck Is Inclusive Design?,"Naming things is hard. And I don’t just mean CSS class names and JSON properties. Finding the right term for what we do with the time we spend awake and out of bed turns out to be really hard too.
I’ve variously gone by “front-end developer”, “user experience designer”, and “accessibility engineer”, all clumsy and incomplete terms for labeling what I do as an… erm… see, there’s the problem again.
It’s tempting to give up entirely on trying to find the right words for things, but this risks summarily dispensing with thousands of years spent trying to qualify the world around us. So here we are again.
Recently, I’ve been using the term “inclusive design” and calling myself an “inclusive designer” a lot. I’m not sure where I first heard it or who came up with it, but the terminology feels like a good fit for the kind of stuff I care to do when I’m not at a pub or asleep.
This article is about what I think “inclusive design” means and why I think you might like it as an idea.
Isn’t ‘inclusive design’ just ‘accessibility’ by another name?
No, I don’t think so. But that’s not to say the two concepts aren’t related. Note the ‘design’ part in ‘inclusive design’ — that’s not just there by accident. Inclusive design describes a design activity; a way of designing things.
This sets it apart from accessibility — or at least our expectations of what ‘accessibility’ entails. Despite every single accessibility expert I know (and I know a lot) recommending that accessibility should be integrated into design process, it is rarely ever done. Instead, it is relegated to an afterthought, limiting its effect.
The term ‘accessibility’ therefore lacks the power to connote design process. It’s not that we haven’t tried to salvage the term, but it’s beginning to look like a lost cause. So maybe let’s use a new term, because new things take new names. People get that.
The ‘access’ part of accessibility is also problematic. Before we get ahead of ourselves, I don’t mean access is a problem — access is good, and the more accessible something is the better. I mean it’s not enough by itself.
Imagine a website filled with poorly written and lackadaisically organized information, including a bunch of convoluted and confusing functionality. To make this site accessible is to ensure no barriers prevent people from accessing the content.
But that doesn’t make the content any better. It just means more people get to suffer it.
Whoopdidoo.
Access is certainly a prerequisite of inclusion, but accessibility compliance doesn’t get you all the way there. It’s possible to check all the boxes but still be left with an unusable interface. And unusable interfaces are necessarily inaccessible ones. Sure, you can take an unusable interface and make it accessibility compliant, but that only placates stakeholders’ lawyers, not users. Users get little value from it.
So where have we got to? Access is important, but inclusion is bigger than access. Inclusive design means making something valuable, not just accessible, to as many people as we can.
So inclusive design is kind of accessibility + UX?
Closer, but there are some problems with this definition.
UX is, you will have already noted, a broad term encompassing activities ranging from conducting research studies to optimizing the perceived affordance of interface elements. But overall, what I take from UX is that it’s the pursuit of making interfaces understandable.
As it happens, WCAG 2.0 already contains an ‘Understandable’ principle covering provisions such as readability, predictability and feedback. So you might say accessibility — at least as described by WCAG — already covers UX.
Unfortunately, the criteria are limited, plus some really important stuff (like readability) is relegated to the AAA level; essentially “bonus points if you get the time (you won’t).”
So better to let UX folks take care of this kind of thing. It’s what they do. Except, therein lies a danger. UX professionals don’t tend to be well versed in accessibility, so their ‘solutions’ don’t tend to work for that many people. My friend Billy Gregory coined the term SUX, or “Some UX”: if it doesn’t work for different users, it’s only doing part of the job it should be.
SUX won’t do, but it’s not just a disability issue. All sorts of user circumstances go unchecked when you’re shooting straight for what people like, and bypassing what people need: device type, device settings, network quality, location, native language, and available time to name just a few.
In short, inclusive design means designing things for people who aren’t you, in your situation. In my experience, mainstream UX isn’t very good at that. By bolting accessibility onto mainstream UX we labor under the misapprehension that most people have a ‘normal’ experience, a few people are exceptions, and that all of the exceptions pertain to disability directly.
So inclusive design isn’t really about disability?
It is about disability, but not in the same way as accessibility. Accessibility (as it is typically understood, anyway) aims to make sure things work for people with clinically recognized disabilities. Inclusive design aims to make sure things work for people, not forgetting those with clinically recognized disabilities. A subtle, but not so subtle, difference.
Let’s go back to discussing readability, because that’s a good example. Now: everyone benefits from readable text; text with concise sentences and widely-understood words. It certainly helps people with cognitive impairments, but it doesn’t hinder folks who have less trouble with comprehension. In fact, they’ll more than likely be thankful for the time saved and the clarity. Readable text covers the whole gamut. It’s — you’ve got it — inclusive.
Legibility is another one. A clear, well-balanced typeface makes the reading experience less uncomfortable and frustrating for all concerned, including those who have various forms of visual dyslexia. Again, everyone’s happy — so why even contemplate a squiggly, sketchy typeface? Leave well alone.
Contrast too. No one benefits from low contrast; everyone benefits from high contrast. Simple. There’s no more work involved, it just entails better decision making. And that’s what design is really: decision making.
How about zoom support? If you let your users pinch zoom on their phones they can compensate for poor eyesight, but they can also increase the touch area of controls, inspect detail in images, and compose better screen shots. Unobtrusively supporting options like zoom makes interfaces much more inclusive at very little cost.
And when it comes to the underlying HTML code, you’re in luck: it has already been designed, from the outset, to be inclusive. HTML is a toolkit for inclusion. Using the right elements for the job doesn’t just mean the few who use screen readers benefit, but keyboard accessibility comes out-of-the-box, you can defer to browser behavior rather than writing additional scripts, the code is easier to read and maintain, and editors can create content that is effortlessly presentable.
Wait… are you talking about universal design?
Hmmm. Yes, I guess some folks might think of “universal design” and “inclusive design” as synonymous. I just really don’t like the term universal in this context.
The thing is, it gives the impression that you should be designing for absolutely everyone in the universe. Though few would adopt a literal interpretation of “universal” in this context, there are enough developers who would deliberately misconstrue the term and decry universal design as an impossible task. I’ve actually had people push back by saying, “what, so I’ve got to make it work for people who are allergic to computers? What about people in comas?”
For everyone’s sake, I think the term ‘inclusive’ is less misleading. Of course you can’t make things that everybody can use — it’s okay, that’s not the aim. But with everything that’s possible with web technologies, there’s really no need to exclude people in the vast numbers that we usually are.
Accessibility can never be perfect, but by thinking inclusively from planning, through prototyping to production, you can cast a much wider net. That means more and happier users at very little if any more effort.
If you like, inclusive design is the means and accessibility is the end — it’s just that you get a lot more than just accessibility along the way.
Conclusion
That’s inclusive design. Or at least, that’s a definition for a thing I think is a good idea which I identify as inclusive design. I’ll leave you with a few tips.
Involve code early
Web interfaces are made of code. If you’re not working with code, you’re not working on the interface. That’s not to say there’s anything wrong with sketching or paper prototyping — in fact, I recommend paper prototyping in my book on inclusive design. Just work with code as soon as you can, and think about code even before that. Maintain a pattern library of coded solutions and omit any solutions that don’t adhere to basic accessibility guidelines.
Respect conventions
Your content should be fresh, inventive, radical. Your interface shouldn’t. Adopt accepted conventions in the appearance, placement and coding of interface elements. Users aren’t there to experience interface design; they’re there to use an interface. In other words: stop showing off (unless, of course, the brief is to experiment with new paradigms in interface design, for an audience of interface design researchers).
Don’t be exact
“Perfection is the enemy of good”. But the pursuit of perfection isn’t just to be avoided because nothing ever gets finished. Exacting design also makes things inflexible and brittle. If your design depends on elements retaining precise coordinates, they’ll break easily when your users start adjusting font settings or zooming. Choose not to position elements exactly or give them fixed, “magic number” dimensions. Make less decisions in the interface so your users can make more decisions for it.
Enforce simplicity
The virtue of simplicity is difficult to overestimate. The simpler an interface is, the easier it is to use for all kinds of users. Simpler interfaces require less code to make too, so there’s an obvious performance advantage. There are many design decisions that require user research, but keeping things simple is always the right thing to do. Not simplified or simple-seeming or simplistic, but simple.
Do a little and do it well, for as many people as you can.",2016,Heydon Pickering,heydonpickering,2016-12-07T00:00:00+00:00,https://24ways.org/2016/what-the-heck-is-inclusive-design/,process
236,Extreme Design,"Recently, I set out with twelve other designers and developers for a 19th century fortress on the Channel Island of Alderney. We were going to /dev/fort, a sort of band camp for geeks. Our cohort’s mission: to think up, build and finish something – without readily available internet access.
Alderney runway, photo by Chris Govias
Wait, no internet?
Well, pretty much. As the creators of /dev/fort James Aylett and Mark Norman Francis put it: “Imagine a place with no distractions – no IM, no Twitter”. But also no way to quickly look up a design pattern, code sample or source material. Like packing for camping, /dev/fort means bringing everything you’ll need on your back or your hard drive: from long johns to your favourite icon set.
We got to work the first night discussing ideas for what we wanted to build. By the time breakfast was cleared up the next morning, we’d settled on Russ’s idea to make the Apollo 13 (PDF) transcript accessible. Days two and three were spent collaboratively planning (KJ style) what features we wanted to build, and unravelling the larger UX challenges of the project. The next five days were spent building it. Within 36 hours of touchdown at Southampton Airport, we launched our creation: spacelog.org
The weather was cold, the coal fire less than ideal, food and supplies a hike away, and the process lightning-fast. A week of designing under extreme circumstances called for an extreme process. Some of this was driven by James’s and Norm’s experience running these things, but a lot of it materialised while we were there – especially for our three-strong design team (myself, Gavin O’ Carroll and Chris Govias) who, though we knew each other, had never worked together as a group in this kind of scenario before.
The outcome was a pretty spectacular process, with a some key takeaways useful for any small group trying to build something quickly.
What it’s like inside the fort
/dev/fort has the pressure and pace of a hack day without being a hack day – primarily, no workshops or interruptions‚ but also a different mentality. While hack days are typically developer-driven with a ‘hack first, design later (if at all)’ attitude, James was quick to tell the team to hold off from writing any code until we had a plan. This put a healthy pressure on the design and product folks to slash through the UX problems before we started building.
While the fort had definitely more of a hack day feel, all of us were familiar with Agile methods, so we borrowed a few useful techniques such as morning stand-ups and an emphasis on teamwork. We cut some really good features to make our launch date, and chunked the work based on user goals, iterating as we went.
What made this design process work?
A golden ratio of teams
My personal experience both professionally and in free-form situations like this, is a tendency to get/hire a designer. Leaders of businesses, founders of start-ups, organisers of events: one designer is not enough! Finding one ace-blooded designer who can ‘do everything’ will always result in bottleneck and burnout. Like the nuances between different development languages, design is a multifaceted discipline, and very few can claim to be equally strong in every aspect. Overlap in skill set will result in a stronger, more robust interface.
More importantly, however, having lots of designers to go around meant that we all had the opportunity to pair with developers, polishing the details that don’t usually get polished. As soon as we launched, the public reception of the design and UX was overwhelmingly positive (proof!). But also, a lot of people asked us who the designer was, attributing it to one person.
While it’s important to note that everyone in our team was multitalented (and could easily shift between roles, helping us all stay unblocked), the golden ratio James and Norm devised was two product/developer folks, three interaction designers and eight developers.
photo by Ben Firshman
Equality inside the fortress walls
Something magical about the fort is how everyone leaves the outside world on the drawbridge. Job titles, professional status, Twitter followers, and so on. Like scout camp, a mutual respect and trust is expected of all the participants. Like extreme programming, extreme design requires us all to be equal partners in a collaborative team. I think this is especially worth noting for designers; our past is filled with the clear hierarchy of the traditional studio system which, however important for taste and style, seems less compatible with modern web/software development methods.
Being equal doesn’t mean being the same, however. We established clear roles and teams for ourselves on the second day, deferring to that person when a decision needed to be made. As the interface coalesced, the designers and developers took ownership over certain parts to ensure the details got looked after, while staying open to ideas and revisions from the rest of the cohort.
Create a space where everyone who enters is equal, but be sure to establish clear roles. Even if it’s just for a short while, the environment will be beneficial.
photo by Ben Firshman
Hang your heraldry from the rafters
Forts and castles are full of lore: coats of arms; paintings of battles; suits of armour. It’s impossible not to be surrounded by these stories, words and ways of thinking. Like the whiteboards on the walls, putting organisational lore in your physical surroundings makes it impossible not to see.
Ryan Alexander brought some of those static-cling whiteboard sheets which were quickly filled with use cases; IA; team roles; and, most importantly, a glossary. As soon as we started working on the project, we realised we needed to get clear on what certain words meant: what was a logline, a range, a phase, a key moment? Were the back-end people using these words in the same way design and product was? Quickly writing up a glossary of terms meant everyone was instantly speaking the same language. There was no “Ah, I misunderstood because in the data structure x means y” or, even worse, accidental seepage of technical language into the user interface copy.
Put a glossary of your internal terminology somewhere big and fat on the wall. Stand around it and argue until you agree on what it says. Leave it up; don’t underestimate the power of ambient communication and physical reference.
Plan more, download less
While internet is forbidden inside the fort, we did go on downloading expeditions: NASA photography; code documentation; and so on. The project wouldn’t have been possible without a few trips to the web. We had two lists on the wall: groceries and supplies; internets – “loo roll; Tom Stafford photo“.
This changed our usual design process, forcing us to plan carefully and think of what we needed ahead of time. Getting to the internet was a thirty-minute hike up a snow covered cliff to the town airport, so you really had to need it, too.
The path to the internet
For the visual design, especially, this resulted in more focus up front, and communication between the designers on what assets we required. It made us make decisions earlier and stick with them, creating less distraction and churn later in the process.
Try it at home: unplug once you’ve got the things you need. As an artist, it’s easier to let your inner voice shine through if you’re not looking at other people’s work while creating.
Social design
Finally, our design team experimented with a collaborative approach to wireframing. Once we had collectively nailed down use cases, IA, user journeys and other critical artefacts, we tried a pairing approach. One person drew in Illustrator in real time as the other two articulated what to draw. (This would work equally well with two people, but with three it meant that one of us could jump up and consult the lore on the walls or clarify a technical detail.) The result: we ended up considering more alternatives and quickly rallying around one solution, and resolved difficult problems more quickly.
At a certain stage we discovered it was more efficient for one person to take over – this happened around the time when the basic wireframes existed in Illustrator and we’d collectively run through the use cases, making sure that everything was accounted for in a broad sense. At this point, take a break, go have a beer, and give yourself a pat on the back.
Put the files somewhere accessible so everyone can use them as their base, and divide up the more detailed UI problems, screens or journeys. At this level of detail it’s better to have your personal headspace.
Gavin called this ‘social design’. Chatting and drawing in real time turned what was normally a rather solitary act into a very social process, with some really promising results. I’d tried something like this before with product or developer folks, and it can work – but there’s something really beautiful about switching places and everyone involved being equally quick at drawing. That’s not something you get with non-designers, and frequent swapping of the ‘driver’ and ‘observer’ roles is a key aspect to pairing.
Tackle the forest collectively and the trees individually – it will make your framework more robust and your details more polished. Win/win.
The return home
Grateful to see a 3G signal on our phones again, our flight off the island was delayed, allowing for a flurry of domain name look-ups, Twitter catch-up, and e-mails to loved ones. A week in an isolated fort really made me appreciate continuous connectivity, but also just how unique some of these processes might be.
You just never know what crazy place you might be designing from next.",2010,Hannah Donovan,hannahdonovan,2010-12-09T00:00:00+00:00,https://24ways.org/2010/extreme-design/,process
265,Designing for Perfection,"Hello, 24 ways readers. I hope you’re having a nice run up to Christmas. This holiday season I thought I’d share a few things with you that have been particularly meaningful in my work over the last year or so. They may not make you wet your santa pants with new-idea-excitement, but in the context of 24 ways I think they may serve as a nice lesson and a useful seasonal reminder going into the New Year. Enjoy!
Story
Despite being a largely scruffy individual for most of my life, I had some interesting experiences regarding kitchen tidiness during my third year at university.
As a kid, my room had always been pretty tidy, and as a teenager I used to enjoy reordering my CDs regularly (by artist, label, colour of spine – you get the picture); but by the time I was twenty I’d left most of these traits behind me, mainly due to a fear that I was turning into my mother. The one remaining anally retentive part of me that remained however, lived in the kitchen. For some reason, I couldn’t let all the pots and crockery be strewn across the surfaces after cooking. I didn’t care if they were washed up or not, I just needed them tidied. The surfaces needed to be continually free of grated cheese, breadcrumbs and ketchup spills. Also, the sink always needed to be clear. Always. Even a lone teabag, discarded casually into the sink hours previously, would give me what I used to refer to as “kitchen rage”.
Whilst this behaviour didn’t cause any direct conflicts, it did often create weirdness. We would be happily enjoying a few pre-night out beverages (Jack Daniels and Red Bull – nice) when I’d notice the state of the kitchen following our round of customized 49p Tesco pizzas. Kitchen rage would ensue, and I’d have to blitz the kitchen, which usually resulted in me having to catch everyone up at the bar afterwards.
One evening as we were just about to go out, I was stood there, in front of the shithole that was our kitchen with the intention of cleaning it all up, when a realization popped into my head. In hindsight, it was a pretty obvious one, but it went along the lines of “What the fuck are you doing? Sort your life out”. I sodded the washing up, rolled out with my friends, and had a badass evening of partying.
After this point, whenever I got the urge to clean the kitchen, I repeated that same realization in my head. My tidy kitchen obsession strived for a level of perfection that my housemates just didn’t share, so it was ultimately pointless. It didn’t make me feel that good, either; it was like having a cigarette after months of restraint – initially joyous but soon slightly shameful.
Lesson
Now, around seven years later, I’m a designer on the web and my life is chaotic. It features no planning for significant events, no day-to-day routine or structure, no thought about anything remotely long-term, and I like to think I do precisely what I want. It seems my days at striving for something ordered and tidy, in most parts of my life, are long gone.
For much of my time as a designer, though, it’s been a different story. I relished industry-standard terms such as ‘pixel perfection’ and ‘polished PSDs’, taking them into my stride as I strove to design everything that was put on my plate perfectly. Even down to grids and guidelines, all design elements would be painstakingly aligned to a five-pixel grid. There were no seven-pixel margins or gutters to be found in my design work, that’s for sure. I put too much pride and, inadvertently, too much ego into my work. Things took too long to create, and because of the amount of effort put into the work, significant changes, based on client feedback for example, were more difficult to stomach.
Over the last eighteen months I’ve made a conscious effort to change the way I approach designing for the web. Working on applications has probably helped with this; they seem to have a more organic development than rigid content-based websites. Mostly though, a realization similar to my kitchen rage one came about when I had to make significant changes to a painstakingly crafted Photoshop document I had created. The changes shouldn’t have been difficult or time-consuming to implement, but they were turning out to be. One day, frustrated with how long it was taking, the refrain “What the fuck are you doing? Sort your life out” again entered my head. I blazed the rest of the work, not rushing or doing scruffy work, but just not adhering to the insane levels of perfection I had previously set for myself. When the changes were presented, everything went down swimmingly. The client in this case (and I’d argue most cases) cared more about the ideas than the perfect way in which they had been implemented. I had taken myself and my ego out of the creative side of the work, and it had been easier to succeed.
Argument
I know many other designers who work on the web share such aspirations to perfection. I think it’s a common part of the designer DNA, but I’m not sure it really has a place when designing for the web.
First, there’s the environment. The landscape in which we work is continually shifting and evolving. The inherent imperfection of the medium itself makes attempts to create perfect work for it redundant. Whether you consider it a positive or negative point, the products we make are never complete. They’re always scaling and changing.
Like many aspects of web design, this striving for perfection in our design work is a way of thinking borrowed from other design industries where it’s more suited. A physical product cannot be as easily altered or developed after it has been manufactured, so the need to achieve perfection when designing is more apt.
Designers who can relate to anything I’ve talked about can easily let go of that anal retentiveness if given the right reasons to do so. Striving for perfection isn’t a bad thing, but I simply don’t think it can be achieved in such a fast-moving, unique industry. I think design for the web works better when it begins with quick and simple, followed by iteration and polish over time.
To let go of ego and to publish something that you’re not completely happy with is perhaps the most difficult part of the job for designers like us, but it’s followed by a satisfaction of knowing your product is alive and breathing, whereas others (possibly even competitors) may still be sitting in Photoshop, agonizing over whether a margin should be twenty or forty pixels.
I keep telling myself to stop sitting on those two hundred ideas that are all half-finished. Publish them, clean them up and iterate over time. I’ve been telling myself this for months and, hopefully, writing this article will give me the kick in the arse I need. Hopefully, it will also give someone else the same kick.",2011,Greg Wood,gregwood,2011-12-17T00:00:00+00:00,https://24ways.org/2011/designing-for-perfection/,process
302,Flexible Project Management in Inflexible Environments,"Handling unforeseen circumstances is an inevitable part of any project. It’s also often the most uncomfortable, and there is no amount of skill or planning that will fully eradicate the need to adapt to change. The ability to be flexible, responsive, and unafraid of facing not only problems, but also potentially positive scope changes and new ideas, isn’t an easy one to master. I am by no means saying that I have, but what I have learned is that there is often the temptation to shut out anything that might derail your plan, even sometimes at the cost of the quality you’re committed to.
The reality is that as someone leading a project you know there will be challenges, but, in general, it’s a hassle to try keep the landscape open. Problems are bridges we should cross when we come to them, but intentional changes to the plan, and adapting for the sake of improving your first idea, is harder. There are tight schedules, resource is planned miles ahead, and you’re already juggling twenty other things. If you’re passionate about the quality of work you deliver and are working somewhere that considers itself expert within the field of digital, then having an attitude of flexibility is extremely important. It’s important when you’re overcoming a challenge or problem, but it’s also important for allowing ideas to evolve and be refined as much as they can be throughout the course of a project.
Where theory falls short
The premise of any Agile methodology, Scrum for example, is based around being able to work efficiently, react quickly and deliver relevant chunks of a product in manageable increments. It’s often hailed as king of flexible management and it can work really well, especially for in-house software products developed over a long or even an indefinite period of time. It holds off defining scope too far ahead and lets teams focus on smaller amounts of work, and allows them to regularly reprioritise. Unfortunately though, not all environments lend themselves as easily to a fully Agile setup. Even the ones that do may be restrained from putting it fully into practice for an array of other internal reasons.
Delivering digital services to clients—within an agency setting or as a freelancer—often demands a more rigid structure. You need clear sign-off points, there’s a lot less flexibility in defining features, or working within budgets and timeframes. To start with, for a project to warrant a fully Agile team working on it, and especially for agencies, you need clients big enough and rich enough to justify the resource. You also need a lot of client trust to propose defining features and scope as you go. Although this is achievable—and there are agencies that operate an agile setup—it takes a long journey to reach that scale in the full sense of the word. Building a reputation that commands unconditional trust and reaching the point where your projects are consistently of a certain size often requires backing by long journey of success and excellence.
So there is a lot of room left for understanding how we can best strive to still deliver excellent projects within more constrained structures. We know that rigid waterfall planning, more often than not, falls over as soon as a project gets anything past a basic brochure site. There are many critiques of the system, but one of the main ones tends to be that nobody considers each other’s work properly, which can result in very expensive and inefficient development.
Equally, for reasons we’ve already touched upon, running fully agile teams often isn’t the right answer. So many companies, individuals, and organisations look for a middle-ground that balances being flexible and adaptive, but also provides enough upfront commitment to agree budgets, get client/stakeholder sign off, and effectively coordinate internal resource across multiple parallel projects.
Although I don’t have a perfect formula—and can very much assert there is no one perfect way of managing a project because every project is different to the next—I’ve identified a few different ways you can approach flexibility that have really helped me in running projects more smoothly within more realistic constraints.
Planned Flexibility
Drawing on some of the traditional methodologies such as PRINCE2, a good starting point for aspiring to be flexible is by planning for it from the start.
Planning flexibility comes in a few forms. For one, you can regularly identify and log potential risks as a generally good, on-going habit over the course of the project. This essentially just involves scanning the horizon for potential blips on a regular basis (for example weekly) by consulting with your team and documenting it somewhere. It means you have a checkpoint when you sit down and make sure you’re minimising what will or may catch you by surprise. A good time to do this is in a weekly catch up meeting. It’s not going to fix all your problems, but it will make sure you have a head start on the ones you can see coming.
On the subject of team meetings, setting up recurring project events, including a weekly call, a weekly team meeting and (depending on the size of the project) I like to try also do a stand-up as often as possible. Keeping everyone involved and bought in to a project is going to help you infinitely when you need to spot a problem or manage changes to the plan. It will be the difference between your designer spotting an issue and making a mental note to ‘tell you later’, and them actually coming over to tell you directly and immediately. Despite the overhead of meetings, and looping people into stages that they aren’t directly responsible for, the business benefits are chances for success are drastically increased. Planning in, and being aware of how important your team is, will help you be flexible.
Building contingency (formally know as slack) into your project plan from the word go is another well-known and essential way of planning to be flexible. Your project plan will change a lot over the course of a project, but there are still the days that you estimate a job will take, and the days you should actually plan in. Most sensible management teams understand that budgets need to be agreed with this slack in mind or you will not be able to deliver a quality service. I believe that commercial awareness is one of the most valuable skills a project manager can have, but penny pinching will ruin client and team relationships, destroy buy-in and creativity, and often end you up with a much more expensive, hacky, and resented product.
It’s not a justification to let budgets spiral out of control, but a way of thinking about the bigger picture and wider plan of the company itself. It’s unlikely you want high staff turnover because everyone fell out while you were screaming money at them and they didn’t feel like they could do a good job. It’s also unlikely that you will be able to deliver quality products, which will win you a strong reputation and subsequently bigger and better projects. Evaluating risk factors and building in the right amount of slack from the start will give you more wriggle room when you need to adapt and react. On the flip side, also keeping an overview of the wider workload (that you’re not necessarily responsible for), and knowing who to talk if resource is becoming free or needs filling, is another handy way of being able to react quickly and ensuring your management system is respected. You want pockets of backup time planned in, but you also want everyone being as productive as they can most of the time. Never run at 100% capacity: as soon as something does need to change, you’re left with nowhere to move.
Transparency
Having a client or stakeholder that trusts you is a really powerful aid in any regard, but especially so when you need to communicate an issue or new suggestion. Positioning yourself and your team as experts and taking the time to delve into the wider picture—and the goals surrounding your client’s reasons to commission the project in the first place—will make you more valuable to them. Clients and stakeholders will always be different, and sometimes you will get people who are just plain difficult, but more often than not people will listen if you’re willing to talk and explain things.
As I’m sure all of us have realised at one point or another, a lot of people think they know what they want, and it’s usually the wrong thing. Managing key stakeholders in your project is arguably your biggest challenge, if they are on the your side and feel like the team is genuinely working to give them something of quality and value, then they will make your job easier. It’s often down to you to educate them, and to help them recognise and understand the work involved and you and your team’s reasoning behind your decisions.
Being overly submissive or overly secretive will foster a dynamic in which they feel expected to steer the project. In this situation they may not respect the team’s suggestions or may come up with some unreasonable and counterproductive ideas that are likely to hinder progress and lower morale. Getting the stakeholder on board and making them feel a part of the wider picture will make things easier. Pushing back and challenging ideas or working hard to justify something they don’t quite understand will often work in your favour and protects your team. On quite a basic level it also shows you care and are invested; on another, it shows you feel confident in your expertise within your field and that is ultimately the reason they hired you.
Taking the time to think about and be aware of this relationship, will make it easier to be flexible and handle new ideas or suggestions that pop up as the project goes along. Change doesn’t need to be ‘scope creep’ if it’s raised in a practical, value-orientated, and level headed discussion. There is usually a way forward for new ideas, as long as they’re valuable and support the wider goals. Maybe the deadline gets pushed back, maybe you get more budget, maybe the client is happy to forgo something else. As long as there’s value and reason, it shows integrity to the project and respect for its success. You can’t expect for this to go smoothly without having invested in the client relationship, so it’s a large point in paving the way to handling change well.
Reactive Flexibility
Finally, if you’ve been doing this for a while, you’ll know by now that you can’t anticipate everything. Sometimes you will have to react and change the plan under circumstances that aren’t easy. When an unexpected problem first rears its head—a client’s casual afterthought that’s threatening the scope of the project, an internal resource conflict, a junior member of staff that’s not grasping the ropes quite as quickly as you’d hoped—you have to react quickly.
In his book, ‘Pitch Anything’, Oren Klaff talks about people’s first reactions being processed by their ‘crocodile brain’ before they’ve had a chance to refine and digest the information more intelligibly. As project managers, product owners, or scrum masters, it’s natural for our immediate reactions to an unexpected problem to cause a pang of stress. But after that initial jolt you need to turn to practical solutions and start racking your brain for different ways forward. It’s here you need to remember to not let your imagination get the better of you, especially if you’ve been putting in the legwork with your team and your client. There is always a way forward and moments like this can be a good opportunity to develop your negotiation and diplomacy skills. Don’t let your immediate reaction be shutting the problem down; instead, take a second to think about it before you decide on the best direction. In a stressful situation, your first idea probably won’t be your best one.
From an internal point of view, it’s very important that whatever went wrong doesn’t turn into a finger pointing exercise and you don’t lose your cool. Getting caught up in a blame game or a witch hunt is never productive. Relationship cultivating can sometimes be the pillar that gets you through a stressful blip. Biggest tip for staying flexible when you’re reacting to a problem—apart form obviously thinking of ways forward—is to communicate. Don’t go quiet until you feel like you have a plan, you’ll often need to put everyone else at ease before you can move things forward. Problem solving is part of the job and will need to happen in even the most flexible of product delivery systems.
In conclusion, being flexible is never simple but there are things you can do to make your life easier. Owning a position of expertise, putting together a team that’s involved in each other’s work and cultivating a client/stakeholder relationship that’s as transparent and respectful as possible will get you a long way. In times of crisis, believe in your skills and be open to adapting over getting frustrated.",2016,Gillian Sibthorpe,gilliansibthorpe,2016-12-04T00:00:00+00:00,https://24ways.org/2016/flexible-project-management/,process
4,Credits and Recognition,"A few weeks ago, I saw a friendly little tweet from a business congratulating a web agency on being nominated for an award. The business was quite happy for them and proud to boot — they commented on how the same agency designed their website, too.
What seemed like a nice little shout-out actually made me feel a little disappointed. Why? In reality, I knew that the web agency didn’t actually design the site — I did, when I worked at a different agency responsible for the overall branding and identity.
I certainly wasn’t disappointed at the business — after all, saying that someone designed your site when they were responsible for development is an easy mistake to make. Chances are, the person behind the tweets and status updates might not even know the difference between words like design and development.
What really disappointed me was the reminder of how many web workers out there never explain their roles in a project when displaying work in a portfolio. If you’re strictly a developer and market yourself as such, there might be less room for confusion, but things can feel a little deceptive if you offer a wide range of services yet never credit the other players when collaboration is part of the game. Unfortunately, this was the case in this situation. Whatever happened to credit where credit’s due?
Advertising attribution
Have you ever thumbed through an advertising annual or browsed through the winners of an advertising awards website, like the campaign below from Kopenhagen Chocolate on Advertising Age? If so, it’s likely that you’ve noticed some big differences in how the work is credited.
Everyone involved in a creative advertising project is mentioned.
Art directors, writers, creative directors, photographers, illustrators and, of course, the agency all get a fair shot at fifteen minutes of fame. Why can’t we take this same idea and introduce it to our own showcases?
Crediting on client sites
Ah, the good old days of web rings, guestbooks, and under construction GIFs, when slipping in a cheeky “designed by” link in the footer of your masterpiece was just another common practice. These days most clients, especially larger companies and corporations, aren’t willing to have any names on their site except their own.
If you’d still like to leave a little proof of authorship on a website, consider adding a humans.txt file to the root of the site and, if possible, add an author tag in the of the site:
It’s a great way to add more detailed information than just a meta name without being intrusive. The example on the humanstxt.org website serves to act as a guideline, but how much detail you add is completely up to you and your team.
Part of the humans.txt file on humanstxt.org
Alternatively, you can use the HTML5 rel=""author"" attribute to link to information about the author of the page in the form of a mailto: address, a link to a contact form, or a separate authors page.
Crediting in portfolios
While humans.txt is a great approach when you’re authoring a site, it’s even more important to clearly define your role in your own portfolio.
While I believe it’s proper etiquette to include the names of folks you collaborated with, sometimes it might not be necessary (or even possible) to list every single person, especially if you’ve worked with a large agency.
“Fake it till you make it” is not a term that should apply to your portfolio. Clearly stating your own responsibilities means that nobody else browsing your work samples will assume that you did more than your actual share, and being ambiguous about your role isn’t fair to yourself, or others.
Before adding any work to your portfolio, ensure that you have permission from your client. Even if you included a clause in your contract about being allowed to post your work online, it’s always best to double-check. Sometimes you might not know if your work has been officially launched, and leaking something before it’s ready is bound to make a client frown.
Examples
There are plenty of portfolios out there that we can use for inspiration. Here are some examples that I like from other folks in the web industry:
Anna Debenham
In her portfolio, Anna outlines her responsibilities and those of others.
In the description, Anna clearly explains her duties of doing the HTML and CSS, along with performing research and testing the prototype in schools. She also credits Laura Kalbag for the design work.
Naomi Atkinson Design
The work portfolio of Naomi Atkinson Design is short and to the point — they were responsible for the iPhone app design and IA for Artspotter.
The portfolio of Naomi Atkinson Design states clearly what they did.
Amber Weinberg
Amber Weinberg is strictly a developer, but a potential client could see her portfolio and assume she might be a designer as well. To avoid any misunderstandings, she states her roles up front in a section called “What I Did,” supported by examples of her code.
Amber Weinberg sets out all her roles in each of her portfolio’s case studies.
What if someone doesn’t want to be credited?
Let’s face it — we’ve all been there. A project, for whatever reason, turns out to be an absolute disaster and we don’t feel like it’s an accurate representation of the quality of our work.
If you’re crediting someone else but suspect they might rather pretend it never happened, be sure to drop them a line and ask if they’d like to be included. And, if someone contacts you and asks to remove their name, don’t feel offended — just politely remove it.
Get updating!
Now that the holiday season is almost here, many of you might be planning to set aside some time for personal projects. Grab yourself a gingerbread latte and get those portfolios up to date. Remember, It doesn’t have to be long-winded, just honest. Happy holidays!",2013,Geri Coady,gericoady,2013-12-16T00:00:00+00:00,https://24ways.org/2013/credits-and-recognition/,process
155,Minification: A Christmas Diet,"The festive season is generally more about gorging ourselves than staying thin but we’re going to change all that with a quick introduction to minification.
Performance has been a hot topic this last year. We’re building more complex sites and applications but at the same time trying to make then load faster and behave more responsively. What is a discerning web developer to do?
Minification is the process of make something smaller, in the case of web site performance we’re talking about reducing the size of files we send to the browser. The primary front-end components of any website are HTML, CSS, Javascript and a sprinkling of images. Let’s find some tools to trim the fat and speed up our sites.
For those that want to play along at home you can download the various utilities for Mac or Windows. You’ll want to be familiar with running apps on the command line too.
HTMLTidy
HTMLTidy optimises and strips white space from HTML documents. It also has a pretty good go at correcting any invalid markup while it’s at it.
tidy -m page.html
CSSTidy
CSSTidy takes your CSS file, optimises individual rules (for instance transforming padding-top: 10px; padding-bottom: 10px; to padding: 10px 0;) and strips unneeded white space.
csstidy style.css style-min.css
JSMin
JSMin takes your javascript and makes it more compact. With more and more websites using javascript to power (progressive) enhancements this can be a real bandwidth hog. Look out for pre-minified versions of libraries and frameworks too.
jsmin script-min.js
Remember to run JSLint before you run JSMin to catch some common problems.
OptiPNG
Images can be a real bandwidth hog and making all of them smaller with OptiPNG should speed up your site.
optipng image.png
All of these tools have an often bewildering array of options and generally good documentation included as part of the package. A little experimentation will get you even more bang for your buck.
For larger projects you likely won’t want to be manually minifying all your files. The best approach here is to integrate these tools into your build process and have your live website come out the other side smaller than it went in.
You can also do things on the server to speed things up; GZIP compression for instance or compilation of resources to reduce the number of HTTP requests. If you’re interested in performance a good starting point is the Exceptional Performance section on the Yahoo Developer Network and remember to install the YSlow Firebug extension while you’re at it.",2007,Gareth Rushgrove,garethrushgrove,2007-12-06T00:00:00+00:00,https://24ways.org/2007/minification-a-christmas-diet/,process
226,Documentation-Driven Design for APIs,"Documentation is like gift wrapping. It seems like superfluous fluff, but your family tends to be rather disappointed when their presents arrive in supermarket carrier bags, so you have to feign some sort of attempt at making your gift look enticing. Documentation doesn’t have to be all hard work and sellotaping yourself to a table – you can make it useful and relevant.
Documentation gets a pretty rough deal. It tends to get left until the end of a project, when some poor developer is assigned the ‘document project’ ticket and wades through each feature of Whizzy New API 3.0 and needs to recall exactly what each method is meant to do. That’s assuming any time is left for documentation at all. The more common outcome resembles last minute homework scribbled on a post-it note, where just the bare bones of what’s available are put out for your users, and you hope that you’ll spot the inconsistencies and mistakes before they do.
Wouldn’t it be nicer for everyone if you could make documentation not only outstanding for your users, but also a valuable tool for your development team – so much so that you couldn’t imagine writing a line of code before you’d documented it?
Documentation needs to have three main features:
It should have total coverage and document all the features of your project. Private methods should be documented for your developers, and public features need to be available to your users.
It should be consistent – a user should know what to expect from your documentation, and terminology should be accurate to your language.
It should be current – and that means staying accurate as new versions of your code base are released.
But you can also get these bonuses:
Act as a suggested specification – a guide that will aid a developer in making something consistent and usable.
It can test your API quality.
It can enhance the communication skills within your development team.
So how do we get our documentation to be rich and full of features, instead of a little worn out like Boxing Day leftovers?
Write your documentation first
When I say first, I mean first. Not after you’ve started writing the code. Not even after you’ve started writing your unit tests. First. You may or may not have been provided with a decent specification, but the first job should be to turn your requirements for a feature into documentation.
It works best when it takes the form of in-code comments. It works even better when your in-code comments take a standard documentation format that you can later use to generate published documentation for your users. This has the benefit of immediately making your docs as version controlled as your code-base, and it saves having to rewrite, copy or otherwise harass your docs into something legible later on.
Almost all languages have a self-documentation format these days. My choice of format for JavaScript is JSDocToolkit, and the sort of things I look for are the ability to specify private and public methods, full options object statements (opts as Opts only is a no-no), and the ability to include good examples.
So, our example for today will be a new festive feature for a JavaScript API. We’ve been asked to specify a sled for Santa to get around the world to give out toys:
Santa needs to be able to travel around the world in one night to deliver toys to children, and he’ll need some reindeer to pull his sled.
As documentation, it would look like:
/**
@name Sled
@extends Vehicle
@constructor
@description Create a new sled to send Santa around the world to deliver toys to good kids.
@param {Object} [opts] Options
@param {number} [opts.capacity='50'] Set the capacity of the sled
@param {string} [opts.pilot='santa'] The pilot of the sled.
@example
// Create a sled and specify some reindeer.
new Sled().reindeer(['Dasher', 'Dancer', 'Prancer', 'Vixen', 'Comet', 'Cupid']);
*/
By breaking it down as documentation, you can, for example, hand this over to another developer without the need to explain the feature in much depth, and they’ll develop something that has to match this piece of documentation. It specifies everything that is important to this feature – its default values and types, and where it inherits other features from.
We know that we need to specify some way of setting reindeer to pull the sled and also some toys to give, and so we can quickly specify extra methods for the sled:
/*
@name vehicle.Sled#reindeer
@function
@description Set the reindeer that will pull Santa's sled.
@param {string[]} reindeer A list of the reindeer.
@example
// specifying some reindeer
Sled().reindeer(['Dasher', 'Dancer', 'Rudolph', 'Vixen']);
*/
/*
@name vehicle.Sled#toys
@function
@description Add a list of toys and recipients to the Sled.
@param {Object[]} toys A list of toys and who will receive them.
@example
// Adding toys to the sled
Sled().toys([
{name:'Brian', toy:'Fire Engine'},
{name:'Drew', toy:'Roller-skates'},
{name:'Anna', toy:'Play-doh'},
...
]);
*/
Job done! You’ve got a specification to share with your team and something useful for your users in the form of full examples, and you didn’t even have to open another text editor.
Use your documentation to share knowledge
Documentation isn’t just for users. It’s also used by internal developers to explain what they’ve written and how it works. This is especially valuable where the team is large or the code-base sprawling.
So, returning to our example, the next step would be to share with the rest of the team (or at least a selection of the team if yours is large) what the documentation looks like. This is useful for two main reasons:
They can see if they understand what the documentation says the feature will do. It’s best if they haven’t seen the requirement before. If your fellow developers can’t work out what ‘MagicMethodX’ is going to return from the docs, neither can your users.
They can check that the feature accomplishes everything that they expect to, and that it’s consistent with the rest of the functionality.
On previous projects, we’ve taken to referring to this stage of the development process as the ‘bun fight’. It’s a chance for everyone to have an honest say and throw a few pies without actually causing anyone to have to rewrite any code. If you can identify at this stage that a feature is over-complicated, lacking or just plain useless, you’ll all be much happier to throw out a few lines of documentation than you may have been to throw out a partial, or even complete, piece of functionality.
Documentation has your back
The final benefit to working in this way is that your documentation not only remains accurate, it’s always as accurate as your latest release. It can’t fall behind. You can increase the likelihood that your docs will remain up to date by unit testing your examples.
Returning to the previous example, we can add a QUnit unit test to the expected output with ease during the build process – we know exactly how the code will look and, with the @example tag, we can identify easily where to find the bits that need testing. If it’s tested it’ll definitely work as you expect it to when a user copy and pastes it. You’re ensuring quality from idea to implementation.
As an extra bauble, the best thing about a system like JSDocToolkit is that it’ll take your inline comments and turn them into beautiful sites, as good systems will allow for customised output templates. You’ll be producing full-featured sites for your projects and plugins with almost no extra effort, but all the benefits.",2010,Frances Berriman,francesberriman,2010-12-11T00:00:00+00:00,https://24ways.org/2010/documentation-driven-design-for-apis/,process
154,Diagnostic Styling,"We’re all used to using CSS to make our designs live and breathe, but there’s another way to use CSS: to find out where our markup might be choking on missing accessibility features, targetless links, and just plain missing content.
Note: the techniques discussed here mostly work in Firefox, Safari, and Opera, but not Internet Explorer. I’ll explain why that’s not really a problem near the end of the article — and no, the reason is not “everyone should just ignore IE anyway”.
Basic Diagnostics
To pick a simple example, suppose you want to call out all holdover font and center elements in a site. Simple: you just add the following to your styles.
font, center {outline: 5px solid red;}
You could take it further and add in a nice lime background or some such, but big thick red outlines should suffice. Now you’ll be able to see the offenders wherever as you move through the site. (Of course, if you do this on your public server, everyone else will see the outlines too. So this is probably best done on a development server or local copy of the site.)
Not everyone may be familiar with outlines, which were introduced in CSS2, so a word on those before we move on. Outlines are much like borders, except outlines don’t affect layout. Eh? Here’s a comparison.
On the left, you have a border. On the right, an outline. The border takes up layout space, pushing other content around and generally being a nuisance. The outline, on the other hand, just draws into quietly into place. In most current browsers, it will overdraw any content already onscreen, and will be overdrawn by any content placed later — which is why it overlaps the images above it, and is overlapped by those below it.
Okay, so we can outline deprecated elements like font and center. Is that all? Oh no.
Attribution
Let’s suppose you also want to find any instances of inline style — that is, use of the style attribute on elements in the markup. This is generally discouraged (outside of HTML e-mails, which I’m not going to get anywhere near), as it’s just another side of the same coin of using font: baking the presentation into the document structure instead of putting it somewhere more manageable. So:
*[style], font, center {outline: 5px solid red;}
Adding that attribute selector to the rule’s grouped selector means that we’ll now be outlining any element with a style attribute.
There’s a lot more that attribute selectors will let use diagnose. For example, we can highlight any images that have empty alt or title text.
img[alt=""""] {border: 3px dotted red;}
img[title=""""] {outline: 3px dotted fuchsia;}
Now, you may wonder why one of these rules calls for a border, and the other for an outline. That’s because I want them to “add together” — that is, if I have an image which possesses both alt and title, and the values of both are empty, then I want it to be doubly marked.
See how the middle image there has both red and fuchsia dots running around it? (And am I the only one who sorely misses the actual circular dots drawn by IE5/Mac?) That’s due to its markup, which we can see here in a fragment showing the whole table row.
empty title
Right, that’s all well and good, but it misses a rather more serious situation: the selector img[alt=""""] won’t match an img element that doesn’t even have an alt attribute. How to tackle this problem?
Not a Problem
Well, if you want to select something based on a negative, you need a negative selector.
img:not([alt]) {border: 5px solid red;}
This is really quite a break from the rest of CSS selection, which is all positive: “select anything that has these characteristics”. With :not(), we have the ability to say (in supporting browsers) “select anything that hasn’t these characteristics”. In the above example, only img elements that do not have an alt attribute will be selected. So we expand our list of image-related rules to read:
img[alt=""""] {border: 3px dotted red;}
img[title=""""] {outline: 3px dotted fuchsia;}
img:not([alt]) {border: 5px solid red;}
img:not([title]) {outline: 5px solid fuchsia;}
With the following results:
We could expand this general idea to pick up tables who lack a summary, or have an empty summary attribute.
table[summary=""""] {outline: 3px dotted red;}
table:not([summary]) {outline: 5px solid red;}
When it comes to selecting header cells that lack the proper scope, however, we have a trickier situation. Finding headers with no scope attribute is easy enough, but what about those that have a scope attribute with an incorrect value?
In this case, we actually need to pull an on-off maneuver. This has us setting all th elements to have a highlight style, and then turn it off for the elements that meet our criteria.
th {border: 2px solid red;}
th[scope=""col""], th[scope=""row""] {border: none;}
This was necessary because of the way CSS selectors work. For example, consider this:
th:not([scope=""col""]), th:not([scope=""row""]) {border: 2px solid red;}
That would select…all th elements, regardless of their attrributes. That’s because every th element doesn’t have a scope of col, doesn’t have a scope of row, or doesn’t have either. There’s no escaping this selector o’ doom!
This limitation arises because :not() is limited to containing a single “thing” within its parentheses. You can’t, for example, say “select all elements except those that are images which descend from list items”. Reportedly, this limitation was imposed to make browser implementation of :not() easier.
Still, we can make good use of :not() in the service of further diagnosing. Calling out links in trouble is a breeze:
a[href]:not([title]) {border: 5px solid red;}
a[title=""""] {outline: 3px dotted red;}
a[href=""#""] {background: lime;}
a[href=""""] {background: fuchsia;}
Here we have a set that will call our attention to links missing title information, as well as links that have no valid target, whether through a missing URL or a JavaScript-driven page where there are no link fallbacks in the case of missing or disabled JavaScript (href=""#"").
And What About IE?
As I said at the beginning, much of what I covered here doesn’t work in Internet Explorer, most particularly :not() and outline. (Oh, so basically everything? -Ed.)
I can’t do much about the latter. For the former, however, it’s possible to hack your way around the problem by doing some layered on-off stuff. For example, for images, you replace the previously-shown rules with the following:
img {border: 5px solid red;}
img[alt][title] {border-width: 0;}
img[alt] {border-color: fuchsia;}
img[alt], img[title] {border-style: double;}
img[alt=""""][title],
img[alt][title=""""] {border-width: 3px;}
img[alt=""""][title=""""] {border-style: dotted;}
It won’t have exactly the same set of effects, given the inability to use both borders and outlines, but will still highlight troublesome images.
It’s also the case that IE6 and earlier lack support for even attribute selectors, whereas IE7 added pretty much all the attribute selector types there are, so the previous code block won’t have any effect previous to IE7.
In a broader sense, though, these kinds of styles probably aren’t going to be used in the wild, as it were. Diagnostic styles are something only you see as you work on a site, so you can make sure to use a browser that supports outlines and :not() when you’re diagnosing. The fact that IE users won’t see these styles is irrelevant since users of any browser probably won’t be seeing these styles.
Personally, I always develop in Firefox anyway, thanks to its ability to become a full-featured IDE through the addition of extensions like Firebug and the Web Developer Toolbar.
Yeah, About That…
It’s true that much of what I describe in this article is available in the WDT. I feel there are two advantages to writing your own set of diagnostic styles.
When you write your own styles, you can define exactly what the visual results will be, and how they will interact. The WDT doesn’t let you make its outlines thicker or change their colors.
You can combine a bunch of diagnostics into a single set of rules and add it to your site’s style sheet during the diagnostic portion, thus ensuring they persist as you surf around. This can be done in the WDT, but it isn’t as easy (and, at least for me, not as reliable).
It’s also true that a markup validator will catch many of the errors I mentioned, such as missing alt and summary attributes. For some, that’s sufficient. But it won’t catch everything diagnostic styles can, like empty alt values or untargeted links, which are perfectly valid, syntactically speaking.
Diagnosis Complete?
I hope this has been a fun look at the concept of diagnostic styling as well as a quick introduction into possibly new concepts like :not() and outlines. This isn’t all there is to say, of course: there is plenty more that could be added to a diagnostic style sheet. And everyone’s diagnostics will be different, tuned to meet each person’s unique situation.
Mostly, though, I hope this small exploration triggers some creative thinking about the use of CSS to do more than just lay out pages and colorize text. Given the familiarity we acquire with CSS, it only makes sense to use it wherever it might be useful, and setting up visible diagnostic flags is just one more place for it to help us.",2007,Eric Meyer,ericmeyer,2007-12-20T00:00:00+00:00,https://24ways.org/2007/diagnostic-styling/,process
62,Being Customer Supportive,"Every day in customer support is an inbox, a Twitter feed, or a software forum full of new questions. Each is brimming with your customers looking for advice, reassurance, or fixes for their software problems. Each one is an opportunity to take a break from wrestling with your own troublesome tasks and assist someone else in solving theirs.
Sometimes the questions are straightforward and can be answered in a few minutes with a short greeting, a link to a help page, or a prewritten bit of text you use regularly: how to print a receipt, reset a password, or even, sadly, close your account.
More often, a support email requires you to spend some time unpacking the question, asking for more information, and writing a detailed personal response, tailored to help that particular user on this particular day.
Here I offer a few of my own guidelines on how to make today’s email the best support experience for both me and my customer. And even if you don’t consider what you do to be customer support, you might still find the suggestions useful for the next time you need to communicate with a client, to solve a software problem with teammates, or even reach out and ask for help yourself.
(All the examples appearing in this article are fictional. Any resemblance to quotes from real, software-using persons is entirely coincidental. Except for the bit about Star Wars. That happened.)
Who’s TAHT girl
I’ll be honest: I briefly tried making these recommendations into a clever mnemonic like FAST (facial drooping, arm weakness, speech difficulties, time) or PAD (pressure, antiseptic, dressing). But instead, you get TAHT: tone, ask, help, thank. Ah, well.
As I work through each message in my support queue, I
listen to the tone of the email
ask clarifying questions
bring in extra help as needed
and thank the customer when the problem is solved.
Let’s open an email and get started!
Leave your message at the sound of the tone
With our enthusiasm for emoji, it can be very hard to infer someone’s tone from plain text. How much time have you spent pondering why your friend responded with “Thanks.” instead of “Thanks!”? I mean, why didn’t she :grin: or :wink: too?
Our support customers, however, are often direct about how they’re feeling:
I’m working against a deadline. Need this fixed ASAP!!!!
This hasn’t worked in a week and I am getting really frustrated.
I’ve done this ten times before and it’s always worked. I must be missing something simple.
They want us to understand the urgency of this from their point of view, just as much as we want to help them in a timely manner. How this information is conveyed gives us an instant sense of whether they are frustrated, angry, or confused—and, just as importantly, how frustrated-angry-confused they are.
Listen to this tone before you start writing your reply. Here are two ways I might open an email:
“I’m sorry that you ran into trouble with this.”
“Sorry you ran into trouble with this!”
The content is largely the same, but the tone is markedly different. The first version is a serious, staid reaction to the problem the customer is having; the second version is more relaxed, but no less sincere.
Matching the tone to the sender’s is an important first step. Overusing exclamation points or dropping in too-casual language may further upset someone who is already having a crummy time with your product. But to a cheerful user, a formal reply or an impersonal form response can be off-putting, and damage a good relationship.
When in doubt, I err on the side of being too formal, rather than sending a reply that may be read as flip or insincere. But whichever you choose, matching your correspondent’s tone will make for a more comfortable conversation.
Catch the ball and throw it back
Once you’ve got that tone on lock, it’s time to tackle the question at hand. Let’s see what our customer needs help with today:
I tried everything in the troubleshooting page but I can’t get it to work again. I am on a Mac. Please help.
Hmm, not much information here. Now, if I got this short email after helping five other people with the same problem on Mac OS X, I would be sorely tempted to send this customer that common solution in my first reply. I’ve found it’s important to resist the urge to assume this sixth person needs the same answer as the other five, though: there isn’t enough to connect this email to the ones that came before hers.
Instead, ask a few questions to start. Invest some time to see if there are other symptoms in common, like so:
I’m sorry that you ran into trouble with this! I’ll need a little more information to see what’s happening here.
[questions]
Thank you for your help.
Those questions are customized for the customer’s issue as much as possible, and can be fairly wide-ranging. They may include asking for log files, getting some screenshots, or simply checking the browser and operating system version she’s using. I’ll ask anything that might make a connection to the previous cases I’ve answered—or, just as importantly, confirm that there isn’t a connection. What’s more, a few well-placed questions may save us both from pursuing the wrong path and building additional frustration.
(A note on that closing: “Thank you for your help”–I often end an email this way when I’ve asked for a significant amount of follow up information. After all, I’m imposing on my customer’s time to run any number of tests. It’s a necessary step, but I feel that thanking them is a nice acknowledgment we’re in this together.)
Having said that, though, let’s bring tone back into the mix:
I tried everything in the troubleshooting but I can’t get it to work again. I am on a Mac. I’m working against a deadline. Need this fixed ASAP!!!!
This customer wants answers now. I’ll still ask for more details, but would consider including the solution to the previous problem in my initial reply as well. (But only if doing so can’t make the situation worse!)
I’m sorry that you ran into trouble with this! I’ll need a little more information to see what’s happening here.
[questions]
If you’d like to try something in the meantime, delete the file named xyz.txt. (If this isn’t the cause of the problem, deleting the file won’t hurt anything.) Here’s how to find that file on your computer:
[steps]
Let me know how it goes!
In the best case, the suggestion works and the customer is on her way. If it doesn’t solve the problem, you will get more information in answer to your questions and can explore other options. And you’ve given the customer an opportunity to be involved in fixing the issue, and some new tools which might come in handy again in the future.
Bring in help
The support software I use counts how many emails the customer and I have exchanged, and reports it in a summary line in my inbox. It’s an easy, passive reminder of how long the customer and I have been working together on a problem, especially first thing in the morning when I’m reacquainting myself with my open support cases.
Three is the smallest number I’ll see there: the customer sends the initial question (1 email); I reply with an answer (2 emails); the customer confirms the problem is solved (3 emails). But the most complicated, stickiest tickets climb into double-digit replies, and anything that stretches beyond a dozen is worthy of a cheer in Slack when we finally get to the root of the problem and get it fixed.
While an extra round of questions and answers will nudge that number higher, it gives me the chance to feel out the technical comfort level of the person I’m helping. If I ask the customer to send some screenshots or log files and he isn’t sure how to do that, I will use that information to adjust my instructions on next steps. I may still ask him to try running a traceroute on his computer, but I’ll break down the steps into a concise, numbered list, and attach screenshots of each step to illustrate it.
If the issue at hand is getting complicated, take note if the customer starts to feel out of their depth technically—either because they tell you so directly or because you sense a shift in tone. If that happens, propose bringing some outside help into the conversation:
Do you have a network firewall or do you use any antivirus software? One of those might be blocking a connection that the software needs to work properly; here’s a list of the required connections [link]. If you have an IT department in-house, they should be able to help confirm that none of those are being blocked.
or:
This error message means you don’t have permission to install the software on your own computer. Is there a systems administrator in the office that may be able to help with this?
For email-based support cases, I’ll even offer to add someone from their IT department to the thread, so we can discuss the problem together rather than have the customer relay questions and answers back and forth.
Similarly, there are occasionally times when my way of describing things doesn’t fit how the customer understands them. Rather than bang our heads against our keyboards, I will ask one of my support colleagues to join the conversation from our side, and see if he can explain things more clearly than I’ve been able to do.
We appreciate your business. Please call again
And then, o frabjous day, you get your reward: the reply which says the problem has been solved.
That worked!! Thank you so much for saving my day!
I wish I could send you some cookies!
If you were here, I would give you my tickets to Star Wars.
[Reply is an animated gif.]
Sometimes the reply is a bit more understated:
That fixed it. Thanks.
Whether the customer is elated, satisfied, or frankly happy to be done with emailing support, I like to close longer email threads or short, complicated issues with a final thanks and reminder that we’re here to help:
Thank you for the update; I’m glad to hear that solved the problem for you! I hope everything goes smoothly for you now, but feel free to email us again if you run into any other questions or problems. Best,
Then mark that support case closed, and move on to the next question. Because even with the most thoughtfully designed software product, there will always be customers with questions for your capable support team to answer.
Tone, ask, help, thank
So there you have it: TAHT. Pay attention to tone; ask questions; bring in help; thank your customer.
(Lack of) catchy mnemonics aside, good customer support is about listening, paying attention, and taking care in your replies. I think it can be summed up beautifully by this quote from Pamela Marie (as tweeted by Chris Coyier):
Golden rule asking a question: imagine trying to answer it
Golden rule in answering: imagine getting your answer
You and your teammates are applying a variation of this golden rule in every email you write. You’re the software ambassadors to your customers and clients. You get the brunt of the problems and complaints, but you also get to help fix them. You write the apologies, but you also have the chance to make each person’s experience with your company or product a little bit better for next time.
I hope that your holidays are merry and bright, and may all your support inboxes be light.",2015,Elizabeth Galle,elizabethgalle,2015-12-02T00:00:00+00:00,https://24ways.org/2015/being-customer-supportive/,process
66,Solve the Hard Problems,"So, here we find ourselves on the cusp of 2016. We’ve had a good year – the web is still alive, no one has switched it off yet. Clients still have websites, teenagers still have phone apps, and there continue to be plenty of online brands to meaningfully engage with each day. Good job team, high fives all round.
As it’s the time to make resolutions, I wanted to share three small ideas to take into the new year.
Get good at what you do
“How do you get to Carnegie Hall?” the old joke goes. “Practise, practise, practise.”
We work in an industry where there is an awful lot to learn. There’s a lot to learn to get started and then once you do, there’s a lot more to learn to keep your skills current. Just when you think you’ve mastered something, it changes.
This is true of many industries, of course, but the sheer pace of change for us makes learning not an annual activity, but daily. Learning takes time, and while I’m not convinced that every skill takes the fabled ten thousand hours to master, there is certainly no escaping that to remain current we must reinvest time in keeping our skills up to date.
Picking where to spend your time
One of the hardest aspects of this thing of ours is just choosing what to learn. If you, like me, invested any time in learning the Less CSS preprocessor over the last few years, you’ll probably now be spending your time relearning Sass instead. If you spent time learning Grunt, chances are you’ll now be thinking about whether you should switch to Gulp. It’s not just that there are new types of tools, there are new tools and frameworks to do the things you’re already doing, but, well, differently.
Deciding what to learn is hard and the costs of backing the wrong horse can seriously mount up; so much so that by the time you’ve learned and then relearned the tools everyone says you need for your job, there’s rarely enough time to spend really getting to know how best to use them.
Practise, practise, practise
Do you know how you don’t get to Carnegie Hall? By learning a new instrument each week. It takes time and experience to really learn something well. That goes for a new JavaScript framework as much as a violin. If you flit from one shiny new thing to another, you’re destined to produce amateurish work forever.
Learn the new thing, but then stick with it long enough to get really good at it – even if Twitter trolls try to convince you it’s not cool. What’s really not cool is living as a forevernoob.
If you’re still not sure what to learn, go back to basics. Considering a new CSS or JavaScript framework? Invest that time in learning the underlying CSS or JavaScript really well instead. Those skills will stand the test of time.
Audience and purpose
Back when I was in school, my English teacher (a nice Welsh lady, who I appreciate more now than I did back then) used to love to remind us that every piece of writing should have an audience and a purpose. So much so that audience and purpose almost became her catch phrase. For every essay, article or letter, we were reminded to consider who we were writing it for and what we were trying to achieve.
It’s something I think about a lot; certainly when writing, but also in almost every other creative endeavour. Asking who is this for and what am I trying to achieve applies equally to designing a logo or website, through to composing music or writing software.
Being productive
It seems like everyone wants to have a product these days. As someone who used to do client services work and now has a product company, I often talk with people who are interested in taking something they’ve built in-house and turning it into a product. You know the sort of thing: a design agency with its own CMS or project management web app; the very logical thought process of: if this helps our business, maybe others will find it valuable too; the question that inevitably follows: could we turn this into a product?
Whether consciously or not, the audience and purpose influence nearly every aspect of your creative process. Once written or designed or developed or created, revising a work to change the audience and purpose can be quite a challenge. No matter how much you want to turn the tension-building, atmospheric music for a horror film into a catchy chart hit, it’s going to be a struggle. Yes, it’s music, but that’s neither the audience nor purpose for which it was created.
The same is absolutely true for your in-house tools – those were also designed for a specific audience and purpose. Your in-house CMS would have been designed with an audience of your own development team, who are busy implementing sites for clients. The purpose is to make that team more productive overall, taking into account considerations of maintaining multiple sites on a common codebase, training clients, a more mature and stable platform and all the other benefits of reusing the same code for each project. The audience is your team and the purpose increased productivity.
That’s very different from a customer who wants to buy a polished system to use off-the-shelf. If their needs perfectly aligned with yours then they wouldn’t be in the market for your product – they would have built their own.
Sometimes you hear the advice to “scratch your own itch” when it comes to product design. I don’t completely agree. Got an itch? Great. Find other itchy people and sell them a backscratcher.
Building a product, like designing a website, is a lot of work. It requires knowing your audience and purpose inside out. You can’t fudge it and you can’t just hope you’ll find an audience for some old thing you have lying around.
Always consider the audience and purpose for everything you create. It’s often the difference between success and failure.
Solve the hard problems
Human beings have a natural tendency to avoid hard problems. In digital design (websites, software, whatever) the received wisdom is often that we can get 80% of the way towards doing the hard thing by doing something that’s not very hard.
Do you know what you get at the end of it? Paid. But nothing really great ever happens that way.
I worked on a client project a while back where one of the big challenges was making full use of the massive image library they had built up over the years. The client had tens of thousands of photographs, along with a fair amount of video and a large MP3 audio library too. If it wasn’t managed carefully, storage sizes would get out of control, content would go unattributed, and everything would get very messy very quickly.
I could tell from the outset that this aspect of the project was going to be a constant problem. So we tackled it head-on. We designed and built a media management system to hold and process all the assets, and added an API so the content management system could talk to it. Every time the site needed a photo at a new size, it made an API request to the system and everything was handled seamlessly.
It was a daunting job to invest all the time and effort in building that dedicated system and API, but it really paid off. Instead of having the constant troubles of a vast library of media, it became one of the strongest parts of the project.
Turn your hardest problems into your biggest strengths
There’s a funny thing about hard problems. The hardest problems are the most fun to solve and have the biggest impact.
Maybe you’re the sort of person who clocks in for work, does their job and clocks out at 5pm without another thought. But I don’t think you are, because you’re here reading this. If you really love what you do, I don’t think you can be satisfied in your work unless you’re seeking out and working on those hard problems. That’s where the magic is.
The new year is a helpful time to think about breaking bad habits. Whether it’s smoking a bit less, or going to the gym a bit more, the ticking over of the calendar can provide the motivation for a new start. I have some suggestions for you.
Get good at what you do. Practise your skills and don’t just flit from one shiny thing to the next.
Remember who you’re doing it for and why. Consider the audience and purpose for everything you create.
Solve the hard problems. It’s more interesting, more satisfying, and has a greater impact.
As we move into 2016, these are the things I’m going to continue to work on. Maybe you’d like to join me.",2015,Drew McLellan,drewmclellan,2015-12-24T00:00:00+00:00,https://24ways.org/2015/solve-the-hard-problems/,process
101,Easing The Path from Design to Development,"As a web developer, I have the pleasure of working with a lot of different designers. There has been a lot of industry discussion of late about designers and developers, focusing on how different we sometimes are and how the interface between our respective phases of a project (that is to say moving from a design phase into production) can sometimes become a battleground.
I don’t believe it has to be a battleground. It’s actually more like being a dance partner – our steps are different, but as long as we know our own part and have a little knowledge of our partner’s steps, it all goes together to form a cohesive dance. Albeit with less spandex and fewer sequins (although that may depend on the project in question).
As the process usually flows from design towards development, it’s most important that designers have a little knowledge of how the site is going to be built. At the specialist web development agency I’m part of, we find that designs that have been well considered from a technical perspective help to keep the project on track and on budget.
Based on that experience, I’ve put together my checklist of things that designers should consider before handing their work over to a developer to build.
Layout
One rookie mistake made by traditionally trained designers transferring to the web is to forget a web browser is not a fixed medium. Unlike designing a magazine layout or a piece of packaging, there are lots of available options to consider. Should the layout be fluid and resize with the window, or should it be set to a fixed width? If it’s fluid, which parts expand and which not? If it’s fixed, should it sit in the middle of the window or to one side?
If any part of the layout is going to be flexible (get wider and narrower as required), consider how any graphics are affected. Images don’t usually look good if displayed at anything other that their original size, so should they behave? If a column is going to get wider than it’s shown in the Photoshop comp, it may be necessary to provide separate wider versions of any background images.
Text size and content volume
A related issue is considering how the layout behaves with both different sizes of text and different volumes of content. Whilst text zooming rather than text resizing is becoming more commonplace as the default behaviour in browsers, it’s still a fundamentally important principal of web design that we are suggesting and not dictating how something should look. Designs must allow for a little give and take in the text size, and how this affects the design needs to be taken into consideration.
Keep in mind that the same font can display differently in different places and platforms. Something as simple as Times will display wider on a Mac than on Windows. However, the main impact of text resizing is the change in how much vertical space copy takes up. This is particularly important where space is limited by the design (making text bigger causes many more problems than making text smaller). Each element from headings to box-outs to navigation items and buttons needs to be able to expand at least vertically, if not horizontally as well. This may require some thought about how elements on the page may wrap onto new lines, as well as again making sure to provide extended versions of any graphical elements.
Similarly, it’s rare theses days to know exactly what content you’re working with when a site is designed. Many, if not most sites are designed as a series of templates for some kind of content management system, and so designs cannot be tweaked around any specific item of content. Designs must be able to cope with both much greater and much lesser volumes of content that might be thrown in at the lorem ipsum phase.
Particular things to watch out for are things like headings (how do they wrap onto multiple lines) and any user-generated items like usernames. It can be very easy to forget that whilst you might expect something like a username to be 8-12 characters, if the systems powering your site allow for 255 characters they’ll always be someone who’ll go there. Expect them to do so.
Again, if your site is content managed or not, consider the possibility that the structure might be expanded in the future. Consider how additional items might be added to each level of navigation. Whilst it’s rarely desirable to make significant changes without revisiting the site’s information architecture more thoroughly, it’s an inevitable fact of life that the structure needs a little bit of flexibility to change over time.
Interactions with and without JavaScript
A great number of sites now make good use of JavaScript to streamline the user interface and make everything just that touch more usable. Remember, though, that any developer worth their salt will start by building the interface without JavaScript, get it all working, and then layer that JavaScript on top. This is to allow for users viewing the site without JavaScript available or enabled in their browser.
Designers need to consider both states of any feature they’re designing – how it looks and functions with and without JavaScript. If the feature does something fancy with Ajax, consider how the same can be achieved with basic HTML forms, links and intermediary pages. These all need to be designed, because this is how some of your users will interact with the site.
Logged in and logged out states
When designing any type of web application or site that has a membership system – that is to say users can create an account and log into the site – the design will need to consider how any element is presented in both logged in and logged out states. For some items there’ll be no difference, whereas for others there may be considerable differences.
Should an item be hidden completely not logged out users? Should it look different in some way? Perhaps it should look the same, but prompt the user to log in when they interact with it. If so, what form should that prompt take on and how does the user progress through the authentication process to arrive back at the task they were originally trying to complete?
Couple logged in and logged out states with the possible absence of JavaScript, and every feature needs to be designed in four different states:
Logged out with JavaScript available
Logged in with JavaScript available
Logged out without JavaScript available
Logged in without JavaScript available
Fonts
There are three main causes of war in this world; religions, politics and fonts. I’ve said publicly before that I believe the responsibility for this falls squarely at the feet of Adobe Photoshop. Photoshop, like a mistress at a brothel, parades a vast array of ropey, yet strangely enticing typefaces past the eyes of weak, lily-livered designers, who can’t help but crumble to their curvy charms.
Yet, on the web, we have to be a little more restrained in our choice of typefaces. The purest solution is always to make the best use of the available fonts, but this isn’t always the most desirable solution from a design point of view. There are several technical solutions such as techniques that utilise Flash (like sIFR), dynamically generated images and even canvas in newer browsers. Discuss the best approach with your developer, as every different technique has different trade-offs, and this may impact the design in other ways.
Messaging
Any site that has interactive elements, from a simple contact form through to fully featured online software application, involves some kind of user messaging. By this I mean the error messages when something goes wrong and the success and thank-you messages when something goes right. These typically appear as the result of an interaction, so are easy to forget and miss off a Photoshop comp.
For every form, consider what gets displayed to the user if they make a mistake or miss something out, and also what gets displayed back when the interaction is successful. What do they see and where do the go next?
With Ajax interactions, the user doesn’t get any visual feedback of the site waiting for a response from the server unless you design it that way. Consider using a ‘waiting’ or ‘in progress’ spinner to give the user some visual feedback of any background processes. How should these look? How do they animate?
Similarly, also consider the big error pages like a 404. With luck, these won’t often be seen, but it’s at the point that they are when careful design matters the most.
Form fields
Depending on the visual style of your site, the look of a browser’s default form fields and buttons can sometimes jar. It’s understandable that many a designer wants to change the way they look. Depending on the browser in question, various things can be done to style form fields and their buttons (although it’s not as flexible as most would like).
A common request is to replace the default buttons with a graphical button. This is usually achievable in most cases, although it’s not easy to get a consistent result across all browsers – particularly when it comes to vertical positioning and the space surrounding the button. If the layout is very precise, or if space is at a premium, it’s always best to try and live with the browser’s default form controls.
Whichever way you go, it’s important to remember that in general, each form field should have a label, and each form should have a submit button. If you find that your form breaks either of those rules, you should double check.
Practical tips for handing files over
There are a couple of basic steps that a design can carry out to make sure that the developer has the best chance of implementing the design exactly as envisioned.
If working with Photoshop of Fireworks or similar comping tool, it helps to group and label layers to make it easy for a developer to see which need to be turned on and off to get to isolate parts of the page and different states of the design. Also, if you don’t work in the same office as your developer (and so they can’t quickly check with you), provide a PDF of each page and state so that your developer can see how each page should look aside from any confusion with quick layers are switched on or off. These also act as a handy quick reference that can be used without firing up Photoshop (which can kill both productivity and your machine).
Finally, provide a colour reference showing the RGB values of all the key colours used throughout the design. Without this, the developer will end up colour-picking from the comps, and could potentially end up with different colours to those you intended. Remember, for a lot of developers, working in a tool like Photoshop is like presenting a designer with an SSH terminal into a web server. It’s unfamiliar ground and easy to get things wrong. Be the expert of your own domain and help your colleagues out when they’re out of their comfort zone. That goes both ways.
In conclusion
When asked the question of how to smooth hand-over between design and development, almost everyone who has experienced this situation could come up with their own list. This one is mine, based on some of the more common experiences we have at edgeofmyseat.com. So in bullet point form, here’s my checklist for handing a design over.
Is the layout fixed, or fluid?
Does each element cope with expanding for larger text and more content?
Are all the graphics large enough to cope with an area expanding?
Does each interactive element have a state for with and without JavaScript?
Does each element have a state for logged in and logged out users?
How are any custom fonts being displayed? (and does the developer have the font to use?)
Does each interactive element have error and success messages designed?
Do all form fields have a label and each form a submit button?
Is your Photoshop comp document well organised?
Have you provided flat PDFs of each state?
Have you provided a colour reference?
Are we having fun yet?",2008,Drew McLellan,drewmclellan,2008-12-01T00:00:00+00:00,https://24ways.org/2008/easing-the-path-from-design-to-development/,process
207,Want to Break Out of Comparison Syndrome? Do a Media Detox,"“Comparison is the thief of joy.”
—Theodore Roosevelt
I grew up in an environment of perpetual creativity and inventiveness. My father Dennis built and flew experimental aircraft as a hobby. During my entire childhood, there was an airplane fuselage in the garage instead of a car. My mother Deloria was a self-taught master artisan who could quickly acquire any skills that it took to work with fabric and weaving. She could sew any garment she desired, and was able to weave intricate wall hangings just by looking at a black and white photos in magazines. My older sister Diane blossomed into a consummate fine artist who drew portraits with uncanny likeness, painted murals, and studied art and architecture. In addition, she loved good food and had a genius for cooking and baking, which converged in her creating remarkable art pieces out of cake that were incredibly delicious to boot. Yes. This was the household in which I grew up.
While there were countless positives to being surrounded by people who were compelled to create, there was also a downside to it. I incessantly compared myself to my parents and older sister and always found myself lacking.
It wasn’t a fair comparison, but tell that to a sensitive kid who wanted to fit in to her family by being creative as well. From my early years throughout my teens, I convinced myself that I would never understand how to build an airplane or at least be as proficient with tools as my father, the aeronautical engineer. Even though my sister was six years older than I was, I lamented that I would never be as good a visual artist as she was. And I marveled at my mother’s seemingly magical ability to make and tailor clothes and was certain that I would never attain her level of mastery.
This habit of comparing myself to others grew over the years, continuing to subtly and effectively undermine my sense of self. I had almost reached an uneasy truce with my comparison habit when social media happened.
As an early adopter of Twitter, I loved staying connected to people I met at tech conferences. However, as I began to realize my aspirations of being an author and a speaker, Twitter became a dreaded hall of mirrors where I only saw distorted reflections of my lack of achievement in other people’s success. Every person announcing a publishing deal caused me to drown under waves of envy over the imagined size of her or his book advance as I struggled to pay my mortgage. Every announcement I read of someone speaking at a conference led to thoughts of, “I wish I were speaking at that conference – I must not be good enough to be invited.” Twitter was fertile ground for my Inner Critic to run rampant.
One day in 2011, my comparisons to people who I didn’t even know rose to a fever pitch. I saw a series of tweets that sparked a wave of self-loathing so profound that I spent the day sobbing and despondent, as I chastised myself for being a failure. I had fallen into the deep pit of Comparison Syndrome, and to return to anything close to being productive took a day or two of painstakingly clawing my way out.
Comparison Syndrome Takes Deficiency Anxiety to Eleven
Do any of these scenarios ring true?
You frequently feel like a failure when viewing the success of others.
You feel dispirited and paralyzed in moving forward with your own work because it will never measure up to what others have done.
You discount your ideas because you fear that they aren’t as good as those of your colleagues or industry peers.
Are you making yourself miserable by thinking thoughts like these?
“I’m surrounded by people who are so good at what they do, how can I possibly measure up?”
“Compared to my partner, my musical ability is childish – and music is no longer fun.”
“Why haven’t I accomplished more by now? My peers are so much more successful than I am.”
Unenviable Envy
Many people use the terms envy and jealousy interchangeably, but they are two distinct emotions. Jealousy is the fear of losing someone to a perceived rival: a threat to an important relationship and the parts of the self that are served by that relationship. Jealousy is always about the relationship between three people. Envy is wanting what another has because of a perceived shortcoming on your part. Envy is always based on a social comparison to another.1
Envy is a reaction to the feeling of lacking something. Envy always reflects something we feel about ourselves, about how we are somehow deficient in qualities, possessions, or success.2 It’s based on a scarcity mentality: the idea that there is only so much to go around, and another person got something that should rightfully be yours.3
A syndrome is a condition characterized by a set of associated symptoms. I call it Comparison Syndrome because a perceived deficiency of some sort – in talent, accomplishments, success, skills, etc. – is what initially sparks it. While at the beginning you may merely feel inadequate, the onset of the syndrome will bring additional symptoms. Lack of self-trust and feelings of low self-worth will fuel increased thoughts of not-enoughness and blindness to your unique brilliance. If left unchecked, Deficiency Anxieties can escalate to full-blown Comparison Syndrome: a form of the Inner Critic in which we experience despair from envy and define ourselves as failures in light of another’s success.
The irony is that when we focus so much on what we lack, we can’t see what we have in abundance that the other person doesn’t have. And in doing so, we block what is our birthright: our creative expression. Envy shackles our creativity, keeps us trapped in place, and prevents forward movement. The Inner Critic in the form of Comparison Syndrome caused by envy blocks us from utilizing our gifts, seeing our path clearly, and reveling in our creative power.
In order to keep a grip on reality and not fall into the abyss of Comparison Syndrome, we’ll quell the compulsion to compare before it happens: we will free the mental bandwidth to turn our focus inward so we can start to see ourselves clearly.
Break the Compulsion to Compare
“Why compare yourself with others? No one in the entire world can do a better job of being you than you.”
— Krystal Volney, poet and author
At some point in time, many of us succumb to moments of feeling that we are lacking and comparing ourselves unfavorably to others. As social animals, much of our self-definition comes from comparison with others. This is how our personalities develop. We learn this behavior as children, and we grow up being compared to siblings, peers, and kids in the media. Because of this, the belief that somehow, someway, we aren’t good enough becomes deeply ingrained. The problem is that whenever we deem ourselves to be “less than,” our self-esteem suffers. This creates a negative feedback loop where negative thoughts produce strong emotions that result in self-defeating behaviors that beget more negative thoughts.
Couple this cycle with the messages we get from society that only “gifted” people are creative, and it’s no wonder that many of us will fall down the rabbit hole of Comparison Syndrome like I did on that fated day while reading tweets. Comparing ourselves to others is worse than a zero-sum game, it’s a negative-sum game. No one wins, our self-esteem deteriorates, and our creative spark dies out.
With effort, we can break the compulsion to compare and stop the decline into Comparison Syndrome by turning the focus of comparison inward to ourselves and appreciating who we’ve become. But first, we need to remove some of the instances that trigger our comparisons in the first place.
Arrest: Stop the Triggers
“Right discipline consists, not in external compulsion, but in the habits of mind which lead spontaneously to desirable rather than undesirable activities.”
— Bertrand Russell, philosopher
After my Twitter post meltdown, I knew had to make a change. While bolstering my sense of self was clearly a priority, I also knew that my ingrained comparison habit was too strong to resist and that I needed to instill discipline. I decided then and there to establish boundaries with social media.
First, to maintain my sanity, I took this on as my mantra:
“I will not compare myself to strangers on the Internet or acquaintances on Facebook.”
If you find yourself sliding down the slippery slope of social media comparison, you can do the same: repeat this mantra to yourself to help put on the brakes.
Second, in order to reduce my triggers, I stopped reading the tweets of the people I followed. However, I continued to be active on Twitter through sharing information, responding to mentions, crowdsourcing, and direct messaging people. It worked! The only time I’d start to slip into darkness were the rare instances when I would break my rules and look at my Twitstream.
But we can do even more than calm ourselves with helpful mantras. Just like my example of modifying my use of Twitter, and more recently, of separating myself from Facebook, you can get some distance from the media that activates your comparison reflex and start creating the space for other habits that are more supportive to your being to take its place.
Creative Dose: Trigger-free and Happy
Purpose: To stop comparison triggers in their tracks
Mindfulness is a wonderful tool, but sometimes you have to get hardcore and do as much as you can to eliminate distractions so that you can first hear your own thoughts in order to know which ones you need to focus on.
Here are four steps to becoming trigger-free and happier.
Step 1: Make a List
Pay attention when you get the most triggered and hooked.
Is it on Twitter, Facebook, Instagram, or Snapchat?
Is it YouTube, TV shows, or magazines?
Make list of your top triggers.
My primary trigger is:______________________________________
My second trigger is:______________________________________
My third trigger is:______________________________________
Now that you have your list, you need to get an idea just how often you’re getting triggered.
Step 2: Monitor
It’s easy to think that we should track our activity on the computer, but these days, it’s no longer our computer use that is the culprit: most of us access social media and news from our phones. Fortunately, there are apps that will track the usage for both.
Seeing just how much you consume media from either or both will show you how much of an accomplice the use of devices is to your comparison syndrome, and how much you need to modify your behavior accordingly.
For tracking both computer use and tablet use, this app works great:
RescueTime.com tracks app usage and sends a productivity report at the end of the week via email.
For your phone, there are many for either platform.4 Although I recommend fully researching what is available and will work for you best, here are a few recommendations:
For both platforms: Offtime, Breakfree, Checky
For Android only: Flipd, AppDetox, QualityTime, Stay On Task
For iOS only: Moment
Install your app of choice, and see what you find. How much time are you spending on sites or apps that compel you to compare?
Step 3: Just Say No
Now that you know what your triggers are and how much you’re exposing yourself to them, it’s time to say No.
Put yourself on a partial social media and/or media detox for a specified period of time; consider even going for a full media detox.5 I recommend starting with one month.
To help you to fully commit, I recommend writing this down and posting it where you can see it.
I, ___________________, commit to avoiding my comparison triggers
of ___________________, ___________________, and ___________________
for the period of ___________________,
starting on ___________________ and ending on ___________________ .
To help you out, I’ve created a social media detox commitment sheet for you.
Step 4: Block
When I decided to reduce my use of Twitter and Facebook to break my comparison habit, initially I tried to rely solely on self-discipline, which was only moderately successful. Then I realized that I could use the power of technology to help. Don’t think you have to rely upon sheer willpower to block, or at least limit, your exposure to known triggers. If your primary access to the items that cause you to compare yourself to others is via computers and other digitalia, use these devices to help maintain your mental equilibrium.
Here are some apps and browser extensions that you can use during your media detox to help keep yourself sane and stay away from sites that could throw you into a comparison tailspin.
These apps are installed onto your computer:
RescueTime.com works on both computer and mobile devices, and does a lot more than just prevent you from going to sites that will ruin your concentration, it will also track your apps usage and give you a productivity report at the end of the week.
Focus and SelfControl (Mac-only)
To go right to the source and prevent you from visiting sites through your browser, there are browser extensions.
Not only can you put in the list of the URLs that are your points of weakness, but you can also usually set the times of the day you need the self-control the most.
Google Chrome: StayFocusd, Strict Workflow, and Website Blocker
Firefox: Idderall and Leechblock
Safari: WasteNoTime and MindfulBrowsing
Edge (or Explorer): Unfortunately, there are currently no website blocking extensions for these browsers.
I currently use a browser extension to block me from using Facebook between 9:00am – 6:00pm. It’s been a boon for my sanity: I compare tons less. A bonus is that it’s been terrific for my productivity as well.
Which tool will you use for your media detox time? Explore them all and then settle upon the one(s) that will work the best for you. Install it and put it to work.
Despite the tool, you will still need to exercise discipline. Resist the urge to browse Instagram or Facebook while waiting for your morning train. You can do it!
Step 5: Relax
Instead of panicking from FOMO (Fear of Missing Out), take comfort from this thought: what you don’t know won’t affect you. Start embracing JOMO (Joy of Missing Out), and the process of rebuilding and maintaining your sanity.
What will you do instead of consuming the media that compels you to
compare? Here are some ideas:
Read a book
Go for a walk
Have dinner with a friend
Go watch a movie
Learn how to play the harmonica
Take an improv class
Really, you could do anything. And depending on how much of your time and attention you’ve devoted to media, you could be recapturing a lot of lost moments, minutes, hours, and days.
Step 6: Reconnect
Use your recovered time and attention to focus on your life and reconnect with your true value-driven goals, higher aspirations, and activities that you’ve always wanted to do.
This article is an excerpt from the book Banish Your Inner Critic by Denise Jacobs, and has been reprinted with permission. If you’d like to read more, you can find the book on Amazon.
Shane Parrish, “Mental Model: Bias from Envy and Jealousy,” Farnam Street, accessed February 9, 2017. ↩
Parrish, “Mental Model: Bias from Envy and Jealousy.” ↩
Henrik Edberg, “How to Overcome Envy: 5 Effective Tips,” Practical Happiness Advice That Works | The Positivity Blog, accessed February 9, 2017. ↩
Jeremy Golden, “6 Apps to Stop Your Smartphone Addiction,” Inc.com, accessed February 10, 2017. ↩
Emily Nickerson, “How to Silence the Voice of Doubt,” The Muse, accessed February 8, 2017. ↩",2017,Denise Jacobs,denisejacobs,2017-12-19T00:00:00+00:00,https://24ways.org/2017/do-a-media-detox/,process
41,What Is Vagrant and Why Should I Care?,"If you run a web server, a database server and your scripting language(s) of choice on your main machine and you have not yet switched to using virtualisation in your workflow then this essay may be of some value to you.
I know you exist because I bump into you daily: freelancers coming in to work on our projects; internet friends complaining about reinstalling a development environment because of an operating system upgrade; fellow agency owners who struggle to brief external help when getting a particular project up and running; or even hardcore back-end developers who “don’t do ops” and prefer to run their development stack of choice locally.
There are many perfectly reasonable arguments as to why you may not have already made the switch, from being simply too busy, all the way through to a distrust of the new. I’ll admit that there are many new technologies or workflows that I hear of daily and instantly disregard because I have tool overload, that feeling I get when I hear about a new shiny thing and think “Well, what I do now works – I’ll leave it for others to play with.” If that’s you when it comes to Vagrant then I hope you’ll hear me out. The business case is compelling enough for you to make that switch; as a bonus it’s also really easy to get going.
In this article we’ll start off by going through the high level, the tools available and how it all fits together. Then we’ll touch on the justification for making the switch, providing a few use cases that might resonate with you. Finally, I’ll provide a very simple example that you can follow to get yourself up and running.
What?
You already know what virtualisation is. You use the ability to run an operating system within another operating system every day. Whether that’s Parallels or VMware on your laptop or similar server-based tools that drive the ‘cloud’, squeezing lots of machines on to physical hardware and making it really easy to copy servers and even clusters of servers from one place to another. It’s an amazing technology which has changed the face of the internet over the past fifteen years.
Simply put, Vagrant makes it really easy to work with virtual machines. According to the Vagrant docs:
If you’re a designer, Vagrant will automatically set everything up that is required for that web app in order for you to focus on doing what you do best: design. Once a developer configures Vagrant, you don’t need to worry about how to get that app running ever again. No more bothering other developers to help you fix your environment so you can test designs. Just check out the code, vagrant up, and start designing.
While I’m not sure I agree with the implication that all designers would get others to do the configuring, I think you’ll agree that the “Just check out the code… and start designing” premise is very compelling.
You don’t need Vagrant to develop your web applications on virtual machines. All you need is a virtualisation software package, something like VMware Workstation or VirtualBox, and some code. Download the half-gigabyte operating system image that you want and install it. Then download and configure the stack you’ll be working with: let’s say Apache, MySQL, PHP. Then install some libraries, CuRL and ImageMagick maybe, and finally configure the ability to easily copy files from your machine to the new virtual one, something like Samba, or install an FTP server. Once this is all done, copy the code over, import the database, configure Apache’s virtual host, restart and cross your fingers.
If you’re a bit weird like me then the above is pretty easy to do and secretly quite fun. Indeed, the amount of traffic to one of my more popular blog posts proves that a lot of people have been building themselves development servers from scratch for some time (or at least trying to anyway), whether that’s on virtual or physical hardware.
Or you could use Vagrant. It allows you, or someone else, to specify in plain text how the machine’s virtual hardware should be configured and what should be installed on it. It also makes it insanely easy to get the code on the server. You check out your project, type vagrant up and start work.
Why?
It’s worth labouring the point that Vagrant makes it really easy; I mean look-no-tangle-of-wires-or-using-vim-and-loads-of-annoying-command-line-stuff easy to run a development environment.
That’s all well and good, I hear you say, but there’s a steep learning curve, an overhead to switch. You’re busy and this all sounds great but you need to get on; you’ve got a career to build or a business to run and you don’t have time to learn new stuff right now.
In short, what’s the business case?
The business case involves saved time, a very low barrier to entry and the ability to give the exact same environment to somebody else.
Getting your first development virtual machine running will take minutes, not counting download time. Seriously, use pre-built Vagrant files and provisioners (we’ll touch on this below) and you can start developing immediately.
Once you’ve finished developing you can check in your changes, ask a colleague or freelancer to check them out, and then they run the code on the exact same machine – even if they are on the other side of the world and regardless of whether they are on Windows, Linux or Apple OS X.
The configuration to build the machine isn’t a huge binary disk image that’ll take ages to download from Git; it’s two small text files that can be version controlled too, so you can see any changes made to the config and roll back if needed.
No more ‘It works for me’ reports; no ‘Oh, I was using PHP 5.3.3, not PHP 5.3.11’ – you’re both working on exact same copies of the development environment. With a tested and verified provisioning file you’ll have the confidence that when you brief your next freelancer in to your team there won’t be that painful to and fro of getting the system up and running, where you’re on a Skype call and they are uttering the immortal words, ‘It still doesn’t work’. You know it works because you can run it too.
This portability becomes even more important when you’re working on larger sites and systems. Need a load balancer? Multiple front-end servers and a clustered database back-end? No problem. Add each server into the same Vagrant file and a single command will build all of them. As you’ll know if you work on larger, business critical systems, keeping the operating systems in sync is a real problem: one server with a slightly different library causing sporadic and hard to trace issues is a genuine time black hole. Well, the good news is that you can use the same provisioning files to keep test and production machines in sync using your current build workflow.
Let’s also not forget the most simple use case: a single developer with multiple websites running on a single machine. If that’s you and you switch to using Vagrant-managed virtual machines then the next time you upgrade your operating system or do a fresh install there’s no chance that things will all stop working. The server config is all tucked away in version control with your code. Just pull it down and carry on coding.
OK, got it. Show me already
If you want to try this out you’ll need to install the latest VirtualBox and Vagrant for your platform. If you already have VMware Workstation or another supported virtualisation package installed you can use that instead but you may need to tweak my Vagrant file below. Depending on your operating system, a reboot might also be wise.
Note: the commands below were executed on my MacBook, but should also work on Windows and Linux. If you’re using Windows make sure to run the command prompt as Administrator or it’ll fall over when trying to update the hosts file.
As a quick sanity check let’s just make sure that we have the vagrant command in our path, so fire up a terminal and check the version number:
$ vagrant -v
Vagrant 1.6.5
We’ve one final thing to install and that’s the vagrant-hostsupdater plugin. Once again, in your terminal:
$ vagrant plugin install vagrant-hostsupdater
Installing the 'vagrant-hostsupdater' plugin. This can take a few minutes...
Installed the plugin 'vagrant-hostsupdater (0.0.11)'!
Hopefully that wasn’t too painful for you.
There are two things that you need to manage a virtual machine with Vagrant:
a Vagrant file: this tells Vagrant what hardware to spin up
a provisioning file: this tells Vagrant what to do on the machine
To save you copying and pasting I’ve supplied you with a simple example (ZIP) containing both of these. Unzip it somewhere sensible and in your terminal make sure you are inside the Vagrant folder:
$ cd where/you/placed/it/24ways
$ ls -l
-rw-r--r--@ 1 bealers staff 11055 9 Nov 09:16 bealers-24ways.md
-rw-r--r--@ 1 bealers staff 118152 9 Nov 10:08 it-works.png
drwxr-xr-x 5 bealers staff 170 8 Nov 22:54 vagrant
$ cd vagrant/
$ ls -l
-rw-r--r--@ 1 bealers staff 1661 8 Nov 21:50 Vagrantfile
-rwxr-xr-x@ 1 bealers staff 3841 9 Nov 08:00 provision.sh
The Vagrant file tells Vagrant how to configure the virtual hardware of your development machine. Skipping over some of the finer details, here’s what’s in that Vagrant file:
www.vm.box = ""ubuntu/trusty64""
Use Ubuntu 14.04 for the VM’s OS. Vagrant will only download this once. If another project uses the same OS, Vagrant will use a cached version.
www.vm.hostname = ""bealers-24ways.dev""
Set the machine’s hostname. If, like us, you’re using the vagrant-hostsupdater plugin, this will also get added to your hosts file, pointing to the virtual machine’s IP address.
www.vm.provider :virtualbox do |vb|
vb.customize [""modifyvm"", :id, ""--cpus"", ""2"" ]
end
Here’s an example of configuring the virtual machine’s hardware on the fly. In this case we want two virtual processors.
Note: this is specific for the VirtualBox provider, but you could also have a section for VMware or other supported virtualisation software.
www.vm.network ""private_network"", ip: ""192.168.13.37""
This specifies that we want a private networking link between your computer and the virtual machine. It’s probably best to use a reserved private subnet like 192.168.0.0/16 or 10.0.0.0/8
www.vm.synced_folder ""../"", ""/var/www/24ways"",
owner: ""www-data"", group: ""www-data""
A particularly handy bit of Vagrant magic. This maps your local 24ways parent folder to /var/www/24ways on the virtual machine. This means the virtual machine already has direct access to your code and so do you. There’s no messy copying or synchronisation – just edit your files and immediately run them on the server.
www.vm.provision :shell, :path => ""provision.sh""
This is where we specify the provisioner, the script that will be executed on the machine.
If you open up the provisioner you’ll see it’s a bash script that does things like:
install Apache, PHP, MySQL and related libraries
configure the libraries: set permissions, enable logging
create a database and grant some access rights
set up some code for us to develop on; in this case, fire up a vanilla WordPress installation
To get this all up and running you simply need to run Vagrant from within the vagrant folder:
$ vagrant up
You should now get a Matrix-like stream of stuff shooting up the screen. If this is the first time Vagrant has used this particular operating system image – remember we’ve specified the latest version of Ubuntu – it’ll download the disc image and cache it for future reuse. Then all the packages are downloaded and installed and finally all our configuration steps occur incluing the download and configuration of WordPress.
Halfway through proceedings it’s likely that the process will halt at a prompt something like this:
==> www: adding to (/etc/hosts) : 192.168.13.37 bealers-24ways.dev # VAGRANT: 2dbfbced1b1e79d2a0942728a0a57ece (www) / 899bd80d-4251-4f6f-91a0-d30f2d9918cc
Password:
You need to enter your password to give vagrant sudo rights to add the IP address and hostname mapping to your local hosts file.
Once finished, fire up your browser and go to http://bealers-24ways.dev. You should see a default WordPress installation. The username for wp-admin is admin and the password is 24ways.
If you take a look at your local filesystem the 24ways folder should now look like:
$ cd ../
$ ls -l
-rw-r--r--@ 1 bealers staff 13074 9 Nov 10:14 bealers-24ways.md
drwxr-xr-x 21 bealers staff 714 9 Nov 10:06 code
drwxr-xr-x 3 bealers staff 102 9 Nov 10:06 etc
-rw-r--r--@ 1 bealers staff 118152 9 Nov 10:08 it-works.png
drwxr-xr-x 5 bealers staff 170 9 Nov 10:03 vagrant
-rwxr-xr-x 1 bealers staff 1315849 9 Nov 10:06 wp-cli
$ cd vagrant/
$ ls -l
-rw-r--r--@ 1 bealers staff 1661 9 Nov 09:41 Vagrantfile
-rwxr-xr-x@ 1 bealers staff 3836 9 Nov 10:06 provision.sh
The code folder contains all the WordPress files. You can edit these directly and refresh that page to see your changes instantly.
Staying in the vagrant folder, we’ll now SSH to the machine and have a quick poke around.
$ vagrant ssh
Welcome to Ubuntu 14.04.1 LTS (GNU/Linux 3.13.0-39-generic x86_64)
* Documentation: https://help.ubuntu.com/
System information as of Sun Nov 9 10:03:38 UTC 2014
System load: 1.35 Processes: 102
Usage of /: 2.7% of 39.34GB Users logged in: 0
Memory usage: 16% IP address for eth0: 10.0.2.15
Swap usage: 0%
Graph this data and manage this system at:
https://landscape.canonical.com/
Get cloud support with Ubuntu Advantage Cloud Guest:
http://www.ubuntu.com/business/services/cloud
0 packages can be updated.
0 updates are security updates.
vagrant@bealers-24ways:~$
You’re now logged in as the Vagrant user; if you want to become root this is easy:
vagrant@bealers-24ways:~$ sudo su -
root@bealers-24ways:~#
Or you could become the webserver user, which is a good idea if you’re editing the web files directly on the server:
root@bealers-24ways:~# su - www-data
www-data@bealers-24ways:~$
www-data’s home directory is /var/www so we should be able to see our magically mapped files:
www-data@bealers-24ways:~$ ls -l
total 4
drwxr-xr-x 1 www-data www-data 306 Nov 9 10:09 24ways
drwxr-xr-x 2 root root 4096 Nov 9 10:05 html
www-data@bealers-24ways:~$ cd 24ways/
www-data@bealers-24ways:~/24ways$ ls -l
total 1420
-rw-r--r-- 1 www-data www-data 13682 Nov 9 10:19 bealers-24ways.md
drwxr-xr-x 1 www-data www-data 714 Nov 9 10:06 code
drwxr-xr-x 1 www-data www-data 102 Nov 9 10:06 etc
-rw-r--r-- 1 www-data www-data 118152 Nov 9 10:08 it-works.png
drwxr-xr-x 1 www-data www-data 170 Nov 9 10:03 vagrant
-rwxr-xr-x 1 www-data www-data 1315849 Nov 9 10:06 wp-cli
We can also see some of our bespoke configurations:
www-data@bealers-24ways:~/24ways$ cat /etc/php5/mods-available/siftware.ini
upload_max_filesize = 15M
log_errors = On
display_errors = On
display_startup_errors = On
error_log = /var/log/apache2/php.log
memory_limit = 1024M
date.timezone = Europe/London
www-data@bealers-24ways:~/24ways$ ls -l /etc/apache2/sites-enabled/
total 0
lrwxrwxrwx 1 root root 43 Nov 9 10:06 bealers-24ways.dev.conf -> /var/www/24ways/etc/bealers-24ways.dev.conf
If you want to leave the server, simply type Ctrl+D a few times and you’ll be back where you started.
www-data@bealers-24ways:~/24ways$ logout
root@bealers-24ways:~# logout
vagrant@bealers-24ways:~$ logout
Connection to 127.0.0.1 closed.
$
You can now halt the machine:
$ vagrant halt
==> www: Attempting graceful shutdown of VM...
==> www: Removing hosts
Bonus level
The example I’ve provided isn’t very realistic. In the real world I’d expect the Vagrant file and provisioner to be included with the project and for it not to create the directory structure, which should already exist in your project. The same goes for the Apache VirtualHost file. You’ll also probably have a default SQL script to populate the database.
As you work with Vagrant you might start to find bash provisioning to be quite limiting, especially if you are working on larger projects which use more than one server. In that case I would suggest you take a look at Ansible, Puppet or Chef. We use Ansible because we like YAML but they all do the same sort of thing. The main benefit is being able to use the same Vagrant provisioning scripts to also provision test, staging and production environments using your build workflows.
Having to supply a password so the hosts file can be updated gets annoying very quicky so you can give Vagrant sudo rights:
$ sudo visudo
Add these lines to the bottom (Shift+G then i then Ctrl+V then Esc then :wq)
Cmnd_Alias VAGRANT_HOSTS_ADD = /bin/sh -c echo ""*"" >> /etc/hosts
Cmnd_Alias VAGRANT_HOSTS_REMOVE = /usr/bin/sed -i -e /*/ d /etc/hosts
%staff ALL=(root) NOPASSWD: VAGRANT_HOSTS_ADD, VAGRANT_HOSTS_REMOVE
Vagrant caches the operating system images that you download but it’ll download the installed software packages every time. You can get around this by using a plugin like vagrant-cachier or, if you’re really keen, maintain local Apt repositories (or whatever the equivalent is for your server architecture).
At some point you might start getting a large number of virtual machines running on your poor hardware all at the same time, especially if you’re switching between projects a lot and each of those projects use lots of servers. We’re just getting to that stage now, so are considering a medium-term move to a containerised option like Docker, which seems to be maturing now.
If you are keen not to use any command line tools whatsoever and you’re on OS X then you could check out Vagrant Manager as it looks quite shiny.
Finally, there are a huge amount of resources to give you pre-built Vagrant machines from the likes of VVV for Wordpress, something similar for Perch, PuPHPet for generating various configurations, and a long list of pre-built operating systems at VagrantBox.es.
Wrapping up
Hopefully you can now see why it might be worthwhile to add Vagrant to your development workflow. Whether you’re an agency drafting in freelancers or a one-person band running lots of sites on your laptop using MAMP or something similar.
Vagrant makes it easy to launch exact copies of the same machine in a repeatable and version controlled way. The learning curve isn’t too steep and, once configured, you can forget about it and focus on getting your work done.",2014,Darren Beale,darrenbeale,2014-12-05T00:00:00+00:00,https://24ways.org/2014/what-is-vagrant-and-why-should-i-care/,process
5,Managing a Mind,"On 21 May 2013, I woke in a hospital bed feeling exhausted, disorientated and ashamed. The day before, I had tried to kill myself.
It’s very hard to write about this and share it. It feels like I’m opening up the deepest recesses of my soul and laying everything bare, but I think it’s important we share this as a community. Since starting tentatively to write about my experience, I’ve had many conversations about this: sharing with others; others sharing with me. I’ve been surprised to discover how many people are suffering similarly, thinking that they’re alone. They’re not.
Due to an insane schedule of teaching, writing, speaking, designing and just generally trying to keep up, I reached a point where my buffers completely overflowed. I was working so hard on so many things that I was struggling to maintain control. I was living life on fast-forward and my grasp on everything was slowly slipping.
On that day, I reached a low point – the lowest point of my life – and in that moment I could see only one way out. I surrendered. I can’t really describe that moment. I’m still grappling with it. All I know is that I couldn’t take it any more and I gave up.
I very nearly died.
I’m very fortunate to have survived. I was admitted to hospital, taken there unconscious in an ambulance. On waking, I felt overwhelmed with shame and overcome with remorse, but I was resolved to grasp the situation and address it. The experience has forced me to confront a great deal of issues in my life; it has also encouraged me to seek a deeper understanding of my situation and, in particular, the mechanics of the mind.
The relentless pace of change
We work in a fast-paced industry: few others, if any, confront the daily challenges we face. The landscape we work within is characterised by constant flux. It’s changing and evolving at a rate we have never experienced before. Few industries reinvent themselves yearly, monthly, weekly… Ours is one of these industries. Technology accelerates at an alarming rate and keeping abreast of this change is challenging, to say the least.
As designers it can be difficult to maintain a knowledge bank that is relevant and fit for purpose. We’re on a constant rollercoaster of endless learning, trying to maintain the pace as, daily, new ideas and innovations emerge — in some cases fundamentally changing our medium.
Under the pressure of client work or product design and development, it can be difficult to find the time to focus on learning the new skills we need to remain relevant and functionally competent. The result, all too often, is that the edges of our days have eroded. We no longer work nine to five; instead we work eight to six, and after the working day is over we regroup to spend our evenings learning. It’s an unsustainable situation.
From the workshop to the web
Added to this pressure to keep up, our work is now undertaken under a global gaze, conducted under an ever-present spotlight. Tools like Dribbble, Twitter and others, while incredibly powerful, have an unfortunate side effect, that of unfolding your ideas in public. This shift, from workshop to web, brings with it additional pressure.
In the past, the early stages of creativity took place within the relative safety of the workshop, an environment where one could take risks and gather feedback from a trusted few. We had space to make and space to break. No more. Our industry’s focus (and society’s focus) on sharing, leads us now to play out our decisions in public. This shift has changed us culturally, slowly but surely easing every aspect of our process – and lives – from private to public. This is at once liberating and debilitating.
If you’re not careful, an addiction to followers, likes, retweets, page views and other forms of measurement can overwhelm you. When you release your work into the wild and all it’s greeted with is silence, it can cripple you.
Reflecting on this, in an insightful article titled Derailed, Rogie King asks, “Can social popularity take us off the course of growth and where we were intended to go?” He makes a powerful point, that perhaps we might focus on what really matters, setting aside statistics. He concludes that to grow as practitioners we might be best served by seeking out critique through other avenues, away from the social spotlight.
On status anxiety and impostor syndrome
Following my experience I embarked on a period of self-reflection. I wanted to discover what had driven me to take the course of action I had. I wanted to ensure it never happened again. I wanted to understand how the mind works and, in so doing, learn a little more about myself.
I’ve only begun this journey, but two things I discovered resonated with me: the twin pressures of status anxiety and impostor syndrome.
In his excellent book Status Anxiety, the philosopher Alain de Botton explores a growing concern with status anxiety, a worry about how others perceive us and how this shapes our relationship with the world. He states:
We all worry about what others think of us. We all long to succeed and fear failure. We all suffer – to a greater or lesser degree, usually privately and with embarrassment – from status anxiety. […] This is an almost universal anxiety that rarely gets mentioned directly: an anxiety about what others think of us; about whether we’re judged a success or a failure, a winner or a loser.
We see these pressures played out and amplified in the social sphere we all inhabit. We are social animals and we cannot help but react to the landscape we live and work within. Even if your work receives the public praise you so secretly desire, you find yourself questioning this praise.
A psychological phenomenon in which sufferers are unable to internalise their accomplishments, impostor syndrome is far more widespread than you’d imagine. The author Leigh Buchanan describes it as “A fear that one is not as smart or capable as others think.” As she puts it, “People who feel like frauds chalk up their accomplishments to external factors such as luck and timing, or worry they are coasting on charm and personality rather than on talent.”
At the bottom, this was all I could see. I felt overwhelmed by others’ perception of me. Was I a success or a failure? Would I be discovered as the fraud I’d convinced myself that I was? These twin pressures – that I was unconscious of at the time – had lead me to a place of crippling self-doubt, questioning my very existence.
The act of discovery, of investigating how the mind functions, led me to a deeper understanding of myself. Developing an awareness of psychology and learning about conditions like status anxiety and impostor syndrome helped me to understand and recognise how my mind worked, enabling me to manage it more effectively.
Make it count
Reflecting upon my experience, I began to regroup, to focus on what really mattered. I’d taken on too much — as I believe many of us do. I was guilty of wanting to do all the things. I started to introduce pauses. Before blindly saying yes to everything, I forced myself to pause and ask: “Is this important?”
Our community offers us huge benefits, but an always-on culture in which we’re bombarded daily by opportunity places temptation in our paths. It’s easy to get sucked in to a vortex of wanting to be a part of everything. It’s important, however, to focus. As Simon Collison puts it:
I cull and surrender topics. Then I focus on my strengths, mastering my core skills.
We only have so much time and we can only do so much. It’s impossible, indeed futile, to try to do everything. Sometimes we need to step back a little and just enjoy life, enjoy others’ achievements, without feeling the need to be actively involved ourselves.
As Mahatma Ghandi put it:
A ‘no’ uttered from deepest conviction is better and greater than a ‘yes’ merely uttered to please, or what is worse, to avoid trouble.
Young India, volume 9, 1927
We need to learn to say no a little more often. We need to focus on the work that matters. This, coupled with an understanding of the mind and how it works, can help us achieve a happier balance between work and life.
Don’t waste your time. You only have one life. Make it count.",2013,Christopher Murphy,christophermurphy,2013-12-21T00:00:00+00:00,https://24ways.org/2013/managing-a-mind/,process
259,Designing Your Future,"I’ve had the pleasure of working for a variety of clients – both large and small – over the last 25 years. In addition to my work as a design consultant, I’ve worked as an educator, leading the Interaction Design team at Belfast School of Art, for the last 15 years.
In July, 2018 – frustrated with formal education, not least the ever-present hand of ‘austerity’ that has ravaged universities in the UK for almost a decade – I formally reduced my teaching commitment, moving from a full-time role to a half-time role.
Making the move from a (healthy!) monthly salary towards a position as a freelance consultant is not without its challenges: one month your salary’s arriving in your bank account (and promptly disappearing to pay all of your bills); the next month, that salary’s been drastically reduced. That can be a shock to the system.
In this article, I’ll explore the challenges encountered when taking a life-changing leap of faith. To help you confront ‘the fear’ – the nervousness, the sleepless nights and the ever-present worry about paying the bills – I’ll provide a set of tools that will enable you to take a leap of faith and pursue what deep down drives you.
In short: I’ll bare my soul and share everything I’m currently working on to – once and for all – make a final bid for freedom.
This isn’t easy. I’m sharing my innermost hopes and aspirations, and I might open myself up to ridicule, but I believe that by doing so, I might help others, by providing them with tools to help them make their own leap of faith.
The power of visualisation
As designers we have skills that we use day in, day out to imagine future possibilities, which we then give form. In our day-to-day work, we use those abilities to design products and services, but I also believe we can use those skills to design something every bit as important: ourselves.
In this article I’ll explore three tools that you can use to design your future:
Product DNA
Artefacts From the Future
Tomorrow Clients
Each of these tools is designed to help you visualise your future. By giving that future form, and providing a concrete goal to aim for, you put the pieces in place to make that future a reality.
Brian Eno – the noted musician, producer and thinker – states, “Humans are capable of a unique trick: creating realities by first imagining them, by experiencing them in their minds.” Eno helpfully provides a powerful example:
When Martin Luther King said, “I have a dream,” he was inviting others to dream that dream with him. Once a dream becomes shared in that way, current reality gets measured against it and then modified towards it.
The dream becomes an invisible force which pulls us forward. By this process it starts to come true. The act of imagining something makes it real.
When you imagine your future – designing an alternate, imagined reality in your mind – you begin the process of making that future real.
Product DNA
The first tool, which I use regularly – for myself and for client work – is a tool called Product DNA. The intention of this tool is to identify beacons from which you can learn, helping you to visualise your future.
We all have heroes – individuals or organisations – that we look up to. Ask yourself, “Who are your heroes?” If you had to pick three, who would they be and what could you learn from them? (You probably have more than three, but distilling down to three is an exercise in itself.)
Earlier this year, when I was putting the pieces in place for a change in career direction, I started with my heroes. I chose three individuals that inspired me:
Alan Moore: the author of ‘Do Design: Why Beauty is Key to Everything’;
Mark Shayler: the founder of Ape, a strategic consultancy; and
Seth Godin: a writer and educator I’ve admired and followed for many years.
Looking at each of these individuals, I ‘borrowed’ a little DNA from each of them. That DNA helped me to paint a picture of the kind of work I wanted to do and the direction I wanted to travel.
Moore’s book - ‘Do Design’ – had a powerful influence on me, but the primary inspiration I drew from him was the sense of gravitas he conveyed in his work. Moore’s mission is an important one and he conveys that with an appropriate weight of expression.
Shayler’s work appealed to me for its focus on equipping big businesses with a startup mindset. As he puts it: “I believe that you can do the things that you do better.” That sense – of helping others to be their best selves – appealed to me.
Finally, the words Godin uses to describe himself – “An Author, Entrepreneur and Most of All, a Teacher” – resonated with me. The way he positions himself, as, “most of all, a teacher,” gave me the belief I needed that I could work as an educator, but beyond the ivory tower of academia.
I’ve been exploring each of these individuals in depth, learning from them and applying what I learn to my practice. They don’t all know it, but they are all ‘mentors from afar’.
In a moment of serendipity – and largely, I believe, because I’d used this tool to explore his work – I was recently invited by Alan Moore to help him develop a leadership programme built around his book.
The key lesson here is that not only has this exercise helped me to design my future and give it tangible form, it’s also led to a fantastic opportunity to work with Alan Moore, a thinker who I respect greatly.
Artefacts From the Future
The second tool, which I also use regularly, is a tool called ‘Artefacts From the Future’. These artefacts – especially when designed as ‘finished’ pieces – are useful for creating provocations to help you see the future more clearly.
‘Artefacts From the Future’ can take many forms: they might be imagined magazine articles, news items, or other manifestations of success. By imagining these end points and giving them form, you clarify your goals, establishing something concrete to aim for.
Earlier this year I revisited this tool to create a provocation for myself. I’d just finished Alla Kholmatova’s excellent book on ‘Design Systems’, which I would recommend highly. The book wasn’t just filled with valuable insights, it was also beautifully designed.
Once I’d finished reading Kholmatova’s book, I started thinking: “Perhaps it’s time for me to write a new book?” Using the magic of ‘Inspect Element’, I created a fictitious page for a new book I wanted to write: ‘Designing Delightful Experiences’.
I wrote a description for the book, considering how I’d pitch it.
This imagined page was just what I needed to paint a picture in my mind of a possible new book. I contacted the team at Smashing Magazine and pitched the idea to them. I’m happy to say that I’m now working on that book, which is due to be published in 2019.
Without this fictional promotional page from the future, the book would have remained as an idea – loosely defined – rolling around my mind. By spending some time, turning that idea into something ‘real’, I had everything I needed to tell the story of the book, sharing it with the publishing team at Smashing Magazine.
Of course, they could have politely informed me that they weren’t interested, but I’d have lost nothing – truly – in the process.
As designers, creating these imaginary ‘Artefacts From the Future’ is firmly within our grasp. All we need to do is let go a little and allow our imaginations to wander.
In my experience, working with clients and – to a lesser extent, students – it’s the ‘letting go’ part that’s the hard part. It can be difficult to let down your guard and share a weighty goal, but I’d encourage you to do so. At the end of the day, you have nothing to lose.
The key lesson here is that your ‘Artefacts From the Future’ will focus your mind. They’ll transform your unformed ideas into ‘tangible evidence’ of future possibilities, which you can use as discussion points and provocations, helping you to shape your future reality.
Tomorrow Clients
The third tool, which I developed more recently, is a tool called ‘Tomorrow Clients’. This tool is designed to help you identify a list of clients that you aspire to work with.
The goal is to pinpoint who you would like to work with – in an ideal world – and define how you’d position yourself to win them over. Again, this involves ‘letting go’ and allowing your mind to imagine the possibilities, asking, “What if…?”
Before I embarked upon the design of my new website, I put together a ‘soul searching’ document that acted as a focal point for my thinking. I contacted a number of designers for a second opinion to see if my thinking was sound.
One of my graduates – Chris Armstrong, the founder of Niice – replied with the following: “Might it be useful to consider five to ten companies you’d love to work for, and consider how you’d pitch yourself to them?”
This was just the provocation I needed. To add a little focus, I reduced the list to three, asking: “Who would my top three clients be?”
By distilling the list down I focused on who I’d like to work for and how I’d position myself to entice them to work with me. My list included: IDEO, Adobe and IBM. All are companies I admire and I believed each would be interesting to work for.
This exercise might – on the surface – appear a little like indulging in fantasy, but I believe it helps you to clarify exactly what it is you are good at and, just as importantly, put that in to words.
For each company, I wrote a short pitch outlining why I admired them and what I thought I could add to their already existing skillset.
Focusing first on Adobe, I suggested establishing an emphasis on educational resources, designed to help those using Adobe’s creative tools to get the most out of them.
A few weeks ago, I signed a contract with the team working on Adobe XD to create a series of ‘capsule courses’, focused on UX design. The first of these courses – exploring UI design – will be out in 2019.
I believe that Armstrong’s provocation – asking me to shift my focus from clients I have worked for in the past to clients I aspire to work for in the future – made all the difference.
The key lesson here is that this exercise encouraged me to raise the bar and look to the future, not the past. In short, it enabled me to proactively design my future.
In closing…
I hope these three tools will prove a welcome addition to your toolset. I use them when working with clients, I also use them when working with myself.
I passionately believe that you can design your future. I also firmly believe that you’re more likely to make that future a reality if you put some thought into defining what it looks like.
As I say to my students and the clients I work with: It’s not enough to want to be a success, the word ‘success’ is too vague to be a destination. A far better approach is to define exactly what success looks like.
The secret is to visualise your future in as much detail as possible. With that future vision in hand as a map, you give yourself something tangible to translate into a reality.",2018,Christopher Murphy,christophermurphy,2018-12-15T00:00:00+00:00,https://24ways.org/2018/designing-your-future/,process
301,Stretching Time,"Time is valuable. It’s a precious commodity that, if we’re not too careful, can slip effortlessly through our fingers. When we think about the resources at our disposal we’re often guilty of forgetting the most valuable resource we have to hand: time.
We are all given an allocation of time from the time bank. 86,400 seconds a day to be precise, not a second more, not a second less.
It doesn’t matter if we’re rich or we’re poor, no one can buy more time (and no one can save it). We are all, in this regard, equals. We all have the same opportunity to spend our time and use it to maximum effect. As such, we need to use our time wisely.
I believe we can ‘stretch’ time, ensuring we make the most of every second and maximising the opportunities that time affords us.
Through a combination of ‘Structured Procrastination’ and ‘Focused Finishing’ we can open our eyes to all of the opportunities in the world around us, whilst ensuring that we deliver our best work precisely when it’s required. A win win, I’m sure you’ll agree.
Structured Procrastination
I’m a terrible procrastinator. I used to think that was a curse – “Why didn’t I just get started earlier?” – over time, however, I’ve started to see procrastination as a valuable tool if it is used in a structured manner.
Don Norman refers to procrastination as ‘late binding’ (a term I’ve happily hijacked). As he argues, in Why Procrastination Is Good, late binding (delay, or procrastination) offers many benefits:
Delaying decisions until the time for action is beneficial… it provides the maximum amount of time to think, plan, and determine alternatives.
We live in a world that is constantly changing and evolving, as such the best time to execute is often ‘just in time’. By delaying decisions until the last possible moment we can arrive at solutions that address the current reality more effectively, resulting in better outcomes.
Procrastination isn’t just useful from a project management perspective, however. It can also be useful for allowing your mind the space to wander, make new discoveries and find creative connections. By embracing structured procrastination we can ‘prime the brain’.
As James Webb Young argues, in A Technique for Producing Ideas, all ideas are made of other ideas and the more we fill our minds with other stimuli, the greater the number of creative opportunities we can uncover and bring to life.
By late binding, and availing of a lack of time pressure, you allow the mind space to breathe, enabling you to uncover elements that are important to the problem you’re working on and, perhaps, discover other elements that will serve you well in future tasks.
When setting forth upon the process of writing this article I consciously set aside time to explore. I allowed myself the opportunity to read, taking in new material, safe in the knowledge that what I discovered – if not useful for this article – would serve me well in the future.
Ron Burgundy summarises this neatly:
Procrastinator? No. I just wait until the last second to do my work because I will be older, therefore wiser.
An ‘older, therefore wiser’ mind is a good thing. We’re incredibly fortunate to live in a world where we have a wealth of information at our fingertips. Don’t waste the opportunity to learn, rather embrace that opportunity. Make the most of every second to fill your mind with new material, the rewards will be ample.
Deadlines are deadlines, however, and deadlines offer us the opportunity to focus our minds, bringing together the pieces of the puzzle we found during our structured procrastination.
Like everyone I’ll hear a tiny, but insistent voice in my head that starts to rise when the deadline is approaching. The older you get, the closer to the deadline that voice starts to chirp up.
At this point we need to focus.
Focused Finishing
We live in an age of constant distraction. Smartphones are both a blessing and a curse, they keep us connected, but if we’re not careful the constant connection they provide can interrupt our flow.
When a deadline is accelerating towards us it’s important to set aside the distractions and carve out a space where we can work in a clear and focused manner.
When it’s time to finish, it’s important to avoid context switching and focus. All those micro-interactions throughout the day – triaging your emails, checking social media and browsing the web – can get in the way of you hitting your deadline. At this point, they’re distractions.
Chunking tasks and managing when they’re scheduled can improve your productivity by a surprising order of magnitude. At this point it’s important to remove distractions which result in ‘attention residue’, where your mind is unable to focus on the current task, due to the mental residue of other, unrelated tasks.
By focusing on a single task in a focused manner, it’s possible to minimise the negative impact of attention residue, allowing you to maximise your performance on the task at hand.
Cal Newport explores this in his excellent book, Deep Work, which I would highly recommend reading. As he puts it:
Efforts to deepen your focus will struggle if you don’t simultaneously wean your mind from a dependence on distraction.
To help you focus on finishing it’s helpful to set up a work-focused environment that is purposefully free from distractions. There’s a time and a place for structured procrastination, but – equally – there’s a time and a place for focused finishing.
The French term ‘mise en place’ is drawn from the world of fine cuisine – I discovered it when I was procrastinating – and it’s applicable in this context. The term translates as ‘putting in place’ or ‘everything in its place’ and it refers to the process of getting the workplace ready before cooking.
Just like a professional chef organises their utensils and arranges their ingredients, so too can you.
Thanks to the magic of multiple users on computers, it’s possible to create a separate user on your computer – without access to email and other social tools – so that you can switch to that account when you need to focus and hit the deadline.
Another, less technical way of achieving the same result – depending, of course, upon your line of work – is to close your computer and find some non-digital, unconnected space to work in.
The goal is to carve out time to focus so you can finish. As Newport states:
If you don’t produce, you won’t thrive – no matter how skilled or talented you are.
Procrastination is fine, but only if it’s accompanied by finishing. Create the space to finish and you’ll enjoy the best of both worlds.
In closing…
There is a time and a place for everything: there is a time to procrastinate, and a time to focus. To truly reap the rewards of time, the mind needs both.
By combining the processes of ‘Structured Procrastination’ and ‘Focused Finishing’ we can make the most of our 86,400 seconds a day, ensuring we are constantly primed to make new discoveries, but just as importantly, ensuring we hit the all-important deadlines.
Make the most of your time, you only get so much. Use every second productively and you’ll be thankful that you did. Don’t waste your time, once it’s gone, it’s gone… and you can never get it back.",2016,Christopher Murphy,christophermurphy,2016-12-21T00:00:00+00:00,https://24ways.org/2016/stretching-time/,process
45,Is Agile Harder for Agencies?,"I once sat in a pitch meeting and watched a new business exec tell a potential client that his agency followed an agile workflow process at all times. The potential client nodded wisely, and they both agreed that agile was indeed the way to go.
The meeting progressed and they signed off on a contract for a massive project, to be delivered in a standard waterfall fashion, with all manner of phases and key deliverables.
Of course both of them left the meeting perfectly happy, because neither of them knew nor cared what an agile workflow process might be.
That was about five years ago. As 2015 heaves into view I think it’s fair to say that attitudes have changed. Perhaps the same number of people claim to do Agile™ now as in 2010, but I think more of them are telling the truth.
As a developer in an agency that works primarily with larger organisations, this year I have started to see a shift from agencies pushing agile methodologies with their clients, to clients requesting and even demanding agile practices from their agencies. Only a couple of years ago this would have been unusual behaviour.
So what’s the problem?
We should be happy then, no? Those of us in agencies will get to spend more time delivering great products, and less time arguing over out-of-date functional specs or battling through an adversarial change management procedure because somebody had a good idea during development rather than planning. We get to be a little bit more like our brothers and sisters in vaunted teams like the Government Digital Service, which is using agile approaches to great effect on projects that have a real benefit to their users.
Almost. Unfortunately, it seems to be the case that adhering to an agile framework such as scrum is more difficult within an agency/client structure than it is for an in-house development team.
This is no surprise. The Agile Manifesto was written in 2001 by a group of software developers for their own use. Many of the underlying principles of a framework like Scrum assume the existence of an in-house team, working on a highly technical project, and working for the business that employs them. The agency/client model must to some extent be retrofitted into agile frameworks. It can be done though, and there are plenty of agencies out there doing it well.
This article isn’t meant to be another introduction to agile techniques – there are too many of those online already. This article is for people just dipping their toes into this way of working. I’ve laid out a few of the key reasons why adopting a more fully agile approach seems difficult, at least initially, for those of us working in agencies.
1. Agile asks more of your clients
When a team adopts Scrum everyone has to get used to a number of unfamiliar roles and rituals. Few team members have a steeper learning curve than the person designated as the product owner.
The product owner carries a lot of weight on their shoulders. They have to uphold the overall vision for the project. They are also meant to be the primary author of the project’s user stories (short atomic descriptions of project features which are testable and relate to a real business need). They should own this list of stories (called a backlog) and should be able to prioritise the order in which the stories are developed, to ensure that the project is delivering real value to the business early and often.
When a burst of work is completed (bursts of work in Scrum are called sprints), the product owner leads a review or show-and-tell session with the wider project stakeholders. The product owner needs to understand the work that has been completed, and must champion it to the business. Finally, and most importantly, the product owner is responsible for managing the feedback and requests from stakeholders in such a way that they don’t derail the project team’s agreed workload for any given sprint, without upsetting or offending any of the stakeholders – some of whom may outrank the product owner.
If you follow that spec, this is a job for a superhuman in any organisational context. And within the agency/client structure this superhuman needs to be client-side for the process to be at its most effective.
So your client, who in the past might have briefed a project to an agency team and then had the work presented back to them every few weeks, is now asked to be involved with the team on a daily basis; to fight on behalf of the team when new or difficult requests come in from senior figures within their organisation; and to present the agency’s work to their own colleagues after each sprint. It’s a big change if all that gets dropped into someone’s lap without warning.
There are several ways agencies can mitigate this issue. The ScrumAlliance suggests some alternative ways to structure the product owner role. The approach I have taken in the past is simply to start slow, and gradually move more of the product owner role over to the client side as and when they feel comfortable with it. If you’re working together long-term on a project, and you both see tangible improvements in the quality of the work after adopting an agile process, then your client is more likely to be open to further changes as the partnership progresses.
2. My client wants fixed costs, fixed deadlines and a fixed scope
I know. Mine too. Of course they do – it is the way that agencies and clients have agreed to work in digital and other creative service industries for a very long time. On both sides of the fence we’re used to thinking about projects in this way.
Of the three, fixing scope is the one that agile purists would rail hardest against. The more time we spend working on digital projects, the less sense it makes. James Archer, CEO of UI/UX design agency Forty puts it like this:
For me, the Agile approach is really about acknowledging that disturbing truth that every project manager knows, but has trouble admitting. The truth that the project plan is wrong. Scope creep. Change orders. Shifting priorities. New directions. We act shocked and appalled when those things happen during our carefully planned project, even though they happen on every project ever.
Successful relationships require trust and honesty, and we shouldn’t be afraid of discussing this aspect of project management. If you do move away from a fixed scope of work, then the other two items (costs and timings) can be fixed – more or less. If you can get your clients to buy into this from a standing start then you are doing well. In fact you probably deserve a promotion. For most of us this is a continual discussion.
Anyway, as soon as you’ve made headway on the argument that it makes little or no sense to try and fix the scope of a digital project, you usually run into a related concern, which we’ll look at next.
3. Fear of uncontrolled costs
We all know that a dog is for life, not just for Christmas. At this time of year perhaps we should reiterate to everyone that digital products and services also need support and love once we have taken the decision to bring them into the world.
More organisations are realising that their investment in digital platforms should be viewed as an operational expenditure rather than a capital expenditure. But from time to time we will find ourselves working on projects for people who have a finite amount of money to invest in a product at a given point in time. When agencies start talking about these projects as rolling investments those responsible can understandably worry about their costs running out of control.
There’s another factor at play here. Agile, on the whole, prefers to derive a cost for services from the hours a team spends working on a project. In other industries this is referred to as charging for time and materials, and there seems to be an ingrained distrust in this approach among people in general. See, for example, the Citizens Advice Bureau’s “Top tips for employing a builder”:
“Bear in mind that if you pay a daily rate, this makes it easier for a builder to string the work out and get more money so agree what you will do if the job takes longer than expected.”
It’s hard not to feel stung if you are in the builder’s shoes here, as we are when we’re talking about our role as an agency. But if you’ve ever haggled with a builder over time and materials, and also moaned about your clients misunderstanding agile methods, take a moment to reflect on the similarities from your client’s point of view.
Again, there are some things we can do to mitigate this issue. Some agencies put in place a service level agreement around their team’s velocity (an agile-related term related to how much work a team delivers in any given sprint) and this can help.
As the industry moves further towards a long-term approach to investment in digital I hope this fear will subside. But that shift in approach leads to the final concern I want to address.
4. Agency structures need shaking up
If you work for a company that has spent many years developing a business model around the waterfall process, you may have to break through many layers of entrenched thinking in order to establish new practices and effect organisational change.
There are consultancies that exist specifically to help agencies through their own agile transformation. One of these companies, AgencyAgile, provides a helpful list of common pitfalls. They emphasise the need to look at your whole agency’s structure, rather than simply encouraging project teams to adopt new workflows.
Even awesomely run Agile projects can have a limited impact on the overall organization.
If you’re serious about changing the way your company approaches projects then try talking to people who sit outside the usual project delivery team. Speak to the finance department if you have one, and try to convince your senior management team if they’re not already on board. And definitely speak to your new business people, who go out there and win the projects you get to work on.
It’s these people who need to understand the potential business benefits of working in a new way, and also which of their existing habits and behaviours they might need to change to accommodate a new approach.
Otherwise you’ll find yourself with a team of designers, developers and project managers who are ready and waiting to deliver work in an iterative and collaborative way, but by the time they get hold of the project a cost has already been agreed, a deadline has been imposed, and a functional requirements document has been painstakingly put together. Nobody wins in this situation.
Conclusion
So where should we go from here? I certainly don’t have hard and fast answers – I’m not sure that they exist in a one-size-fits-all approach for agencies.
There are plenty of smart people thinking about this problem. It’s a hot topic right now. Earlier in the year a London-based meetup was established called Agile for Agencies. If you’re in the capital and want to discuss these issues with your peers it’s a great opportunity to do so.
I’ve mentioned James Archer and Forty already. Both James and Paul Boag have written in the last twelve months on this subject. They both come out on the side of the argument that suggests you adopt agile principles, but don’t have to worry about the rituals if they don’t fit in with your practices.
Personally, I think the rituals and the discipline mandated by an agile framework like Scrum can provide a great deal of value to your team, even it if is hard to implement within an agency culture that has traditionally structured its work and its services in another way.
In whatever way you figure out the details, when your teams collaborate with your clients rather than work for them at arm’s length, and when everyone prioritises frequent delivery, reflection and iteration over exhaustive scoping and planning, I believe you’ll see a tangible difference in the quality of the work that you create.",2014,Charlie Perrins,charlieperrins,2014-12-12T00:00:00+00:00,https://24ways.org/2014/is-agile-harder-for-agencies/,process
3,Project Hubs: A Home Base for Design Projects,"SCENE: A design review meeting. Laptop screens. Coffee cups.
Project manager: Hey, did you get my email with the assets we’ll be discussing?
Client: I got an email from you, but it looks like there’s no attachment.
PM: Whoops! OK. I’m resending the files with the attachments. Check again?
Client: OK, I see them. It’s homepage_v3_brian-edits_FINAL_for-review.pdf, right?
PM: Yeah, that’s the one.
Client: OK, hang on, Bill’s going to print them out. (3-minute pause. Small talk ensues.)
Client: Alright, Bill’s back. We’re good to start.
Brian: Oh, actually those homepage edits we talked about last time are in the homepage_v4_brian_FINAL_v2.pdf document that I posted to Basecamp earlier today.
Client: Oh, OK. What message thread was that in?
Brian: Uh, I’m pretty sure it’s in “Homepage Edits and Holiday Schedule.”
Client: Alright, I see them. Bill’s going back to the printer. Hang on a sec…
This is only a slightly exaggerated version of my experience in design review meetings.
The design project dance is a sloppy one. It involves a slew of email attachments, PDFs, PSDs, revisions, GitHub repos, staging environments, and more. And while tools like Basecamp can help manage all these moving parts, it can still be incredibly challenging to extract only the important bits, juggle deliverables, and see how your project is progressing.
Enter project hubs.
Project hubs
A project hub consolidates all the key design and development materials onto a single webpage presented in reverse chronological order. The timeline lives online (either publicly available or password protected), so that everyone involved in the team has easy access to it.
A project hub.
I was introduced to project hubs after seeing Dan Mall’s open redesign of Reading Is Fundamental. Thankfully, I had a chance to work with Dan on two projects where I got to see firsthand how beneficial a project hub can be. Here’s what makes a project hub great:
Serves as a centralized home base for the project
Trains clients and teams to decide in the browser
Easily and visually view project’s progress
Provides an archive for project artifacts
A home base
Your clients and colleagues can expect to get the latest and greatest updates to your project when visiting the project hub, the same way you’d expect to get the latest information on a requested topic when you visit a Wikipedia page. That’s the beauty of URIs that don’t change.
Creating a project hub reduces a ton of email volley nonsense, and eliminates the need to produce files and directories with staggeringly ridiculous names like design/12.13.13/team/brian/for_review/_FINAL/styletile_121313_brian-edits-final_v2_FINAL.pdf. The team can simply visit the project hub’s URL and click the link to whatever artifact they need. Need to make an update? Simply update the link on the project hub. No more email tango and silly file names.
Deciding in the browser
Let’s change the phrase “designing in the browser” to “deciding in the browser.”
Dan Mall
We make websites, but all too often we find ourselves looking at web design artifacts in abstractions. We email PDFs to each other, glance at mockup JPGs on our desktops, and of course kill trees in order to print out designs so that we can scribble in the margins. All of these practices subtly take everyone further and further away from the design’s eventual final resting place: the browser.
Because a project hub is just a simple webpage, reviewing designs is as easy as clicking some links, which keep your clients and teams in the browser.
You can keep people in the browser with yet another clever trick from the wily Dan Mall: instead of sending clients PDFs or JPGs, he created a simple webpage and tossed his static visuals into the template (you can view an example here). This forces clients to review web design work in the browser rather than launching a PDF viewer or Preview.
Now this all might sound trivial to you (“Of course my client knows that we’re designing a website!”), but keeping the design artifacts in the browser subconsciously helps remind everyone of the medium for which you’re designing, which helps everyone focus on the right aspects of the design and have the right conversations.
Progress over time
When you’re in the trenches, it’s often hard to visualize how a project is progressing. Tools like Basecamp include discussions, files, to-dos, and more, which are all great tools but also make things a bit noisy. Project hubs provide you and your clients a quick and easy way to see at a glance how things are coming along. Teams can rest assured they’re viewing the most current versions of designs, and managers can share progress with stakeholders simply by providing a link to the project hub.
Over time, a project hub becomes an easily accessible archive of all the design decisions, which makes it easy to compare and contrast different versions of designs and prototypes.
Setting up a project hub
Setting up your own project hub is pretty simple. Simply create a webpage with some basic styles and branding. I’ve created a project hub template that’s available on GitHub if you want a jump-start.
Publish the webpage to a URL somewhere that makes sense (we’ve found that a subdomain of your site works quite well) and share it with everyone involved in the project. Bookmark it. Let everyone know that this is where design updates will be shared, and that they can always come back to the project hub to track the project’s progress.
When it comes time to share new updates, simply add a new node to the timeline and republish the webpage. Simple FTPing works just fine, but it might make sense to keep track of changes using version control. Our project hub for our open redesign of the Pittsburgh Food Bank is managed on GitHub, which means that I can make edits to the hub right from GitHub. Thanks to the magical wizardry of webhooks, I can automatically deploy the project hub so that everything stays in sync. That’s the fancy-pants way to do it, and is certainly not a requirement. As long as you’re able to easily make edits and keep your project hub up to date, you’re good to go.
So that’s the hubbub
Project hubs can help tame the chaos of the design process by providing a home base for all key design and development materials. Keep the design artifacts in the browser and give clients and colleagues quick insight into your project’s progress.
Happy hubbing!",2013,Brad Frost,bradfrost,2013-12-17T00:00:00+00:00,https://24ways.org/2013/project-hubs/,process
85,Starting Your Project on the Right Foot (and Keeping It There),"I’m not sure if anything is as terrifying as beginning a new design project. I often spend hours trying to find the best initial footing in a design, so I’ve been working hard to improve my process, particularly for the earliest stages of a project. I want to smooth out the bumps that disrupt my creative momentum and focus on the emotional highs and lows I experience, and then try to minimize the lows and ride the highs as long as possible.
Design is often a struggle broken up by blissful moments of creative clarity that provide valuable force to move your work forward. Momentum is a powerful tool in creative work, and it’s something we don’t always maximize when we’re working because of the hectic nature of our field. Obviously, every designer is going to have a different process, but I thought I’d share some of the methods I’ve begun to adopt. I hope this will spark a conversation among designers who are interested in looking at process in a new way.
Jump-starting a project
I cannot overstate the importance of immersing yourself in design and collecting ample amounts of inspiration when beginning a project. I make it a daily practice to visit a handful of sites (Dribbble, Graphic Exchange, Web Creme, siteInspire, Designspiration, and others) and save any examples of design that I like. I then sort them into general categories (publication design, illustration, typography, web design, and so on). Enjoying a bit of fresh design every day helps me absorb it and analyze why it’s effective instead of just imitating it.
Many designers are afraid to look at too much design for fear that they’ll be tempted to copy it, but I feel a steady influx of design inspiration reduces that possibility. You’re much more likely to take the easy way out and rip off a design if you’re scrambling for inspiration after getting stuck. If you are immersed in design from a variety of mediums, you’ll engage your creative brain on multiple levels and have an easier time creating something unique for your project. Looking at good design will not make you a good designer but it will make you a better designer.
Design is design
Try not to limit your visual research to the medium you’re working in. Websites, books, posters and packaging all have their own unique limitations and challenges, and any one of those characteristics could be useful to you. Posters need to grab the viewer and pass on a small tidbit of information; packaging needs to encourage physical interaction; and websites need to encourage exploration. If you know the challenges you’ll be facing, you will know where to look for design that tackles those same problems.
I find it refreshing to look at design from the turn of the nineteenth century, when type was laid out on objects without thought to aesthetics. Many vintage packages break all sorts of modern design rules, and looking at that kind of work is a great way to spark your creativity. Pulling yourself out of the box and away from the rules of what you’re working on can reveal solutions that are innovative and unique. After a little finessing, the warning label text from a 1940s hazardous chemical box from could have the exact type and icon arrangement you need for your project. There’s a massive pool of design to pull from that doesn’t have the limitations the web has, and exploring those design worlds will help you grow your own repertoire.
If all else fails, start with the footer
The very beginning of a project is the most frustrating point in a project for me. I’m trying to figure out typeface combinations, colors and the overall voice of the design, and until I find the right solutions, I’m a wreck. I’ve found often that my frustration stems from trying to solve too many problems at once. The beginning of a project has a lot of moving targets, nearly endless possible solutions, and constantly changing variables. You’ll knock out one problem only to discover your solution doesn’t jive with something you worked out earlier — you end up designing in circles.
If you find yourself getting stuck at the beginning of a website design, try working out one specific element of the site and see what emerges. I’m going to recommend the footer. Why? Footers can easily be ignored in a design or become a dumping ground for items that couldn’t be worked into the main layout. But, at the start of most projects, the minimum content requirements for the footer are usually established. There needs to be a certain number of links, social media buttons, copyright details, a search bar, and so on. It’s a self-contained item within the design that has a specific purpose, and that’s a great element to focus on when you’re stuck in a design. Colors, typefaces, link styles, input fields and buttons can all be sketched out from just the footer. It’s a very flexible element that can be as prominent or subtle as you want, and it’s a solid starting point for setting the tone and style of a site.
Save the details
Designers love details. I love details. But don’t let nitpicking early on in your process kill your creative momentum. Design is an emotional process, and being frustrated or defeated by a tricky problem or a graphical detail you just can’t nail down can deflate your creative energies. If you hit a roadblock, set it aside and tackle another piece of the project. As you spend time engaged in a design, the style you develop will evolve according to the needs of the content, and you might arrive naturally at a solution that will work perfectly for the problem that had you stuck before.
If I find myself working on one particular element for more than a half an hour without any clear movement, I shelve it. Designers often wear their obsessive detail-oriented tendencies as a badge of honor, but there’s a difference between making the design better and wasting time. If you’ve spent hours nudging elements around pixel by pixel and can’t settle on something, it probably means what you’re doing isn’t making a huge improvement on the design. Don’t be afraid to let it lie and come at it again with fresh eyes. You will be better equipped to tackle the finer points of a project once you’ve got the broad strokes defined.
Have a plan when you start and stop designing
We all know that creativity isn’t something you can turn on effortlessly, and it’s easy to forget the emotional process that goes along with design. If you leave a project in a place of frustration, it’s going to stay with you in your free time and affect you negatively, like a dark cloud of impending disaster. Try to end each design session with a victory, a small bit of definable progress that you can take with you in your downtime. Even something as small as finding the right opacity for the interior shadow on the search bar in the header of the site is a win. Likewise, when you return to a project after a break, it can be difficult to get the ball rolling on the design again if you set it down without a clear path for the next steps. I find that I work on details best when I’m returning from downtime, when I’m fresh and re-energized and ready to dig in again. Try to pick out at least one element you’d like to fine-tune when you are winding down in a design session and use it to kick-start your next session.
Content is king
I would argue there is nothing more crucial to the success of a design than having the content defined from the outset. Designing without content is similar to designing without an audience, and designing with vague ideas of content types and character limits is going to result in a muted design that doesn’t reach its full potential. Images and language go hand in hand with design, and can take a design from functional to outstanding if you have them available from the outset. We don’t always have the luxury of having content to build a design around, but fight for it whenever you can. For example, if the site you are designing is full of technical jargon, your paragraphs might need a longer line length to accommodate the longer words being used.
Often, working with content will lead to design solutions you wouldn’t have come to otherwise. Design speaks to content, and content speaks to design. Lorem ipsum doesn’t speak to anyone (unless you know Latin, in which case, congratulations!).
Every project has its own set of needs, and every designer has his or her own method of working. There’s obviously no perfect process to design, and being dogmatic about process can be just as harmful as not having one. Exposing yourself to new design and new ways of designing is an easy way to test your skills and grow. When things are hard and you can’t get any momentum going on a design, this is when your skill set is truly challenged. We all hope to get wonderful projects with great assets and ample creative possibilities, but you won’t always be so blessed, and this is when the quality of your process is really going to shine.",2012,Bethany Heck,bethanyheck,2012-12-02T00:00:00+00:00,https://24ways.org/2012/starting-your-project-on-the-right-foot/,process
272,Crafting the Front-end,"Much has been spoken and written recently about the virtues of craftsmanship in the context of web design and development. It seems that we as fabricators of the web are finally tiring of seeking out parallels between ourselves and architects, and are turning instead to the fabled specialist artisans.
Identifying oneself as a craftsman or craftswoman (let’s just say craftsperson from here onward) will likely be a trend of early 2012. In this pre-emptive strike, I’d like to expound on this movement as I feel it pertains to front-end development, and encourage care and understanding of the true qualities of craftsmanship (craftspersonship).
The core values
I’ll begin by defining craftspersonship. What distinguishes a craftsperson from a technician? Dictionaries tend to define a craftsperson as one who possesses great skill in a chosen field. The badge of a craftsperson for me, though, is a very special label that should be revered and used sparingly, only where it is truly deserved. A genuine craftsperson encompasses a few other key traits, far beyond raw skill, each of which must be learned and mastered.
A craftsperson has:
An appreciation of good work, in both the work of others and their own. And not just good as in ‘hey, that’s pretty neat’, I mean a goodness like a shining purity – the kind of good that feels right when you see it.
A belief in quality at every level: every facet of the craftsperson’s product is as crucial as any other, without exception, even those normally hidden from view.
Vision: an ability to visualize their path ahead, pre-empting the obstacles that may be encountered to plan a route around them.
A preference for simplicity: an almost Bauhausesque devotion to undecorated functionality, with no unjustifiable parts included.
Sincerity: producing work that speaks directly to its purpose with flawless clarity.
Only when you become a custodian of such values in your work can you consider calling yourself a craftsperson. Now let’s take a look at some steps we front-end developers can take on our journey of enlightenment toward craftspersonhood.
Speaking of the craftsman’s journey, be sure to watch out for the video of The Standardistas’ stellar talk at the Build 2011 conference titled The Journey, which should be online sometime soon.
Building your own toolbox
My grandfather was a carpenter and trained as a young apprentice under a master. After observing and practising the many foundation theories, principles and techniques of carpentry, he was tasked with creating his own set of woodworking tools, which he would use and maintain throughout his career. By going through the process of having to create his own tools, he would be connected at the most direct level with every piece of wood he touched, his tools being his own creations and extensions of his own skilled hands. The depth of his knowledge of these tools must have surpassed the intricate as he fathered, used, cleaned and repaired them, day in and day out over many years.
And so it should be, ideally, with all crafts. We must understand our tools right down to the most fundamental level. I firmly believe that a level of true craftsmanship cannot be reached while there exists a layer that remains not wholly understood between a creator and his canvas. Of course, our tools as front-end developers are somewhat more complex than those of other crafts – it may seem reasonable to require that a carpenter create his or her own set of chisels, but somewhat less so to ask a front-end developer to code their own CSS preprocessor, or design their own computer.
However, it is still vitally important that you understand how your tools work. This is particularly critical when it comes to things like preprocessors, libraries and frameworks which aim to save you time by automating common processes and functions. For the most part, anything that saves you time is a Good Thing™ but it cannot be stressed enough that using tools like these in earnest should be avoided until you understand exactly what they are doing for you (and, to an extent, how they are doing it).
In particular, you must understand any drawbacks to using your tools, and any shortcuts they may be taking on your behalf. I’m not suggesting that you steer clear of paid work until you’ve studied each of jQuery’s 9,266 lines of JavaScript source code but, all levity aside, it will further you on your journey to look at interesting or relevant bits of jQuery, and any other libraries you might want to use. Such libraries often directly link to corresponding sections of their source code on sites like GitHub from their official documentation. Better yet, they’re almost always written in high level languages (easy to read), so there’s no excuse not to don your pith helmet and go on something of an exploration. Any kind of tangential learning like this will drive you further toward becoming a true craftsperson, so keep an open mind and always be ready to step out of your comfort zone.
Downtime and tool honing
With any craft, it is essential to keep your tools in good condition, and a good idea to stay up-to-date with the latest equipment. This is especially true on the web, which, as we like to tell anyone who is still awake more than a minute after asking what it is that we do, advances at a phenomenal pace. A tool or technique that could be considered best practice this week might be the subject of haughty derision in a comment thread within six months.
I have little doubt that you already spend a chunk of time each day keeping up with the latest material from our industry’s finest Interblogs and Twittertubes, but do you honestly put aside time to collect bookmarks and code snippets from things you read into a slowly evolving toolbox? At @media in 2009, Simon Collison delivered a candid talk on his ‘Ultimate Package’. Those of us who didn’t flee the room anticipating a newfound and unwelcome intimacy with the contents of his trousers were shown how he maintained his own toolkit – a collection of files and folders all set up and ready to go for a new project. By maintaining a toolkit in this way, he has consistency across projects and a dependable base upon which to learn and improve.
The assembly and maintenance of such a personalized and familiar toolkit is probably as close as we will get to emulating the tool making stage of more traditional craft trades. Keep a master copy of your toolkit somewhere safe, making copies of it for new projects. When you learn of a way in which part of it can be improved, make changes to the master copy.
Simplicity through modularity
I believe that the user interfaces of all web applications should be thought of as being made up primarily of modular components. Modules in this context are patterns in design that appear repeatedly throughout the app. These can be small collections of elements, like a user profile summary box (profile picture, username, meta data), as well as atomic elements such as headings and list items.
Well-crafted front-end architectures have the ability to support this kind of repeating pattern as modules, with as close to no repetition of CSS (or JavaScript) as possible, and as close to no variations in HTML between instances as possible.
One of the most fundamental and well known tenets of software engineering is the DRY rule – don’t repeat yourself. It requires that “every piece of knowledge must have a single, unambiguous, authoritative representation within a system.”
As craftspeople, we must hold this rule dear and apply it to the modules we have identified in our site designs. The moment you commit a second style definition for a module, the quality of your output (the front-end code) takes a huge hit. There should only ever be one base style definition for each distinct module or component. Keep these in a separate, sacred place in your CSS. I use a _modules.scss Sass include file, imported near the top of my main CSS files.
Be sure, of course, to avoid making changes to this file lightly, as the smallest adjustment can affect multiple pages (hint: keep a structure list of which modules are used on which pages). Avoid the inevitable temptation to duplicate code late in the project. Sticking to this rule becomes more important the more complex the codebase becomes.
If you can stick to this rule, using sensible class names and consistent HTML, you can reach a joyous, self-fulfilling plateau stage in each project where you are assembling each interface from your own set of carefully crafted building blocks.
Old school markup
Let’s take a step back. Before we fret about creating a divinely pure modular CSS framework, we need to know the site’s design and what it is made of. The best way to gain this knowledge is to go old school. Print out every comp, mockup, wireframe, sketch or whatever you have. If there are sections of pages that are hidden until some user action takes place, or if the page has multiple states, be sure that you have everything that could become visible to the user on paper.
Once you have your wedge of paper designs, lay out all the pages on the floor, or stick them to the wall if you can, arranging them logically according to the site hierarchy, by user journey, or whatever guidelines make most sense to you. Once you have the site laid out before you, study it for a while, familiarizing yourself with every part of every interface. This will eliminate nasty surprises late in the project when you realize you’ve duplicated something, or left an interface on the drawing board altogether.
Now that you know the site like it’s your best friend, get out your pens or pencils of choice and attack it. Mark it up like there’s no tomorrow. Pretend you’re a spy trying to identify communications from an enemy network hiding their messages in newspapers. Look for patterns and similarities, drawing circles around them. These are your modules. Start also highlighting the differences between each instance of these modules, working out which is the most basic or common type that will become the base definition from which all other representations are extended.
This simple but empowering exercise will equip you for your task of actually crafting, instead of just building, the front-end. Without the knowledge gained from this kind of research phase, you will be blundering forward, improvising as best you can, but ultimately making quality-compromising mistakes that could have been avoided.
For more on this theme, read Anna Debenham’s Front-end Style Guides which recommends a similar process, and the sublime idea of extending this into a guide to refer to during development and beyond.
Design homogeneity
Moving forward again, you now have your modules defined and things are looking good. I mentioned that many instances of these modules will carry minor differences. These differences must be given significant thinking time, and discussion time with your designer(s).
It should be common knowledge by now that successful software projects are not the product of distinct design and build phases with little or no bidirectional feedback. The crucial nature of the designer-developer relationship has been covered in depth this year by Paul Robert Lloyd, and a joint effort from both teams throughout the project lifecycle is pivotal to your ability to craft and ship successful products.
This relationship comes into play when you’re well into the development of the site, and you start noticing these differences between instances of modules (they’ll start to stand out very clearly to you and your carefully regimented modular CSS system). Before you start overriding your base styles, question the differences with the designer to work out why they exist. Perhaps they are required and are important to their context, but perhaps they were oversights from earlier design revisions, or simple mistakes.
The craftsperson’s gland
As you grow towards the levels of expertise and experience where you can proudly and honestly consider yourself a craftsperson, you will find that you steadily develop what initially feels like a kind of sixth sense. I think of it more as a new hormonal gland, secreting into your bloodstream a powerful messenger chemical that can either reward or punish your brain. This gland is connected directly to your core understanding of what good quality work looks and feels like, an understanding that itself improves with experience.
This gland will make itself known to you in two ways. First, when you solve a problem in a beautifully elegant way with clean and unobtrusive code that looks good and just feels right, your craftsperson’s gland will ooze something delicious that makes your brain and soul glow from the inside out. You will beam triumphantly at the succinct lines of code on your computer display before bounding outside with a spring in your step to swim up glittering rainbows and kiss soft fluffy puppies.
The second way that you may become aware of your craftsperson’s gland, though, is somewhat less pleasurable. In an alternate reality, your parallel self is faced with the same problem, but decides to take a shortcut and get around it by some dubious means – the kind of technical method that the words hack, kludge and bodge are reserved for. As soon as you have done this, or even as you are doing it, your craftsperson’s gland will damn well let you know that you took the wrong fork in the road. As your craftsperson’s gland begins to secrete a toxic pus, you will at first become entranced into a vacant stare at the monstrous mess you are considering unleashing upon your site’s visitors, before writhing in the horrible agony of an itch that can never be scratched, and a feeling of being coated with the devil’s own deep and penetrating filth that no shower will ever cleanse.
Perhaps I exaggerate slightly, but it is no overstatement to suggest that you will find yourself being guided by proverbial angels and demons perched on opposite shoulders, or a whispering voice inside your head. If you harness this sense, sharpening it as if it were another tool in your kit and letting it guide or at least advise your decision making, you will transcend the rocky realm of random trial and error when faced with problems, and tend toward the right answers instinctively.
This gland can also empower your ability to assess your own work, becoming a judge before whom all your work is cross-examined. A good craftsperson regularly takes a step back from their work, and questions every facet of their product for its precise alignment with their core values of quality and sincerity, and even the very necessity of each component.
The wrapping
By now, you may be thinking that I take this kind of thing far too seriously, but to terrify you further, I haven’t even shared the half of it. Hopefully, though, this gives you an idea of the kind of levels of professionalism and dedication that it should take to get you on your way to becoming a craftsperson. It’s a level of accomplishment and ability toward which we all should strive, both for our personal fulfilment and the betterment of the products we use daily. I look forward to seeing your finely crafted work throughout 2012.",2011,Ben Bodien,benbodien,2011-12-24T00:00:00+00:00,https://24ways.org/2011/crafting-the-front-end/,process
282,Front-end Style Guides,"We all know that feeling: some time after we launch a site, new designers and developers come in and make adjustments. They add styles that don’t fit with the content, use typefaces that make us cringe, or chuck in bloated code. But if we didn’t leave behind any documentation, we can’t really blame them for messing up our hard work.
To counter this problem, graphic designers are often commissioned to produce style guides as part of a rebranding project. A style guide provides details such as how much white space should surround a logo, which typefaces and colours a brand uses, along with when and where it is appropriate to use them.
Design guidelines
Some design guidelines focus on visual branding and identity. The UK National Health Service (NHS) refer to theirs as “brand guidelines”. They help any designer create something such as a trustworthy leaflet for an NHS doctor’s surgery. Similarly, Transport for London’s “design standards” ensure the correct logos and typefaces are used in communications, and that they comply with the Disability Discrimination Act.
Some guidelines go further, encompassing a whole experience, from the visual branding to the messaging, and the icon sets used. The BBC calls its guidelines a “Global Experience Language” or GEL. It’s essential for maintaining coherence across multiple sites under the same BBC brand.
The BBC’s Global Experience Language.
Design guidelines may be brief and loose to promote creativity, like Mozilla’s “brand toolkit”, or be precise and run to many pages to encourage greater conformity, such as Apple’s “Human Interface Guidelines”.
Whatever name or form they’re given, documenting reusable styles is invaluable when maintaining a brand identity over time, particularly when more than one person (who may not be a designer) is producing material.
Code standards documents
We can make a similar argument for code. For example, in open source projects, where hundreds of developers are submitting code, it makes sense to set some standards. Drupal and Wordpress have written standards that make editing code less confusing for users, and more maintainable for contributors.
Each community has nuances: Drupal requests that developers indent with two spaces, while Wordpress stipulates a tab. Whatever the rules, good code standards documents also explain why they make their recommendations.
The front-end developer’s style guide
Design style guides and code standards documents have been a successful way of ensuring brand and code consistency, but in between the code and the design examples, web-based style guides are emerging. These are maintained by front-end developers, and are more dynamic than visual design guidelines, documenting every component and its code on the site in one place.
Here are a few examples I’ve seen in the wild:
Natalie Downe’s pattern portfolio
Natalie created the pattern portfolio system while working at Clearleft. The phrase describes a single HTML page containing all the site’s components and styles that can act as a deliverable.
Pattern portfolio by Natalie Downe for St Paul’s School, kept up to date when new components are added. The entire page is about four times the length shown.
Each different item within a pattern portfolio is a building block or module. The components are decoupled from the layout, and linearized so they can slot into anywhere on a page.
The pattern portfolio expresses every component and layout structure in the smallest number of documents. It sets out how the markup and CSS should be, and is used to illustrate the project’s shared vocabulary.
Natalie Downe
By developing a system, rather than individual pages, the result is flexible when the client wants to add more pages later on.
Paul Lloyd’s style guide
Paul Lloyd has written an extremely comprehensive style guide for his site. Not only does it feature every plausible element, but it also explains in detail when it’s appropriate to use each one.
Paul’s style guide is also great educational material for people learning to write code.
Oli Studholme’s style guide
Even though Oli’s style guide is specific to his site, he’s written it as though it’s for someone else. It’s exhaustive and gives justifications for all his decisions. In some places, he links to browser bug tickets and makes recommendations for cross-browser compatibility.
Oli has released his style guide under a Creative Commons Attribution Share-alike license, and encourages others to create their own versions.
Jeremy Keith’s pattern primer
Front-end style guides may have comments written in the code, annotations that appear on the page, or they may list components alongside their code, like Jeremy’s pattern primer.
You can watch or fork Jeremy’s pattern primer on Github.
Linearizing components like this resembles a kind of mobile first approach to development, which Jeremy talks about on the 5by5 podcast: The Web Ahead 3.
The benefits of maintaining a front-end style guide
If you still need convincing that producing documentation like this for every project is worth the effort, here are a few nice side-effects to working this way:
Easier to test
A unified style guide makes it easier to spot where your design breaks. It’s simple to check how components adapt to different screen widths, test for browser bugs and develop print style sheets when everything is on the same page. When I worked with Natalie, she’d resize the browser window and bump the text size up and down during development to see if anything would break.
Better workflow
The approach also forces you to think how something works in relation to the whole site, rather than just a specific page, making it easier to add more pages later on. Starting development by creating a style guide makes a lot more sense than developing on a page-by-page basis.
Shared vocabulary
Natalie’s pattern portfolio in particular creates a shared vocabulary of names for components (teaser, global navigation, carousel…), so a team can refer to different regions of the site and have a shared understanding of its meaning.
Useful reference
A combined style guide also helps designers and writers to see the elements that will be incorporated in the site and, therefore, which need to be designed or populated. A boilerplate list of components for every project can act as a reminder of things that may get missed in the design, such as button states or error messages.
Creating your front-end style guide
As you’ve seen, there are plenty of variations on the web style guide. Which method is best depends on your project and workflow. Let’s say you want to show your content team how blockquotes and asides look, when it’s appropriate to use them, and how to create them within the CMS. In this case, a combination of Jeremy’s pattern primer and Paul’s descriptive style guide – with the styled component alongside a code snippet and a description of when to use it – may be ideal.
Start work on your style guide as soon as you can, preferably during the design stage:
Simply presenting flat image comps is by no means enough - it’s only the start… As layouts become more adaptable, flexible and context-specific, so individual components will become the focus of our design. It is therefore essential to get the foundational aspects of our designs right, and style guides allow us to do that.
Paul Lloyd on Style guides for the Web
Print out the designs and label the unique elements and components you’ll need to add to your style guide. Make a note of the purpose of each component. While you’re doing this, identify the main colours used for things like links, headings and buttons.
I draw over the print-outs on to tracing paper so I can make more annotations. Here, I’ve started annotating the widths from the designer’s mockup so I can translate these into percentages.
Start developing your style guide with base styles that target core elements: headings, links, tables, blockquotes, ordered lists, unordered lists and forms. For these elements, you could maintain a standard document to reuse for every project.
Next, add the components that override the base styles, like search boxes, breadcrumbs, feedback messages and blog comments. Include interaction styles, such as hover, focus and visited state on links, and hover, focus and active states on buttons.
Now start adding layout and begin slotting the components into place. You may want to present each layout as a separate document, or you could have them all on the same page stacked beneath one another.
Document code practices
Code can look messy when people use different conventions, so note down a standard approach alongside your style guide. For example, Paul Stanton has documented how he writes CSS.
The gift wrapping
Presenting this documentation to your client may be a little overwhelming so, to be really helpful, create a simple page that links together all your files and explains what each of them do.
This is an example of a contents page that Clearleft produce for their clients. They’ve added date stamps, subversion revision numbers and written notes for each file.
Encourage participation
There’s always a risk that the person you’re writing the style guide for will ignore it completely, so make your documentation as user-friendly as possible. Justify why you do things a certain way to make it more approachable and encourage similar behaviour.
As always, good communication helps. Working with the designer to put together this document will improve the site. It’s often not practical for designers to provide a style for everything, so drafting a web style guide and asking for feedback gives designers a chance to make sure any default styles fit in.
If you work in a team with other developers, documenting your code and development decisions will not only be useful as a deliverable, but will also force you to think about why you do things a certain way.
Future-friendly
The roles of designer and developer are increasingly blurred, yet all too often we work in isolation. Working side-by-side with designers on web style guides can vastly improve the quality of our work, and the collaborative approach can spark discussions like “how would this work on a smaller screen?”
Sometimes we can be so focused on getting the site ready and live, that we lose sight of what happens after it’s launched, and how it’s going to be maintained. A simple web style guide can make all the difference.
If you make your own style guide, I’d love to add it to my stash of examples so please share a link to it in the comments.",2011,Anna Debenham,annadebenham,2011-12-07T00:00:00+00:00,https://24ways.org/2011/front-end-style-guides/,process
122,"A Message To You, Rudy - CSS Production Notes","When more than one designer or developer work together on coding an XHTML/CSS template, there are several ways to make collaboration effective. Some prefer to comment their code, leaving a trail of bread-crumbs for their co-workers to follow. Others use accompanying files that contain their working notes or communicate via Basecamp.
For this year’s 24ways I wanted to share a technique that I has been effective at Stuff and Nonsense; one that unfortunately did not make it into the final draft of Transcending CSS. This technique, CSS production notes, places your page production notes in one convenient place within an XHTML document and uses nothing more than meaningful markup and CSS.
Let’s start with the basics; a conversation between a group of people. In the absence of notes or conversation elements in XHTML you need to make an XHTML compound that will effectively add meaning to the conversation between designers and developers. As each person speaks, you have two elements right there to describe what has been said and who has spoken:
and its cite attribute.
This project will use XHTML1.0 Strict, CSS2.1 and all that malarkey.
With more than one person speaking, you need to establish a temporal order for the conversation. Once again, the element to do just that is already there in XHTML; the humble ordered list.
This project will use XHTML1.0 Strict, CSS2.1 and all that malarkey.
Those bits are simple and bulletproof.
Adding a new note is as simple as adding a new item to list, and if you prefer to add more information to each note, such as the date or time that the note was written, go right ahead. Place your note list at the bottom of the source order of your document, right before the closing tag. One advantage of this approach over using conventional comments in your code is that all the notes are unobtrusive and are grouped together in one place, rather than being spread throughout your document.
Basic CSS styling
For the first stage you are going to add some basic styling to the notes area, starting with the ordered list. For this design I am basing the look and feel on an instant messenger window.
ol#notes {
width : 300px;
height : 320px;
padding : .5em 0;
background : url(im.png) repeat;
border : 1px solid #333;
border-bottom-width : 2px;
-moz-border-radius : 6px; /* Will not validate */
color : #000;
overflow : auto;
}
ol#notes li {
margin : .5em;
padding : 10px 0 5px;
background-color : #fff;
border : 1px solid #666;
-moz-border-radius : 6px; /* Will not validate */
}
ol#notes blockquote {
margin : 0;
padding : 0;
}
ol#notes p {
margin : 0 20px .75em;
padding : 0;
}
ol#notes p.date {
font-size : 92%;
color : #666;
text-transform : uppercase;
}
Take a gander at the first example.
You could stop right there, but without seeing who has left the note, there is little context. So next, extract the name of the commenter from the
’s cite attribute and display it before each note by using generated content.
ol#notes blockquote:before {
content : "" ""attr(cite)"" said: "";
margin-left : 20px;
font-weight : bold;
}
Fun with more detailed styling
Now, with all of the information and basic styling in place, it’s time to have some fun with some more detailed styling to spruce up your notes. Let’s start by adding an icon for each person, once again based on their cite. First, all of the first paragraphs of a
’s that includes a cite attribute are given common styles.
ol#notes blockquote[cite] p:first-child {
min-height : 34px;
padding-left : 40px;
}
Followed by an individual background-image.
ol#notes blockquote[cite=""Andy""] p:first-child {
background : url(malarkey.png) no-repeat 5px 5px;
}
If you prefer a little more interactivity, add a :hover state to each
and perhaps highlight the most recent comment.
ol#notes blockquote:hover {
background-color : #faf8eb;
border-top : 1px solid #fff;
border-bottom : 1px solid #333;
}
ol#notes li:last-child blockquote {
background-color : #f1efe2;
}
You could also adjust the style for each comment based on the department that the person works in, for example:
This project will use XHTML1.0 Strict, CSS2.1 and all that malarkey.
Those bits are simple and bulletproof.
ol#notes blockquote.designer { border-color : #600; }
Take a look at the results of the second stage.
Show and hide the notes using CSS positioning
With your notes now dressed in their finest, it is time to tuck them away above the top of your working XHTML/CSS prototype so that you can reveal them when you need them, no JavaScript required. Start by moving the ordered list of notes off the top of the viewport leaving only a few pixels in view. It is also a good idea to make them semi-transparent by using the opacity property for browsers that have implemented it.
ol#notes {
position : absolute;
opacity : .25;
z-index : 2000;
top : -305px;
left : 20px;
}
Your last step is to add :hover and :focus dynamic pseudo-classes to reposition the list at the top of the viewport and restore full opacity to display them in their full glory when needed.
ol#notes:hover, ol#notes:focus {
top : 0;
opacity : 1;
}
Now it’s time to sit back, pour yourself a long drink and bask in the glory of the final result. Your notes are all stored in one handy place at the bottom of your document rather than being spread around your code. When your templates are complete, simply dive straight to the bottom and pull out the notes.
A Message To You, Rudy
Thank-you to everybody for making this a really great year for web standards. Have a wonderful holiday season.
Buy Andy Clarke’s book Transcending CSS from Amazon.com",2006,Andy Clarke,andyclarke,2006-12-15T00:00:00+00:00,https://24ways.org/2006/css-production-notes/,process
237,Circles of Confusion,"Long before I worked on the web, I specialised in training photographers how to use large format, 5×4″ and 10×8″ view cameras – film cameras with swing and tilt movements, bellows and upside down, back to front images viewed on dim, ground glass screens. It’s been fifteen years since I clicked a shutter on a view camera, but some things have stayed with me from those years.
In photography, even the best lenses don’t focus light onto a point (infinitely small in size) but onto ‘spots’ or circles in the ‘film/image plane’. These circles of light have dimensions, despite being microscopically small. They’re known as ‘circles of confusion’.
As circles of light become larger, the more unsharp parts of a photograph appear. On the flip side, when circles are smaller, an image looks sharper and more in focus. This is the basis for photographic depth of field and with that comes the knowledge that no photograph can be perfectly focused, never truly sharp. Instead, photographs can only be ‘acceptably unsharp’.
Acceptable unsharpness is now a concept that’s relevant to the work we make for the web, because often – unless we compromise – websites cannot look or be experienced exactly the same across browsers, devices or platforms. Accepting that fact, and learning to look upon these natural differences as creative opportunities instead of imperfections, can be tough. Deciding which aspects of a design must remain consistent and, therefore, possibly require more time, effort or compromises can be tougher. Circles of confusion can help us, our bosses and our customers make better, more informed decisions.
Acceptable unsharpness
Many clients still demand that every aspect of a design should be ‘sharp’ – that every user must see rounded boxes, gradients and shadows – without regard for the implications. I believe that this stems largely from the fact that they have previously been shown designs – and asked for sign-off – using static images.
It’s also true that in the past, organisations have invested heavily in style guides which, while maybe still useful in offline media, have a strictness that often fails to allow for the flexibility that we need to create experiences that are appropriate to a user’s browser or device capabilities.
We live in an era where web browsers and devices have wide-ranging capabilities, and websites can rarely look or be experienced exactly the same across them. Is a particular typeface vital to a user’s experience of a brand? How important are gradients or shadows? Are rounded corners really that necessary? These decisions determine how ‘sharp’ an element should be across browsers with different capabilities and, therefore, how much time, effort or extra code and images we devote to achieving consistency between them. To help our clients make those decisions, we can use circles of confusion.
Circles of confusion
Using circles of confusion involves plotting aspects of a visual design into a series of concentric circles, starting at the centre with elements that demand the most consistency. Then, work outwards, placing elements in order of their priority so that they become progressively ‘softer’, more defocused as they’re plotted into outer rings.
If layout and typography must remain consistent, place them in the centre circle as they’re aspects of a design that must remain ‘sharp’.
When gradients are important – but not vital – to a user’s experience of a brand, plot them close to, but not in the centre. This makes everyone aware that to achieve consistency, you’ll need to carve out extra images for browsers that don’t support CSS gradients.
If achieving rounded corners or shadows in all browsers isn’t important, place them into outer circles, allowing you to save time by not creating images or employing JavaScript workarounds.
I’ve found plotting aspects of a visual design into circles of confusion is a useful technique when explaining the natural differences between browsers to clients. It sets more realistic expectations and creates an environment for more meaningful discussions about progressive and emerging technologies. Best of all, it enables everyone to make better and more informed decisions about design implementation priorities.
Involving clients allows the implications of the decisions they make more transparent. For me, this has sometimes meant shifting deadlines or it has allowed me to more easily justify an increase in fees. Most important of all, circles of confusion have helped the people that I work with move beyond yesterday’s one-size-fits-all thinking about visual design, towards accepting the rich diversity of today’s web.",2010,Andy Clarke,andyclarke,2010-12-23T00:00:00+00:00,https://24ways.org/2010/circles-of-confusion/,process
304,Five Lessons From My First 18 Months as a Dev,"I recently moved from Sydney to London to start a dream job with Twitter as a software engineer. A software engineer! Who would have thought.
Having started my career as a journalist, the title ‘engineer’ is very strange to me. The notion of writing in first person is also very strange. Journalists are taught to be objective, invisible, to keep yourself out of the story. And here I am writing about myself on a public platform. Cringe.
Since I started learning to code I’ve often felt compelled to write about my experience. I want to share my excitement and struggles with the world! But as a junior I’ve been held back by thoughts like ‘whatever you have to say won’t be technical enough’, ‘any time spent writing a blog would be better spent writing code’, ‘blogging is narcissistic’, etc.
Well, I’ve been told that your thirties are the years where you stop caring so much about what other people think. And I’m almost 30. So here goes!
These are five key lessons from my first year and a half in tech:
Deployments should delight, not dread
Lesson #1: Making your deployment process as simple as possible is worth the investment.
In my first dev job, I dreaded deployments. We would deploy every Sunday night at 8pm. Preparation would begin the Friday before. A nominated deployment manager would spend half a day tagging master, generating scripts, writing documentation and raising JIRAs. The only fun part was choosing a train gif to post in HipChat: ‘All aboard! The deployment train leaves in 3, 2, 1…”
When Sunday night came around, at least one person from every squad would need to be online to conduct smoke tests. Most times, the deployments would succeed. Other times they would fail. Regardless, deployments ate into people’s weekend time — and they were intense. Devs would rush to have their code approved before the Friday cutoff. Deployment managers who were new to the process would fear making a mistake.
The team knew deployments were a problem. They were constantly striving to improve them. And what I’ve learnt from Twitter is that when they do, their lives will be bliss.
TweetDeck’s deployment process fills me with joy and delight. It’s quick, easy and stress free. In fact, it’s so easy I deployed code on my first day in the job! Anyone can deploy, at any time of day, with a single command. Rollbacks are just as simple. There’s no rush to make the deployment train. No manual preparation. No fuss. Value — whether in the form of big new features, simple UI improvements or even production bug fixes — can be shipped in an instant. The team assures me the process wasn’t always like this. They invested lots of time in making their deployments better. And it’s clearly paid off.
Code reviews need love, time and acceptance
Lesson #2: Code reviews are a three-way gift. Every time I review someone else’s code, I help them, the team and myself.
Code reviews were another pain point in my previous job. And to be honest, I was part of the problem. I would raise code reviews that were far too big. They would take days, sometimes weeks, to get merged. One of my reviews had 96 comments! I would rarely review other people’s code because I felt too junior, like my review didn’t carry any weight.
The review process itself was also tiring, and was often raised in retrospectives as being slow. In order for code to be merged it needed to have ticks of approval from two developers and a third tick from a peer tester. It was the responsibility of the author to assign the reviewers and tester. It was felt that if it was left to team members to assign themselves to reviews, the “someone else will do it” mentality would kick in, and nothing would get done.
At TweetDeck, no-one is specifically assigned to reviews. Instead, when a review is raised, the entire team is notified. Without fail, someone will jump on it. Reviews are seen as blocking. They’re seen to be equally, if not more important, than your own work. I haven’t seen a review sit for longer than a few hours without comments.
We also don’t work on branches. We push single commits for review, which are then merged to master. This forces the team to work in small, incremental changes. If a review is too big, or if it’s going to take up more than an hour of someone’s time, it will be sent back.
What I’ve learnt so far at Twitter is that code reviews must be small. They must take priority. And they must be a team effort. Being a new starter is no “get out of jail free card”. In fact, it’s even more of a reason to be reviewing code. Reviews are a great way to learn, get across the product and see different programming styles. If you’re like me, and find code reviews daunting, ask to pair with a senior until you feel more confident. I recently paired with my mentor at Twitter and found it really helpful.
Get friendly with feature flagging
Lesson #3: Feature flagging gives you complete control over how you build and release a project.
Say you’re implementing a new feature. It’s going to take a few weeks to complete. You’ll complete the feature in small, incremental changes. At what point do these changes get merged to master? At what point do they get deployed? Do you start at the back end and finish with the UI, so the user won’t see the changes until they’re ready? With feature flagging — it doesn’t matter. In fact, with feature flagging, by the time you are ready to release your feature, it’s already deployed, sitting happily in master with the rest of your codebase.
A feature flag is a boolean value that gets wrapped around the code relating to the thing you’re working on. The code will only be executed if the value is true.
if (TD.decider.get(‘new_feature’)) {
//code for new feature goes here
}
In my first dev job, I deployed a navigation link to the feature I’d been working on, making it visible in the product, even though the feature wasn’t ready. “Why didn’t you use a feature flag?” a senior dev asked me. An honest response would have been: “Because they’re confusing to implement and I don’t understand the benefits of using them.” The fix had to wait until the next deployment.
The best thing about feature flagging at TweetDeck is that there is no need to deploy to turn on or off a feature. We set the status of the feature via an interface called Deckcider, and the code makes regular API requests to get the status.
At TweetDeck we are also able to roll our features out progressively. The first rollout might be to a staging environment. Then to employees only. Then to 10 per cent of users, 20 per cent, 30 per cent, and so on. A gradual rollout allows you to monitor for bugs and unexpected behaviour, before releasing the feature to the entire user base.
Sometimes a piece of work requires changes to existing business logic. So the code might look more like this:
if (TD.decider.get(‘change_to_existing_feature’)) {
//new logic goes here
} else {
//old logic goes here
}
This seems messy, right? Riddling your code with if else statements to determine which path of logic should be executed, or which version of the UI should be displayed. But at Twitter, this is embraced. You can always clean up the code once a feature is turned on. This isn’t essential, though. At least not in the early days. When a cheeky bug is discovered, having the flag in place allows the feature to be very quickly turned off again.
Let data and experimentation drive development
Lesson #4: Use data to determine the direction of your product and measure its success.
The first company I worked for placed a huge amount of emphasis on data-driven decision making. If we had an idea, or if we wanted to make a change, we were encouraged to “bring data” to show why it was necessary. “Without data, you’re just another person with an opinion,” the chief data scientist would say. This attitude helped to ensure we were building the right things for our customers. Instead of just plucking a new feature out of thin air, it was chosen based on data that reflected its need.
But how do you design that feature? How do you know that the design you choose will have the desired impact? That’s where experiments come into play.
At TweetDeck we make UI changes that we hope will delight our users. But the assumptions we make about our users are often wrong. Our front-end team recently sat in a room and tried to guess which UIs from A/B tests had produced better results. Half the room guessed incorrectly every time.
We can’t assume a change we want to make will have the impact we expect. So we run an experiment. Here’s how it works. Users are placed into buckets. One bucket of users will have access to the new feature, the other won’t. We hypothesise that the bucket exposed to the new feature will have better results. The beauty of running an experiment is that we’ll know for sure. Instead of blindly releasing the feature to all users without knowing its impact, once the experiment has run its course, we’ll have the data to make decisions accordingly.
Hire the developer, not the degree
Lesson #5: Testing candidates on real world problems will allow applicants from all backgrounds to shine.
Surely, a company like Twitter would give their applicants insanely difficult code tests, and the toughest technical questions, that only the cleverest CS graduates could pass, I told myself when applying for the job. Lucky for me, this wasn’t the case. The process was insanely difficult—don’t get me wrong—but the team at TweetDeck gave me real world problems to solve.
The first code test involved bug fixes, performance and testing. The second involved DOM traversal and manipulation. Instead of being put on the spot in a room with a whiteboard and pen I was given a task, access to the internet, and time to work on it. Similarly, in my technical interviews, I was asked to pair program on real world problems that I was likely to face on the job.
In one of my phone screenings I was told Twitter wanted to increase diversity in its teams. Not just gender diversity, but also diversity of experience and background. Six months later, with a bunch of new hires, team lead Tom Ashworth says TweetDeck has the most diverse team it’s ever had. “We designed an interview process that gave us a way to simulate the actual job,” he said. “It’s not about testing whether you learnt an algorithm in school.”
Is this lowering the bar? No. The bar is whether a candidate has the ability to solve problems they are likely to face on the job. I recently spoke to a longstanding Atlassian engineer who said they hadn’t seen an algorithm in their seven years at the company.
These days, only about 50 per cent of developers have computer science degrees. The majority of developers are self taught, learn on the job or via online courses. If you want to increase diversity in your engineering team, ensure your interview process isn’t excluding these people.",2016,Amy Simmons,amysimmons,2016-12-20T00:00:00+00:00,https://24ways.org/2016/my-first-18-months-as-a-dev/,process