Tag: kranthi

Mobile Myths Debunked: Think Again: Assumptions About Mobile To Reconsider


  

The popularity of mobile has skyrocketed over the past few years. We’ve seen six generations of iPhones, five iPad models, hundreds of Android phones and thousands of different devices being manufactured. Design and development have gone all the way from static and desktop-centric to responsive and device-aware. And it has been a very exciting journey.

The field is relatively young — we are all learning (usually by mistakes). Because of that, we are also struggling with generalizations and even stereotypes. Let’s have a look at common myths associated with the mobile universe.

Myth: Mobile Is Well-Defined

It has become widely accepted that “mobility” refers to handheld devices, which you can easily use on the go, for Web browsing or anything else. Following that thought, we could easily make an assumption that even a remote control or MP3 player could potentially be a mobile device. But are they?

Barbara Ballard, author of Designing the Mobile User Experience, does a great job explaining the idea behind mobile:

“Fundamentally, ‘mobile’ refers to the user, and not the device or the application.”

Mobility is strictly connected to the user and situation they’re currently in, not to the piece of hardware they’re using. This easily leads us to the conclusion that what really matters is the context, not the device. Some mobile industry luminaries have stated that the idea of context has been overblown. Indeed, it can easily lead to many unfortunate decisions and false assumptions which can drastically affect the end product.

As Jeremy Keith, author of HTML5 for Web Designers and mobile specialist, has said:

“We have once again created a consensual hallucination. Just as we generated a mythical desktop user with the perfect viewport size, a fast connection and an infinite supply of attention, we have now generated a mythical mobile user who has a single goal and no attention span.”

By defining mobile as a set of circumstances, a setting, we are in danger of making some sweeping generalizations. We analyze, we study reports and use cases, but mobile interactions are far less trivial than we think.

As studies show (PDF), over 70% of Americans use their phones while in the bathroom. In some countries, the percentage of people with Internet access that is solely provided by mobile exceeds 50%. According to ComScore’s Mobile Metrix, Facebook’s mobile app accounts for 80% of their traffic. These facts prove that assuming short attention spans and oversimplifying interfaces are not solutions to addressing the problem space.

People tend to use their phones or tablets at home while sitting on the sofa or in a cafe. What’s even more important is that they’re willing to perform complicated tasks and actually spend money. Rather than guessing what the user is trying to achieve on a mobile device, we should assume they want to do everything and try to better understand the constraints of each device. We should be concerned about the content that we’re trying to serve while bearing in mind the context is continuously changing.

As developers, we need to ditch our desktop-centric thinking which taught us to prototype for a certain set of conditions, and aim towards more flexible content. Instead of focusing on a single platform, we should create reusable copy and assets, which will serve as a base for multiple scenarios.

Myth: Mobile Is iOS

We have already established that we cannot take network speed, screen dimensions, operating system or browser for granted. The mobile market is hugely diversified. Yet it’s still sometimes identified with iOS devices only.

Apple products are high profile. Their brand is hyper-consistent and instantly recognizable. But iOS represents less than half of the mobile market. And favoring iOS (or any one platform in general) might lead to poor user impressions.

Within the US, Google owns roughly 53% of the smartphone market. That basically amounts to a huge number of wildly different Android devices.

Let’s have a look at market share:

Both Android and iOS are growing while other platforms are slowly loosing more and more users.
Both Android and iOS are growing while other platforms are slowly loosing more and more users.

These numbers mean that we have thousands of resolutions ranging from the first phone with Internet access, Nokia Communicator (640 × 200 pixels), up to Samsung Galaxy S3 (1280 × 720 pixels). While some of the models are discontinued, it still gives us a greater picture of the market’s diversity.

When talking about screen size, it would be a crime not to mention pixel density. The real boom with higher-density screens started when Apple introduced retina display along with iPhone 4. But what does it mean for us? It’s one more factor we need to take into account. Because we are dealing with more pixels per inch than usual, we need to supply higher resolution graphics or else rely on SVG, which isn’t always a solution we can use.

We not only need to consider the diversity of original equipment manufacturers (OEMs), operating systems and screens but also the multitude of browsers. Some of the most well known and widely used are:

  • Opera Mobile,
  • Opera Mini,
  • Safari,
  • Chrome,
  • Dolphin,
  • Internet Explorer Mobile,
  • Blackberry,
  • WebOS browser.

Some of these are default browsers, provided by vendors, and some are user-installable. This is only a small fraction of available browsers, though. Taking this even further, all of the aforementioned browsers have a rendering engine, and while they are usually built upon WebKit, the distributions vary which introduces us, developers, to a whole new range of cross-browser issues.

That leaves us with a few factors to consider: type of device, such as smartphone, tablet, personal digital assistant (PDA), etc.; resolution; orientation; pixel density; and the browser with its rendering engine. All these limitations define how the implementation process will look. It would be a crime to assume device uniformity.

Myth: Mobile Means Less

Imagine you’re reading the delivery menu for your favorite American restaurant, and you want to order a steak. To your utter shock and dismay, you find that it’s not on the menu. You’ve had steak before when visiting the restaurant in person, so you wonder why you’re not seeing it on the delivery menu.

Someone in charge decided that Americans have poor eating habits, and if they are not willing to come to the restaurant in person for the full experience, then they are likely to be sitting at home on a couch in front of the television, and are not fit to have the meal. You enter into absolute food rage and never return to the restaurant again.

When you think about this situation, you should quickly notice that it’s not that different from daily decisions developers and designers make.

Having too many features may be just as harmful as cutting them down, as you can see when viewing The New York Times website on mobile.
Having too many features may be just as harmful as cutting them down, as you can see when viewing The New York Times website on mobile.

You decide what set of features and interactions are necessary for a perfect user experience. It’s especially important on mobile, when you try to cut features to make the interaction as easy and seamless as possible, basically making assumptions and decisions for your users. Nothing is more frustrating than being deprived of the ability to make your own choices.

It’s critical to put the users’ needs first. If mobile gets less features by default, customers can potentially be left without the means to engage with your actual product. People perform all kinds of actions while using a wide range of devices. 25% of mobile users engage in online shopping through their phones and tablets. Would you ever think that every three minutes (within the UK) a vehicle is purchased using the eBay mobile app (PDF)? Tiffany & Co. also noted a significant rise in sales and traffic after launching their mobile app — would you think that people buy diamonds on mobile?

The main focus should go to delivering great experiences within the feature set you’re offering on desktop, not limiting them. While some features appear as unnecessary, you cannot assume that they aren’t without proper testing and real interaction. As Aral Balkan points out:

“If you’re not involved in building what you’re designing, you’re not designing, you’re assuming; you’re drawing pretty pictures.”

Myth: Mobile-Specific Content Is Mandatory

Stephen Hay once tweeted:

“There is no Mobile Web. There is only The Web, which we view in different ways. There is also no Desktop Web. Or Tablet Web. Thank you.”

Mobile isn’t an independent creature — it’s an experience we’re creating. We could not possibly accommodate all devices that are currently available. The ideal situation would be to have one, uniform experience of the brand, served according to device.

It all comes down to the most crucial part of Web design — content. Being perfectly aware of goals that you’re trying to achieve and leveraging content strategy is essential for creating cross-universe compatible experiences. While we try to tailor, cut and paste content that we think is essential on mobile, again we are trapping ourselves in false assumptions of users’ context (by choosing what’s the most appropriate piece of information they are potentially looking for) and finally ending up making mobile less compelling and bereft of features.

That’s why we should consider designing content out rather than canvas in. Being focused on content from the very beginning will help keep you from being trapped within visual limitations that come with the wide variety of available devices, and make the copy usable regardless of the platform it is being served on.

Myth: Mobile Means Apps

There are few approaches for serving optimized content for mobile. Having an app is one of them — not necessarily the best, though. An app is just a container for the content we are trying to serve. While some apps bring us delightful experiences (such as Solar or Instagram), we can’t rush ourselves and create an app for every website or product we are working on. Especially if we are planning to give the app a subset of desktop features.

“See, your product isn’t really a product at all. Your product is something called content. It’s a service.”

An app is considered a product by many. As Josh Clark outlines above, the essence of the product is and always will be the content and service or set of functionalities you are giving to your customers. Currently, both App Store and Google Play are each offering over 700,000 apps for download. Are all of them being used? Probably not. Are they all providing the content or features the user would like to see? For sure, no.

Responsive design has been adopted by well known brands such as Tiffany & Co.
Responsive design has been adopted by well known brands such as Tiffany & Co.

Since having an app isn’t always the way to go — what is? A good alternative is responsive design. It has been a really hyped topic over the past few months, and not without reason. It certainly can be easier to use media queries than to write a native iOS app or play around with PhoneGap. It also gives the impression of cohesion and creates a seamless experience. Development-wise, it prevents you from creating a couple different apps (for different platforms) and code bases.

Instead of creating an app to make the “New & Noteworthy” section within the App Store, and therefore limiting yourself to the container you’ve chosen, try to think about a strategy which will reduce the amount of redundancy in your work and that will serve all users. Before jumping on the bandwagon of apps, be sure that you have good content strategy thought out.

Conclusion

These are exciting yet overwhelming times for Web development. We are forced to rethink the purpose of websites or apps we are creating. We have no ability to predict what will happen next, what constraints and abilities the next devices will bring. What is important these days are back-end systems which provide all the data we are trying to display — it’s not only presentation layer we need to care about, which still somehow remains the most important factor. We are observing robust growth and increasing interest in APIs, which along with content are drivers of layout change.

It all comes down to both knowing the needs of your audience and revolving around content. We tend to acknowledge the constraints of platforms and design strictly for given requirements. Let’s make sure that the data is accessible anywhere, anytime, on any device.

Further Reading

(cp)


© Karolina Szczur for Smashing Magazine, 2013.


Structural Semantics: The Importance Of HTML5 Sectioning Elements


  

Whatever you call them — blocks, boxes, areas, regions — we’ve been dividing our Web pages into visible sections for well over a decade. The problem is, we’ve never had the right tools to do so. While our interfaces look all the world like grids, the underlying structure has been cobbled together from numbered headings and unsemantic helper elements; an unbridled stream of content at odds with its own box-like appearance.

Because we can make our <div>s look but not behave like sections, the experience for assistive technology (AT) users and data-mining software is quite different from the experience enjoyed by those gifted with sight.

Now that HTML5 has finally made sectioning elements available, many of us greet them with great reluctance. Why? Partly, because we’re a community which is deceptively resistant to change, but also because of some perceived discrepancies regarding advice in the specification. In truth, the advice is sound and the algorithm for sectioning is actually easier to use than previous implementations. Some dev’s are just very married to their old workflow, and they think you should be too. There’s no good reason why.

Make no mistake: Sectioning elements help you improve document structure, and they’re in the spec’ to stay. Once and for all, I will be exploring the problems these elements solve, the opportunities they offer and their important but misunderstood contribution to the semantic Web. If you’re unfamiliar with the concept of the “semantic Web,â€� this video is a great introduction.

Making Websites

My introduction to Web design was via a university course module called something like “2.1: Dreamweaver,� and I recall my first website well. I remember my deliberately garish choice of Web-safe colors. I remember it looking right only in Netscape Navigator. Most of all, I remember hours of frustration from tugging at the perimeter of a visual layout tool named “table.� I had no idea at the time that this layout tool represented a type of annotation called an HTML tag. Furthermore, no one told me that this annotation invited my patchwork of primary colors and compressed JPEGs to be computed as a sort of demented Excel spreadsheet. In other words, I had no idea I was doing it wrong.

A Dreamweaver table
*Bites tongue*

The fundamental failure of most graphic, product, architectural, and even urban design is its insistence on serving the God of Looking-Good rather than the God of Being-Good.

– Richard Saul Wurman

Macromedia’s Dreamweaver didn’t make the creation of valid documents impossible, but it was one of a number of emerging GUI editors that pandered to our desire for visual expression more than it encouraged informational clarity. Dreamweaver, and other editors classified under the misnomer “WYSIWYG,� helped transform a standardized information system into a home for graphic design and enabled a legion of insufferable Nathan Barleys to flypost the World Wide Web with their vapid eye candy. I was one of many.

Web Standards

By the time I made my first website, the Web standards movement, promoting compliance, uniformity and inclusion, was burgeoning. I just wasn’t aware of it until much later. I didn’t have to be: Agency-based Web design was still mainly graphic design with a reluctant programming department clumsily bolted on. If you’re doubtful of the grip that this culture has had on the World Wide Web, look no further than the fact it took until 2010 (2010!) for us to concede that Web browsers are not really made of paper.

When I finally became familiar with Web standards and the practice of “doing things right,� it was as someone who still worked primarily as a visual designer. Inevitably, my first forays into standards-based design revolved around mastering “CSS layout,� the practice of visually arranging content without relying on the semantically incorrect <table> element. We’ve held up <div>-based layout as a mark of quality for a number of years now. You might even say that it has become a time-honored rite of passage for graphic designers who are moving into “proper� HTML coding.

As I shall demonstrate, the <div> is the ultimate Graphic Design tool. By affecting only appearance, it licenses poor document structure and overengineered interfaces; all without making your document technically invalid. As such, it sanctions the worst kind of hacks.

The Problem With <div>

Every day, thousands of Web developers invoke the almighty <div> to divide, partition and ring-fence their Web pages’ content. We use the <div> to police content, to prevent disparate chunks of information from collapsing into each other. In truth, the <div> has no such power.

Consider the following example:

Two column layout with sidebar encircled with dark border

In this basic layout, I have included a body of text and an adjacent “sidebar.� To make it absolutely clear to the reader that the sidebar is tangential and does not belong to the main content, I’ve drawn a fat line around it using the border property. For those of you screaming, “That sidebar heading should be an <h3>!�, I’ll get to that shortly. All of my design decisions (the adjacent position, the border and the reduced font size) are facilitated by CSS alone. So, when I take the CSS away, I get this:

The same layout as before is now one column, no borders

Not only is switching off CSS the quickest way to make a Web page responsive, but it’s a great way to see how HTML4 documents (which lack sectioning elements) are actually computed. In this case, our so-called “sidebar� is revealed to be just another raft of information in the linear flow of the document.

Why Is This So?

The reason for this is that the <div> is, and always has been, a flow content element. No matter how thick the <div>’s borders or how dark its background color, it does not stand apart in the structure of the document. Neither, therefore, does its content. With the CSS removed, the faux sidebar’s heading of “Resources� now seems less a distinct component of the page and more a part of the main content. To a parser or screen reader, it would have seemed this way all along.

For reasons of clarity, let’s look at a further example using a snippet of HTML:

 
	<div class="parent">
	<h2>Heading</h2>
	<p>Some content...</p>
		<div class="child">
			<h2>Another heading</h2>
			<p>Some other content...</p>
		</div>
	</div> 

I’ve done something slightly different here by entering the two <div>s into a parent-child relationship: The div.child tag belongs to div.parent. We can certainly make it look that way with CSS, anyway. However, <div>s, to quote the specification, “have no special meaning.� Not only do they not mean anything semantically, but they have no impact on the computable structure of the page (sometimes called the “document outline�). The <div>s we’ve used may as well be invisible; so, to get a meaningful map of the structure we’ve created, we should remove them completely. That leaves just four elements and reveals the parent-child relationship to be an illusion:

 
	<h2>Heading</h2>
	<p>Some content...</p>
	<h2>Another heading</h2>
	<p>Some other content...</p> 

As HTML coders interested in sound structure, we should be interested that the above reduction — which omits all meaningless elements — is what we’ve actually made, and it’s not what we set out to do: By not really belonging to “parent,â€� “childâ€� has a different contextual status in the document than intended.

Heading Levels Don’t Really Help

It’s popular to believe that replacing the second <h2> with an <h3> would solve our problem. If we did so, we’d get the following, more dynamic outline:

  • A Heading (h2)
    • Another Heading (h3)

This solution certainly seems more purposeful, but is it the right decision? Should the second heading be a subheading within the same topic (an <h3>) or be the introduction of an entirely new topic (an <h2>, as we had in the first place)? Headings alone can only show where a piece of content starts, not where it ends, which makes it difficult to tell what belongs to what. We have to simulate belonging by choosing the correct heading level for the context. Just think about that for a second: We’re defining the content’s structural status by labeling it retroactively. It’s just begging to go wrong.

Lets have a look at the homepage of accessibility experts The Paciello Group. Naturally, it’s a highly accessible and pretty well organized site, but could the structure be improved with HTML5 sections? You’ll notice their use of a <div> to collectively wrap the three <h2>s, Software Developers, Website Owners and Mike Paciello. Since the <div> doesn’t computably contain these three blocks, the last <h2> and the following <h3> are allowed to pair off in this relationship:

  • Mike Paciello (h2)

    • Contact Us Now (h3)

Wait … so, “Contact Us Nowâ€� is a subtopic belonging to the larger theme of “Mike Pacielloâ€�. Can that be right? It certainly doesn’t look this way in the visual layout. It’s worth noting at this point that the <div> which fails to thematically group those three <h2> blocks has a class of class="region". Ironically, if this <div> had been a <section>, some screen readers would consider it a “region”. If a <section> had been used in place of the <div>, the observed relationship would not have emerged: The “region” would be self-contained. The class of “region”, however, is not taken into consideration in any meaningful way and does not affect the structure.

Okay, so that’s a weird one, but the situation only gets more confusing when we start to include items for which headings aren’t really even appropriate. Take this further example:

This layout has an h1, an h2 for content and an h3 sidebar with a footer div at the bottom

In my HTML4 page, I have an <h1> to introduce the document, an <h2> for the main content and an <h3> to mark the start of my “sidebar� (which is just a wishy-washy <div>, as in previous examples). The page follows long-standing convention by having an untitled div#footer resting at the foot of the document for copyright information and other such necessary evils. (It has to be a <div> in HTML4, because the <footer> tag doesn’t exist yet.) The question is, to which heading does the footer belong?

Whose Footer Is This?

Most of us, based on appearances, would agree that the footer must belong to the document. That is what we’ve learned to expect. To the unsighted, it is a different story: Because there is no new introductory heading between the sidebar <h3> and the footer content, it could be extrapolated that these two components are as one (see image below left). By the same token, one could also argue that we’ve included the “sidebar� as a mere “break� from the flow of the main content, before returning to that flow at the advent of the footer (see image below right). This would make the <h2> the footer’s heading.

Red outlines show different interpretations of structure

The only decent chance we have of understanding the intended structure of the page is by inferring it from a reading of the content. Remembering that the whole point of a “markup language� is to make the structure of information easier to follow, I may as well have chucked the HTML and written my Web page on the back of a napkin.

Some accessibility gurus would suggest that you use a remedial <h2> to head the #footer and bring it back in line, marking up the end of the sidebar like so:

  • h1 (page)
    • h2 (main)
      • h3 (sidebar)
    • h2 (footer)

This kind of works as a hack, but it’s not really sound. Do you really want to make a big announcement of the footer — an announcement as big and bold as the one used to summon the main content, not to mention bolder than the sidebar? No. If our Web page were a film, the footer wouldn’t be the titles — it would be the credits. In HTML5, the <footer> element “contains information about its section.â€� This is semantically superior: We don’t use footers to introduce topics; we use them to conclude them. Accordingly, footers — unlike their parent sections in HTML5 — do not require headings.

Tweet reads: Marking up lots of headings in a page significantly dilutes a screen reader user's ability to navigate between parts of a page efficiently
Just because the nesting level of headings is correct doesn’t necessarily make a page easy to read.

The closest thing we have to a “systemâ€� for structuring documents properly in HTML4 is numbered headings. Not only does this lead to ambiguity, as explained, but in practice we don’t really even use headings to define structure. We use <div>s to define structure and throw in some apologetic headings for accessibility’s sake. To make matters even worse, advice regarding the deployment of numbered headings isn’t even clear on whether we should use them in order (h1-h6) or not.

The loose coupling between headings and <div>s is inadequate. Now, with the introduction of sectioning elements, we still use boxes, of sorts, but boxes that actually say something on their own. We are making a move from merely implying sections (by labeling them) to letting them define themselves. Simultaneously, sighted readers and unsighted parsers can experience content that one has effortlessly divided into clear, manageable portions.

The HTML4 spec is very imprecise on what is a section and how its scope is defined. Automatic generation of outlines is important, especially for assistive technology, that are likely to adapt the way they present information to the users according to the structure of the document. HTML5 removes the need for <div> elements from the outlining algorithm by introducing a new element, <section>, the HTML Section Element.

Sectioning

Aware of our desire for legitimate elements to create computable sections, HTML5 offers <section>, <article>, <aside> and <nav>. Like some sort of obnoxious holiday rep’, I’ll introduce the topic of practical sectioning using these elements with a quick quiz. Study the following diagram. How many sections do you count?

An HTML5 page with header, aside and footer

Multiple-choice answers:

  1. 1
  2. 2
  3. 3
  4. 4

The correct answer is (a), 2. We have included just one of HTML5’s new sectioning elements in the form of an <aside>. Because <footer>s and <header>s are not sectioning elements, what does that leave us with? The <body> tag is the outermost element, making the document itself a kind of section (a supersection, to be precise). So, there you have it: We’ve been using “sectioning� since HTML 1.0, just not with any subsections to speak of.

Some of you may have missed the clue earlier in this article and thought that <header> and <footer> were sectioning elements. Don’t fret; it’s not your fault. Whenever developers like myself try to explain HTML5 page structure, they usually brandish a diagram like the one I used above. In these diagrams, the boxes marked “header,� “aside� and “footer� exist in the same visual paradigm and occupy a similar area. They seem alike, you might say. The other culprit for this endemic confusion is the way the specification is written. Believe it or not, the document structure of some pages in the specification that refer to document structure is structurally unclear! This sort of thing sometimes happens when a standard is constantly evolving. The navigation tree for “4.4 Sections� found in this draft is laid out like so:

  • 4.4 Sections
    • 4.4.1 body
    • 4.4.2 nav
    • 4.4.3 article
    • 4.4.4 aside
    • 4.4.5 h1, h2, h3, h4, h5 and h6
    • 4.4.6 hgroup
    • 4.4.7 header
    • 4.4.8 footer
    • 4.4.9 address

You’d be forgiven for thinking that anything in this list qualifies as a sectioning element, absurd as some of them (<address>?) may sound. It’s only when you navigate to 4.4 Sections > 4.4.8 Footer that you’re told that “the footer element is not sectioning content; it doesn’t introduce a new section.� Thanks!

Despite these ambiguities in the spec’ itself, as well as in the surrounding publicity for HTML5, sectioning in practice just works. The following three axioms are probably all you’ll need to understand the algorithm:

  1. <body> is the first section;
  2. <article>, <section>, <nav> and <aside> make subsections;
  3. Subsections may contain more sections (subsections)

Aside from a few trifling details, that’s it. In a little while I’ll cover the completely unnecessary worry that is had over headings combined with sections. For now, let’s take another look at that example from before about footer ownership. This time, I’ll make a few HTML5 substitutions:

The diagram clearly shows the footer in the context of the document
Note the lack of illustrated headings. Wherever a section is opened, it assumes responsibility for nesting: The heading type is unimportant. More on this soon …

The outline for this example looks like this:

  • Document
    • Article
      • Aside

Now that we’ve implemented sections, the boundaries are clear. Our document contains an article, which, in turn, contains an aside. There are three sections, each belonging to the last, and the depth of each section is reflected in the outline. Importantly, because sectioning elements wrap their contents, we know perfectly well where they end, as well as where they begin. And yes — screen readers like JAWS actually announce the end of sections like these! We know what content belongs to what, which makes deducing the purpose of the footer much easier. Because it exists outside the bounds of both the <article> and its <aside>, it must be the document’s footer. Here’s the same diagram again, with subsections faded out:

The same diagram with subsections faded out

The power of sectioning lies in its ability to prescribe clearly defined boundaries, resulting in a more modular document hierarchy. The footer unequivocally belongs within the immediate scope of the highest-level section, giving assistive technologies and indexing parsers a good idea of its scope, which helps to make sense of the page’s overall structure.

Headings And Accessibility

When Sir Tim Berners-Lee conceived the <section> element all the way back in 1991, he envisioned the obsolescence of ranked heading levels. The thrust of the idea was that headings should act as mere labels for blocks of content, and the nature (i.e. the importance, scope, etc.) of the content would be calculated automatically based on the content’s standing in the document.

I would in fact prefer, instead of <h1>, <h2> etc for headings [those come from the AAP DTD] to have a nestable <section>..</section> element, and a generic <h>..</h> which at any level within the sections would produce the required level of heading.

Why is this preferable? Determining heading level systemically, based on nesting level, is much more dependable because it removes a layer of decision-making: By “producingâ€� the required heading level automatically, we no longer have to decide separately which numbered heading we should include. It effectively prevents us from choosing the wrong heading level, which would be bad for parsable structure. A subsection must be subject to its parent section. Because this relationship between sections determines “level,â€� numbered headings are made redundant — hence, the proposed <h>.

A lot of fuss over nothing

Now, this is the supposedly tricky part; the part that causes all the consternation and gnashing of teeth. This is the part that caused Luke Stevens to write this diatribe, and prompted Roger Johansson into a state of uncharacteristic apoplexy, asking, “are you confused too?�. Ready?

In the WHATWG specification (in the same place where <footer>s were ostensibly classified as sectioning elements!), we are “strongly encouraged to either use only h1 elements, or to use elements of the appropriate rank for the section’s nesting level.â€� On first appearance, this seems contrary. Surely only one of these courses of action can possibly be right? What do you do? I’m thinking maybe the first option. Or the second. Who am I?

It certainly confused me, so I spoke with HTML Editor, Ian Hickson. He explained the outline to me in detail and I’m convinced it is perfectly robust. I’m going to do my best to explain it to you here.

Okay. As it turns out, we didn’t get the generic <h> element. This wouldn’t be backwards compatible because older browsers wouldn’t recognise it. However, headings that introduce sections are — regardless of their numbered level — treated as a generic <h>. Quite correctly, it is the section itself that takes responsibility for nesting in these situations — not the heading — and whenever you introduce a new section, you introduce a new nesting level without fail. What does this mean in practice? It means that we can introduce and benefit from the structural clarification offered by sections without abandoning heading levels. Take the following example:

<h4>Page heading</h4>
<p>Introductory paragraph...</p>
<section>
    <h3>Section heading</h3>
    <p>some content...</p>
    <h2>Subheading</h2>
    <p>content following subheading...</p>
    <section>
        <h1>Sub-subheading</h1>
        <p>content two levels deep...</p>
    </section>
</section>
<h5>Another heading</h5>
<p>Continued content...</p>

Our heading levels are all over the place. This is not recommended by the specification, but it helps demonstrate just how robust the HTML5 outlining algorithm really is. If we replace all the headings that open sections with a generic (“wildcard”, if you prefer) <h>, things become clearer:

<h>Page heading</h>
<p>Introductory paragraph...</p>
<section>
    <h>Section heading</h>
    <p>some content...</p>
    <h2>Subheading</h2>
    <p>content following subheading...</p>
    <section>
        <h>Sub-subheading</h>
        <p>content two levels deep...</p>
    </section>
</section>
<h5>Another heading</h5>
<p>Continued content...</p>

It’s important to note that the only errors revealed in the computed outline are ones relating to badly ordered numbered headings within the same section. In the original example, you’ll see that I’ve followed an <h3> with an <h2>. Because they are in the wrong order, the outline interprets them as being on the same level. Had I encapsulated the <h2> in <section>, this error would have been suppressed.

Well, how about that? If you’re not convinced, go ahead and paste my example into the test outliner and play around. It works just fine. In fact, it’s really difficult to break.

If you think there is a benefit to screen reader users, you may wish to adhere to the second of the two clauses from the specification and incorporate numbered headings that reflect nesting level. As demonstrated, this will have no effect on the outline, but since heading level (“Heading Level 2 – The Importance Of Sectionsâ€�) is announced, it gives a clearer impression of structure to those who can’t see boxes inside boxes.

The assertation that heading levels are perpetually indispensable to screen reader users comes under pressure when you consider advancements being made by screen reader vendors. Screen readers like JAWS mark the territory of sections more clearly than headings, by announcing the beginnings and ends of sections and the thematic regions they represent (“Article End!â€�). From this perspective, using more than one <h1>s in your document might sometimes be applicable. You’ll come up against some accessibility experts who are keen on their “there can only be one [h1]!â€� mantra, but research shows that even in HTML4 or XHTML, this is not necessarily case.

The approach you choose is yours to make; just employ some common sense and consistency. Bear in mind, though, that not all screen readers are able to announce the bounds of sectioned content. In these cases, there are measures you can take …

ARIA Enhancement

Transition to an HTML5 document structure is made smoother by incorporating some ARIA landmark roles, which are both relatively well supported and somewhat analogous to the section-based navigation we should expect later. ARIA offers many more accessibility-specific features than baseline HTML5 could ever withstand; so, including “bolt-on� ARIA enhancements is certainly polite. However, regarding ARIA roles as a substitute for semantic HTML would be a grave misconception.

Landmark roles, such as role="navigation" and role="banner", address accessibility only — not data mining — and each may be used only once per document. They are essentially shortcuts to parts of the page. HTML elements are more like building blocks, which are used in a repeated and modular fashion. So, while you can assist accessibility by placing role=â€�bannerâ€� into the <header> element closest to the document’s root, this does not preclude you from using <header> to introduce other sections:

The banner landmark role is used just once

Are Sections The New <div>s?

This is a common misconception.

If it wasn’t clear already, it should be clear to you now that <div>s are semantically inert elements — elements that don’t really do or say anything. If this is clear, then it should also be clear that, when building a structured document, relying heavily on “an element of last resortâ€� makes for a very poor foundation.

If the new <section> element, for example, was just <div> with a new name, adopting it would be a straightforward matter of search and replace. It wouldn’t exactly be progress, though. The truth is, <div> still has a rightful place in the spec’; we’ve just given its organizational responsibilities to a team of elements that are better qualified. Sorry, <div>, old mate. What do we use <div>s for, then? Precisely what they were good at from the beginning: as a tool for “stylistic applications… when extant meaningful elements have exhausted their purpose.�

For instance, you shouldn’t employ sections as box-model controlling measures like this…

	<section class="outer">
		<section class="inner">
			<h1>Section title</h1>
		</section>
	</section>

… because there’s nothing that the outer section does that the inner section doesn’t. We’ve created two sections for one piece of content. A quick run through our outliner throws the “Untitled Sectionâ€� warning:

  • [Untitled Section]
    • Section title

The brilliance of <div> in this context is that it refuses to affect the outline, which is why we can use it without fear of reprisal. This…

	<section>
		<div>
			<h1&gtSection title</h1>
		</div>
	</section> 

… averts disaster and results in this unsullied, if simplistic, outline:

  • Section title

Sections And Semantics

A lot of developers have trouble with the word “semantic.� You might even say that they don’t know what the word means, which (if you are familiar with the term) makes an interesting paradox. For instance, when Jeffrey Zeldman advocates for the “semantic� application of the id attribute, he’s kind of missing the point. The main purpose of semantic HTML is for the automated extraction of meaning from content. Applying a private, non-standard id to a <div> would not improve the semantics of the element one iota: Visitors can’t see it and parsers will ignore it. So much for the semantic Web!

Sections are often characterized as the “semanticâ€� equivalent of <div>. This is a half-truth at best, and I apologize for throwing the term “semanticâ€� around so much — it’s become a bit of a shorthand. Some HTML elements are inherently semantic in that they prescribe specific meaning to their contents. The <address> element is a good example: When a parser reaches <address>, it knows that the contents should probably be interpreted as contact information. What it chooses to do with this knowledge is another matter, but it’s plausible that a screen reader could provide a shortcut to the address or a search engine could use it to refine its results pages.

Definition of syntax from Google search: The arrangement of words and phrases to create well-formed sentences in a language

Sectioning elements are not so much semantic as syntactic. All <section> tells us is that it is a part of a whole. However, the syntactic contribution of sectioning elements to document structure is not unimportant. Consider the following sentence: If sections you don’t websites your are use obsolete. A lot of recognizable words are in there, but the lack of sensible syntax makes the sentence difficult to unpick. So it is with sectioning: You are not creating meaning so much as assembling it. Meaning isn’t always about the “thing”; it’s sometimes about what that thing’s role is amongst other things.

Microdata

Efficient, syntactically sound data structures are worthless if they are semantically lacking. Fortunately, HTML5 has both angles covered and provides a mechanism for attaching semantic meta data, called “microdata,� to our structured content. Using microdata, and by consulting schema.org, you can define a page’s content as anything from a scholarly article to an exercise regimen. Unlike classes and IDs, this is information that can actually be interpreted usefully.

Google's structured data dashboard
This microdata was found by Google and displayed in its “Structured Data Dashboard� for the WordPress theme Typical.

Conclusion

HTML isn’t just an SDK or a Graphic Designer’s palette. It is a metalanguage, a language that tells you special information about information. Sometimes we — or, more precisely, the parsers we employ — benefit from added information about the subject, timing, origin or popularity of content. This is what APIs such as microdata and RDFa are for. Other times, the context, hierarchy, relative importance and codependence of the information are what need to be determined. This is where appropriate syntax, facilitated by sectioning elements, can be employed.

Some people will tell you not to bother with sectioning. They say that it’s hard work or that it doesn’t make sense. This is hokum. Sure, if you’re lazy, don’t bother with sectioning, but don’t pretend you’re doing it on principle. Using sections demonstrably enhances HTML structure without breaking accessibility. We’ve covered this.

Still, there will always be people who will attack this aspect of the specification. Perhaps we’ll enjoy some of these objections in the comments:

  1. They will point to bad implementations by specific vendors:
    “These are bugs and bugs get fixed!”
  2. They will cite the actions of large websites who don’t use sectioning elements:
    “Just because large sites haven’t implemented sections doesn’t mean they wouldn’t like to. Since when does big mean ‘right’ anyway?”
  3. They will flood you with examples of developers implementing sections badly:
    “Some developers do stupid things and their misuse of HTML doesn’t stop at sections. I include myself here, by the way.”
  4. They will present you with anecdotal evidence about user behavior within specific groups:
    “It is expensive and impractical to address problems on a case-by-case basis. Fragmentation and complexity would also be inevitable: a loss for the majority, not a specific minority, of users.”

I don’t think anyone would advocate making badly structured Web documents any more than they’d suggest building a house by stuffing a bag full of bricks and throwing it into a ravine. The case has been made and the specification bears it out: Sections aren’t just good for document structure — they finally make proper structure attainable. Some browsers and screen readers have some catching up to do, that’s for sure, but the situation is improving rapidly. Any kind of change is a little turbulent, but this kind is worth it.

(al)


© Heydon Pickering for Smashing Magazine, 2013.


The Myth Of Hand-Lettered Typography: Understanding The Difference Between Type And Lettering


  

Coming out of the grunge, graffiti and David Carson era through the ’90s, there has been a major resurgence of interest in typography. We have seen a number of designers and artists make their careers out of designing type or custom lettering, and it has become common to list typography among our skills and disciplines.

Unfortunately, as with any popularity surge, there have come with it a lot of misunderstandings of some of the terms and concepts that we use. This article will help you gain a clearer understanding of what typography is and isn’t, and why.

One rather common example of this is the myriad of blog posts and showcases claiming to display “hand-lettered typography” — I’ve even heard university professors say it. Though the phrase seems to make sense, it’s actually a contradiction in terms — hand-lettering is not typography at all! Before you throw your pens and brushes at me in protest, please let me explain!

Lettering

Even though lettering and typography share many of the same concepts, and a good eye and understanding of one will enable you in the other as well, they are completely different disciplines. Let’s begin by defining how we understand each term.

What Is “Typography”?

Typography is essentially the study of how letterforms interact on a surface, directly relating to how the type will be set when it eventually goes to press. One definition is stated as “the style, arrangement or appearance of typeset matter,� and is a product of the movable type printing system that much of the world has used for centuries. It is related to typesetting and can include type design. In our current digitally-driven design world, this means working with fonts on a daily basis for most of us.

Typography is actually a subset of lettering, because it is the study of letters applied to typefaces. Many designers have also taken up letterpress printing as a hobby or side interest, which also utilizes aspects of typography or typesetting, depending on the project.

Typeset book pages.
Typeset book pages. (Image: Tom Garnett)

Gerrit Noordzij, professor of typeface design at the Royal Academy of Art in The Hague, Netherlands, from 1960 to 1990, defines typography as “writing with prefabricated characters.� Peter Bil’ak, founder of Typotheque, notes that this “implies a complete distinction from lettering, handwriting or graffiti, which are also concerned with creating letter-shapes, but don’t offer a repeatable system of setting these letters.�

It is quite common for people to refer to lettering as typography, but you should always avoid doing so when speaking with a client. Typography might be used in a logo, but so might custom lettering. Your client may not know the difference, but you do, and it’s important to have an educated client. This requires that we speak to them using the right terms, and it makes things easier to understand for both you and your client.

In addition, as designers of any sort, we strive to maintain a high level of professionalism, and using terminology correctly is an important part of showing pride in our line of work and being confident that we can do it, not simply to get the job done, but to produce excellent work.

What Is “Lettering”?

Lettering can be simply defined as “the art of drawing letters”. A lot goes into making lettering look right, and that’s an entirely different topic, but the concept is very simple: a specific combination of letterforms crafted for a single use and purpose as opposed to using previously designed letters as components, as with typography. Often lettering is hand-drawn, with pens, graphite or brushes, although some people start their work directly in Adobe Illustrator. Engraving and similar arts are related to lettering.

New York script by Simon Ã…lander.
New York script by Simon Ã…lander.

Just as typography is not lettering, lettering is not typography. Widely respected lettering artist Jessica Hische gave a talk on the subject at the FRONTEND 2011 conference, for those who “don’t understand the difference between lettering and type,” getting into the pertinent information with some concise definitions at around ¾ the way through the video.

Typography does indeed have similarities to lettering — it is still dealing with letters, but within the context of typefaces and their proper use. Therefore, it’s not a good idea to refer to typography as lettering, since they have different connotations and you don’t want to confuse your client by swapping terms. Again, accuracy in terms is an important element in any profession and design is no different.

Similarities And Differences

The visual concepts that are behind typography and lettering are largely shared by both disciplines. Letterspacing, consistent weight and contrast, the rules that we go by for what works and what doesn’t work, still apply. However, often the terms used are different. For space between two lines of text that are typeset, we use the term “leading,” referring to the strip of lead that printers would set between the lines of type to give more space. The same concept applied to lettering would simply be called “line spacing.”

Upper case of type containing uppercase glyphs.
“Upper case” of type containing uppercase glyphs. (Image: Marcin Wichary)

The space between letters is also an important concept, and lack of attention to it is responsible for much of the bad typography we see today. When working with type, we call adjusting the horizontal space between characters “kerning,” but this is a modernized understanding of the term. In typesetting, a kern is part of a glyph that extends beyond the type block on which the character is molded, e.g. the terminal of the “fâ€� in the image below.

A kerned f type block.
A kerned “f� type block.

In lettering, however, avoid referring to this as kerning. Rather than saying that the “A� and the “V� could be kerned, we could say that the space between them could be tightened up.

Typography is used for endless applications, from titles to body text, some of which present a myriad of typographic considerations that those concerned with lettering will not have to think about. Lettering is almost exclusively used as display text — imagine lettering a few paragraphs of text by hand!  Calligraphy is a much more likely to be used in longer passages of text. While calligraphy and lettering are once again related, there is a fundamental difference between the two that I’d like to point out.

Calligraphy is based on penmanship; it’s essentially “writing letters.” Lettering, on the other hand, is based on draftsmanship, i.e. “drawing letters.” Persevering calligraphers and scribes have famously done books as long as the Bible, which are incredible works of art in their own right (e.g. the Lindisfarne Gospels, the Book of Kells), but those were a lifetime endeavor, and for practical purposes we now use typefaces. Whew!

Illuminated (lavishly decorated) lettering in the Lindisfarne Gospels, from the Gospel of Mark.
Illuminated (lavishly decorated) lettering in the Lindisfarne Gospels, from the Gospel of Mark. This particular page showcases a lettered portion as opposed to a calligraphic passage, i.e. drawn rather than written. (Image: manuscript_nerd)

The differences, in the modern digital age, are sometimes theoretical, but the practical differences are huge — nobody wants to hand-letter 500 pages!

Some tenacious calligraphers, however, have undertaken monumental projects, such as the St. John’s Bible, a modern manuscript completely written and illuminated — a calligraphic term for embellishing — by hand. It took about 13 years, from commission to completion, using traditional techniques such as quill pens and manually-applied gold leaf, and cost an estimated $8 million. The incredible proportions of this project are a testament to the beauty of traditional techniques, but also a reflection on how printing and typography have changed the world.

Historically Speaking

The arts of both lettering and calligraphy have been around since time immemorial. Spoken languages quickly developed writing systems, which were then used to communicate through a more enduring medium than speech. Lettering and calligraphy evolved alongside each other, along with other letter-related arts such as engraving. We can follow the progression, from the Rosetta Stone and ancient Roman inscriptions to the works of scribal art mentioned above and more. History has provided us with endless examples of lettering and calligraphy, by engraving, pen and brush.

Traditional Chinese Calligraphy.
Traditional Chinese calligraphy. (Image: Terry Madeley)

Although very few people could read, and writing was relegated to monasterial and royal scribes through the Middle Ages in Europe, we have some awe-inspiring work from that period. Unfortunately, we often overlook the beautiful calligraphy and lettering that was being done in Asia and the Middle East, where an education in the arts was much more accessible. Both lettering and calligraphy have thrived in the eastern hemisphere and continue to be a source of inspiration today.

Calligraphic art in the Hagia Sophia, Istanbul.
Calligraphic art in the Hagia Sophia, Istanbul. (Image: Simona Scolari)

When Johannes Gutenberg built his printing press around 1439, the concept of typography, which had been developing slowly, was revolutionized. The moveable type system, metal alloy and casting methods gave the world a practical solution to printing. This gave rise to the discipline of typography as we know it, with kerning, leading and the terms we still use today. Each letter had its own type block on which it sat, and typesetters would arrange the type character by character.

Inside a Gutenberg Bible.
Inside a Gutenberg Bible. Note the mixed use of blackletter typography and hand-lettered drop caps, mimicking the contemporary German calligraphic style. (Image: jmwk)

Typography was, and has continued to be, primarily the skill of setting type. It was a very time-consuming process, and people were constantly trying to find ways to streamline it and increase production rates. Standardized methods for arranging the glyphs so their positions could be memorized and picked up by the typographer without having to look were developed. This gave us our terms for upper case and lower case characters, because an upper case, or drawer, typically contained the capitals and the lower type-case the minuscules, before the California Job Case, popular in the United States in the 19th century, combined both levels into one larger case.

A chart displaying the layout of the California Job Case method for arranging type.
A chart displaying the layout of the California Job Case method for arranging type. (Image: Marcin Wichary)

Leaving typography at this point in its development, I’ll follow the progression of lettering and calligraphy. During this period of experimentation with printing, calligraphy still played a huge role in communication, and the educated would write in a hand that amazes us today as to the beauty and accuracy of their manuscripts. Swashes, ascenders and descenders wove themselves into amazing patterns and borders, sometimes all but obscuring the text itself.

Ornate sample of penmanship by Jan van de Velde, Amsterdam, 1609.
Ornate sample of penmanship by Jan van de Velde, Amsterdam, 1609.

Lettering and calligraphy followed cultural trends, leaving the Rococo era and becoming more sober during the early 19th century, only to flower into ornament once again through the Victorian era and the florid shapes of Art Nouveau. The worlds of type and lettering constantly intermeshed. Many people, such as Oswald Cooper, achieved respect for their lettering and were hired by type foundries to design new typefaces.

Title pages from German avant-garde publications Dekorative Kunst and Pan, examples of lettering during the Art Nouveau movement.
Title pages from German avant-garde publications “Dekorative Kunst” and “Pan”, examples of lettering during the Art Nouveau movement.

Lettering figured strongly through Art Deco and Modernism, for posters and ads, logotypes and book covers. The relatively recent art of film titles also provides us with a wide range of illustrative lettering styles from the 20th century. Coming out of the Modern era and through the latter half of the 20th century lettering went through a variety of permutations — the organic styles of the 70′s, the new modernism of the 80′s, and the grungy 90′s styles aforementioned — bringing us to our modern lettering scene, with a smorgasbord of visual references to every period of history imaginable. Designers such as Herb Lubalin and Doyald Young, the metaphorical giants of lettering, have left a huge legacy from this time period.

Lettering by Herb Lubalin displaying his studio address.
Lettering by Herb Lubalin displaying his studio address.

Here I will step back in time to pick the thread of typography back up. The development of techniques continued through the 19th century, and printing played an important role in world history, such as Benjamin Franklin’s publications and Thomas Paine’s printed materials — The Rights Of Man, Age Of Reason, et al — that were instrumental in the American Revolution.

Meanwhile, after many inventors had tried and failed to create a practical typesetting machine, Ottmar Mergenthaler succeeded in building the linotype machine in 1884, which revolutionized the newspaper industry. I won’t say more about it here, but if you’re interested in the history of typography, I would highly recommend taking a look at the documentary Linotype: The Film. This is not a sponsored statement, I simply enjoyed the documentary immensely and you may want to check it out!

A look at a linotype machine.
A look at a linotype machine. (Image: Marcin Wichary)

The linotype was just one of the machines used to expedite the typesetting and printing processes, and although some people still hand-set type, the industry as a whole was continuously changing to introduce faster and better techniques. Typography was explored in the various art movements, from Dada to Modernism and beyond, rethinking ways in which type could be used and given expression and meaning. As typography, experimental and traditional, progressed, the techniques segued to phototypesetting and from thence to the digital age in which we find ourselves today. Typography as a discipline looks very different than it did 50 years ago. Instead of setting metal type and locking in forms, we use panels in Illustrator or InDesign to kern, add leading and align our type.

Lettering has also moved into the digital format in which we enact most of our design work. Many artists, however, stay true to analog media by hand-drawing lettering.

Lettering by Tom Lane for Hook & Irons.
Lettering by Tom Lane for Hook & Irons.

The digital amalgamation has been largely responsible for the confusion of lettering and typography, since they are now often created using the same programs — the difference between the two is no longer the difference between a brush and a letterpress machine, or a drafting table and linotype matrices. However, lettering and typography are still different concepts, and understanding them and their similarities and differences will help us become better designers.

Getting Started On Your Own Hand-Lettering

For those looking to begin creating hand-lettering of their own, it can feel a bit daunting. The letterforms that we see so often prove very difficult to draw freehand. Thankfully, there are a lot of tips and tricks you can use to familiarize yourself with the process and learn how to create pleasing compositions.

Tracing

Get some tracing paper, and print out samples of well-known typefaces. Trace them over a few times, letting your hand become used to the lines that type designers have carefully worked over and revised until they were perfect. Some good ones to start with are time-honored classics such as Garamond and Caslon, or exceptional recent works such as Okay Type’s Harriet. Avoid using free fonts, since they are often poorly crafted and wouldn’t provide a good model. This allows you to train your eye and hand using the work of masters.

Reading

Read voraciously! I’ve listed a number of resources at the end of the article for you to check out — books, blogs and other resources. Knowledge is power, and understanding principles behind type design and letterforms help you develop your eye.

Photo Safari

If you live near a town with a historic district or old buildings, make a point to spend a few hours on a weekend just walking around and finding samples of good typography and lettering. You can find great examples in outdoor signage, whether lighted signs, painted or vinyl. Often there are huge letters painted on brick walls at old factories or restaurants. Then, use your photos as models to draw historic styles of lettering.

Use a Grid, but Don’t Use a Grid

When lettering, you’ll find that perfect measurements often don’t actually look “right.� Draw lines to help yourself keep a consistent stress and even weight throughout your lettering, but trust your eye rather than the grid if something doesn’t look quite correct. This is particularly true if you’re doing something with a curved baseline. Remember, you’re making this to be seen, not measured, so perception trumps geometric perfection.

Resources

Here are a few resources that I have found to be particularly helpful, concerning both lettering and typography.

Books

  • Dangerous Curves, Doyald Young
    This volume showcases some of the best work over Young’s illustrious lettering career, including rejected logotype options and in-process sketches.
  • Scripts, Steven Heller and Louise Fili
    From two of our contemporary design landscape’s most respected proponents of lettering and type comes a “veritable festival of rare and unknown scripts.”
  • Typography Sketchbooks, Steven Heller and Lita Talarico
    Heller teams up with Talarico to present a look inside the minds and processes of more than 100 esteemed letter-lovers.
  • Designing Type, Karen Cheng
    Cheng walks us through a semantic look at the rationale and aesthetics behind the typefaces we see and use regularly, replete with diagrams and illustrations.

Websites

  • Typeverything
    A tumblog of lettering and typography, curated by some of the most respected current lettering artists.
  • Calligraphica
    Another Tumblr website showcasing calligraphy of all styles and languages, again curated by amazing calligraphers and letterers, including some of those involved in Typeverything.
  • I Love Typography
    In-depth blog posts about type history and lettering, interviews with type designers, updates on upcoming type-related publications — ILT provides a good read for serious letter lovers.
  • We Love Typography
    Compiled by typographers and designers of all sorts, another showcase of type and lettering with styles for everyone.
  • Beautiful Type
    This site isn’t updated terribly often, but whatever and whenever they do post, it’s inspiring!

Portfolios

Here are a few portfolios from great lettering artists that have inspired many:

In Summary

Hopefully this dissertation on lettering and typography has enhanced your knowledge of design and will further equip you to improve your skills. Lettering and typography, so similar yet so diverse, are a huge part of design and thus deserve our full understanding.

(cp)


© Joseph Alessio for Smashing Magazine, 2013.


Frank: A Free WordPress Theme Designed For Speed


  

Today we are pleased to release Frank, an open-source WordPress theme designed and built to provide a light, responsive and unobtrusive reading experience. The theme’s default home page makes 9 database queries and consists of 2 requests weighing at roughly 30KB (9.5KB gzipped). Frank keeps it basic: no Javascript dependence, no unnecessary images, just a simple, no-frills, fast blog theme. The theme is introduced by its developer, P.J. Onori. —Ed.

Frank is a responsive WordPress theme. It uses a modified version of the Foundation grid system. It also offers the unique feature of a modular home page layout system. The theme comes with various different layouts for your home page (1 column, 2 column, 3 column, 4 column, etc.) that can be mixed and matched. This allows for a home page with different content sections in different layouts.

frank-layout

With intense use of HTML5 and CSS3 Frank cuts down on complexity and improves performance. Frank works decently on Internet Explorer 8+. However, at the moment no guarantees are given for any earlier IE versions. It is packaged with the parent theme (in the frank directory) as well as the child theme (in the somerandomdude directory) which I use for my own site. By using Frank, my home page weighs in at 43.65KB over 6 requests (Google Analytics accounts for ~15.5KB and 3 requests). In addition, 33.78% of global page loads completely within 1 second or less (55.75% in the US). On Google Page Speed, the demo gets an overall PageSpeed Score of 97 (out of 100).

Also, Frank uses a subset of Foundation to provide a responsive layout for desktops, tablets and phones. Add this to the theme’s small footprint and you have a mobile-optimized blog. The theme is 100% open source and developer-friendly. The parent theme (/frank) is released under the GNU Public License and the child theme (/somerandomdude) directory is released under the Creative Commons Attribution-ShareAlike 3.0 Unported License.

Demo and Downloads

You can check the live demo of the theme.

home-somerandomdude-500

Why Did I Make Frank?

There are three reasons:

The first reason was to make good on a promise. I made the commitment that everything I created on my site would be open source. That is how Iconic was born, and this is how Frank came to be. My site is now 100% open source.

The second reason is that I believe that speed is an essential part of user experience. I wanted my site to reflect that belief.

The last reason is that WordPress has an unfair reputation of being a slow, resource-hungry blogging platform. Make no mistake, WordPress can be slow, but that is often due to poor use. I wanted to make a WordPress theme to break the unfair stereotype.

Frank shines for sites that need a no-frills blog that focuses on the reading experience. Frank is not for everybody, but it shines when used in its sweet spot.

Reading Experience: Example

Future Development

Frank is ready to be used, but there is still a long way to go until it’s in tip-top shape. This theme can and will get faster. Here’s what is currently being worked on.

  • Greater typographic and visual polish
  • Increased CSS optimization
  • HTML cleanups and structural improvements
  • Modernization and optimization of Javascript components
  • Improved organization and structure of SCSS files
  • Developer-friendly build tools
  • Guides for optimal use of Frank

Credits

This theme was built with significant help of some great folks. My sincere thanks to Felix Holmgren, Jon Christopher and Josh McDonald for their tremendous contributions.

(ea) (vf)


© P.J. Onori for Smashing Magazine, 2013.


Killing Contracts: An Interview With Andy Clarke


  

Editor’s Note: Andy Clarke is known for his design work, books, conference presentations and contributions to the design community. Over the last 14 years, he has designed for amazing clients, written two books, and has given over 50 conference presentations and hosted workshops and training events for Web professionals all over the world.

Andy Clarke
Image by Geri Coady.

Do you remember those “10 Useful Legal Documents for Designers?� Well, it turns out that you, designers who read Smashing Magazine, liked one in particular: a plain-language, straightforward “Contract of Works for Web Design,� which is based heavily on Andy Clarke’s “Contract Killer�. Since Mr. Wong published that template ten months ago, more than 1,600 designers have downloaded it on Docracy alone.

Why is this legal template so popular? Does it really work better than other contracts? Can it help you close that job faster and protect you from getting stiffed? Could it become an industry standard, like grid systems and agile development? Could it help designers save money on legal fees? Who better than Mr. Andy Clarke himself to answer these questions!

Question: Hi, Andy. Your company is called Stuff and Nonsense. That’s how many people would define contracts. Why do you think contracts are often unreadable and puzzling, and what brought you to write your own model from scratch?

Andy: Being at best obscure or at worst intentionally misleading is precisely how many people view contracts. That’s likely because the contracts we are so often asked to sign have been written in language that’s unfamiliar to most of us. You might think that contracts must be written this way, but they don’t. Contracts can be written in any style you like, in language that’s as formal or as informal as you are. Use your contract to set the tone for the relationship with your clients. Of course, you’ll need to cover all the issues, but there’s no reason you can’t do that while still being you.

I appreciate plain speaking, and I try to be as direct as possible in the way that I talk with my clients. Over the years that I’ve run Stuff and Nonsense, I’ve seen a lot of contracts, and none of them either had my “voice� or covered the specific aspects of Web design or development that are important to my work. I was frustrated with what I found, so I sat down one day to write my own contract, the “Contract Killer,� and published it for anyone to use.

That was, amazingly, four years ago, and although some of the details of that original Contract Killer have changed, the fundamental principles have stayed the same. That’s because many of the issues that designers and developers and our clients face have also stayed the same. Still, in the latest version, Contract Killer 3, I’ve made some changes to reflect what many of us are doing now, particularly in relation to responsive and mobile design.

Battle of forms.
Conflicting terms of standard form contracts often result in legal disputes. Image by Steve Snodgrass.

Question: How do clients react when you send them the Contract Killer? Do you ever have to fight the “battle of the forms�?

Andy: The original reaction to Contract Killer was astonishing, and over the last four years the feedback I’ve received from designers and developers has been overwhelmingly positive. I know of some people who say that the contract has helped them get work. Many use Contract Killer out of the box, while others include their own payment terms and copyright assignment. Some have added whole new clauses — for example, about termination. I feel very, very happy that so many people have found Contract Killer useful.

Reaction from my own clients has been overwhelmingly positive, too. No one has ever refused to sign it, and no one has asked for it to be replaced with another contract. In fact, the simple straightforward language has encouraged my clients to sign and return it faster than any other contract I’ve ever used. I guess that’s because being clear means there’s less need to check with a lawyer.

Question: You’ve been using this contracts for years now. Has it held up? Did you find some edge cases that exposed certain weaknesses? And, if so, how did you fix the problem?

Andy: I’ve used Contract Killer with every client for the last five years. Occasionally I’ve made changes to specific clauses — often around copyright assignment — when clients have requested that. But you know what? That’s OK. A contract is just another point for us to communicate — in this case, negotiate — with our clients. Changing a few words doesn’t matter much. How we handle changing those words matters a lot.

I’m now much more explicit about the fact that browser testing is about ensuring that a person’s experience of a design should be appropriate to the capabilities of the browser or device they’re using and that websites will not look the same in browsers of different capabilities or on devices with different-sized screens. I’m also particular about the desktop and mobile browsers I test on, although I know this will vary between designers and developers.

Question: Do you have any tips on how to use a contract as a communication tool? For example, how do you handle a client who requests an overly broad license?

Andy: Many clients, too many in fact, know little about what’s expected or involved in a successful Web project. They may have had a poor prior experience, so even if they don’t come right out and say it, they’re looking to you to show them how it’s done. Your contract is a great place to start showing them how you do business. Handle this stage well, and your project will run much more smoothly. Let’s look at an example from Contract Killer 3, the copyright ownership clause:

We’ll own the unique combination of these elements that constitutes a complete design and we’ll license that you, exclusively and in perpetuity for this project only, unless we agree otherwise. We can provide a separate estimate for that.

It’s a fair clause that’s designed to prevent a client from using and reusing the work for other projects without agreement. This means that if you design an e-commerce store for them, they can’t launch a second site using the same design. This is a sticking point for many people, who wrongly expect that they will own the rights to everything they pay you to produce for them for any purpose.

When this happens, explain the good reasons why the clause exists and, if it’s appropriate, offer them a new price that includes complete ownership and that reflects its potential value to them in the future. Don’t be afraid to stick up for what you’re asking, and always, always remember, this is your contract that you’re asking them them to sign. Make it work for you.

Contract
Make your contract work for you. Image by Steve Snodgrass.

Question: In Contract Killer 3, you argue against fixed pricing, but you also promise flexibility. Can you explain how to negotiate a pricing scheme with a client who prefers fixed pricing or insists on a cap?

Andy: Fixed or project-based pricing has its roots firmly planted in the old-fashioned waterfall development process. But many people, including me, have moved to a more agile-based way of working. In an agile workflow, change is embraced, even encouraged. This means that fixed-price contracts quickly become irrelevant because if the requirements change, the price might change, too.

I organize my projects into week or two-week long sprints. Each sprint has a theme, a set of requirements that I’m going to finish during the period. It might be a sign-up process one week and a shopping cart the next. We’ll cover all the areas of a project across these sprints; and because the client knows the price in advance, he or she can budget. If a client has a great idea for something new or wants to change their mind, no problem. I roll up those requests into another sprint week, and the client can then make a business decision about spending money on those items.

Question: Have you ever faced a situation in which a client was asking for too many changes, one after another? How did you deal with that?

Andy: Several years ago I worked with an agency on a new site for a travel company. The agency had negotiated the price with its client, and I worked on a fixed price. Although the agency had drawn up the original brief and I followed that up with my own scoping meetings, things quickly went downhill as the client flip-flopped through ideas and change requests that were costly and complicated. I tolerated the situation as long as I could, but it became apparent I was making a loss on the project, and I withdrew.

This problem arose not because the client changed their minds — no, that shouldn’t ever be considered an issue; in fact, it should be encouraged — but because the agency and I were working to a fixed price. This left everybody with a bad taste in their mouth. Had we all worked in the agile way I just described, changes would never have been an issue, and it’s likely the project would have been a success, rather than a failure.

Question: What are the top three things a designer should keep in mind when preparing or reviewing a contract?

Andy: First, and possibly most importantly, you should ask your clients to sign a contract every time you work with them. It doesn’t matter whether they’re a first-timer or you’ve worked with them a dozen times: it’s vital that you agree on the scope and terms of the work. It took a while, and one or two unfortunate experiences, for me to learn that contracts are intended to set out what both parties should do.

Make the contract your own. It’s great that people like Contract Killer so much that they’ll use it out of the box, but your contract should be in your voice, not mine. Use the writing of a contract as an opportunity to put your personality into your paperwork. There’s no reason why a contract shouldn’t be funny and a joy to read. After all, you want someone to sign it.

Lastly, take the time to tailor a contract to a particular client and project, and make sure you’ve addressed everything you’re going to do for them. If you get a hint of any potential issue — for example, that they personally use an old browser or device — write about how you’ll handle that in your contract.

Stuff & Nonsense
Stuff & Nonsense – amazing design work for amazing people.

Question: Despite the saying, the client is not always right. How can you say that to them without being the a*shole?

Andy: No one, no matter who they are or what they think, is always right. (Well, except my wife. She’s always right about everything. Obviously.) One thing I’ve learned over the years is that clients love to feel involved in the design process. Sometimes, though, they make suggestions only so that they feel they have put their stamp on the project. There are simple ways that designers and developer can prevent this from happening. This is something I wrote about recently for Smashing Magazine:

  • Don’t email pictures of websites to your clients and then ask for their “thoughts.â€�
  • Don’t wait until after weeks of work to have a “big reveal.â€�
  • Set up the proper environment to receive structured feedback, and then ban all unstructured feedback you might receive by telephone or email.

Please remember: you are the designer. You are the person who has been hired to solve a problem that the client either can’t or doesn’t have the time to solve themselves. Your solution to that problem is worth a lot to their business, so never underestimate your role, skills and influence in the design process.

Question: I hear you are working on a “Killer NDA� (non-disclosure agreement). Sounds great.

Andy: Writing a Killer NDA has been on my mind for a while, as I’ve been asked to sign some horribly confusing examples over the years. I have no idea why NDAs have to be so complicated; after all, their intent is to make sure that everything that’s shared stays secret.

I’ve called this contract “Three Wise Monkeys� — see no evil, hear no evil, speak no evil. Three Wise Monkeys deals with just three things:

  • What’s confidential?
  • What can we say?
  • How long does the agreement last?

You can read it here. It’s licensed under Creative Commons 3.0, so if you want to personalize it, you can do so. It’s also on GitHub and Docracy.

Andy's Three Wise Monkeys contract.
Simple is good. Andy’s “Three Wise Monkeysâ€� contract deals with just three things. Image by Anderson Mancini.

Question: Last question: who are the “men with big dogs� referenced at the very end of your contracts?

Andy: I’m not afraid to say that on several occasions we’ve been forced to hire a debt collection agency to recover our money. On one occasion, we hired a debt collector from the client’s town, because we knew he would be ashamed if it became known locally that he was a bad payer. There’s no excuse for late or non-payment, and you should never be apologetic about wanting your money. Always remember, if you’ve done the work, you deserve to be paid. So, when all else fails, hire a professional. Preferably one with a big dog.

Have you used Contract Killer or a version of it? Share your experience in the comments!


© Veronica Picciafuoco for Smashing Magazine, 2013.


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