{"rowid": 218, "title": "Put Yourself in a Corner", "contents": "Some backstory, and a shameful confession\n\nFor the first couple years of high school I was one of those jerks who made only the minimal required effort in school. Strangely enough, how badly I behaved in a class was always in direct proportion to how skilled I was in the subject matter. In the subjects where I was confident that I could pass without trying too hard, I would give myself added freedom to goof off in class.\n\nBecause I was a closeted lit-nerd, I was most skilled in English class. I\u2019d devour and annotate required reading over the weekend, I knew my biblical and mythological allusions up and down, and I could give you a postmodern interpretation of a text like nobody\u2019s business. But in class, I\u2019d sit in the back and gossip with my friends, nap, or scribble patterns in the margins of my textbooks. I was nonchalant during discussion, I pretended not to listen during lectures. I secretly knew my stuff, so I did well enough on tests, quizzes, and essays. But I acted like an ass, and wasn\u2019t getting the most I could out of my education.\n\nThe day of humiliation, but also epiphany\n\nOne day in Ms. Kaney\u2019s AP English Lit class, I was sitting in the back doodling. An earbud was dangling under my sweater hood, attached to the CD player (remember those?) sitting in my desk. Because of this auditory distraction, the first time Ms. Kaney called my name, I barely noticed. I definitely heard her the second time, when she didn\u2019t call my name so much as roar it. I can still remember her five feet frame stomping across the room and grabbing an empty desk. It screamed across the worn tile as she slammed it next to hers. She said, \u201cThis is where you sit now.\u201d My face gets hot just thinking about it.\n\nI gathered my things, including the CD player (which was now impossible to conceal), and made my way up to the newly appointed Seat of Shame. There I sat, with my back to the class, eye-to-eye with Ms. Kaney. From my new vantage point I couldn\u2019t see my friends, or the clock, or the window. All I saw were Ms. Kaney\u2019s eyes, peering at me over her reading glasses while I worked. In addition to this punishment, I was told that from now on, not only would I participate in class discussions, but I would serve detention with her once a week until an undetermined point in the future.\n\nDuring these detentions, Ms. Kaney would give me new books to read, outside the curriculum, and added on to my normal homework. They ranged from classics to modern novels, and she read over my notes on each book. We\u2019d discuss them at length after class, and I grew to value not only our private discussions, but the ones in class as well. After a few weeks, there wasn\u2019t even a question of this being punishment. It was heaven, and I was more productive than ever.\n\nTo the point\n\nPlease excuse this sentimental story. It\u2019s not just about honoring a teacher who cared enough to change my life, it\u2019s really about sharing a lesson. The most valuable education Ms. Kaney gave me had nothing to do with literature. She taught me that I (and perhaps other people who share my special brand of crazy) need to be put in a corner to flourish. When we have physical and mental constraints applied, we  accomplish our best work.\n\nFor those of you still reading, now seems like a good time to insert a pre-emptive word of mediation. Many of you, maybe all of you, are self-disciplined enough that you don\u2019t require the rigorous restrictions I use to maximize productivity. Also, I know many people who operate best in a stimulating and open environment. I would advise everyone to seek and execute techniques that work best for them. But, for those of you who share my inclination towards daydreams and digressions, perhaps you\u2019ll find something useful in the advice to follow.\n\nIn which I pretend to be Special Agent Olivia Dunham\n\nNow that I\u2019m an adult, and no longer have Ms. Kaney to reign me in, I have to find ways to put myself in the corner. By rejecting distraction and shaping an environment designed for intense focus, I\u2019m able to achieve improved productivity.\n\nLately I\u2019ve been obsessed with the TV show Fringe, a sci-fi series about an FBI agent and her team of genius scientists who save the world (no, YOU\u2019RE a nerd). There\u2019s a scene in the show where the primary character has to delve into her subconscious to do extraordinary things, and she accomplishes this by immersing herself in a sensory deprivation tank. The premise is this: when enclosed in a space devoid of sound, smell, or light, she will enter a new plane of consciousness wherein she can tap into new levels of perception.\n\nThis might sound a little nuts, but to me this premise has some real-world application. When I am isolated from distraction, and limited to only the task at hand, I\u2019m able to be productive on a whole new level. Since I can\u2019t actually work in an airtight iron enclosure devoid of input, I find practical ways to create an interruption-free environment.\n\nSince I work from home, many of my methods for coping with distractions wouldn\u2019t be necessary for my office-bound counterpart. However for some of you 9-to-5-ers, the principles will still apply.\n\nConsider your visual input\n\nFirst, I have to limit my scope to the world I can (and need to) affect. In the largest sense, this means closing my curtains to the chaotic scene of traffic, birds, the post office, a convenience store, and generally lovely weather that waits outside my window. When the curtains are drawn and I\u2019m no longer surrounded by this view, my sphere is reduced to my desk, my TV, and my cat. Sometimes this step alone is enough to allow me to focus. \n\nBut, my visual input can be whittled down further still. For example, the desk where I usually keep my laptop is littered with twelve owl figurines, a globe, four books, a three-pound weight, and various nerdy paraphernalia (hard drives, Wacom tablets, unnecessary bluetooth accessories, and so on). It\u2019s not so much a desk as a dumping ground for wacky flea market finds and impulse technology buys. Therefore, in addition to this Official Desk, I have an adult version of Ms. Kaney\u2019s Seat of Shame. It\u2019s a rusty old student\u2019s desk I picked up at the Salvation Army, almost an exact replica of the model Ms. Kaney dragged across the classroom all those years ago.  This tiny reproduction Seat of Shame is literally in a corner, where my only view is a blank wall. When I truly need to focus, this is where I take refuge, with only a notebook and a pencil (and occasionally an iPad).\n\nFind out what works for your ears\n\nEven from my limited sample size of two people, I know there are lots of different ways to cope with auditory distraction. I prefer silence when focused on independent work, and usually employ some form of a white noise generator. I\u2019ve yet to opt for the fancy \u2018real\u2019 white noise machines; instead, I use a desktop fan or our allergy filter machine. This is usually sufficient to block out the sounds of the dishwasher and the cat, which allows me to think only about the task of hand.\n\nMy boyfriend, the other half of my extensive survey, swears by another method. He  calls it The Wall of Sound, and it\u2019s basically an intense blast of raucous music streamed directly into his head. The outcome of his technique is really the same as mine; he\u2019s blocking out unexpected auditory input. If you can handle the grating sounds of noisy music while working, I suggest you give The Wall of Sound a try.\n\nDon\u2019t count the minutes\n\nWhen I sat in the original Seat of Shame in lit class, I could no longer see the big classroom clock slowly ticking away the seconds until lunch. Without the marker of time, the class period often flew by. The same is true now when I work; the less aware of time I am, the less it feels like time is passing too quickly or slowly, and the more I can focus on the task (not how long it takes). \n\nNowadays, to assist in my effort to forget the passing of time, I sometimes put a sticky note over the clock on my monitor. If I\u2019m writing, I\u2019ll use an app like WriteRoom, which blocks out everything but a simple text editor. \n\nThere are situations when it\u2019s not advisable to completely lose track of time. If I\u2019m working on a project with an hourly rate and a tight scope, or if I need to be on time to a meeting or call, I don\u2019t want to lose myself in the expanse of the day. In these cases, I\u2019ll set an alarm that lets me know it\u2019s time to reign myself back in (or on some days, take a shower).\n\nPut yourself in a mental corner, too\n\nWhen Ms. Kaney took action and forced me to step up my game, she had the insight to not just change things physically, but to challenge me mentally as well. She assigned me reading material outside the normal coursework, then upped the pressure by requiring detailed reports of the material. While this additional stress was sometimes uncomfortable, it pushed me to work harder than I would have had there been less of a demand. Just as there can be freedom in the limitations of a distraction-free environment, I\u2019d argue there is liberty in added mental constraints as well.\n\nDeadlines as a constraint\n\nMuch has been written about the role of deadlines in the creative process, and they seem to serve different functions in different cases. I find that deadlines usually act as an important constraint and, without them, it would be nearly impossible for me to ever consider a project finished. There are usually limitless ways to improve upon the work I do and, if there\u2019s no imperative for me to be done at a certain point, I will revise ad infinitum. (Hence, the personal site redesign that will never end \u2013 Coming Soon, Forever!). But if I have a clear deadline in mind, there\u2019s a point when the obsessive tweaking has to stop. I reach a stage where I have to gather up the nerve to launch the thing.\n\nPutting the pro in procrastination\n\nSometimes I\u2019ve found that my tendency to procrastinate can help my productivity. (Ducks, as half the internet throws things at her.) I understand the reasons why procrastination can be harmful, and why it\u2019s usually a good idea to work diligently and evenly towards a goal. I try to divide my projects up in a practical way, and sometimes I even pull it off. But for those tasks where you work aimlessly and no focus comes, or you find that every other to-do item is more appealing, sometimes you\u2019re forced to bring it together at the last moment. And sometimes, this environment of stress is a formula for magic. Often when I\u2019m down to the wire and have no choice but to produce, my mind shifts towards a new level of clarity. There\u2019s no time to endlessly browse for inspiration, or experiment with convoluted solutions that lead nowhere.\n\nObviously a life lived perpetually on the edge of a deadline would be a rather stressful one, so it\u2019s not a state of being I\u2019d advocate for everyone, all the time. But every now and then, the work done when I\u2019m down to the wire is my best.\n\nKeep one toe outside your comfort zone\n\nWhen I\u2019m choosing new projects to take on, I often seek out work that involves an element of challenge. Whether it\u2019s a design problem that will require some creative thinking, or a coding project that lends itself to using new technology like HTML5, I find a manageable level of difficulty to be an added bonus. The tension that comes from learning a new skill or rethinking an old standby is a useful constraint, as it keeps the work interesting, and ensures that I continue learning.\n\nThere you have it\n\nWell, I think I\u2019ve spilled most of my crazy secrets for forcing my easily distracted brain to focus. As with everything we web workers do, there are an infinite number of ways to encourage productivity. I hope you\u2019ve found a few of these to be helpful, and please share your personal techniques in the comments. Have a happy and productive new year!", "year": "2010", "author": "Meagan Fisher", "author_slug": "meaganfisher", "published": "2010-12-20T00:00:00+00:00", "url": "https://24ways.org/2010/put-yourself-in-a-corner/", "topic": "process"}
{"rowid": 225, "title": "Good Ideas Grow on Paper", "contents": "Great designers have one thing in common: their design process is centred on ideas; ideas that are more often than not developed on paper. Though it\u2019s often tempting to take the path of least resistance, turning to the computer in the headlong rush to complete a project (often in the face of formidable client pressure), resist the urge and \u2013 for a truly great idea \u2013 start first on paper.\n\nThe path of least resistance is often characterised by clich\u00e9 and overused techniques \u2013 one per cent noise, border-radius, text-shadow \u2013 the usual suspects \u2013 techniques that are ten-a-penny at the gallery sites. Whilst all are useful, and technique and craft are important, great design isn\u2019t about technique alone \u2013 it\u2019s about technique in the service of good ideas.\n\nBut how do we generate those ideas?\n\nInspiration can certainly come to you out of the blue. When working as a designer in a role which often consists of incubating good ideas, however, idly waiting for the time-honoured lightbulb to appear above your head just isn\u2019t good enough. We need to establish an environment where we tip the odds of getting good ideas in our favour.\n\nSo, when faced with the blank canvas, what do we do to unlock the proverbial tidal wave of creativity? Fear not. We\u2019re about to share with you a couple of stalwart techniques that will stand you in good stead when you need that good idea, in the face of the pressure of yet another looming deadline.\n\nGet the process right\n\nWhere do ideas come from? In many cases they come from anywhere but the screen. Hence, our first commandment is to close the lid of your computer and, for a change, work on paper. It might seem strange, it might also seem like a distraction, but \u2013 trust us \u2013 the time invested here will more than pay off.\n\nIdea generation should be a process of rapid iteration, sketching and thinking aloud, all processes best undertaken in more fast paced, analogue media. Our tool of choice is the Sharpie and Flip Chart Combo\u00a9, intentionally low resolution to encourage lo-fi idea generation. In short, your tools should be designed not to be precious, but to quickly process your thoughts. Ideas can be expressed with a thick line marker or by drawing with a stick in the sand; it\u2019s the ideas that matter, not the medium.\n\nInput\u2009>\u2009Synthesise\u2009>\u2009Output\n\nIdeas don\u2019t materialise in a vacuum. Without constant input, the outputs will inevitably remain the same. As such, it\u2019s essential to maintain an inquisitive mind, ensuring a steady flow of new triggers and stimuli that enable your thinking to evolve.\n\nWhat every designer brings to the table is their prior experience and unique knowledge. It should come as no surprise to discover that a tried and tested method of increasing that knowledge is, believe it or not, to read \u2013 often and widely. The best and most nuanced ideas come after many years of priming the brain with an array of diverse material, a point made recently in Jessica Hische\u2019s aptly named Why You Should Know Your Shit.\n\nOne of the best ways of synthesising the knowledge you accumulate is to write. The act of writing facilitates your thinking and stores the pieces of the jigsaw you\u2019ll one day return to. You don\u2019t have to write a book or a well-articulated article; a scribbled note in the margin will suffice in facilitating the process of digestion.\n\nAs with writing, we implore you to make sketching an essential part of your digestion process. More immediate than writing, sketching has the power to put yet unformed ideas down on paper, giving you an insight into the fantastic conceptions you\u2019re more often than not still incubating.\n\nOur second commandment is a practical one: always carry a sketchbook and a pen. Although it seems that the very best ideas are scribbled on the back of a beer mat or a wine-stained napkin, always carrying your \u2018thinking utensils\u2019 should be as natural as not leaving the house without your phone, wallet, keys or pants.\n\nFurther, the more you use your sketchbook, the less precious you\u2019ll find yourself becoming. Sketching isn\u2019t about being an excellent draughtsman, it\u2019s about synthesising and processing your thoughts and ideas, as Jason Santa Maria summarises nicely in his article Pretty Sketchy:\n\n\n\tSketchbooks are not about being a good artist, they\u2019re about being a good thinker.\n\n\tJason Santa Maria\n\n\nThe sketchbook and pen should become your trusted tools in your task to constantly survey the world around you. As Paul Smith says, You Can Find Inspiration in Anything; close the lid, look beyond the computer; there\u2019s a whole world of inspiration out there.\n\nLearn to love old dusty buildings\n\nSo, how do you learn? How do you push beyond the predictable world pre-filtered by Mr Google? The answer lies in establishing a habit of exploring the wonderful worlds of museums and libraries, dusty old buildings that repay repeated visits.\n\nOnce the primary repositories of thought and endless sources of inspiration, these institutions are now often passed over for the quick fix of a Google search or Wikipedia by you, the designer, chained to a desk and manacled to a MacBook. Whilst others might frown, we urge you to get away from your desk and take an eye-opening stroll through the knowledge-filled corridors of yore (and don\u2019t forget to bring your sketchbook).\n\nHere you\u2019ll find ideas aplenty, ideas that will set you apart from your peers, who remain ever-reliant on the same old digital sources.\n\nThe idea generation toolbox\n\nNow that we\u2019ve established the importance of getting the process and the context right, it\u2019s time to meet the idea generation toolbox: a series of tools and techniques that can be applied singularly or in combination to solve the perennial problem of the blank canvas.\n\nThe clean sheet of paper, numbing in its emptiness, can prove an insurmountable barrier to many a project, but the route beyond it involves just a few, well-considered steps. The route to a good idea lies in widening your pool of inspiration at the project outset. Let go and generate ideas quickly; it\u2019s critical to diverge before you converge \u2013 but how do we do this and what exactly do we mean by this?\n\nThe temptation is to pull something out of your well-worn box of tricks, something that you know from experience will do the job. We urge you, however, not to fall prey to this desire. You can do better; better still, a few of you putting your minds together can do a lot better. By avoiding the path of least resistance, you can create something extraordinary.\n\nCulturally, we value logical, linear thinking. Since the days of Plato and Aristotle, critical thinking, deduction and the pursuit of truth have been rewarded. To generate creative ideas, however, we need to start thinking sideways, making connections that don\u2019t necessarily follow logically. Lateral thinking, a phrase coined by Edward de Bono in 1967, aptly describes this very process:\n\n\n\tWith logic you start out with certain ingredients, just as in playing chess you start out with given pieces \u2013 lateral thinking is concerned not with playing with the existing pieces but with seeking to change those very pieces.\n\n\tEdward de Bono\n\n\nOne of the easiest ways to start thinking laterally is to start with a mind map, a perfect tool for widening the scope of a project beyond the predictable and an ideal one for getting the context right for discovery.\n\nMaking connections\n\nMind maps can be used to generate, visualise and structure ideas. Arranged intuitively and classified around groupings, mind maps allow chance connections to be drawn across related groups of information, and are perfect for exposing alogical associations and unexpected relationships.\n\nGet a number of people together in a room, equipped with the Sharpie and Flip Chart Combo\u00a9. Give yourself a limited amount of time \u2013 half an hour should prove more than enough \u2013 and you\u2019ll be surprised at the results a few well-chosen people can generate in a very short space of time. The key is to work fast, diverge and not inhibit thinking. \n\nWe\u2019ve been embracing Tony Buzan\u2019s methods in our teaching for over a decade. His ideas on the power of radiant thinking and how this can be applied to mind maps, uncover the real power which lies in the human brain\u2019s ability to spot connections across a mapped out body of diverse knowledge.\n\nFrank Chimero wrote about this recently in How to Have an Idea, which beautifully illustrates Mr Buzan\u2019s theories, articulating the importance of the brain\u2019s ability to make abstract connections, finding unexpected pairings when a concept is mapped out on paper.\n\nOnce a topic is surveyed and a rich set of stimuli articulated, the next stage is to draw connections, pulling from opposite sides of the mind map. It\u2019s at this point, when defining alogical connections, that the truly interesting and unexpected ideas are often uncovered.\n\nThe curve ball\n\nIf you\u2019ve followed our instructions so far, all being well, you should have a number of ideas. Good news: we have one last technique to throw into the mix. We like to call it \u2018the curve ball\u2019, that last minute \u2018something\u2019 that forces you to rethink and encourages you to address a problem from a different direction.\n\nThere are a number of ways of throwing in a curve ball \u2013 a short, sharp, unexpected impetus \u2013 but we have a firm favourite we think you\u2019ll appreciate. Brian Eno and Peter Schmidt\u2019s Oblique Strategies \u2013 subtitled \u2018Over One Hundred Worthwhile Dilemmas\u2019 \u2013 are the perfect creative tool for throwing in a spot of unpredictability. As Eno and Schmidt put it:\n\n\n\tThe Oblique Strategies can be used as a pack (a set of possibilities being continuously reviewed in the mind) or by drawing a single card from the shuffled pack when a dilemma occurs in a working situation. In this case the card is trusted even if its appropriateness is quite unclear. They are not final, as new ideas will present themselves, and others will become self-evident.\n\n\tBrian Eno and Peter Schmidt\n\n\nSimply pick a card and apply the strategy to the problem at hand. The key here, as with de Bono\u2019s techniques, is to embrace randomness and provocation to inspire lateral creative approaches.\n\nTo assist this process, you might wish to consult one of the many virtual decks of Oblique Strategies online.\n\nWrapping up\n\nTo summarise, it\u2019s tempting to see the route to the fastest satisfactory conclusion in a computer when, in reality, that\u2019s the last place you should start. The tools we\u2019ve introduced, far from time-consuming, are hyper-efficient, always at hand and, if you factor them into your workflow, the key to unlocking the ideas that set the great designers apart.\n\nWe wish you well on your quest in search of the perfect idea, now armed with the knowledge that the quest begins on paper.", "year": "2010", "author": "The Standardistas", "author_slug": "thestandardistas", "published": "2010-12-13T00:00:00+00:00", "url": "https://24ways.org/2010/good-ideas-grow-on-paper/", "topic": "process"}
{"rowid": 226, "title": "Documentation-Driven Design for APIs", "contents": "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\u2019t have to be all hard work and sellotaping yourself to a table \u2013 you can make it useful and relevant.\n\nDocumentation gets a pretty rough deal. It tends to get left until the end of a project, when some poor developer is assigned the \u2018document project\u2019 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\u2019s 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\u2019s available are put out for your users, and you hope that you\u2019ll spot the inconsistencies and mistakes before they do.\n\nWouldn\u2019t 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 \u2013 so much so that you couldn\u2019t imagine writing a line of code before you\u2019d documented it?\n\nDocumentation needs to have three main features:\n\n\n\tIt 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.\n\tIt should be consistent \u2013 a user should know what to expect from your documentation, and terminology should be accurate to your language.\n\tIt should be current \u2013 and that means staying accurate as new versions of your code base are released.\n\n\nBut you can also get these bonuses:\n\n\n\tAct as a suggested specification \u2013 a guide that will aid a developer in making something consistent and usable.\n\tIt can test your API quality.\n\tIt can enhance the communication skills within your development team.\n\n\nSo how do we get our documentation to be rich and full of features, instead of a little worn out like Boxing Day leftovers?\n\nWrite your documentation first\n\nWhen I say first, I mean first. Not after you\u2019ve started writing the code. Not even after you\u2019ve 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.  \n\nIt 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. \n\nAlmost 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.\n\nSo, our example for today will be a new festive feature for a JavaScript API. We\u2019ve been asked to specify a sled for Santa to get around the world to give out toys:\n\n\n\tSanta needs to be able to travel around the world in one night to deliver toys to children, and he\u2019ll need some reindeer to pull his sled.\n\n\nAs documentation, it would look like:\n\n/**\n@name Sled\n@extends Vehicle\n@constructor\n@description Create a new sled to send Santa around the world to deliver toys to good kids.\n\t@param {Object} [opts] Options\n\t@param {number} [opts.capacity='50'] Set the capacity of the sled\n\t@param {string} [opts.pilot='santa'] The pilot of the sled.\n@example\n\t// Create a sled and specify some reindeer.\n\tnew Sled().reindeer(['Dasher', 'Dancer', 'Prancer', 'Vixen', 'Comet', 'Cupid']);\n*/\n\nBy 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\u2019ll develop something that has to match this piece of documentation. It specifies everything that is important to this feature \u2013 its default values and types, and where it inherits other features from.  \n\nWe 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:\n\n/*\n@name vehicle.Sled#reindeer\n@function\n@description Set the reindeer that will pull Santa's sled.\n\t@param {string[]} reindeer A list of the reindeer.\n@example\n\t// specifying some reindeer\n\tSled().reindeer(['Dasher', 'Dancer', 'Rudolph', 'Vixen']);\n*/\n/*\n@name vehicle.Sled#toys\n@function\n@description Add a list of toys and recipients to the Sled.\n\t@param {Object[]} toys A list of toys and who will receive them.\n@example\n\t// Adding toys to the sled\n\tSled().toys([\n\t\t{name:'Brian', toy:'Fire Engine'},\n\t\t{name:'Drew', toy:'Roller-skates'},\n\t\t{name:'Anna', toy:'Play-doh'},\n\t\t...\n\t\t]);\n*/\n\nJob done! You\u2019ve got a specification to share with your team and something useful for your users in the form of full examples, and you didn\u2019t even have to open another text editor.\n\nUse your documentation to share knowledge\n\nDocumentation isn\u2019t just for users. It\u2019s also used by internal developers to explain what they\u2019ve written and how it works. This is especially valuable where the team is large or the code-base sprawling.\n\nSo, 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:\n\n\n\tThey can see if they understand what the documentation says the feature will do. It\u2019s best if they haven\u2019t seen the requirement before. If your fellow developers can\u2019t work out what \u2018MagicMethodX\u2019 is going to return from the docs, neither can your users.\n\tThey can check that the feature accomplishes everything that they expect to, and that it\u2019s consistent with the rest of the functionality.\n\n\nOn previous projects, we\u2019ve taken to referring to this stage of the development process as the \u2018bun fight\u2019.  It\u2019s 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\u2019ll 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.\n\nDocumentation has your back\n\nThe final benefit to working in this way is that your documentation not only remains accurate, it\u2019s always as accurate as your latest release. It can\u2019t fall behind. You can increase the likelihood that your docs will remain up to date by unit testing your examples.\n\nReturning to the previous example, we can add a QUnit unit test to the expected output with ease during the build process \u2013 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\u2019s tested it\u2019ll definitely work as you expect it to when a user copy and pastes it. You\u2019re ensuring quality from idea to implementation.\n\nAs an extra bauble, the best thing about a system like JSDocToolkit is that it\u2019ll take your inline comments and turn them into beautiful sites, as good systems will allow for customised output templates. You\u2019ll be producing full-featured sites for your projects and plugins with almost no extra effort, but all the benefits.", "year": "2010", "author": "Frances Berriman", "author_slug": "francesberriman", "published": "2010-12-11T00:00:00+00:00", "url": "https://24ways.org/2010/documentation-driven-design-for-apis/", "topic": "process"}
{"rowid": 230, "title": "The Articulate Web Designer of Tomorrow", "contents": "You could say that we design to communicate, and that we seek emotive responses. It sounds straightforward, and it can be, but leaving it to chance isn\u2019t wise. Many wander into web design without formal training, and whilst that certainly isn\u2019t essential, we owe it to ourselves to draw on wider influences, learn from the past, and think smarter.\n\nWhat knowledge can we ourselves explore in order to become better designers? In addition, how can we take this knowledge, investigate it through our unique discipline, and in turn speak more eloquently about what we do on the web? Below, I outline a number of things that I personally believe all designers should be using and exploring collectively.\n\nTaking stock\n\nWhere we\u2019re at is good. Finding clarity through web standards, we\u2019ve ended up quite modernist in our approach, pursuing function, elegance and reduction. However, we\u2019re not great at articulating our own design processes and principles to outsiders. Equally, we rely heavily on our instincts when deciding if something is or isn\u2019t good. That\u2019s fine, but we can better understand why things are the way they are by looking a little deeper, thereby helping us articulate what goes on in our design brains to our peers, our clients and to normal humans.\n\nAs designers we use ideas, concepts, text and images. We apply our ideas and experience, imposing order and structure to content, hoping to ease the communication of an idea to the largest possible audience or to a specific audience. We consciously manipulate most of what is available to us, but not all. There is something else we can use. I often think that brilliant work demands a keen understanding of the magical visual language that informs design.\n\nEmbracing an established visual language\n\nThis is a language whose alphabet is shapes, structures, colours, lines and rhythms. When effective, it is somewhat invisible, subliminally enforcing messages and evoking meaning, using methods solidly rooted in a grammar perceptible in virtually all extraordinary creative work. The syntax for art, architecture, film, and furniture, industrial and graphic design (think Bauhaus and the Swiss style perhaps), this language urges us to become fluent if we aim for a more powerful dialogue with our audience.\n\n Figure 1: Structures (clockwise from top-left): Informal; Formal; Active; Visible.\n\nThe greatest creative minds our world has produced could understand some or all of this language. Line and point, form and shape. Abstract objects. Formal and informal structures. Visual distribution. Balance, composition and the multitudinous approaches to symmetry. Patterns and texture. Movement and paths. Repetition, rhythm and frequency. Colour theory. Whitespace and the pause. The list goes on.\n\nThe genius we perceive in our creative heroes is often a composite of experience, trial and error, conviction, intuition \u2013 even accident \u2013 but rarely does great work arise without an initial understanding of the nuts and bolts that help communicate an idea or emotion.\n\nOur world of interactivity\n\nAs web designers, our connection with this language is most evident in graphic design. With more technological ease and power comes the responsibility to understand, wisely use, and be able to justify many of our decisions. We have moved beyond the scope of print into a world of interactivity, but we shouldn\u2019t let go of any established principles without good reason.\n\n Figure 2: Understanding movement of objects in any direction along a defined path.\n\nFor example, immersion in this visual language can improve our implementation of CSS3 and JavaScript behaviour. With CSS3, we\u2019ve seen a resurgence in CSS experimentation, some of which has been wonderful, but much of it has appeared clumsy. In the race to make something spin, twist, flip or fly from one corner to another, the designer sometimes fails to think about the true movement they seek to emulate. What forces are supposedly affecting this movement? What is the expected path of this transition and is it being respected?\n\nStopping to think about what is really supposed to be happening on the page compels us to use complex animations, diagrams and rotations more carefully. It helps us to better understand paths and movement.\n\n Figure 3: Repetition can occur through variations in colour, shape, direction, and so on.\n\nIt can only be of greater benefit to be mindful of symmetries, depth, affordance, juxtaposition, balance, economy and reduction. A deeper understanding of basic structures can help us to say more with sketches, wireframes, layouts and composition. We\u2019ve all experimented with grids and rhythm but, to truly benefit from these long-established principles, we are duty-bound to understand their possibilities more than we will by simply leveraging a free framework or borrowing some CSS.\n\nDesign is not a science, but\u2026\n\nThreading through all of this is what we have learned from science, and what it teaches us of the human brain. This visual language matters because technology changes but, for the most part, people don\u2019t. For centuries, we humans have received and interpreted information in much the same way. Understanding more of how we perceive meaning can help designers make smarter decisions, and call on visual language to underpin these decisions. It is our responsibility as designers to be aware of mental models, mapping, semiotics, sensory experience and human emotion.\n\nDesign itself is not a science, but the appropriate use of visual language and scientific understanding exposes the line between effective and awkward, between communicative and mute. By strengthening our mental and analytical approach to what is often done arbitrarily or \u201cbecause it feels right\u201d, we simply become better designers.\n\nA visual language for the web\n\nSo, I\u2019ve outlined numerous starting points and areas worthy of deeper investigation, and hopefully you\u2019re eager to do some research. However, I\u2019ve mostly discussed established ideas and principles that we as web designers can learn from. It\u2019s my belief that our community has a shared responsibility to expand this visual language as it applies to the ebb and flow of the web. Indulge me as I conclude with a related tangent.\n\nIn defining a visual language specifically for the web, we must continue to mature. The old powerfully influences the new, but we must intelligently expand the visual language of masterful work and articulate what is uniquely ours.\n\nFor example, phrases like Ethan Marcotte\u2019s Responsive Web Design aren\u2019t merely elegant, they describe a new way of thinking and working, of communicating about designs and interaction patterns. These phrases broaden our vocabulary and are immediately adopted by designers worldwide, in both conversation and execution.\n\nOur legacy\n\nOur new definitions should flex and not be tied to specific devices or methods which fade away or morph with time. Our legacy is perhaps more about robust and flexible patterns and systems than it is about specific devices or programming languages.\n\n Figure 4: As web designers, we should think about systems, not pages.\n\nThe established principles we adopt and whatever new ways of thinking we define should slip neatly into a wider philosophy about our approach to web design. We\u2019re called, as a community, to define what is distinctive about the visual language of the web, create this vocabulary, this dialect that resonates with us and moves us forward as we tackle each day\u2019s work. Let\u2019s give it some thought.\n\nFurther reading\n\nThis is my immediate \u201cgo-to\u201d list of books that I bullishly believe all web designers should own, but there is so much more out there to read. Sadly, many great texts relating to this stuff are often out of print. Feel free to share your recommendations.\n\n\n\tDon Norman, The Design of Everyday Things\n\tChristian Leborg, Visual Grammar\n\tScott McCloud, Understanding Comics\n\tDavid Crow, Visible Signs\n\tWilliam Lidwell and Katrina Holden, Universal Principles of Design", "year": "2010", "author": "Simon Collison", "author_slug": "simoncollison", "published": "2010-12-16T00:00:00+00:00", "url": "https://24ways.org/2010/the-articulate-web-designer-of-tomorrow/", "topic": "process"}
{"rowid": 232, "title": "Optimize Your Web Design Workflow", "contents": "I\u2019m not sure about you, but I still favour using Photoshop to create my designs for the web. I agree that this application, even with its never-ending feature set, is not the perfect environment to design websites in. The ideal application doesn\u2019t exist yet, however, so until it does it\u2019s maybe not such a bad idea to investigate ways to optimize our workflow.\n\nWhy use Photoshop?\n\nIt will probably not come as a surprise if I say that Photoshop and Illustrator are the applications that I know best and feel most comfortable and creative in. Some people prefer Fireworks for web design. Even though I understand people\u2019s motivations, I still prefer Photoshop personally. On the occasions that I gave Fireworks a try, I ended up just using the application to export my images as slices, or to prepare a dummy for the client. For some reason, I\u2019ve never been able to find my way in that app. There were always certain things missing that could only be done in either Photoshop or Illustrator, which bothered me.\n\nWhy not start in the browser?\n\nThese days, with CSS3 styling emerging, there are people who find it more efficient to design in the browser. I agree that at a certain point, once the basic design is all set and defined, you can jump right into the code and go from there. But the actual creative part, at least for me, needs to be done in an application such as Photoshop.\n\nAs a designer I need to be able to create and experiment with shapes on the fly, draw things, move them around, change colours, gradients, effects, and so on. I can\u2019t see me doing this with code. I\u2019m sure if I switch to markup too quickly, I might end up with a rather boxy and less interesting design. Once I start playing with markup, I leave my typical \u2018design zone\u2019. My brain starts thinking differently \u2013 more rational and practical, if you know what I mean; I start to structure and analyse how to mark up my design in the most efficient semantic way. When I design, I tend to let that go for a bit. I think more freely and not so much about the limitations, as it might hinder my creativity. Now that you know my motivations to stick with Photoshop for the time being, let\u2019s see how we can optimize this beast.\n\nOptimize your Photoshop workspace\n\nIn Photoshop CS5 you have a few default workspace options to choose from which can be found at the top right in the Application Bar (Window\u2009>\u2009Application Bar).\n\n\n\nYou can set up your panels and palettes the way you want, starting from the \u2018Design\u2019 workspace option, and save this workspace for future web work. Here is how I have set up things for when I work on a website design:\n\n\n\nI have the layers palette open, and I keep the other palettes collapsed. Sometimes, when space permits, I open them all. For designers who work both on print and web, I think it\u2019s worthwhile to save a workspace for both, or for when you\u2019re doing photo retouching.\n\nSet up a grid\n\nWhen you work a lot with Shape Layers like I do, it\u2019s really helpful to enable the Grid (View\u2009>\u2009Show\u2009>\u2009Grid) in combination with Snap to Grid (View\u2009>\u2009Snap To\u2009>\u2009Grid). This way, your vector-based work will be pixel-sharp, as it will always snap to the grid, and so you don\u2019t end up with blurry borders.\n\n\n\nTo set up your preferred grid, go to Preferences\u2009>\u2009Guides, Grids and Slices. A good setting is to use \u2018Gridline Every 10 pixels\u2019 and \u2018Subdivision 10\u2019. You can switch it on and off at any time using the shortcut Cmd/Ctrl + \u2019.\n\n\n\nIt might also help to turn on Smart Guides (View\u2009>\u2009Show\u2009>\u2009Smart Guides).\n\nAnother important tip for making sure your Shape Layer boxes and other shapes are perfectly aligned to the pixel grid when you draw them is to enable Snap to Pixels. This option can be enabled in the Application bar in the Geometry options dropdown menu when you select one of the shape tools from the toolbox.\n\n\n\nUse Shape Layers\n\nTo keep your design as flexible as possible, it\u2019s a good thing to use Shape Layers wherever you can as they are scalable. I use them when I design for the iPhone. All my icons, buttons, backgrounds, illustrative graphics \u2013 they are all either Smart Objects placed from Illustrator, or Shape Layers. This way, the design is scalable for the retina display.\n\n\n\nUse Smart Objects\n\nAmong the things I like a lot in Photoshop are Smart Objects. Smart Objects preserve an image\u2019s source content with all its original characteristics, enabling you to perform non-destructive editing to the layer. For me, this is the ideal way of making my design flexible.\n\n\n\nFor example, a lot of elements are created in Illustrator and are purely vector-based. Placing these elements in Photoshop as Smart Objects (via copy and paste, or dragging from Illustrator into Photoshop) will keep them vector-based and scalable at all times without loss of quality.\n\n\n\nAnother way you could use Smart Objects is whenever you have repeating elements; for example, if you have a stream or list of repeating items. You could, for instance, create one, two or three different items (for the sake of randomness), make each one a Smart Object, and repeat them to create the list. Then, when you have to update, you need only change the Smart Object, and the update will be automatically applied in all its linked instances.\n\nTurning photos into Smart Objects before you resize them is also worth considering \u2013 you never know when you\u2019ll need that same photo just a bit bigger. It keeps things more flexible, as you leave room to resize the image at a later stage. I use this in combination with the Smart Filters a lot, as it gives me such great flexibility.\n\n\n\nI usually use Smart Objects as well for the main sections of a web page, which are repeated across different pages of a site. So, for elements such as the header, footer and sidebar, it can be handy for bigger projects that are constantly evolving, where you have to create a lot of different pages in Photoshop.\n\nYou could save a template page that has the main sections set up as Smart Objects, always in their latest version. Each time you need to create new page, you can start from that template file. If you need to update an existing page because the footer (or sidebar, or header) has been updated, you can drag the updated Smart Object into this page. Although, do I wish Photoshop made it possible to have Smart Objects live as separate files, which are then linked to my different pages. Then, whenever I update the Smart Object, the pages are automatically updated next time I open the file. This is how linked files work in InDesign and Illustrator when you place a external image.\n\nUse Layer Comps\n\nIn some situations, using Layer Comps can come in handy. I try to use them when the design consists of different states; for example, if there are hidden and show states of certain content, such as when content is shown after clicking a certain button. It can be useful to create a Layer Comp for each state. So, when you switch between the two Layer Comps, you\u2019re switching between the two states.\n\n\n\nIt\u2019s OK to move or hide content in each of these states, as well as apply different layer styles. I find this particularly useful when I need to save separate JPEG versions of each state to show to the client, instead of going over all the eye icons in the layers palette to turn the layers\u2019 visibility on or off.\n\n\n\nCreate a set of custom colour swatches\n\nI tend to use a distinct colour Swatches palette for each project I work on, by saving a separate Swatches palette in project\u2019s folder (as an .ase file). You can do this through the palette\u2019s dropdown menu, choosing Save Swatches for Exchange.\n\n\n\nSelecting this option gives you the flexibility to load this palette in other Adobe applications like Illustrator, InDesign or Fireworks. This way, you have the colours of any particular project at hand. I name each colour, using the hexadecimal values.\n\n\n\nLoading, saving or changing the view of the Swatches palette can be done via the palette\u2019s dropdown menu. My preferred view is \u2018Small List\u2019 so I can see the hexadecimal values or other info I have added in the description.\n\nI do wish Photoshop had the option of loading several different Styles palettes, so I could have two or more of them open at the same time, but each as a separate palette. This would be handy whenever I switch to another project, as I\u2019m usually working on more than one project in a day. At the moment, you can only add a set of colours to the palette that is already open, which is frustrating and inefficient if you need to update the palette of a project separately.\n\nCreate a set of custom Styles\n\nJust like saving a Swatches palette, I also always save the styles I apply in the Styles palette as a separate Styles file in the project\u2019s folder when I work on a website design or design for iPhone/iPad. During the design process, I can save it each time styles are added. Again, though, it would be great if we could have different Styles palettes open at the same time.\n\n\n\nUse a scratch file\n\nWhat I also find particularly timesaving, when working on a large project, is using some kind of scratch file. By that, I mean a file that has elements in place that you reuse a lot in the general design. Think of buttons, icons and so on, that you need in every page or screen design. This is great for both web design work and iPad/iPhone work. \n\n\n\nUse the slice tool\n\nThis might not be something you think of at first, because you probably associate this way of working with \u2018old-school\u2019 table-based techniques. Still, you can apply your slice any way you want, keeping your way of working in mind. Just think about it for a second. If you use the slice tool, and you give each slice its proper filename, you don\u2019t have to worry about it when you need to do updates on the slice or image. Photoshop will remember what the image of that slice is called and which \u2018Save for Web\u2019 export settings you\u2019ve used for it. You can also export multiple slices all at once, or export only the ones you need using \u2018Save selected slices\u2019.\n\n\n\nI hope this list of optimization tips was useful, and that they will help you improve and enjoy your time in Photoshop. That is, until the ultimate web design application makes its appearance. Somebody is building this as we speak, right?", "year": "2010", "author": "Veerle Pieters", "author_slug": "veerlepieters", "published": "2010-12-10T00:00:00+00:00", "url": "https://24ways.org/2010/optimize-your-web-design-workflow/", "topic": "process"}
{"rowid": 236, "title": "Extreme Design", "contents": "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\u2019s mission: to think up, build and finish something \u2013 without readily available internet access.\n\n Alderney runway, photo by Chris Govias\n\n\n\nWait, no internet?\n\nWell, pretty much. As the creators of /dev/fort James Aylett and Mark Norman Francis put it: \u201cImagine a place with no distractions \u2013 no IM, no Twitter\u201d. 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\u2019ll need on your back or your hard drive: from long johns to your favourite icon set.\n\nWe 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\u2019d settled on Russ\u2019s 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\n\nThe 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\u2019s and Norm\u2019s experience running these things, but a lot of it materialised while we were there \u2013 especially for our three-strong design team (myself, Gavin O\u2019 Carroll and Chris Govias) who, though we knew each other, had never worked together as a group in this kind of scenario before.\n\nThe outcome was a pretty spectacular process, with a some key takeaways useful for any small group trying to build something quickly.\n\nWhat it\u2019s like inside the fort\n\n/dev/fort has the pressure and pace of a hack day without being a hack day \u2013 primarily, no workshops or interruptions\u201a but also a different mentality. While hack days are typically developer-driven with a \u2018hack first, design later (if at all)\u2019 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.\n\nWhile 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.\n\nWhat made this design process work?\n\nA golden ratio of teams\n\nMy 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 \u2018do everything\u2019 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.\n\nMore 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\u2019t 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.\n\nWhile it\u2019s 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.\n\n photo by Ben Firshman\n\nEquality inside the fortress walls\n\nSomething 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.\n\nBeing equal doesn\u2019t 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.\n\nCreate a space where everyone who enters is equal, but be sure to establish clear roles. Even if it\u2019s just for a short while, the environment will be beneficial.\n\n photo by Ben Firshman\n\nHang your heraldry from the rafters\n\nForts and castles are full of lore: coats of arms; paintings of battles; suits of armour. It\u2019s 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.\n\nRyan 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 \u201cAh, I misunderstood because in the data structure x means y\u201d or, even worse, accidental seepage of technical language into the user interface copy.\n\nPut 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\u2019t underestimate the power of ambient communication and physical reference.\n\nPlan more, download less\n\nWhile internet is forbidden inside the fort, we did go on downloading expeditions: NASA photography; code documentation; and so on. The project wouldn\u2019t have been possible without a few trips to the web. We had two lists on the wall: groceries and supplies; internets \u2013 \u201cloo roll; Tom Stafford photo\u201c.\n\nThis 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. \n\n The path to the internet\n\nFor 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. \n\nTry it at home: unplug once you\u2019ve got the things you need. As an artist, it\u2019s easier to let your inner voice shine through if you\u2019re not looking at other people\u2019s work while creating.\n\nSocial design\n\nFinally, 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.\n\nAt a certain stage we discovered it was more efficient for one person to take over \u2013 this happened around the time when the basic wireframes existed in Illustrator and we\u2019d 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.\n\nPut 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\u2019s better to have your personal headspace.\n\nGavin called this \u2018social design\u2019. 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\u2019d tried something like this before with product or developer folks, and it can work \u2013 but there\u2019s something really beautiful about switching places and everyone involved being equally quick at drawing. That\u2019s not something you get with non-designers, and frequent swapping of the \u2018driver\u2019 and \u2018observer\u2019 roles is a key aspect to pairing.\n\nTackle the forest collectively and the trees individually \u2013 it will make your framework more robust and your details more polished. Win/win. \n\nThe return home\n\nGrateful 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. \n\nYou just never know what crazy place you might be designing from next.", "year": "2010", "author": "Hannah Donovan", "author_slug": "hannahdonovan", "published": "2010-12-09T00:00:00+00:00", "url": "https://24ways.org/2010/extreme-design/", "topic": "process"}
{"rowid": 237, "title": "Circles of Confusion", "contents": "Long before I worked on the web, I specialised in training photographers how to use large format,  5\u00d74\u2033 and 10\u00d78\u2033 view cameras \u2013 film cameras with swing and tilt movements, bellows and upside down, back to front images viewed on dim, ground glass screens. It\u2019s been fifteen years since I clicked a shutter on a view camera, but some things have stayed with me from those years.\n\nIn photography, even the best lenses don\u2019t focus light onto a point (infinitely small in size) but onto \u2018spots\u2019 or circles in the \u2018film/image plane\u2019. These circles of light have dimensions, despite being microscopically small. They\u2019re known as \u2018circles of confusion\u2019.\n\nAs 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 \u2018acceptably unsharp\u2019. \n\nAcceptable unsharpness is now a concept that\u2019s relevant to the work we make for the web, because often \u2013 unless we compromise \u2013 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.\n\nAcceptable unsharpness\n\nMany clients still demand that every aspect of a design should be \u2018sharp\u2019 \u2013 that every user must see rounded boxes, gradients and shadows \u2013 without regard for the implications. I believe that this stems largely from the fact that they have previously been shown designs \u2013 and asked for sign-off \u2013 using static images.\n\nIt\u2019s 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\u2019s browser or device capabilities.\n\nWe 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\u2019s experience of a brand? How important are gradients or shadows? Are rounded corners really that necessary? These decisions determine how \u2018sharp\u2019 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.\n\nCircles of confusion\n\nUsing 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 \u2018softer\u2019, more defocused as they\u2019re plotted into outer rings.\n\nIf layout and typography must remain consistent, place them in the centre circle as they\u2019re aspects of a design that must remain \u2018sharp\u2019.\n\nWhen gradients are important \u2013 but not vital \u2013 to a user\u2019s experience of a brand, plot them close to, but not in the centre. This makes everyone aware that to achieve consistency, you\u2019ll need to carve out extra images for browsers that don\u2019t support CSS gradients.\n\nIf achieving rounded corners or shadows in all browsers isn\u2019t important, place them into outer circles, allowing you to save time by not creating images or employing JavaScript workarounds.\n\nI\u2019ve 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.\n\nInvolving 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\u2019s one-size-fits-all thinking about visual design, towards accepting the rich diversity of today\u2019s web.", "year": "2010", "author": "Andy Clarke", "author_slug": "andyclarke", "published": "2010-12-23T00:00:00+00:00", "url": "https://24ways.org/2010/circles-of-confusion/", "topic": "process"}