Author Archive

The Designer Will Make It Pretty // A Matter of Aesthetics


  

I am sure that my day job as a designer has a lot of similarities to that of the entire Smashing community. I create wireframes, mockups and concepts. I craft HTML and CSS using methods that I hope are fluid and adaptive. At the same time, my coworkers and I serve over 100 clients and 13 million users on a single platform.

Each client has the ability to design their website as they see fit, but we have an unbalanced ratio of designers to clients. I do not have the luxury in my day-to-day work of spending months working through a design process as part of a client’s implementation. However, this scenario of limited time hardly strikes me as rare among my design peers.

Because of these constraints, I hear a phrase quite often that many designers would compare to nails on a chalkboard. The people I work with who do not handle the design side of our platform will often tell clients, “The designer will make it look pretty.� Now, “it� could refer to a lot of things: a log-in form, maybe a simple button, or the entire website. When content is raw, unformatted or confusing to the user, it gets sent to the design department so that it can come out the other end “pretty.�

The result of my design process.
The result of my design process.

Web designers hate this perspective. We consider what we do to be far more important than decorating sloppy content and returning it in a timely fashion. Many of us would argue that our real job is to make content accessible, flexible, easy to use and easy to work with. The real value in design comes from what you can’t see or what you don’t appreciate; it comes from all of the trouble that you don’t have because we fixed it ahead of time. Thank goodness we know better: if we just made things pretty, all of our work would be in vain.

Why Designers Hate “Pretty� Design

Professional designers don’t make things pretty because it’s beneath us. Your visual acceptance of our work is the result of careful decision-making built around grid systems, perfect ratios, color theory, typography and—no, I won’t make your logo bigger—white space. The practice of simply decorating is something we used to do when we were just getting started down this career path. We used to make pretty things in Photoshop to kill time in class or to tinker with a new tool or technique. We have since moved on to bigger and better things.

Image source: Mike Rohde
Image source: Mike Rohde.

Yes, the design community has graduated from the pretty principle to less visual but supposedly more impactful measures. The technology of the present enables us to reach a higher plateau, and we are a bunch of people who refuse to settle for good being good enough, and that includes making something pretty. Right?

Embrace The Pretty

Anyone who feels they have left pretty and supposedly meaningless things behind is wrong. Leaving behind the idea of making your work appealing to the eye is to leave behind real value. Aesthetics are no petty trick for the uninspired. Quite the opposite, really.

Our great human minds come preprogrammed with many incredible default behaviors that automate complex decision processes. One such behavior is to be drawn to attractive things. Of course, this isn’t news. We prefer to spend our lives with companions who we are attracted to, we want pretty spaces to live and work in, and we invest our time and money into these things to make them look good. However, this hidden pattern in our behavior can account for much more than these obvious attraction-driven actions.

Attraction works surprisingly well not just by direct preference but by association, too. Take, for example, something that we see on a daily basis. The process of selling products with attractive models or celebrities may come across as a lazy method of advertising, perhaps by a marketing team that is slacking off. But despite its transparency, this method remains an effective way to pass attributes that we generally associate with attractive people onto a completely unrelated product.

This comes to light in a study performed on two groups of males who were shown the same car advertisement, the only difference being the inclusion of a pretty woman alongside the car. The group that was shown the car with the woman not only rated the car as faster, better designed and more valuable, but when they were confronted about the influence of the attractive woman, nearly all of the subjects denied that it played a role in their judgment of the car.

How does all of this relate to Web design? Like so many things, it comes back to the content. Content is the most important element of a website, and how a user reacts to that content or recalls it later can be heavily influenced by its surrounding. The most obvious example is our judgment of credible information.

News Story Comparison

In the example above, you can see an article surrounded by distracting advertisements on the right. Crushed into leftover space or given no regard for good typography seems less important or even less factual to us than one that excels in all of these categories—even if the words are exactly the same. To the reader, it is clear that the time spent crafting an article into a beautiful experience indicates that it has higher value and more legitimacy. But the benefits don’t stop at the paragraph level. The entire experience of a website can be enhanced with an eye for beauty. I’ll even show you how.

The Laws of Attraction

The process of booking a place to stay on vacation or a trip has been completely transformed by the Internet. To be completely honest, I’m in my 20s, so I don’t really know what people did to book places to stay before the Internet, but it had to be terrible. Today we have dozens of options for finding deals on hotels, resorts, apartments and beyond. From the variety of choices out there, patterns have emerged in the process of finding places to stay. Every website out there starts with the basics: destination, arrival and departure dates, and guests. This is a good pattern, and it generally serves our best interests, but oh, the difference that design can make.

Airbnb website

Airbnb has established an impressive level of popularity in a short time among travelers looking for an experience outside of the standard hotel room. This is in no small part due to the emphasis it has placed on design. When you visit the Airbnb website, its entire mission is revealed to you in an instant. Large vibrant images bleed through the background, showing some hand-picked potential destinations.

These careful selections serve several purposes. First, it becomes immediately clear that we are dealing with something beyond the drab hotel experience. Secondly, it’s no coincidence that the destinations that enter and leave your peripheral vision are so gorgeous. Let’s take a moment to compare this experience to another website that offers a similar set of features.

Vacation Rentals By Owner

Vacation Rentals By Owner (VRBO) helps you accomplish a goal similar to that of Airbnb’s users, which is to book destinations with individual owners. Honestly, VRBO does not make this process difficult, and its inclusion here is not meant to imply “Never do this.� The steps are the same (destination, arrival and departure dates, guests, etc.), and its design does not hinder the user from completing this process. However, the difference in experience between the two websites is drastic.

The primary difference is that Airbnb has done a wonderful job of presenting its primary content (the places) beautifully. The large pictures of the very pretty places gets us excited about our trip and about the sort of unique residences we could stay in. Because of the pretty things we immediately see on Airbnb’s home page, our entire experience is enhanced. Even if the process of booking a place to stay is no harder or easier on Airbnb, more people are likely to come back or share this resource with their friends because of the positive and memorable influence of the pretty images and interface. The unique style of Airbnb translates into measurable results in the form of a noticeably lower reliance on search traffic and a higher percentage of direct and repeat traffic.

The Industrial Age Is Over

There was a time when design was a secondary consideration for the products we used and the services we enjoyed. This mostly came about during the Industrial Revolution, and it could be argued that we relived a similar mentality through the Information Age. Both of these eras share a common theme of production on a large and affordable scale. We found ourselves constantly inventing a new mouse trap, except that it didn’t have to be a better mouse trap if it could be a cheaper one. So long as your table, automobile, computer software or thermostat had a utility and was affordable, it was good enough.

Nest Thermostat

If you have the pleasure of living in a developed country, it should be obvious to you that times have changed and this no longer applies. Why did the Nest thermostat make such a huge splash online? Because finally we have a device that can automatically control the temperature in our home? For years we have longed for something that allows us to regulate the temperature where we live! Sorry, but we’ve had these things. In fact, hundreds of these things exist. But that’s precisely why Nest took off: it was the same thing done again but with real design this time.

Sure, it’s important that the Nest makes it easy to program the temperature in your house, which is an element of “good design� in the sense that designers love. The controls are simple, and it’s super-easy to understand, read and use. I would argue, though, that all of this is secondary to the fact that the Nest looks really cool. Perhaps you would scoff at the statement that looking cool is more important than being easy to use. But the fact is that this thermostat will spend most of its life not being touched and not being interacted with in any way. It’s a thermostat, so what will people do with it almost 100% of the time? They’ll look at it.

We see this in industries beyond home décor. It wasn’t long ago that the US automotive industry was in a nose dive for the crapper. This shouldn’t have been much of a surprise because the industry was built on Henry Ford’s principle of mass production on a cheap, repeating, large scale. As the world moved away from affordable necessities to desirable luxuries, the car industry needed to move with it or go broke. In the early 2000s, automotive juggernaut General Motors rehired Robert Lutz, the man who would rewrite the script on how GM made cars. Lutz ditched the industrial mentality of GM and started to imbue his own opinion of cars, saying, “I believe very deeply in the automobile as an art form.� Since then, GM has transitioned from manufacturing cars to designing them.

Looking around, you can see that making things pretty is going from being an afterthought to being an integral part of our lives. We have reached the point where making something affordable yet high in quality is second-nature. Look no further than the content we curate in our social media profiles today to get a prime example of the difference design makes.

The Internet is becoming a culture of hoarding; with Pinterest, Instagram, Facebook, Twitter and websites like Dribbble and 500px, a premium has been put on building a digital collection of things. We share the food we eat, the places we go, the clothes we want to buy and the gadgets we love. Often the primary requirement for sharing these things with our social networks is that they stand out visually. They need to be unique, stylish and well designed… they need to be pretty. As discussed earlier, all of these qualities build a connection between who we are and the products we love. In order to create a product or website of extraordinary value to the millions of digital curators out there, we need to invest in aesthetics that reflect well on those same users.

Put Pretty Into Practice

The landscape of the Web is not so different from that of thermostats or cars. If anything, its resources are over-abundant. Any task you might want to accomplish online either has been done thousands of times or can be easily duplicated after the fact. When users have limitless options and limited time, design is the deciding factor in what makes one experience more worthwhile than another. So, don’t cringe when “pretty� is included as a design requirement, because it should always be. When we make a design pretty, we are deliberately basing our design choices on aesthetic value. A pretty design has a visceral impact on the user and prompts an emotional response.

Designers who ignore the potential impact of prettiness on their work are at risk of being surpassed by peers who share their skill set but who appreciate the role of beauty. Pretty design isn’t just for Dribbble. Your clients, customers and users all stand to gain a lot from that extra coat of paint. A user’s personality can be imbued, however slightly, by the work done by a designer merely by association. I implore you to keep work from leaving your desk until you have had time to make it pretty.

Additional Reading

(al)


© Jason Gross for Smashing Magazine, 2012.


Redefining Hick’s Law


  

Hick’s Law has always been a popular reference point for designers. You’ll find it cited in the endless lists of basic laws and principles that all designers should be familiar with. Given our assumed comfort level with this design cornerstone, I am surprised to see so many people getting it wrong.

What we think we understand about Hick’s Law as it pertains to Web design is oversimplified and incomplete. We need to more deeply investigate what Hick’s Law can do for Web design. In the end, we will see why this design principle is undervalued, and we will see how we have been designing incorrectly for the user’s decision-making process. In order to get there, we need to look at our current approach to Hick’s Law and why it’s wrong.

Choices
A mess of different size labels for clothing hooks. (Image: außerirdische sind gesund)

An Incomplete Definition

As it stands today, most discussions of Hick’s Law focus on a narrow portion of Web design. Traditionally, the law is used to encourage designers to limit options in navigation, lists and interactive options. Whether it’s used against drop-down and fly-out menus with too many options or pages with too many links, Hick’s Law has primarily been a counterweight to sprawl.

Overstock navigation
Don’t do this.

While the idea does have merit (massive menus really are a bad idea), it is incomplete. Why do we restrict Hick’s Law to navigation? Hyperlinks are the driving force of the Internet; they take us from one page to another and drive the action on the page. So, applying Hick’s Law should begin there. Limiting the number of links and buttons in front of users should simplify their decision-making process, enabling them to move about the Web with minimal stress and delay. But is this the end all and be all of Hick’s Law?

A Better Perspective

If we stopped here in our study of Hick’s Law, we would miss out on a lot of value. Why do we focus so much on links and clicks? While these factors do drive the user experience, they aren’t the only factors that users take into account when navigating a design. We have to remember that Hick’s Law did not come about with the invention of the Internet. Hick’s research simply shed light on how a website’s options affect the speed and ease of the user’s decision making. This makes for a pretty broad scope, because we aren’t measuring physical responses or the role that technology plays, but rather the mental processes that lead to making a decision.

So, let’s step back and consider the thought process that users go through and how many levels of decision-making a Web design can consist of. For example, instead of just regarding each link in a navigation menu, sign-up form or toolbar as its own option, we should consider the process of interacting with the navigation a decision of its own. For that matter, any given design contains a whole array of top-level “options� that demand decisions of the user.

In choosing whether to read an article, navigate to a new page, fill out a log-in form or perform a search, the user has to mentally process several options before making even a single click. Are they interested in the content on this page? They might decide to skim the headlines to see what stands out to them. Perhaps they are shopping for something. Before even hitting the “Add to cart� button, they have to choose between making the purchase, looking at product details and reviews, and shopping around for something else.

TypeKit
When browsing fonts on Typekit, the user has many more decisions to make than simply picking a font.

With all of these options available, it would seem that crunching the numbers and determining how many choices are possible would paralyze any user into indecision and make any website unusable. Clearly, this isn’t the case. So, what is it about a good design that enables users to decide and act, without being overwhelmed by too many choices? Better yet, can we measure and reproduce these factors in our design work every day?

Reapplying Hick’s Law

In order to properly apply Hick’s Law to Web design, we must approach a design the way our users do: in phases.

The first phase occurs before the website even launches. While we would never want to design based on an assumption of what our user base is looking for, visitor will rarely happen upon your website without some sort of preconception of what they are going to see. Barring the occasional hijack, most first-time visitors enter a website by clicking a link that includes a description, title or search result that hints at the content they will see. Returning visitors probably have an even better idea of what they will be running into. It is rare that a user enters a website with no clue of what it is about.

This preconception among users about content and experience is a great reason to follow a content-first design approach. Of course, this approach also happens to be entirely justified. In an age of search-engine placement and social advertising, many users are landing on content-heavy pages, not just home pages driven by calls to action. So, the first decision point is about content consumption. The human mind has trouble choosing between several options unless one clearly stands out as the best. When you water down a design with widgets and secondary content, you reduce the value of the primary content and force a harder decision on the user. The process of eliminating distracting options has to start here and should be carried on throughout the design process. The more choices we eliminate, the more enjoyable the experience will be.

Looking past the primary content, what happens when content comes in large data sets, such as a list of recent posts, product suggestions or thumbnails? It’s here that the designer can really prove their worth. We have all seen designs that lack structure, spacing and consistency. The content gets lost, or the user gives up entirely when they aren’t given the tools with which to make confident decisions. Building a great experience has a lot to do with how we empower the user’s decision-making process through these practices. When we apply our skill sets to drive users to a particular action on a page, we are counteracting the lag or complete mental shutdown that is caused by a complicated decision-making process.

Is minimalism your thing? Then a splash of color or carefully arranged negative space goes a long way to breaking down the top-level decisions that users have to make. If you find yourself painting or spacing out elements haphazardly on the page, then it’s time to reconsider the number of options on the page and choose the ones that are most important.

Information Architects
The less color we use, the more powerful it becomes.

When dealing with rich designs and content-heavy websites, patterns are your best friend. When users are in scanning mode, their eyes will key in on consistency, so your designs should be visually consistent in the right way. Are your headings different enough from your titles to be instantly recognizable as secondary or tertiary content? Always fall back on the principles of art and look at how the design uses line, shape, color and spacing. Variations in these things draw the user’s attention, while consistency breeds familiarity and easier decision-making. Pushing Hick’s Law to the core of this thought process forces us to think twice about our reasons for visually emphasizing certain elements.

When we design in patterns, we instill assumptions and behavioral patterns in our users as well. The Web has some global design patterns that help users make decisions. When text is blue and underlined, users understand they can click on it and get sent to a related resource. Similar patterns can exist within the confines of a single design. If we place a texture behind a headline, the user will associate the two things; the next time the user sees the texture, they will expect to see an element in front of it that carries the same weight or meaning as the headline they first saw. Distributing these patterns throughout a design helps users make choices based on previous experience.

What We Do With Words

Perhaps you haven’t heard the news: people don’t really read websites. Users don’t read content until they are motivated and enabled to do so. So, we need to take titles seriously and use imagery in the right way. Graphics and images are a huge draw, especially on pages loaded with text. When used correctly, they can make an otherwise heavy page easier to decipher, thus connecting users to the content they care about more quickly.

Pinterest
Thanks to design patterns and support of image thumbnails, Pinterest can load a lot of content.

Pinterest Without Images
Take away the images, and the design suddenly becomes unusable. This highlights the importance of using images properly.

Designing With Hick’s

The only way to get any real value out of Hick’s Law is to marry it with the design principles that we know and love. I challenge you to incorporate Hick’s Law into the highest levels of your design process. When you set up wireframes, look past the trees of “Link 1, Link 2, Link 3…� and see the forest of decisions that you are putting in front of users. (Cutting this forest down is totally fine.)

Prototyping stuff out? Don’t just worry about how many times to use a call-to-action style. When you group elements or space them out or change the background color or apply a texture, you are setting off a section of the design and potentially laying another choice on users. This is why design is not just about decorating the page or making a button stand out. We must respect the power of design to draw attention and, thus, strictly limit the number of decisions that we burden users with.

The Web is a wonderful place to specialize, and a lot of websites out there do a fine job of delivering a very limited scope of options to users in fine style. This level of focus is made possible by zeroing in on a core set of behaviors that are easily targeted by a consistent set of design patterns. This often has the desirable side effect of being great for mobile-first responsive design.

Quipol
Quipol focuses on doing one thing really well, which limits decision overload for users.

Where’s My Magic Number?

So, how many choices can we expect users to be able to manage before slowing down? The answer will always be relatively few. Some of the best designed and most popular websites limit options to just a few. On Google, we can log in, search or try our luck. On the Quipol page above, we can vote, log in or sign up, learn about this new service, or see more polls. The options on Twitter’s home page have lowered over time, being whittled down to simple sign-up and log-in forms.

Old Twitter
Not long ago, Twitter presented a lot of choices on the home page.

New Twitter
The new design sharply reduces these decision points and exhibits greater focus.

This is a huge design challenge that demands a lot of thought, testing and revision. The process of minimizing options for users without impairing functionality is not an exact science and no easy task. It requires studying our users’ behavior patterns and making tough decisions about what to do about such things as advertising, business-derived feature creep and actions such as logging in and signing up (which empower users but distract from the content). As we can see with Twitter, this is an evolving art form. As Twitter continues to grow in popularity, more and more users are landing on its home page already knowing what goes on there. This empowers Twitter’s design team to lower the noise that results from having to educate new users on the service.

Foursquare Explore
The “Explore� feature on Foursquare packs limitless possibility into a simple set of options.

Foursquare has also done a great job of providing a powerful tool without overwhelming users with choice. In less capable hands, Foursquare’s “Explore� feature could easily host dozens of filters, restrictions and settings to tinker with. Instead, the visitor is encouraged to use the service simply by typing what they want in the input field and hitting the only button on the screen. This simplicity is made possible by a few things. First and foremost, the core premise of the service is all about the here and now. Foursquare knows its users are interested in what’s right around them, because the service has always been about sharing and exploring your immediate surroundings; so, defaulting the search area to the user’s current location is a safe bet. Secondly, over a billion data points yield a lot of power. With such a large a set of information, Foursquare can do a lot behind the scenes to make educated guesses about what its users are really interested in.

Making Sense Of It All

So, how does rethinking Hick’s Law outside of its traditional design context make us better designers? It’s all about the process. It irks me when a client asks me to make something pretty or to put a “magic touch� on some content. Design has always been about so much more than that, and a huge part of it is making the experience effortless for users.

As we’ve seen in the examples of well-executed design above, websites take different routes and devise different solutions, but the goals are the same. When we apply principles such as Hick’s Law beyond the narrow scope of navigation sets, we start to see the power of eliminating distractions for users. Slimming websites down to one or two clear options makes for a beautiful experience and sets a lofty goal for the designer.

We can’t always eliminate all confusion for our busy, distracted users, but we can ease their pain by limiting the options that they have to mentally process. When we view chunks of content as decision-making points, it becomes clear just how much we ask of visitors. Each option is an opportunity to evaluate its importance in the design. Designers who force users to decide between only meaningful and clear options are the ones who deliver an effortless user experience. And when the experience is effortless, everyone wins.

Related Resources

(al)


© Jason Gross for Smashing Magazine, 2012.


The Role Of Design In The Kingdom Of Content





 



 


If content sits at the top of the food chain, why do we spend so much time talking about the finer points of design? Every day we debate, experiment with and discuss topics that easily fall into the category of aesthetics, enhanced functionality and layout; in fact, relatively rarely do we talk about content. Nevertheless, even though we should concede that content is king in this realm, this doesn’t mean that design should be devalued.

It may seem logical that the user experience lives and dies by how the user relates on an emotional level to the content on a website. But this is not necessarily the case. From a design perspective, our job is to maximize the value of every visitor, whether they love the content or hate it. The role of a UX designer is not always to make everyone feel all warm and fuzzy inside. A rich Web experience could include the emotion of happiness, humor, discontent, sadness, anger or enlightenment. A well-designed website enables us to attribute our emotion to its source and connect us to that environment through a range of senses. A UX designer should understand why and how to utilize the principles and techniques they have learned to support the website’s precious content.

Justifying User Experience Design

Investing in UX design as an amplifier of good content is not always an easy process. In many industries, a product that fills a demand and that works as it should is good enough. Most of us don’t care how an ink pen or a computer monitor makes us feel, as long as it works. A large portion of the Web still reflects this sentiment, as do clients and project managers who haven’t been educated in the value of UX.

A website is a much more involved product than an ink pen and calls for a different measurement of user satisfaction. A product that merely meets demand and works correctly does not suit a medium that is so highly interactive and saturated. As designers, our task sometimes is to convince other parties of the value of building a user’s personal engagement with the website’s content. Fortunately, we have examples of companies that have done UX right and that have the success to show for it.

As a geek who enjoys building computers, I look to Newegg as a good example of a company that has played to its strengths to deliver a superior user experience. In its early days, Newegg’s fair prices and lightning-fast delivery of computer components made it the place to shop for IT people. This was all great, but the real kicker was that users who loved to share product strengths and weaknesses with each other could do it all on Newegg’s website.

This turned out to be a fantastic benefit for new users, who were inclined to trust the experience and suggestions of people they regarded as peers. As a result, Newegg built a massive army of geeks who generated content and provided an extremely valuable experience to its users. If you had a device or component that was functioning oddly or not at all, chances are that someone had shared the cause and maybe even a solution in a Newegg review.

Newegg

Newegg acted on this opportunity the right way by using design to highlight its most valuable content. While its design may not be the slickest or most modern, Newegg provides a great experience and has high user satisfaction. Ratings and reviews by peers have become a driving force in Newegg’s design and populate nearly every page. As the design has evolved over the years, product reviews have floated to the surface of nearly every page, and the system for contributing reviews has grown in depth and functionality as well. Newegg even took this to the next level with a recent nationwide ad campaign and design. All of this came about because Newegg identified which of its content made for a strong user experience and built on it, which should be done in every Web project.

Identifying the content that makes you stand out is only the first piece of this puzzle. What we really want to explore is how to take everything we have learned about color theory, lines, shapes and visual movement and apply it to our content in a way that doesn’t just decorate it or even make it pop on the page, but rather that supports the conversion of a goal or delivery of a message. Much like how the primary function of petals on a flower is to attract insects to pollinate, good design ensures that your website will thrive. All of that great design talent needs to be applied not only to the content but to the layer before and after it as well.

The Delicious Design Sandwich

With virtually every website, good UX design can be sectioned into three parts or events: introduction, consumption and reaction. Content is at the core, the meat of what the user is looking for, and on both sides of the content are events that are driven by a well-executed design.

User Introduction

The Web is a world of first impressions, and quick ones at that. Users form an opinion of a website within the first few seconds of loading it. This means that the colors, the layout and the presentation of headings are all evaluated before any content is actually absorbed. Users are inclined to scan content until they zero in on something that piques their interest. Regardless of what your content actually says, the design around it controls what the users see first and how their eyes move across the sections of the page.

In addition to searching for interesting information, users will also be determining how credible this resource is. Despite being constantly taught that we shouldn’t judge a book by its cover, all of us are susceptible to trusting a resource based on our familiarity with it, what our peers think of it and the time and money that we estimate was put into its construction.

Living Social takes advantage of this in its design in multiple ways. A quick scan of the main page after the user has entered an email address and location reveals several techniques that have been implemented to elicit a reaction from the user.

Living Social

Perhaps most striking is the background image. In every city that Living Social serves, a background picture loads that the visitor can relate to. I immediately connected with this website because I did a double-take at the background image and realized that I pass by this area all the time: it’s just down the road from me!

Living Social has also done the little things right. A clear hierarchy is established on the page through the headings and content modules; the call to action is the most prominent element; and the interactions oriented around engagement are easily accessible. The counters that tell you how many people have bought the deal and how much time you have left generate sufficient peer pressure.

Living Social

When all is said and done, Living Social has invested in the introduction side of its design, which makes a lot of sense given its content. Living Social and the other daily deal websites thrive on a high volume of quick visits, which means they often live and die on first impressions. The heavy emphasis on the impression portion of this design begins with the content. Instead of fitting content into a design concept, Living Social has wrapped an appropriate design around the content that it wants to feature. But we aren’t done there.

Content Consumption

Even in the process of consuming content that we’ve proposed, design plays a huge role. The crucial rules of typography control the experience that users have when reading articles. The mood of images and video can vary drastically based on their aesthetic setting. If your primary content is user-generated, then the ability of users to interact with the website and each other will be driven by the interface you’ve designed.

More than anything else, content is an opportunity to set the tone of the website. We have all witnessed the untold damage that is done when content that should have a professional tone is set in Comic Sans. The font face, size and color can do an amazing job of controlling how your website says something that leaves an impression on users, which leads to the final piece of our sandwich. Along these lines, the way you frame entire portions of the website gives the audience clues as to what their emotional reaction should be.

We see this naturally develop with websites created by designers for their own peers. Portfolios, design-related apps, and websites for networks and conferences are all designed for tone. Of course, getting too extravagant in an attempt to impress is the opposite of what we are trying to achieve here. However, in the case of a conference about HTML and CSS, a website that experiments with the edges of what’s possible with HTML and CSS is an appropriate setting for the content.

The Combine

Like many websites for technology and design conferences, The Combine in Bloomington, Indiana, is highly design-driven. In addition to the slick HTML and CSS that will resonate with the professionals being targeted, the aesthetics intentionally reflect the small-town atmosphere of Bloomington. The same features that distinguish the location of this conference also encourage users to identify with the design.

User Reaction

This may be the most understated design-driven activity on a website, but it carries huge value. How the user responds to your content is pivotal to the website’s success. These days, merely delivering content is not enough. The Web has a wealth of information and options. In order for a website to enjoy any success, it must take advantage of referrals, links and maybe a bit of buzz on social networks. If we want to stand out on the Web, our users need to share our content with friends or contribute their own thoughts, reactions and content.

YouTube serves as a practical example of building an experience around the user’s reaction. YouTube kickstarted the concept of viral videos, but getting there required that the website be designed around the content itself. We all know that a massive amount of content is uploaded to YouTube every day, but the degree to which a video goes viral depends on how encouraged the user feels and how easily they are able to share or contribute to the experience.

YouTube

It doesn’t take a trained eye to see this in action all over any given YouTube page. Suggested and related videos are always available, along with the option to share a video on your favorite social network or embed it anywhere on the Web. Of course, the design was not made to look good on its own and then this functionality shoehorned in. Again, the emphasis is on the content, and the design elements that result in the user’s reaction are all rooted in sharing or exploring that content.

In a world driven by likes, tags, tweets, shares and votes, the follow-through that a website and its content facilitates becomes a massive factor in its success or failure. A user who visits a website, views the content and then leaves generates little value for the business. For this reason, we see blog articles sprinkled and even littered with related content, suggested videos that come up after you watch a clip, and quick and easy share and save buttons everywhere. The follow-through on each of these actions is highly design-driven. The color, shape, size and location of links and buttons determine whether a visitor sees them quickly or not. But, of course, we can’t expect everyone to play the role that we define for them…

Designing For An Experience

As important a role as design plays in the perception of and reaction to your content, people still argue that a user experience cannot truly be designed. Of course, the user ultimately decides how they engage with any design. If the goal of a design is to convert every single user into a customer, then failure is the only outcome. We can, however, design an experience that connects immediately with a target audience, delivers information with a clear tone and purpose, and encourages a response.

We want to design an experience for users who are willing to buy into it. Users come to your website most likely because they already have some interest in digging into the content, which means they are willing to play into the experience that you have designed. If a user stumbles on the website by mistake, then taking them all the way to the reaction stage of the experience becomes more of a bonus than a goal.

Different techniques for driving engagement with content can be found across the Web. If you’ve been to the blog xheight lately, you may have noticed its effort to prioritize the content in its posts. In addition to the minimalist design, the designer further isolates the content by fading elements out of view after your cursor has been idle for a few moments, leaving the article you are reading as the only element on the page.

X Height Blog Before

X Height Blog After

The jury is still out on whether this makes for a better or more distracting reading experience, but this design decision clearly centers on the content that the designer wants to deliver.

A different technique is apparent on the Livestrong website. When the user hits the browser’s address bar or tries to click away after reading an article, a modal window with related content pops up. It’s interesting that the modal window is enabled only in the blog section of Livestrong, and not by mistake. With a website this rich in content and from so recognizable a brand, the designers could assume that the majority of traffic to these articles would come from search engines. The goal here is to keep users from jumping back to Google for more content and to have them continue engaging with the content here.

Livestrong

Keep Designing

Now as much as ever, companies are recognizing the value that good design and a solid user experience can bring to them. UX design is about developing a road map for the user, encouraging certain actions, and developing a user base that wants to engage with your content.

The key to driving this engagement is to ensure that we value design in the right way, not simply as a template, theme or color scheme but as a support system for key content. We can use design to make a website unique and more memorable. We do this by laying the foundation of a good impression, enabling smooth and meaningful consumption, and encouraging engagement with the content. All three of these areas are opportunities to drive a user experience that is in harmony with our content.

Additional Resources

(al)


© Jason Gross for Smashing Magazine, 2011.


The Neglected Necessities Of Design

Advertisement in The Neglected Necessities Of Design
 in The Neglected Necessities Of Design  in The Neglected Necessities Of Design  in The Neglected Necessities Of Design

Right now is an exciting time to be in the Web design community. Every month we seem to stumble on a new thought-provoking way to put our expanding tool set to use for our clients and the patrons of the Web. Many designers are chomping at the bit to litter their websites with new CSS, advanced HTML and ultra-engaging JavaScript. By all means, go out and use every last declaration and element you can get your hands on. Abusing, misusing and taking advantage of everything the Web could possibly offer is the best way to learn about what we can and can’t and should and shouldn’t do in future.

Whether you are excitedly exploring responsive design, diving headlong into accessibility, building a typographic masterpiece or seeing what level of interactivity you can achieve, all of your Web-based projects should have a common core. All of the new methods being discussed in the design community daily might be overwhelming, but no matter what route you ultimately take, almost any Web project you embark on today should start with solid HTML and logical CSS. This may seem like common sense, but the fact is that very, very few websites today benefit from sensationally optimized HTML and CSS and appropriately applied JavaScript.

When I say solid HTML, I don’t just mean that it validates as XHTML 1.0 Transitional. I don’t even mean that it should validate as Strict. What I mean is that your website should be void of superfluous containers, rogue classes and misused elements (both new and old). The process of building out the core components of a website may not be exciting, but this foundation is critical. These days, we have better options. HTML5 has opened the door to a new way to structure websites, and CSS3 is revealing new methods for not only achieving advanced visuals but doing so more effectively. As designers and developers, we have failed to hold ourselves to high enough standards for too long. Websites built on an exceptional framework have simply become optional.

More Than Just HTML, CSS And JavaScript

Of course, doing things the right way is more than about understanding when to use <span> and when to use <div> or knowing what every new CSS property does and what browser it works in. Before we implement any new HTML or CSS method, we need to see how it will change the planning of our project. Building a website with the ideal structure is a process that begins at the idea stage. When the client and designer are hashing out ideas for the new project, a seasoned designer will think of these ideas in terms of the code required to make it happen. Starting a project with this mindset will help you bring up questions that lead to cleaner code. Of course, before we write any code, we have to do some research!

Know Your Audience

Information is the secret ingredient to executing a project smoothly. Any data you can gather about the perceived or target audience of a website will be crucial to the development process. Having an early grasp of browser and device usage will help you zero in on the elements and properties that you can use in your design and help you hatch a plan for how your website will progress along with its users.

Plenty of markets out there still deal with high volumes of IE7 users, which is totally fine because carefully crafted code looks beautiful in any browser. Don’t let a scarily high number of IE users distract you from using all that CSS3 and HTML5 have to offer. Unless you employ Modernizr or another polyfill (please use sparingly!), a portion of your audience may lose out on a whack of gizmos and doo-dads. But the same wonderful experience can still be crafted for every browser if you have — you guessed it! — an exquisite code base.

Plan Ahead

Wireframe in The Neglected Necessities Of Design
Image credit: baldri.

Every developer knows that a good website is subject to change after launch. But what makes a difference in the code is whether these changes will consist of simple content revisions, new sections of content or the addition of multimedia. One of the most common causes of bloated or invalid code is the manipulation of a website’s content after launch. Ensure that growth and expansion are a part of your wireframes and concepts where needed.

If you predict that your website will grow in future (which it should), your best bet is to make its components modular. What do I mean by modular? Well, while the form and aesthetics of the content play a vital role in setting the tone and in building a communication style, the content should still be accessible independent of the design. The first step in doing this is to relegate the style to the CSS. Now, with the advent of HTML5, we can take this to a much higher level with the new HTML elements. We can use <section> to define areas of our website that have related sets of HTML. The new <article> tag allows us to define portions of the website that should be syndicated or that can be lifted from the design. With <aside> elements, we can include information that is related to <article> or <section> but on which the content does not closely rely; if taking out an <aside> element would damage the continuity of a given section, then a <blockquote> or similar element would be better suited to the job.

Properly using these modular elements will prepare your content for its future on the Web. Applications such as Readability and Instapaper are leading the way in the trend of separating content from design by providing users with a more controllable reading experience. As we write HTML, we will see all of these elements and ideas form a foundation that is friendly to designers, users, search engines and bookmarklet apps!

Approaching Mock-Ups And Wireframes

Wireframe in The Neglected Necessities Of Design
(Image: Samo Drole Design)

I’ve already said that we should consider the HTML when tossing around project ideas, so it should come as no surprise that this practice only gets ramped up when the pixels hit the page. Of course, some designers belong to the school of thought that these days we should create our mock-ups in HTML and CSS. For others, software is the weapon of choice.

No matter which path you choose, the mentality should always be the same. Design your projects with the same mindset of modularity mentioned earlier. This could mean wireframing different components with the intention of applying the same CSS class to multiple HTML elements. Or it could mean designing an <aside> for a product or service the way you would expect to see an <aside> in a blog post on the same website.

The more creative or artistic among us might dismiss this approach because it wraps a tourniquet around the veins that feed individuality. But those people, the ones who are carefully crafting their rebuttal to this argument, are the ones who will thrive under these circumstances. You see, the thing about truly creative people is that they thrive under restrictions. So, challenge yourself to build a clever and beautiful design, while maintaining this aspect of modularity and pattern-based craftsmanship. I doubt you’ll be disappointed.

Laying Down The HTML

After all of the careful planning of how your design will translate into code, it’s time to get down to the nitty gritty. Finally, we get to put our money where our keyboard is and execute some of this sleek and modular HTML that we have been bragging about and planning for.

The Basics

For some projects, our foundation will be set from the start, thanks to grid systems and boilerplates such as the highly regarded HTML5 Boilerplate. But don’t take these pre-made solutions for granted; many of them will contain more structure than you need, and none of them are a substitute for your genuine understanding of the project. Starting with a default structure saves a lot of time, but please take the time to make sure that 100% of what you start with is necessary to the project. After all, we don’t want to get off to a sloppy start, do we? The simple way to look at this is that you should know what you are putting on your website. Don’t just copy and paste someone else’s solution without knowing what it does. A common example of this is IE declarations:

<!--[if lt IE 7]> <link rel="stylesheet" href="ie6.css"> <![endif]-->
<!--[if IE 7]> <link rel="stylesheet" href="ie7.css"> <![endif]-->
<!--[if IE 8]> <link rel="stylesheet" href="ie8.css"> <![endif]-->
<!--[if gt IE 8]><!--> <link rel="stylesheet" href="normal.css"> <!--<![endif]-->
<!--[if !IE]> <link rel="stylesheet" href="normal.css"> <![endif]-->

Do we really need to load different style sheets for IE7 and 8? Some projects would benefit from having only ie6.css, ie.css and normal.css. Simple websites might need only ie6.css and normal.css.

As you get off the ground with your HTML, it won’t be long before you run into problems. Of course, it happens to all of us: floats don’t behave the way we expect them to; elements don’t line up the same across browsers; and we run into good old-fashioned human error. The easiest way to isolate layout inconsistencies and to tweak design problems is usually to dig into the code and start modifying it. But this is also usually when we get into real trouble and start introducing dirty code.

Did you finally manage to align the navigation with the logo by wrapping the header in an extra div? Cool. Problem solved, right? Not quite. Does that div really need to be there, or does it force child elements to conform to positioning that could be achieved with better CSS? Before running off to the next tweak, continue to explore your problem, checking whether an extra container is the right solution or just a quick fix. With HTML and CSS, we have the power to craft a layout and style in any of several ways, not all of which are semantically correct or efficient.

More Forward Thinking

Carrying on my preaching, I’ll remind you again that at this stage of the game we need to be thinking years down the road and to consider all of the ways our website could get mangled once we leave it. We saw earlier how planing ahead for our website’s structure to take advantage of new HTML5 features enables us to build our content in a modular fashion. Now we can lean on this modular approach as we construct the HTML for our layout.

<section class="contentContainer blog">
	<h1>My Blog</h1>

	<article>
		<hgroup>
			<h1>Hello Again, World</h1>
			<h5>Posted by: …</h5>
		</hgroup>

		<p>This is my second…</p>
		<p>You may be interested…</p>

		<aside>
			<h2>Related Reading</h2>
			<ul>
				<li><a href="#">Related link 1</a></li>
 				…
 				<li><a href="#">Related link 4</a></li>
			</ul>
		</aside>
	</article>

	<article>
 	…
 	</article>
</section>
<section class="contentContainer archives">
	<h1>Blog Archive</h1>
  …
</section>

With this structure, we see how easy it becomes to lift an <article> out of the website and get only the content we want. Along the same lines, we could easily scrap our <aside> without hurting the content because it’s a list of suggested articles that cover the same topic but don’t directly support our content. Better yet, we can apply this exact structure to a different <section> of our website with almost no effort. Our website is easy to expand, yet we retain the ability to build a unique style thanks to the different levels of distinction that HTML5 elements bring, which we wouldn’t have with a div-centered approach. Another thing we did with the .contentContainer class is begin to establish a global structure of logical and minimal CSS hooks.

JetVision in The Neglected Necessities Of Design
JetVision demonstrates the subtle consistencies that make up a good design.

In the heat of things, going overboard with classes and IDs in our HTML is easy. Any element that we foresee looking or behaving differently merits its own class, right? Not always. Moreover, any page element that relies on JavaScript for important interactivity and feedback needs a hook, too, right? In reality, this isn’t always the case. Much like CSS selectors, most JavaScript libraries have the power to drill down into our content from the top. Because more specific elements have been added to the HTML specification, we are getting ever closer to mark-up that has minimal need for CSS hooking.

Instead of applying hooks to every element that will be a little different, simply apply them to the primary sections of your page. See how far you can get with your style sheet based on these basic classes and IDs. My rule of thumb is, if you need to drill down more than four levels in the CSS, it’s time to place a new hook, for the sake of your sanity and for those who might take over the project and wonder what you were thinking. When you start to see CSS selectors that look like .sidebar section div ul li p span, you know things are getting out of hand, and you need to place a new hook in the HTML.

This minimalist approach to CSS and JavaScript hooking serves a few purposes. First, it keeps our mark-up lean and our pages quick to load.

Secondly, it enables our CSS to do all of the hard work for us. The whole point of loading a style sheet onto a website is so that one 5 KB file will shape the look and layout of an unlimited number of HTML pages, thereby saving an unlimited amount of bandwidth — yay! If our pages have fewer hooks and a modular design, then applying one theme across the entire website will require less CSS.

Speaking of less CSS, how do we achieve that?

Slim And Sexy Style Sheets

When it comes to conservative code, CSS files usually get the short end of the stick. Grabbing all of the presentation and layout information from the HTML and dumping it in the CSS has finally become a standard process for most designers. (If it isn’t yet, make it yours.) While this is the exact purpose of a style sheet, there are plenty of methods by which a designer can make sure that the CSS that loads for every page is, like the HTML, as clean and concise as possible.

CSS as a Process

For many designers, the process of building a style sheet consists of starting with the outer containers of the HTML structure and working their way in, aligning and styling as they go. How many times have you sized and centered your #wrapper element, and then moved onto aligning the logo and primary navigation in the <header>, and then continued your way down the page? This process certainly works, but there is a much better and quicker way to handle CSS. Much as we did with the HTML, we can recycle code and use a modular approach in a way that makes more sense and takes less time.

Instead of designing a style sheet with the HTML in mind, we should carry over our mindset from the rest of the design process, putting the user first. In our new and improved CSS process, let’s start with the most important and prevalent elements of our design. These will almost always be the content. The whole point of delivering clean and semantic code is to ensure that no matter what the screen, device or context of our visitor, they will have access to the fantastic message that our website is trying to convey. For this reason, we’ll start the primary portion of our style sheet with the typography.

body, select, input, textarea {
 	font: normal .825em/1.25em Tahoma, Geneva, sans-serif;
 	color: #353838;
}
h1, h2, h3, h4 {
  font-family: Georgia, "Times New Roman", Times, serif;
  color: #202020;
}
h1, h2 {
  font-size: 1.875em;
}
h2 {
  text-align: center;
  font-weight: bold;
  line-height: 1.5em;
  border-bottom: 4px solid #e5e5e5;
  -webkit-box-shadow: 0 1px 0 #b2c6e1;
   -moz-box-shadow: 0 1px 0 #b2c6e1;
      box-shadow: 0 1px 0 #b2c6e1;
  margin: 1em 1.25em;
}
h3, h4 {
  font-size: 1.25em;
  margin: .75em;
}

When it comes to text, we start with the most global rules and get more specific as we move down the style sheet, a pattern that should be repeated for other portions of the website.

Because typography is usually the most heavily used element on a website, it stands to reason that we should define our core font rules on a high-level element, such as the <body> element. If we want different typographic rules for headlines or certain page elements, we can declare them just after the default settings. If you have trouble figuring out which typographic declarations to add to your high-level selector and which to use as overrides, simply mark them all up and then identify which are the most common. Apply the most common declarations to the high-level element, and build specificity as you go forward.

With the typography set and the HTML structure solid, we have a website that could technically be delivered as a functional product to any device or browser. Anything we do from this point on should be to enhance the user’s experience.

For many designers, enhancing the experience starts with coloring the page. After typography, the color palette is arguably the element that most affects a website, and therefore should be next in the style sheet. I find that a good color palette is ingrained in every level of a design, and that breaking colors out into a separate section of the CSS leads to a lot of extra lines of code and a lot of selectors that are used solely for color but that have twins throughout the style sheet serving other purposes. I am not a fan of branching a single selector into different bits for the sake of lining up declarations. However, neither method is inherently good or bad. Find a system that works best for you, and maintain consistency across the project.

Finally, we get to the structure and layout of the website. With wonderful typography and eye-catching colors sprinkled throughout our website, we can line things up the way they should be and in a way that makes the website easy to read, navigate and interact with. We can continue with the method we adopted for the typography, putting the general rules first and then getting into the details later on. One thing that will hold us back is the lack of a hierarchy in HTML for anything other than typography.

Looking at the elements included in HTML4, the specification was clearly not prepared to support the complex layouts that designers and clients demand today. We had six levels of importance for headlines, but only abstract elements like <div> and <span> for structure, with no way to indicate hierarchy. HTML5 has gotten us closer, but we aren’t there yet. To make up for this, let’s look to the global class structure that we started implementing in our HTML earlier. We used the .contentContainer class to define the areas of our website that will be visual containers for our content. This class gives us the power to style a big portion of our website quickly and allows us to easily add new containers later without having to force them to fit the style of our website using CSS.

header, footer, .contentContainer {
	background: #f1f1f1;
	-webkit-box-shadow: 0 0 15px rgba(0, 0, 0, 0.25);
	  -moz-box-shadow: 0 0 15px rgba(0, 0, 0, 0.25);
	    box-shadow: 0 0 15px rgba(0, 0, 0, 0.25);
	border-radius: 3px;
}

Reduce, Reuse, Recycle

Much like with HTML, style sheets can get pretty funky when we get to the point of adding and removing individual declarations in order to get an element to look or behave the way we want. The gracious way in which Web browsers handle CSS rules that they don’t understand or don’t need makes this practice rather common, thus bloating our style sheets. For this reason, go back through the style sheet at the end of the day and remove any rules that no longer serve a purpose. The task is a painstaking one, but as with most such tasks, plenty of tools exist to help us along.

Another task that can save size and space is to group selectors that have the same set of style declarations. From a technical standpoint, it makes sense to create a group of selectors whenever two or more share at least one declaration. I love to take advantage of grouping selectors by using something I call CSS effects. With some of the new CSS3 declarations, I’ve found that I can move the layer styles that I copy and paste in Photoshop right into my style sheets.

.blueBox, .grayBox, .orangeBox {
	background-image: -moz-linear-gradient(rgba(0, 0, 0, 0.3), rgba(0, 0, 0, 0));
	background-image: -webkit-gradient(linear, 0% 0%, 0% 100%, from(rgba(0, 0, 0, 0.3)), to(rgba(0, 0, 0, 0)));
	background-image: -webkit-linear-gradient(rgba(0, 0, 0, 0.3), rgba(0, 0, 0, 0));
	background-image: -o-linear-gradient(rgba(0, 0, 0, 0.3)), to(rgba(0, 0, 0, 0));
	background-image: -ms-linear-gradient(rgba(0, 0, 0, 0.3)), to(rgba(0, 0, 0, 0));
	background-repeat: no-repeat;
	border: 5px solid rgba(0, 0, 0, 0.2);
}

We can apply this declaration stack to any element on our page to achieve a gradient. The use of RGBa allows us to retain the background colors of individual elements and to “outsource� the gradient style to a common selector.

CSSeffects in The Neglected Necessities Of Design

When combined with healthy HTML practices, spending more time on the essential pieces of solid Web design results not only in faster pages and a lighter server load but, more importantly, in a user experience that thrives on any platform regardless of the design method employed. Speaking of user experience, we still need to add one important piece to this puzzle.

JavaScript’s Vital Role

Whether or not a project can accommodate new HTML5 and CSS3 features, we still turn to JavaScript to provide users with rich and meaningful experiences, including inline form validation, error handling and live page formatting. The key difference between JavaScript and traditional HTML and CSS is that the former is a programming language. Thus, JavaScript is capable of powerful results and tricky logic but is less friendly to sloppy coding and human error. This latter characteristic leads me to my main advice about using JavaScript on your new website.

Enhance, Enhance

The first rule in applying JavaScript to your website is to test failures. What happens in a browser that has JavaScript disabled? What happens if you make a request to a geo-location API that the user declines? If either of these paths make all or a portion of your website inaccessible or inoperable, then this solution would be unacceptable, and an error- and interruption-free approach would need to be found. Much like how we currently approach CSS3, JavaScript should be used as a tool to enhance the user’s experience, not as a band-aid for quick results. If you rely on it to deliver the experience, then you are setting your website up for failure.

This might make it seem like JavaScript is not worthwhile to the design process, and indeed in some situations it may not be. One of the dangers of using any dynamic or script-based solution is that they can be so much fun to implement. Designers often get caught up in how cool these tools are and get distracted from considering whether everyone would have the same experience.

On the other hand, for adding meaningful functionality to a design, such as those mentioned earlier, JavaScript can have a truly magical effect. One of the more common examples of good JavaScript usage is inline form validation. We have all made an error in a Web form only to find out after having hit the “Submit� button, forcing us to go back and re-enter the information; in many cases, sensitive information such as passwords and credit card numbers needs to be re-entered as well. Alerting users to mistakes in real time makes online forms significantly less frustrating. Of course, we have a lot of tools and libraries out there to help us with this, as well as other great interactive features.

InlineValidation1 in The Neglected Necessities Of Design

Keeping It Tidy

With all of these JavaScript tools at our disposal, going overboard and using as many as we can is easy, especially if we can justify their presence as enhancing the user experience. But keep in mind that with each new JavaScript library, plug-in or solution, we are adding files and lines of code to our pages that users have to download. With each bit of functionality, we have a trade-off with performance.

We can do some things to curb the performance trade-off. The most common way to optimize JavaScript is to concatenate and minify the files. Keeping multiple JavaScripts in a single optimized file reduces the number of calls that the website has to make to the server. For high-traffic solutions and clients who demand peak performance, this simple trick can save a lot of money. Of course, at a certain point, a single JavaScript file becomes too long and therefore a hindrance to the website and a nightmare to maintain.

Beyond optimization, there are techniques we can follow to keep JavaScript from weighing us down. One technique is parallel script loading. Loading your scripts in parallel will reduce blocks on the browser and save loading time, especially in older browsers that load linked resources one at a time. A great resource for this is the Head JS project.

Aside from parallel loading, developers have been taking advantage of selective loading techniques for years. This is often referred to as lazy loading, where you call external JavaScript files only where you need them. This is another resource-saving technique.

Pulling It All Together

Giving your website a clean and concise structure opens the door to myriad opportunities. Search engines will have an easier time indexing your content; screen readers and accessibility devices are less likely to be confused by the structure of your website; users on cellular networks can download your content faster; and designers will be able to expand with the latest and greatest techniques.

Let’s be honest, though. Putting a website together the right way does take more time and money up front. The whole team has to take extra caution and spend more time in the planning stages, making sure that everything is considered with the future in mind. Before a website is implemented and introduced to users, it needs to go through a scrubbing process that might not yield any changes in the front end. Finally, project stakeholders are forced to spend time thinking about scenarios (which may or may not happen) in which the natural order of their website is disrupted.

Many of these reasons have led us to implement less-than-ideal solutions in the past for the sake of meeting deadlines and budgets. But how often have we been forced to go back and fix something that wasn’t done correctly the first time? How much money are companies spending to get rid of bad practices that seemed harmless at the time but have left their websites expensive to update and maintain? Building rock-solid code and taking advantage of the power of modularity enables our websites to grow and saves much more than it costs by negating the need for another redesign just two years later.

It is for all of these reasons that the core necessities of a good website have been neglected for far too long.

Additional Resources

  • Designing With Web Standards, 3rd Edition
    No one preaches Web standards and clean code quite like Jeffrey Zeldman. This book should be a fixture on every designer and developer’s bookshelf.
  • “Semantics in HTML5â€�
    In this article on A List Apart, John Allsopp breaks down how to continue developing semantic HTML with the new elements of HTML5
  • “Orbital Contentâ€�
    Cameron Koczon challenges us to liberate our content from the constraints of fixed and outdated design practices. A must-read for anyone interested in designing for the shifting viewports of the expanding Internet.
  • “Typographic Design Patterns and Best Practicesâ€�
    We already know that content is vital to good design. Now dig deeper into the details of good typography.

(al) (kw)


© Jason Gross for Smashing Magazine, 2011.


The Medium Is The Message

Advertisement in The Medium Is The Message
 in The Medium Is The Message  in The Medium Is The Message  in The Medium Is The Message

Since the early days of communication, humanity has been captivated by the methods it uses to convey and preserve information. How we communicate with each other defines who we are and constitutes so much of what makes a culture and an individual unique.

Over the centuries, we have seen media evolve across a wide array of channels, from print to radio to television to the Internet. Each one of these channels, or media, has its own unique characteristics, much like the people who use them.

Parabol in The Medium Is The Message
The medium through which we choose to communicate matters. (Image: Jon Ashcroft)

When it comes to understanding these various media, one of the best to learn from is Marshall McLuhan. Born in 1911 and passing in 1980, McLuhan had no opportunity to experience the Web the way we know it today, but that didn’t stop him from exerting a huge influence on it. It was McLuhan who first spoke about technology and communication having the ability to create a “global village.� As an early educator and pioneer of the study of communication and its evolution over time, McLuhan introduced a lot of observations about the impact of new forms of expression and media. Most notably, McLuhan’s expression “The medium is the message� has had a resounding impact not just on Web design but on mass media in general.

“The medium is the message� as a phrase sums up a much deeper communication theory, which is that the medium through which we choose to communicate holds as much, if not more, value than the message itself. At first, this concept might seem vague and indeed a lot to grasp. But I can honestly say that understanding the meaning behind these words revolutionized the way I approach Web design; not from a technical or procedural standpoint, mind you, but from a fresh mental perspective that provided clarity on how to approach and design for the Web.

On The Surface

McLuhan’s theory has certainly not been neglected or forgotten. On the contrary, it has been widely studied in a number of circles and applied to television, print and the Internet alike. While many people seem to grasp the general point, the deeper truth is often missed or misinterpreted. In order to get to this deeper meaning, exploring the general concept first may be necessary.

Perception in The Medium Is The Message
Perception of a medium plays a vital role. (Image: Jon Ashcroft)

The central theory behind “the medium is the message� is that the medium through which content is carried plays a vital role in the way it is perceived. We no doubt see this with the Internet today, in the way we get our news compared to how we got it with print. But perhaps an even clearer illustration can be painted without reference to technology or communication at all.

Imagine, if you will, a deep well in the middle of a vast desert. The well is our medium (as the radio or Web would be), and the water is our message. A rich and reliable well in the middle of the desert would naturally become the hub of travel routes and even a sustainable population. The water by itself is of no use without the well. If it were inaccessible or people were unaware of its existence, it could not support life. The well, as a medium, delivers water to the people passing by or living nearby. As a result, the well becomes synonymous with water and life, despite really being just a hole in the ground.

A Real-Life Comparison

Building on this illustration of the well being a medium for the water, we can extend the theory to modern technology. Let’s compare a feature film to a website as we know them today. Communicating the same general content to the user in both media is possible. However, because the media are inherently different, we experience the content in entirely different ways.

A film is a linear experience. Everyone watching the film participates in the same preset series of a beginning, middle and end. We watch characters and stories unfold over the timeline, working towards a conclusion. Since the creation of film, this idea has been integral to the planning and development phases. All of this is determined by the medium, regardless of what the message may be.

Transformers1 in The Medium Is The Message
The upcoming Transformers movie offers a very different experience to that of the Web.

Move the same content over to a website and the experience changes dramatically. In the context of a website, information is rarely passed to the user as a linear experience. Instead, character traits, back story and plot points might all be split up into different pages or sections. It is up to the user to decide how to consume the information and reach a conclusion. Just as a beginning, middle and end are a part of the entire film process, this segmentation and fluidity should be a part of the planning stages of a Web project.

Expanding Our Understanding

This is all well and good, but saying that we experience different media in different ways doesn’t really sound groundbreaking. A lot of people are inclined to take McLuhan’s theory here as a lesson learned and a day’s work done.

Well, sit tight because we’re just getting started in exploring how the deeper truth of “the medium is the message� can change the way you design and develop for the Web.

Medium-message-screenshot22 in The Medium Is The Message
Link yourself onto the highway of mass media communication. (Image: Jon Ashcroft)

Going back to our example of water being delivered through a well, we can quickly draw a comparison to the impact that fresh water has on our society. In the same way, we can see how a new medium can affect us. Before the telephone, there was no such thing as having a conversation with a friend or colleague in another town or region, at least not without a journey that would span days or longer. Today, we are always just a phone call away from a friend or family member abroad. We even take for granted that we can be in touch with people so quickly.

Going further, we can ask whether there was such thing as a “global event� before mass media communication such as satellite links and the Internet. Today, we often cite various events as things that will “change the world,� but 100 years ago the entire world was not reachable. Before we had the ability to learn about natural disasters, wars, elections and technological achievements through mass media, a “global event� simply did not exist. As a result, we could argue not only that mass media is a tool to channel global events, but that it made them possible in the first place.

World-vision in The Medium Is The Message
For World Vision, the Internet is an invaluable tool for expanding and executing its mission.

Think about it. Without the Internet, Justin Bieber would not exist to almost all of us. Of course, he would still be a part of the world, but without the medium that drove his success, a cure for Bieber Fever would be entirely unnecessary.

An Impact On Web Design

The real takeaway here is that Web designers are able to create tools, experiences, services and communities as a result of their medium. The Internet has a more powerful reach than any other medium in history, which in turn has equally large implications for its status as the message. As a message, the Internet preaches accessibility, expandability and instant satisfaction, things that we designers should keep in mind when approaching any project.

Think about how your projects will use the Internet, not as a medium but as a message. In the disaster that struck Japan this past spring, the Internet became the medium of choice in every way. From the people-finding tools introduced by Google to the relief websites and news coverage across the globe, websites stood out not because they were fashioned with HTML5 or designed responsively, but because they enabled us to be in touch with friends and family and to donate to the cause. New tools, trends and CSS3 gimmicks are a part of the medium, but they play mere supporting roles to the message.

Zen-garden in The Medium Is The Message
One of the original outlets for demonstrating the power of style, CSS Zen Garden remains a powerful showcase for how a unique design can shape a message.

This doesn’t mean we should minimize or eliminate design and aesthetics. Rather, designers should always consider how a design decision shapes the message. The very techniques we practice every day — using line, color, shape and other fundamentals — all play a role in the way the message is received. Using design principles to shape the tone and audience of a message, versus creating a stylish and trendy look, is what separates professionals from amateurs in our industry. Realizing your full potential as a designer has a lot to do with your ability to control the message.

Controlling The Message

We’ve come full circle, back to the original point of this article. As Web designers, how do we utilize McLuhan’s phrase “the medium is the message�?

It starts as soon as an idea or request for a project comes to us. As professionals, we need to guide our clients down the right path and show them how best to take advantage of the Internet. We need to recognize that Joe’s Hardware Store on the corner might not benefit as much from a domain name and website as it would from a Twitter and Facebook account or no Internet presence at all. If good ol’ Joe has no intention or need to market to anyone outside of his neighborhood, then the Internet’s message just isn’t necessary for him or his customers.

Fractals-desktop-screenshot in The Medium Is The Message
The whole message is more than the sum of its parts. (Image: Jon Ashcroft)

On the other hand, if Joe wants to market his patented new handsaw to a larger market and expand his business, then the Web might just be the place to do that. As a designer, you can help Joe harness the power of instant Web exposure, social marketing, online orders and all of the other fantastic tools that can help his business grow. Joe’s new website will be a beacon of Web standards: it will be responsive, elegant and unique. Of course, we may notice that none of these things actually earn Joe a lick more of money. Rather, the Internet, when used as a message to new customers, holds the real power.

Of course, this is just the tip of the iceberg with using the Internet to benefit a business, service or application. The gradual ubiquity of the Web makes this topic only more exciting and powerful. Staying true to the message that our medium presents goes hand in hand beautifully with building solutions that are adaptive and constantly expanding with technology.

As stated earlier, my tools, skills and process for designing and developing websites have always been evolving. Still, the motivating factor behind Web design is in the message. The message is what makes money, makes an impact or expands your reach. Without it, interest in websites and applications would never get off the ground.

The Takeaway

When all is said and done, it is important to remember two things about McLuhan and his teachings. First, the medium through which a message is experienced shapes the user’s perception of the message. Secondly, a medium can be the message itself if it is delivering content that would otherwise be impossible to access.

Simplify-screenshot22 in The Medium Is The Message
Keep it simple, and let the medium do some of the communicating. (Image: Jon Ashcroft)

As you start projects and are approached for your professional opinion on how to harness the power of the Internet, always consider the message. Designers who jump into talking about how the latest and greatest trends can help a new project are missing the point. We use the Web to create beautiful and unique solutions that would have been impossible just a few years ago. As a designer, make sure you always respect the powerful message that this medium is.

Additional Resources

  • “A Checklist for Content Workâ€�
    An excerpt of Erin Kissane’s book The Elements of Content Strategy. A fantastic resource for taking online content to the next level and enhancing your message.
  • “Make Your Content Make a Differenceâ€�
    Digging further into content development, this article outlines some of the myriad advantages to spending more time on your content.
  • “The Medium Is the Massageâ€�
    Get your information from the source! This book is a concise summary of McLuhan’s thoughts.

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© Jason Gross for Smashing Magazine, 2011.


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