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Poll: Should Designers Stay Out of Politics?

The Beazley Design of the Year for 2020 has just been awarded to US architecture firm Rael San Fratello & Colectivo Chopeke for their Teeter-Totter Wall project, a series of luminous pink seesaws built into the US-Mexico border wall in July 2019.

The 74 shortlisted entrants for the prize range from a poster for vegan burgers to a parody of Pantone’s Color of the Year. Most were self-consciously political.

As design has grown in stature, so has its ability to amplify the opinions that employ it. Most of us will never work on an actual political campaign. Still, there is little doubt that the design teams for both the Obama campaign in 2008 and the Ocasio-Cortez campaign in 2018 were significant factors in the resulting electoral success. And it isn’t just visual design, user experience across a platform has implications; last week, Twitter finally suspended the account of the outgoing US president, a decision that left CEO Jack Dorsey lamenting the platform’s “failure…to promote healthy conversation.”

As designers, our understanding of user experience — particularly the psychology of user experience — has grown immensely in the last decade. We’re very good and persuading people to do things, and that ability is a commodity, saleable to the highest bidder. As such, it is capable of undermining basic democratic principles by skewing debate and exerting disproportionate influence.

We frequently talk about Black Hat and White Hat techniques in the tech industry, but the truth is, almost all designers spend their days looking for ways to manipulate an audience.

When that manipulation extends into political events, do designers have an ethical responsibility to maintain an independent balance, just as we expect reputable journalists to?

Designers are — for now, at least — human beings. We have all of the prejudices, biases, and philosophies of any other human being. Do we have an obligation to use our skills to promote our ideals, or an obligation to resist doing so?

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19 janvier 2021/par Service comm.

9 Easy Ways to Deal With Difficult Clients

Actualités, Actualités

Naturally, there are bad clients out there, but 90% of the time, it’s not really the client who is at fault. Poor communication, a lack of setting expectations, and a failure to qualify clients beforehand is usually the problem.

If you’re dealing with a problematic client, there’s usually not a lot you can do to ‘fix’ things — you should focus on finishing the project as well as you can. However, what you can do is ensure this situation never arises again.

We’ve been taught that the customer is always right. But to be honest, that’s not always the case. It’s your job as a designer and brand consultant to help your client grow their business. Because of that, you may think you have to make every idea a client has — but if these ideas do not serve their business and their brand, you have to speak up! Remember that you were hired for a reason, and that reason is that you can help them build their brand, not because you can design anything they think of.

So, to avoid the ‘difficult’ client scenario, here are a few things you can do.

1. Be Selective With Your Clients

Figure out who your ideal client is and determine that you will only work with them. Ideal clients are usually people who understand you and respect you and your expertise. A client who hires you because they know what you have to offer (i.e., working towards their business goals) will be more receptive to what you present to them — they will also be more receptive when you push back ideas.

you have to be willing to decline projects

Your ideal client is not someone who wants to dictate the whole process to you (clients who already have an idea in their head and want you to make it into reality for them).

This means you have to be willing to decline projects. This can be super difficult — saying no to a paying client always is — but the mental toll of working for a non-ideal client is never worth the money!

Be selective with your clients and ensure you are on the same page before accepting any projects. To work only with your ideal client, you can have a method of qualifying them ahead of time. Some people use questionnaires; others sit down and have a chat with potential clients. If they meet your requirements, that’s great. If not, then let them know it might not be the best fit for both of you. You can also refer them to another freelance designer, who you know would be glad to have their work.

2. Remember: You are NOT an Employee

People usually become freelancers because they have a set of skills that doesn’t tie them down to one employer — you may have even developed this skill set deliberately to avoid being stuck in one office, working for one company!

So don’t forget that you are not an employee. Your clients don’t get to send you to non-productive meetings, have you in the office at certain times, or dictate any other part of your working life to you. As a freelancer, you work for yourself — don’t get caught up in the idea you are ‘employed’ by your clients.

If your client starts acting like an employer, you need to gently remind them that you are a freelancer. They chose to work with you because of your skills and talents, and as long as you deliver it on time and budget, they can’t complain about how you do it!

3. Have a Specific Scope of Work

One of the most frustrating parts of freelancing is over-demanding clients: it happens to us all, but it happens because we let it happen!

When you start a project, define exactly what you will and won’t do as part of a contract. Then, if the client wants more than you said you would give, you can refer them to the scope document and offer the additional work at an extra fee.

Documentation saves you a lot of hassle!

Having a fixed scope for all your work will free you from the ‘demanding client’ problem. Before you start working for them, sit down with them and ask them exactly what they want from your design. That way, you know exactly what you should do and what you should not do. You can then document the services you will provide and get a written confirmation from them. Clients will sometimes forget what they told you before — which is why having written documents to show them is useful.

If they ask for additional services, you can update the document stating these changes and send them a copy. Documentation saves you a lot of hassle! It’s your responsibility to be organized and professional at the end of the day, even with over-demanding clients. Always treat them kindly — never be rude, as this will cause them to give you a bad review and hurt you in the end. Act like a professional from the start, and your clients will treat you as such.

4. Document Agreements

You may find yourself with a client who is forever changing their mind or forgetting the details — so make sure all your agreements with them are documented, and both of you have copies. Just like the scope of work documents, you can refer to these agreements in the future, and it will resolve any issues you have.

5. Set Clear Expectations

You need to set clear expectations both before and after someone becomes your client — tell them what they can expect in the project and what is included and what’s not included. Remember that your time is valuable: you cannot work indefinitely, so it is okay to set limitations in a project. One way to do this is to offer two rounds of revisions on a project. This is more than enough to come out with a design a client is happy with. Most clients will understand these limitations as long as you communicate them from the get-go.

6. Set Benchmarks

Rather than taking your design brief from the client and going off on your own to design everything, set some project milestones or benchmarks. Don’t be that designer who goes radio-silent until the final design is presented (we know, creatives like the idea of the ‘big reveal,’ but remember this is business, and communication is key!).

Benchmarks are important for a few reasons. Firstly, presenting the final design may sometimes work out, but other times, the client doesn’t like it or the direction they had in mind. Secondly, it saves you time – you don’t need to design a whole project only to have to go back and revise it all!

creatives like the idea of the ‘big reveal,’ but remember this is business, and communication is key!

Plan regular check-ins with your client, include them in the process, and ensure you are on the right track.

Take a branding project, for example. You can present to your client two or three logo concepts, providing them with options. This decreases the number of times a client is unhappy with the project’s direction because they can choose which one they want. Remember to make each design unique, rather than just a small variation of the other. Think of them as three different directions to explore with your client, and take it from there.

Ensure each concept you provide is top of your game, too — that way, whatever your client chooses, it will be a great design. Imagine you make two okay concepts and one great concept, and your client chooses the weakest design!

7. Don’t Take Offence

Imagine the scene: you go to a meeting with your client to talk about the final design. You arrive, and as well as your normal contact, the CFO is present at the meeting. They take one look at your design and decide it doesn’t work.

Don’t get mad! For a start, you don’t know if the CFO has the final say on the design, and even if they do, you have an agreed scope of work, and this is now an opportunity to move the goalposts (for a fee) and renegotiate the scope of work. Look at this as an opportunity, not as a setback!

Also, remember that you can’t please everyone all the time. Not everyone will love your designs, and it’s not a personal attack.

8. Match Your Client’s Energy

Think before you open your mouth — communication is crucial in the freelancing world, and you need to be on par with your clients’ energy and vocabulary. Imagine you have just agreed on a project with a new client, and after the meeting, they say, “I cannot wait for you to knock this logo out of the park!” And you reply hesitantly, “I’ll do what I can.”

This has already made your client doubt you, and that’s a red flag. Now your client may leave the meeting wondering if they chose the right designer for the job. What you and your body language need to say is, “Hell, yes! We’re going to knock this logo out of the park!”

This is why matching a client’s energy is so important. If they are aggressive in articulating themselves, you should be, too; obviously within limits — always be professional, but don’t be afraid to sound excited and confident!

9. Be Honest With Yourself

Sometimes, you don’t get on with someone. It happens. We can’t be best friends with all of our clients! If there’s a personality conflict that’s causing problems, it can be impossible to resolve. You may want to have someone else handle the client relationship or transfer the project to another freelancer.

being afraid will never get you anywhere as a freelancer

What makes being a freelancer great is that you actually have all the power — you can fire a client if it’s really not working for you. An employee cannot fire his or her boss. If the relationship between you and your client has turned sour, you hate the work, and it’s causing you too many headaches, you can get rid of them. No one can make you work for someone!

Even if your client represents a huge chunk of your income, don’t be afraid to fire them. There are always more clients — being afraid will never get you anywhere as a freelancer. You also need to remember that your quality of life is just as important as your income! One cannot exist without the other — there’s no point in having a huge paycheck if your sanity is suffering due to it.

Conclusion

‘Difficult’ clients in freelancing do exist, but a lot of the time, you’ll discover they could have been avoided if you, the designer, took a few key steps.

You should always be selective with your clients and ensure they fit your ‘ideal client’ model; if they don’t, you can gently refuse their project and send them on to another designer who is a better fit.

When you do start working with a client, remember they are just that, a client. They are not your boss or employer, and you are a freelancer. They don’t get to dictate your working hours or appearance in meetings. They agreed to work with you, for your skills and talents, as long as you deliver quality work on time, they don’t get to tell you what to do.

Always have a scope of work in a written contract and set expectations before you begin. This saves you hassle later when a client becomes overly demanding. Along the design process, document all agreements in paper and have benchmarks wherein you check-in with your clients.

Finally, take care with how you handle your clients in person – don’t take offense if they don’t like a design, match their energy, so they have no room to doubt you, and if it really just isn’t working due to a personality conflict, remember you are free to leave!

Featured image via Pexels.

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Source de l’article sur Webdesignerdepot

25 décembre 2020/par Service comm.

So, You’Ve Won An Exciting Redesign…What Now?

Actualités, Actualités

The transitioning of power is fraught with difficulties. Different teams have different values, different experience, different expertise, different priorities, and that leads to different tooling, and different methodologies.

It’s tempting to think of web design as an end-to-end process, starting with research and concluding with metrics. The reality is that most designers and developers join projects part-way through an ongoing process.

That leaves us with a difficult choice: do we try and meet the client’s expectations with our own toolset, or adapt to the tools and processes that are already in place?

For anyone who’s taking over a web project from a different designer/developer/agency (D/D/A), here’s a practical guide to help you make a success of the transition.

Step 1: Find Out What Went Wrong

99.99% of the time, something broke down in the previous client-D/D/A relationship.

In my experience it’s almost never about money. Most clients are willing to pay above the basic market rate if they believe they’re receiving a good return on their investment. A client that tells you the previous D/D/A is simply too expensive is anticipating negotiating your fees.

happy clients don’t shop around

Occasionally you’ll find that a freelance designer has been headhunted by an agency, and is no longer available. Occasionally the company outgrows a D/D/A, moving into areas that the D/D/A doesn’t support. But these situations are rare, happy clients — even moderately content clients — don’t shop around. If they’re speaking to you, something motivated them to do so.

It is alarmingly common that a D/D/A simply goes AWOL. It’s most common at the lower end of the market where the sums of money involved are less likely to prompt a legal dispute. Frequently, an unreputable D/D/A will ghost a client in favour of a better, newer opportunity.

Sometimes the client hires a new manager, and the new manager ushers in revised expectations that the previous D/D/A can’t meet.

Most commonly, the previous D/D/A has dropped the ball one too many times — mistakes happen, and reasonable clients will tolerate them provided they are rectified promptly, but everyone has their limits.

Most clients will be more than happy to explain what went wrong in the previous relationship; it will inevitably be a one-sided explanation, but it will help you to understand the client’s expectations.

Be extremely wary of a client who doesn’t know what went wrong. Be even more wary of a client who talks about “upgrading” their outsourcing — they’re trying to flatter you. In these cases the client may well be hiding something — like their failure to pay invoices.

Remember: at some point the previous D/D/A was new, and excited about having a new client, was optimistic about the project, and it didn’t end well. The best way to not repeat mistakes is to learn from them, and to do that you need to know what they were.

Step 2: Carry Out a Comprehensive Audit

We’re often so eager to secure new work, that we rush to have the client sign on the dotted line, expecting to be able to tackle any problems later.

It is imperative that as a professional, you keep your promises. Before you make those promises, take your time to understand the project and related business. If a client is invested enough to sign a contract with you they won’t mind you doing due diligence first.

Is There Still a Relationship With the Previous Designer/Developer/Agency?

Clients rarely have a full picture of their project — they’re not web professionals, if they were they’d be building their own sites. Your best source of information is the previous D/D/A.

Before you contact the previous D/D/A check with your client; it’s possible they don’t know they’re being replaced yet. If your client is fine with it, then reach out.

When you speak to the previous D/D/A be sensitive to the fact that you’re taking money out of their pocket. Certainly the previous D/D/A may tell you where to go, they may ignore you altogether, but most will be pragmatic about handing over a project if only to ensure their final invoice to their now ex-client is paid promptly.

Every site has its idiosyncrasies, if you can establish a friendly rapport with the previous D/D/A then the transition will be considerably less bumpy.

Who Controls the Domain Name(s)?

In my opinion a company’s domain name(s) should always be held by the company; it’s such an essential business asset that it should be guarded as jealously as the company’s bank accounts.

Unfortunately there are businesses that outsource everything to do with the web. If the break with the previous D/D/A is acrimonious then securing the domain name could be problematic.

It’s not your job to secure the domain name — you have no leverage, the client does. It is your job to impress upon the client how mission-critical the domain name(s) is.

Who Controls the Hosting?

Hosting arrangements vary from project to project. It’s not uncommon, nor unreasonable, for the previous D/D/A to be hosting the client’s site on their own space. If that is the case, be prepared to migrate it quickly either to your own server, or a dedicated space.

If you’re migrating onto a new space pay particular attention to the email provision. Taking over a project usually means taking over a live project, and that usually means email accounts.

In any case, you need full access to the hosting space. You certainly need FTP access, you probably need SSH access.

In addition to hosting, check if your client’s site uses a CDN, and if it does, who has control of it.

Backend Source Code

Once you have FTP access to the hosting server you can probably grab all backend code from the server.

The benefit of grabbing the code from the server — as opposed to accepting files from the previous D/D/A — is that you can be absolutely certain you’re getting the current (working) code.

If the client has broken with the previous D/D/A because they were unable to deliver on a particular task, you do not want to be working with files that have been partially modified.

Fresh Installs

If you’re working with something like a CMS, it’s often a good idea to run a fresh install on your server, and then copy across any templates, plugins, and migrate the database.

Frontend Source Code

When it comes to acquiring source code, frontend code is far more problematic than backend.

frontend code is far more problematic than backend

If the previous D/D/A is even part-way competent then the CSS and JavaScript on the web space is minified. Minified CSS is not too problematic and can be unminified fairly easily, but you do not want to be unpicking a minified JavaScript file — I once had a project in which a developer had minified his own code in the same file with all of his dependencies, including both Vue and jQuery [yes, I know].

Dealing with frontend source code can take on an additional dimension if you discover that the previous D/D/A used techniques you don’t — using Less instead of Sass, or writing scripts in TypeScript.

Unminifying CSS & JavaScript

Unminifying (or beautifying, or prettifying) code is reasonably easy. There are tools online that will help, including Unminify, Online CSS Unminifier, FreeFormatter, JS Minify Unminify, and more. You’ll also find plenty of extensions for code editors including HTML-CSS-JS Prettify for Sublime Text, and Atom-Beautify for Atom. You’ll find that some editors have the functionality built in.

A word of warning: code beautification does not restore comments, and in the case of JavaScript, does not unobfuscate variable names. Beautifying code is no substitute for a copy of the original, unminified source code.

Emergency Measures

If unminifying the source code isn’t possible for any reason, or more likely, the unminified JavaScript still looks like minified code — albeit nicely formatted minified code — then your last resort is to import the code and override it where necessary.

The first thing to do in this case is to explain the situation to your client. Make sure they understand this is a temporary patch that you’ll iron-out as you rebuild parts of the project.

Then, copy and paste the old minified code into a fresh project setup. For CSS that probably means creating a legacy.scss file, including the old CSS, and importing it into your own Sass. For JavaScript, create a legacy.js file, add all the old JS, and import that.

This will result in a much bigger set of files than necessary, you may end up using !important in your style declarations [yuck], and you’ll trigger lots of Lighthouse warnings about surplus code.

However, in the likely event that your client has a long list of changes they wanted live yesterday, this dirty hack will give you a working site that you can then rebuild piece by piece over time.

Assets

Assets normally means images, and images can normally be grabbed via FTP.

Occasionally — although less occasionally now image files rarely contain text — you’ll need the source files to make changes to images.

Whether or not the client has them, or if the previous D/D/A will hand them over, depends largely on the agreement between the client and the previous D/D/A.

Most businesses are reasonably aware of the importance of brand assets, so you’ll probably find they at least have a copy of their logo; whether it’s an SVG or a JPG is another matter entirely. Impress upon them the importance of locating those files for you.

Third Party Code

It is rare to receive a project that doesn’t rely on third party code. That third party code is probably entwined in the custom source code, and unpicking it is a time-consuming job.

It is very likely the previous D/D/A used a library or framework, and given the increasing number of them, it’s even more likely that the library or framework they used is not the one you prefer.

Whether you choose to unpick the code and swap out the previous D/D/A’s dependencies for your own preferences (usually faster in the long term), or whether you choose to work with what you’re given (usually faster in the short term) is entirely up to you.

In my experience it’s no hardship to pick up another CSS library; switching from one JavaScript framework to another is a substantially bigger job involving not just syntax but core concepts.

Beware Build Environments

Everyone has their own way of doing things. Some D/D/As embrace build environments, some do not. Some build environments are simple to use, some are not. Some build environments are adaptable to your process, some are not.

Unlike adopting a library, or even a framework, adopting a new build process is rarely a good idea

Build environments are numerous — Gulp, Grunt, and Webpack are all popular — and D/D/As are almost as opinionated about them as they are about CMS.

In lieu of raw files, it’s not uncommon for the previous D/D/A to tell you to “just run such-and-such CLI” command, to match up your local environment to theirs. Unlike adopting a library, or even a framework, adopting a new build process is rarely a good idea because you’re relegating yourself from expert to novice at a time when you’ve yet to earn your new client’s trust.

Stand your ground. Their approach failed, that’s why you’ve been brought in. You do you.

Who is Licensed?

Any third part code that has been paid for is licensed. Always check who holds these licenses. As well as being legally required, valid licenses are normally required for updates, bug fixes, and in some cases support.

Common pitfalls include: font licenses (which may be licensed under the previous D/D/A’s Creative Cloud, Fontstand, Monotype, etc. account); stock image licenses (which may be licensed for use by the previous D/D/A alone); and plugins (which are frequently bulk-licensed to D/D/As in bundles).

It’s depressingly common to find clients using unlicensed assets. On more than one occasion I’ve had to explain to a client the potential consequences of using pirated fonts.

Fortunately it’s increasingly common for third party providers to attach a licence to a specified domain, which means you may be able to claim the licence on behalf of your client. Major suppliers like CMS and ecommerce solutions frequently have an option for the previous developer to release a licence and allow you to claim it.

In the case of licensing, if you’re unsure, do not be afraid to reach out to the third party provider and check with them if your client is licensed once they break ties with their previous D/D/A.

The only thing that sours a client relationship faster than telling them they need to buy a license they thought they’d already paid for, is telling them they’re being sued for copyright infringement.

Protect your client, and protect yourself, by making sure everything is licensed properly. If you can get something in writing to that effect from the previous D/D/A, do.

Who Has the Research and Analytics?

One of the major benefits of taking over a site, as opposed to building from scratch, is that you have a measurable set of site-specific data to guide your decision making.

This only applies if you have the data, so ask to be added to the client’s analytics account.

There’s a strong chance that the design research carried out by the previous D/D/A is considered an internal document, not a deliverable, by the previous D/D/A. Check with your client: if they paid for the research (is it specified on an invoice?) then they’re entitled to a copy.

We Have a Blog Too…

Clients have a tendency to use the term “website” as a catch-all term for everything digital.

When you take responsibility for a website, you’re almost always expected to take responsibility for any digital service the client uses. That means, newsletter services like Mailchimp, customer service accounts like Intercom, and 227,000 page WordPress blogs that they forgot to mention in the initial brief.

Repeat the whole of Step 2 for every additional app, micro-site, blog, and anything else the client has, unless you are expressly told by the client not to.

Step 3: The Point of No Return

Up until now, you haven’t asked the client to sign on the dotted line. This whole process is part of your due diligence.

By checking these things you can identify unforeseen problems, and potential costs. Are you tied to an obscure build process? Do you need to relicense the CMS? Do you need to recreate all of the site assets?

Some of these conversations are hard to have, but the time to have them is now

If there is any question of the project being more complex than anticipated, have an honest conversation with your client — they will appreciate your transparency, and they’ll appreciate being kept informed. Any client who doesn’t value a clear picture of what they’re paying you for, isn’t a client you want.

Some of these conversations are hard to have, but the time to have them is now, not three months down the line.

This is the point of no return. From this point on, any problems aren’t the previous D/D/A’s, they’re yours.

Change the Passwords

For every service you have, from the newsletter login, to the CMS login, to the FTP details, change the password. (Make sure you notify the client.)

Set Up a Staging Site

You’re going to need a staging site so your new client can preview the work you’ve done for them.

Set the staging site up immediately, before you’ve made any changes to the code. In doing so you’ll discover early on if there are files missing, or issues with the files you do have.

Successfully Transitioning a Project

When a client commissions a site from scratch they are filled with expectation. The fact that they are leaving their previous D/D/A and seeking you out demonstrates that their experience fell short of their hopes.

You now have a client with realistic — perhaps even pessimistic — expectations. You have a benchmark against which your work can be objectively measured.

When problems arise, as they invariably will, never try to blame the previous D/D/A; it was your job to assess the state of play before you started work. If there is an issue with legacy assets, you should have brought it to your client’s attention early on.

If you learn from the previous D/D/A’s mistakes, you won’t be handing the project on to someone else any time soon.

Featured image via Unsplash.

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Source de l’article sur Webdesignerdepot

9 novembre 2020/par Service comm.

Inversion of Code – HTTP Lambda functions

Actualités, Méthodes et organisation des process IT

Normally when we create an HTTP REST endpoint, we add code to our server endpoint, and assume the client provides the arguments to our code. What if we could reverse this responsibility, such that the client provides the code the server executes?

Among other things, this implies we can have one endpoint doing "everything". We wouldn’t need to create dozens of endpoints to expose our API, and we could get away with creating a single endpoint, that clients invokes, regardless of what they want to do. If the client wants to create a record in our database, read records from our database, or count records in our database is irrelevant – He’d still use the same endpoint for all of these tasks. In addition, the client could become much more creative in regards to how he interacts with our API, and do things we couldn’t even imagine as we created our API. The latter of course sums up the problem, which is that clients could inject malicious code into our server.

Source de l’article sur DZONE

17 octobre 2020/par Service comm.

Who Do Web Designers Really Work For?

Actualités, Actualités

It would be way too easy to answer this question with: “Whoever pays your bills.” And, honestly, I don’t think you can be a very successful web designer if you’re only driven by what the person paying you tells you to do.

Then again, that doesn’t mean you should swing to the exact opposite end and say that you only serve the end user.

When you take an extreme view or approach to this, you’re bound to leave someone or something important out. Everyone along the chain of command — your boss (if you work at an agency), your client, and their customers — matters.

So, what I’d suggest you do instead is approach the idea of who you really work for the way you would Maslow’s Hierarchy of Needs.

Establishing Your Own Hierarchy of Needs

Who do web designers really work for? I think the true answer to this question is: “Everyone.” But there’s a catch…

Think about some of the requests you’ve received from superiors, or clients in the past. How many times have you rolled your eyes at their wacky requests?

“The contact form would be better in the header so visitors can always see it.”
“Let’s use this stock photo of two women shaking hands that I’ve seen a few other companies use.”
“Why don’t we redesign all of this and make it look like this site my brother built last night?”

You’re the design professional. That’s why they’re paying you to design their website and they’re not doing it themselves. So, there comes a point where you have to push aside what they want for what they need. And this will ultimately help you figure out who you work for and what you actually owe them (because fulfilling every nitpicky and unreasonable request will never lead to anything good).

So, here’s where the Hierarchy of Needs comes in. If we’re creating our own, it would look like this to start:

Working for the Boss

According to Dr. Neel Burton on Psychology Today:

Maslow called the bottom… levels of the pyramid ‘deficiency needs’ because we do not feel anything if they are met but become anxious or distressed if they are not.

I’d argue that these basic needs are like the ones we fulfill for bosses (or clients, if you’re a freelancer and work for yourself). It would look something like this:

Of course, you’ll feel a sense of accomplishment by meeting these needs, but, as a creator, how important are these really to you? These are the basic things you have to do in order to make your boss happy and to stay gainfully employed. They also help to ensure that the client is happy with the boss and agency in the end.

Bottom line: Without these needs fulfilled, you won’t be able to move any deeper into the triangle/hierarchy. So, when focusing on working for your boss, make sure the basic needs are met so you can move on and serve others as they need you to.

Working for the Client

Now, if your boss and client are two different people, you’ll have a second layer of needs to attend to here.

Just as your boss wants you to help them make more money and earn a strong reputation within their space, so too does your client. However, the work you owe them is different. Here’s how it would be represented in the triangle:

Again, you’ll be pleased if you can do and be all these things that your client needs, but is this ultimately what drives you as a designer? Sure, you want to build great relationships with clients so they return to you time and time again with all their website and marketing needs. But in terms of being fulfilled by being a good listener or a timely communicator? Probably not.

All the same, it’s important to be skilled in this type of work and to know how to serve your clients in order to get to that top level. It’ll also help you prioritize their needs accordingly, so you’re not jumping at every single thing or request they claim to “need” and blowing the budget or scope of the job.

For example, if they start demanding more of you (like bombarding you with emails every day wanting to know what’s going on), you can confidently remind them that things are under control (because you’re adhering to the project deadlines, per your boss) and you’ve already scheduled the next client check-in for this week (because you’ve been a good communicator, just as they need you to be).

Working for the End User (Customer)

Maslow refers to the top-level of the pyramid as the growth need. And here’s how Dr. Burton sums this one up for us:

Once we have met our deficiency needs, the focus of our anxiety shifts to self-actualization, and we begin, even if only at a sub- or semi-conscious level, to contemplate our bigger picture. However, only a small minority of people are able to self-actualize because self-actualization calls upon uncommon qualities such as independence, awareness, creativity, originality, and, of course, courage.

These characteristics perfectly sum up everything you want to and should be as a web designer. Unfortunately, it’s those employer and client needs that can stand in your way before you can truly flex your muscles as a creative.

Once you’ve attended to the basics, though, you’ll get your chance to design the kinds of user experiences you know will delight your client’s customers.

Here’s how their part of the triangle should look:

These are universally applicable needs and cannot be ignored.

After you’ve addressed them, though, you will have fulfilled your responsibility to all three parties: your boss, your client, and your end users. And once you’ve done that, you are free to be the creative designer that you are.

Wrap-Up

What I want you to take away from this, is that there are certain basic needs which you must fulfill when working as a web designer. These are the ones you’ll put into your own hierarchy of needs.

Take a systematic approach, starting with your boss and ending with the customer:

What do you have to do to ensure that your boss is happy to have you on the team?
And that the client is pleased with the site you’ve built them?
So you can design a website and experience that end users respond to positively?

Once you’ve figured all this out, you’ll unlock the answer to whom you work for and, more importantly, how you should work for them.

Featured image via Pexels.

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Source de l’article sur Webdesignerdepot

7 octobre 2020/par Service comm.

3 Essential Design Trends, October 2020

Actualités, Actualités

Design can make a statement. It evokes feeling and can encourage thought and conversation. That’s the common theme among the three trends in website design this month.

Each trend is rooted on the time and place where we live and includes elements that provoke thought. Kudos to these designers and design teams for jumpstarting conversations. Here’s what’s trending in design this month.

1. “Taking a Stance” Design

From social to environmental issues, design projects are echoing the sentiments of their audiences and organization in a way that take a stance on an issue.

Once taboo, this is becoming increasingly used as a technique for brands who are no longer worried about turning off a certain segment. The goal is to rally the core audience and people who feel the same way about an issue or cause.

There’s also a secondary thing happening here. Some designs aren’t really position based, but use imagery and language that resonates with a movement to associate with that feeling.

Never Heart uses “Join the Revolution” and a dark image with a heart to tug at your feelings. It can help create an association to a cause that you believe in without stating that cause directly. The design feels strong and inviting while making you feel like part of something.

Skye High uses “powerful” twice in the headline to convey a particular messages to women. The agency is looking to work with “powerful” women. It’s a timely statement and message that could resonate with a lot of business-women at various levels of their careers.

Discovered Wildfoods is a brand that is rooted in sustainability. The corporate model and responsibility of the brand shows through in the website. This type of design helps connect people with mutual feelings to the brand and products.

It’s refreshing to see more websites and brands embracing social causes and issues. It can be tricky for a number of reasons. But for some brands, it pays off.

2. Abstract Art Elements

If you are worried about a lack of images, or not sure how to portray images in an appropriate way due to the worldwide pandemic – groups or not, masked or not – abstract art elements can be the solution.

Widely used for startups and apps, more abstract design elements are everywhere. It’s an easy way to create strong visual interest without photography.

The most common use of abstract art elements is often in the form of geometric shapes with animation. This is something that almost anyone can understand and simple shapes and movement can be quite stunning when done well.

The good news is this aesthetic can work for almost any type of website. Try it for a redesign when you don’t have photography that feels appropriate in the current environment or if you want to create focus for content that drives website visitors to the words or scroll. This works with more abstract concepts when they are simple and help you move quickly from the visual to text.

Here’s how each of the examples handles abstract art elements:

Indicius uses bouncing circles that move toward text and down the screen to drive users to the headline and scroll action.

With Code uses a fun fuzzy circle with different animations to draw you in.

Appimized uses bright color and a monotone scheme with geometric shapes to sell its services.

3. Images That Make You Think

This might be the most visually interesting, and thought-provoking, website design trend we’ve seen in a while. These designs all feature images with a little something different or unusual that make you think.

There are a lot of different ways to do this – marry photographs and illustrations, create imaginary imagery, animations or effects, visual tricks that play on depth perception or create pseudo-3D effects.

The commonality is that the visual is so striking and unusual that website visitors stop and engage with the design. What do the “oddball” visuals mean? What message do they convey? How did they do that?

All of the questions could be associated with this different style of visual representation.

Bling uses a combination of a photo with illustrated animated elements to draw the eye. The yin and yang between reality and fantasy is quickly evident and makes you want to know more. (It doesn’t hurt that the animation uses dollars and lightning.)

Kibun is interesting because the photo choices create an optical illusion of depth. It matches the content of the design well because the website features artistic textile panels with an artistic design. The illusion is in the angles and coloring of photographs and their placements on the screen. The only downside of this design is that it loses the artistic panache on mobile because the images stack.

Oddball images can sell. We Are Mad stands out because it uses a contrived image, but doesn’t go oversized with it. The more subtle placement is ideal and arguably more attention-grabbing.

Conclusion

Website design can be a powerful thing, as these trends and examples show. Don’t discredit the power of choices in color, imagery, animation, and text when creating a digital experience. Design can mean a lot of different things depending on the audience as these examples show.

At the same time, these design trends are powerful and meaningful. They provide context into our world, our time, and our feelings. Don’t be afraid to experiment and make a statement with your design work. Just remember to keep in mind all potential impacts (positive and negative) before taking the project live.

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5 octobre 2020/par Service comm.

Interview: Redesigning the Empire State Building’s Website

Actualités, Actualités

In 2019, to keep pace with an interior redesign of its visitor experience, the Empire State Building decided to redesign its website. Blue Fountain Media were engaged to deliver the project. With the new site launching, we spoke to Head of Design, Tatyana Khamdamova about designing for the world’s most famous building.

Webdesigner Depot: The Empire State Building is probably the most iconic building in America, if not the world. Were there any points at which you thought, “Oh God, this is too much pressure”?

Tatyana Khamdamova: Yes, of course, it was a lot of pressure knowing that people all over the world will be looking at your work. But with the pressure, we also felt excitement and pride that we got to work on such an iconic project. Just thinking that we are doing the site for Empire State Building made us feel proud of all that other work we did during our whole life that gave us the opportunity to be a part of this project.

WD: Blue Fountain Media is a large agency. Did you utilize the whole company, or was there a smaller, dedicated team tasked with creating the site?

TK: On a project like this one, you need the expertise of the team members from all departments in the agency. You want people to work together from the beginning to ensure that their knowledge helps to shape the project and produce the best possible outcome. It’s important for designers and marketers, for example, to be a part of the strategy and UX phase to provide their input which minimizes tunnel vision and generates more ideas. You can only achieve the best results if every single detail from strategy to design to development is done right.

WD: That’s a lot of people to coordinate. Did any roles naturally come to the fore, or is design leadership a quality that varies from person to person?

TK: Some people are natural leaders in their fields. But, sometimes a certain project requires people to take responsibility and show their leadership skills within the team. So I would say that it’s a quality that varies from person to person and doesn’t depend on a role or a title at all.

WD: What were the central aims of the redesign?

TK: ESB’s previous website did not reflect the level of design to match their iconic brand, UX was not user friendly, the content was outdated, and they wanted to grow online individual and group ticket sales. In addition to competing with global and NYC based tourist attractions, ESB was also faced with growing competition in the NYC Observatory market with Top of The Rock, One World Observatory, and Edge at Hudson Yards.

While the building underwent a $165 million renovation, BFM was tasked with creating a best in class website that reclaimed their iconic brand identity while providing an intuitive, and enjoyable user experience for both domestic and international visitors looking to learn about the building, exhibits, and the many ticket experience packages that they offer to visitors.

WD: How do you approach researching a unique project like this?

TK: We went to the source! First, we spoke to visitors of the Empire State Building while they were in line. What was their experience, did they use the website, what made them choose to visit the observatory instead of or in addition to some of the other competing observatories in the city. We then looked at other key tourist towers worldwide to see how they are positioning themselves globally to draw inspiration. We did in-depth stakeholder interviews that included folks working at the building every day and the types of interaction and questions they field from visitors. We conducted surveys of international travelers to understand their motivations and concerns. Finally, we dug into the website itself by testing using various protocols and platforms to understand the visitor paths, what they were able to easily do, and what tasks they may have found challenging. Drawing from all of those insights, we planned and designed the site using an iterative process.

WD: ESB visitors come from all over the world; how did you tackle designing for an international audience?

TK: People across the globe speak different languages, have different cultures and needs. Our goal was to learn about the audience and give them a site that looks and feels like it was created for them. Luckily we were working for the iconic building that is well known internationally and capturing the design aesthetic of the building itself already made the site recognizable across the globe. When working on the project we also were making sure that all users can see the information in their local language when they land on the site and have easy access to the language selector in case they want to change it. When you translate from one language to another the number of words and characters is not always the same. It was important to make sure that the site is designed and developed with an understanding of how the content will be displayed in other languages. With the localization help of our parent company Pactera EDGE we successfully translated the site in several languages and tested it to ensure that it looks right for the local and international audience.

WD: The famous view of the ESB is the external view, but your design feels more in keeping with the experience of the building’s interior. Was that a conscious decision?

TK: It was a conscious decision to create a site that makes you feel like you are visiting the building. Our goal was to make the visitor excited to buy a ticket and see all that beauty with their own eyes. But, if someone doesn’t have an opportunity to come to NY we wanted to make that online experience as close to the real one as possible. We understand that nothing will replace the actual visit to the Empire State Building but we wanted the website to feel real and by using the great photography and amazing Art Deco design elements, we were able to do so.

WD: How did you interpolate such a complex style as Art Deco into a functional site?

TK: Fortunately for us, our office is located a couple blocks away from the building and we had the opportunity to go there and see some of the details. We also had access to the great photos of the renovated hallways, exhibits, and observatory decks, which gave us the idea of how the Art Deco elements were used in the interior design of the building. We all know that interior design and web design have different needs and goals so it was an interesting challenge to design a site that makes you feel like you are inside the building without overwhelming users and that content is easy to read and the ticket purchasing process is simple and clean. We re-created a lot of design elements used on the ceiling, walls, and floor of the building simplified those elements and made them part of the website design. A lot of those elements were used in the background, call to actions, icons, and maps, and combined with the brand colors used in both interior and web designs we were able to give the site the Art Deco look.

WD: There’s been speculation in the design community recently that Art Deco may re-emerge as a trend in the 2020s. Having worked with the style, do you think it could benefit the wider web?

TK: This was a very specific design approach for a very specific project that takes us back to the 1920’s and emphasizes that era through modern twists in web design. I do not see how it can be applied on the web in general unless the client specifically asks for it, for example, architecture website, real estate, or furniture site. Every project is unique and has its own goals and style and there is no one solution that will fit all. As of today, The ESB is Art Deco in a sense and it truly owns that style.

WD: Can you share some details on the technology stack you employed?

TK: The site was built on the Drupal CMS, integrates with Empire’s partner Gateway Ticketing System, and is hosted on Acquia.

WD: Why Drupal? Does it have qualities that suit a project of this scale, or is it simply the case that BFM had the pre-existing expertise of Drupal to facilitate the build?

TK: BFM is a dev-agnostic production team and we always ensure we’re making the best recommendation to our clients. In this case, the previous website was built on Drupal, so in order to decrease the effect of a new platform rollout that would be unfamiliar to the internal ESB teams, we decided to keep the site on the Drupal platform. Luckily, Drupal is an extremely flexible CMS and the needs of the site perfectly align with what Drupal provides.

WD: With visitors from around the world, the range of browsers and devices you had to consider was vastly larger than most projects. Did you draw a line for support? If so, where was it?

TK: BFM constantly updates our list of supported browsers and devices to stay in line with changing technology trends and device usage around the world. We’re extremely lucky that our larger organization, Pactera EDGE, has deep roots in globalization and localization, so we leveraged their team to help us with all aspects of website visitors from the many regions around the world, including translation services and testing. Since this was a complete overhaul, we ensured the baseline standard for all devices was met and will continue to enhance as the future technology needs become apparent.

WD: The Empire State Building gets millions of visits each year, what sort of server resources do you need to throw at it to guarantee uptime?

TK: BFM is a partner of Acquia, and Empire State Building is hosting their new site with them. Acquia is a wonderful ecosystem built specifically for high performing drupal websites and provide many tools for their hosted sites to be able to handle fluctuations in visitors, traffic surges, and with the 24/7 support offered, they can easily manage the changing needs of worldwide visitors.

WD: Now it’s live, how does the new ESB site relate to its real world presence?

TK: The Empire State Building defines the New York City skyline. The world’s most magnificent Art Deco skyscraper, it’s a living piece of New York history and an instantly recognizable symbol of city culture today. The old site did not reflect the amazing interior and exterior design of the building and we had a chance to showcase the redesigned interior and bring more attention to the beautiful Art Deco design elements. We wanted to create the site to make you feel like you are visiting the building. By showcasing the exhibits, renovated halls, and observatories through compelling photography and architectural details, our goal is to make the visitor excited to buy a ticket and see all that beauty with their own eyes.

We’d like to thank Tatyana for taking the time out of her day to talk to us.

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13 août 2020/par Service comm.