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Interview: Redesigning the Empire State Building’s Website

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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website did not reflect the level of design to match their iconic brand, UX was not user friendly, the content was outdated, and they wanted to grow online individual and group ticket sales.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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Choose Your Own Adventure with the Parsons Web Design and Development Certificate

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Many people dream of a career in web design, but it may actually be more attainable than you think.

There are countless online courses, of variable quality, with little to no academic structure; self-learning is an option, but it doesn’t come with a curriculum. Without a professional structure and a comprehensive curriculum your dream career might never be more than that.

But there is a practical, fast-track option to making a career in web design a reality, and that’s the Parsons Web Design and Development Certificate.

Built around the innovative teaching approach that Parsons is known for, you’ll learn human-centered design, explore the latest tools, evaluate techniques and approaches, and uncover the secrets of UX. The certificate even offers two distinct tracks, one for designers, and one for developers, so you can take control of your own future.

It’s one of the most creative approaches to a formal design education in the world, and what’s more, because it’s entirely online you can study from anywhere.

What Will I Learn?

Parsons offers a flexible curriculum to suit both designers and developers. There are two core courses, followed by three specialist courses.

learn human-centered design, explore the latest tools, evaluate techniques and approaches, and uncover the secrets of UX

The core courses cover the essentials of web and mobile design, plus JavaScript for designers. Each of the core courses lasts nine weeks. When you’ve completed them, you can opt for a design specialism or a development specialism. (You don’t have to make your choice until you’ve completed the core courses!)

If you prefer design work, you’ll spend a total of 21 further weeks learning mobile design patterns, studying emerging platforms, working with interactive typography, and mastering design systems.

If development is more your thing, then on the 21 week development track you’ll cover advanced HTML, CSS, and JavaScript, learn how to work with APIs, and finish up with experimental JavaScript.

To earn the Web Design and Development Certificate you need to complete the two core courses, plus three specialist courses within two years — a total of 39 weeks of study. Parsons recommend that you take two courses per semester, but it’s possible to complete the entire certificate program in one year.

Is This Really For Me?

Parsons Web Design and Development Certificate is a recognized qualification from a reputable institution that will stand you in good stead in future job interviews. But what’s more important, is the knowledge and experience you’ll gain from the course.

Thanks to the creative, flexible approach to learning, the certificate is suitable for designers and developers at any stage of their career

Thanks to the creative, flexible approach to learning, the certificate is suitable for designers and developers at any stage of their career.

If you’re just starting out, the certificate is a superb way of exploring the field, all the while building skills that will make you stand out to employers.

If you’re a print designer, or a programmer, the Web Design and Development Certificate is a great way to supplement your existing skills and make a lateral move into web work.

And if you’re a grizzled industry professional with decades of experience, you’ll benefit from the track you know least well; designers studying development, developers studying design. Not only will it open up new creative avenues to you, but you’ll find project management easier with a broader outlook on the web.

The best thing about the Parsons Web Design and Development Certificate is that because it’s made up of modules, you can still work part-time as you tick off the courses.

Why Choose Parsons?

Parsons College of Design is part of The New School, a New York-based university. Open Campus, the platform that will run the certificate, is the New School’s online system for pre-college, professional, and continuing education courses.

Thanks to Covid-19, most learning institutions are planning online-only courses for at least the next 12 months, so why not enroll in a program run by an institution that already excels at online teaching.

Innovative courses, underpinned by the creative approach to teaching that Parsons College of Design is renowned for, mean the design education you embark on this fall will be second to none.

Individual courses cost between $577 and $850, with the entire Web Design and Development Certificate costing just $3,704.

 

[– This is a sponsored post on behalf of Parsons College of Design –]

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Web Design for Seniors: UX From a Mature Perspective

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It’s no secret that the senior population is growing. By 2030, people over the age of 65 are predicted to make up 20.6% of the population of the US. 

Around the world, people are living longer and remaining more active in the later years of their lives. What’s more, despite what you might have heard in the past, seniors aren’t as wary of the internet as they used to be. In 2019, the Pew Research institute revealed that 73% of people over the age of 65 were connected to the web. 

So, what does that mean for web designers?

your main focus needs to be on ability…people age differently

Well, first of all, it’s time for all of us to start thinking about user experience from different perspectives. We need to stop expecting our audiences to be made up entirely of iPhone-using millennials and start thinking about the needs of seniors too. After all, designing websites for seniors opens you up to a wide selection of potential visitors in the future.

What’s more, according to the US Census Bureau, people over the age of 65 generally have the highest household wealth figures of any age group. That’s a big deal. 

So, how do you adapt UX for seniors?

Creating Senior-Friendly Web Designs

When it comes to designing websites and applications for seniors, your main focus needs to be on ability. Age is just a number, and people age differently. 

That means that one person in their 70s might have no problem browsing through Netflix to watch the latest shows, while someone else wouldn’t be able to tell you what ‘streaming’ means. 

Rather than worrying specifically about age, think about how different people in older age groups might have different requirements when it comes to things like movement control, hearing, vision, and even device bias. 

Get the Visual Elements Right

Vision loss is by far the most common disability reported by elderly individuals in the US. Around one in six people over the age of 70 have some manner of visual impairment. That’s why UI designers need to think carefully about visual accessibility when creating the right websites. 

For instance, text and button sizes should always be kept large. Anything that needs to be read or clicked needs to be scaled up, to ensure that everyone can see the information clearly. For instance, on the Sandinmysuitcase.com website, you’ll find clear typography, combined with big buttons that tell you to “Start Here” so you know exactly what to do next.

Remember to stick to icons that are clearly labelled wherever possible. Stay away from anything that your customers might not understand. “Start Here” is easier to read and understand than “Submit”. 

It’s also worth sticking to the color and contrast guidelines laid out by basic UX design when you’re creating something for optimal visibility.  Colors that are too close together might create a nice pastel or gradient effect on a website – but they’ll also make things difficult to read. 

Concentrate on Usability

Over the age of 55, motor skills and coordination can begin to decline for some people. These changes make it harder for people to interact with complex UIs. The mouse on a computer can be a particular problem for people with diminishing motor skills – as can the touchscreen of a tablet or smartphone. 

When you’re working on the perfect UX, think about how you can make things as easy to click as possible for people who have a hard time hitting their targets. For instance, in this website for people traveling over the age of 50, you’ll see not only fantastic large font choices but big buttons that are descriptive and easy to understand too: “Click here to start planning your trip”:

The scrollbar can also be a bit of a problem for people with impaired motor skills. Because of this, it’s best to keep your focus on designing above the fold. Make sure that users don’t need to scroll far to find the information that they need and keep scrollbars simple in terms of their look and feel.

While you’re working on usability, remember that it will be important to keep interactions to a minimum wherever possible. Where you can engage younger audiences with double-taps, swiping and scrolling, it’s much easier to connect with seniors through simple one-tap interactions. The less actions your user needs to take to reach their goals, the better. 

Deliver Smooth Navigation 

Navigating from point A to B on your website needs to be as simple as seamless as possible. Remember, crowded pages on your websites and apps are often overwhelming – even for younger browsers. Seniors are generally just searching for “must know” information, so they don’t want anything to get in their way as they navigate through their website. 

As you work on your site or app design, ask yourself if every element on the page absolutely has to be there. If it doesn’t deliver value, then get rid of it. 

Additionally, remember that seniors don’t always have the best memories and concentration levels. That means that they need your navigation experience to be as simple as possible. Basic horizontal menu bars that show everything at once are often a good idea – even if they’re not very exciting.

Look at this helpful navigation experience from RetireMove.com, for instance. Everything you need is located at the top of the page, and you can even just enter your postcode to get started:

Cognitive decline happens regularly with age. Although not all older adults will have issues with their memory and concentration, it’s important to be prepared for an audience that might process information a little more slowly. It’s worth double-checking that your viewer’s attention isn’t being diverted to multiple parts of the page at once.

Get to the Point Quickly

While younger generations have quickly implemented technology into every aspect of their lives, older consumers use tech a little differently. These people don’t want to spend forever fiddling around with different parts of your website. They want to get the answers to their questions as quickly and easily as possible. 

Applications that are complicated or difficult to access are usually instantly rejected by seniors. Even if you’ve offered everything that we’ve covered above, from seamless navigation to minimalist design, you still won’t get the interactions you’re looking for if older adults don’t consider your design to be useful. 

Because of this, you need to highlight the point of a website or application to your seniors as quickly as possible. Avoid worrying about things like gifs, animations and gamification. Instead, focus on making sure that your designs are useful and simple. 

For instance, from the moment your senior user arrives on a web page, they should have instant access to clear instructions on how to use the application or service, and what they need to do next. Keep in mind that this is particularly important when you’re creating mobile apps, as apps are still a relatively new concept to older generations. 

On the “When They Get Older” website, you can instantly find the information you need in a well-organized navigation bar that’s labelled clearly:

A clear interface like this, combined with simple, step-by-step guidance that shows elderly individuals how to get the information that they want is the key to keeping these users coming back for more. 

Bringing a Mature Perspective to Web Design

These days, most designers focus heavily on younger audiences when creating websites and apps. After all, it’s these users that allow us to experiment more with the latest tools and concepts, like augmented reality, artificial intelligence, and robust animations. 

However, there’s still a market out there for the seniors of the world that want more opportunities to get online. This audience often goes ignored and under-served. However, as the value of older consumers grows, and their ability to interact online increases, you’ll find that more businesses begin to search for web designers who can provide immersive experiences for a more mature audience. 

The steps above will give you an excellent insight into how you can start designing for a different kind of customer base. However, remember that the best way to make sure that you’re delivering the right solution for any customer, is to test. User testing will provide you with the exclusive insights that you need to determine whether your senior UX is really working, or whether you’re still struggling to get into the shoes of an older user. 

 

Featured image via Unsplash.

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Is Change Positive for Web Designers?

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As a web designer, you’re constantly being bombarded with messages that tell you to acquire new skills, try new tools, and keep on hustling.

But if you’re constantly changing things up, does it do the opposite of what you originally set out to do? In other words, if you always have to start over, is it possible to ever really achieve anything?

I think it ultimately depends on why you’re making the change.

When Change Is the Right Move for Web Designers

One of the reasons I despise New Year’s resolutions is because it’s change for the sake of change:

It’s a new year, so it’s time to get all hyped up about this one thing I need to change about myself!

There’s a reason why so many resolutions fail by February. When you force a change, it’s really hard to stay invested in it, especially if it’s something you’ve chosen to do because everyone else has.

Change should be driven by necessity.

That said, when it comes time to make changes as a web designer, is it ever really necessary? Or are you learning new skills, trying new tools, or switching up your client list simply because it’s what you believe you have to do?

It’s important to be open to change, but you should only invest your time, money, or effort when it’s the absolute right move for you. Here are some ways you’ll know when that’s the case:

Learn New Skills To…

…Round Out the Basics

If you’re a new designer and there are gaps in your education and training (and I don’t mean formally, just in general), then there’s no reason to hesitate in spending time to acquire those skills.

This doesn’t just go for basic skills as a web designer or as a coder. This also goes for skills you need to become a successful freelancer.

…Add Evergreen Skills to Future-Proof Your Position

As you move up in your career, you’ll eventually find other skills worth learning. Just make sure they’ll help you move the needle.

The best way to do that is to focus on acquiring evergreen skills that’ll always be useful to you, no matter what stage you’re at in your career or how the design landscape changes. They should also go beyond the average skill set of a designer, so they help you stand out further from the pack.

… Create a Better Situation for Yourself

The web is constantly evolving, which means that your responsibilities and skills as a web designer will have to change in order to adapt. Whenever one of these shake-ups occurs, you should either be ready to master the needed skill right away or, better yet, have been working on it beforehand.

Take, Google’s mobile-first indexing, for instance. It announced it was going to be making this shift years before website rankings were impacted. Designers had plenty of time to not only learn what was needed to design for the mobile-first web, but to get all their existing clients’ sites in shape for it.

Adopt New Tools When…

…Your Existing Ones Are Slowing You Down

If you’re doing a lot of things from-scratch (like writing emails to clients or creating contracts), that’s a good sign your toolbox needs some improvement.

As a web designer, you should be focused on creating, not on the tedious details involved in running a business or communicating with clients. That’s just not a good use of your time. A lot of this stuff can easily be automated with tools and templates.

…You’re Turning Down Business

In some cases, it’s the right thing to say “no” to prospective clients — like when they’re a bad fit or can’t afford your rates. However, there are other times when you desperately want to be able to say “yes”, but you don’t have the capacity for the job or you’re unable to cover the full scope of what they need.

This is where new tools come in handy. For instance, let’s say you’ve been approached by a ecommerce company that not only wants you to build a new store, but also needs it fully optimized for search (it’s not the first time this has happened either). Rather than turn something like that down, you may find that the addition of an SEO tool to your toolbox is all you need to be able to say “yes”.

…You Have Extra Room in Your Budget

Obviously, you don’t want to throw away money on a bunch of tools simply because a ton of people are talking about them. But you’ll eventually get to a point where the tools that served you well in the first year of business need to be replaced.

If you get to a point where you have extra time to experiment and there’s room in your budget for upgraded tools, go ahead and assess what you currently have and test out replacement solutions that will help you work better, faster, and smarter.

Look for New Business Opportunities If…

…You’re Not Doing Well

“Well” here is subjective. For instance:

  • If you’re not doing well financially, you probably need to look for more clients;
  • If you’re not doing well in terms of how you get along with clients, you should explore a niche that’s a better fit;
  • If you’re not happy with your job because burnout and stress have overtaken your life, then you might consider exploring other avenues of work.

When something has been amiss for awhile, the last thing you should do is lean into it and hope it gets better.

…The Web is Changing

Notice a trend here? Each of these changes (skills, tools, and now business opportunities) is often driven by the fact that the web is always changing. And as the web changes, you have to be ready to evolve.

In terms of business opportunities, what you’ll realistically need to do is look for new kinds of design work as technologies make your job obsolete. Take website builders like Wix or Shopify, for example. As business owners and entrepreneurs take it upon themselves to build their own websites, more and more web designers will need to find other kinds of clients and jobs to take on.

…You Want to Diversify Your Income

This is something many web designers are doing already as they’ve discovered how beneficial it is to have predictable recurring revenue streams.

But even if you’ve already found one way to diversify and stabilize your income (like by offering website maintenance services), you may become interested in exploring other opportunities along the way. If you have the capacity to pursue them, then go for it.

Is Change a Good Idea?

As you can see, change can be a very good thing for a web designer, their business, and their clients. However, there should be a very good reason for the change and you need to prepare yourself for how it’s going to impact what you’re doing now before implementing it. No amount of change can happen without some level of sacrifice.

 

Featured image via Unsplash.

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17 Tools I Can’t Design Without

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I think of a creative practice as a combination of an approach (a design philosophy) and a series of techniques (craft skills); a good tool facilitates a technique, which in turn supports an approach.

It wasn’t until I sat down to write a list of tools I can’t design without, that I realized just how many tools I rely on as an integral part of my creative process. The danger of tools is that they promote certain techniques, and that bias can alter your approach.

First and foremost a good tool does no harm, it does not dictate, or obstruct your approach. Secondly, a good tool offers flexibility in the techniques you choose. Thirdly a good tool is invisible, it leaves no marks on the end product.

If I’d written this post a year ago the list would have been different, and I hope that in a year it will be different again. These are the tools that I currently find enabling, that have contributed to my craft, and supported my approach.

Affinity Designer

I’ve always used Adobe products. Photoshop and Illustrator were the de facto graphic tools for half my life. I’ve never had an issue with the subscription licensing of Creative Cloud, which I think is proportionate for a professional set of tools. Then, around 18 months ago I got very frustrated with how sluggish Illustrator had become.

I’d written an early review of Affinity Designer, I’d been impressed at the time, so I decided to give it another try expecting the sojourn to last an hour or two before I gravitated back to Illustrator. Running the latest version of Affinity Designer was a revelation, I’ve simply never wanted to switch back.

Why not Sketch? Well, I do occasionally jump into Sketch, especially for pure vector wireframing. I was an early adopter of Sketch, but the reliability issues (long since resolved) poisoned my relationship with it. Why not Figma? Well, Figma’s real strength is in collaboration, something that I get with Sketch, and personally I find some of Figma’s features unintuitive.

Affinity Designer isn‘t perfect. I dislike the color tools, especially the gradient tool, which I find clunky. But it’s the first design app I’ve used in years that syncs closely with my creative process.

Affinity Photo

I don’t do a lot of photo manipulation, so when I switched away from Creative Cloud for design work, I was relaxed about switching from Photoshop to Affinity Photo.

In my experience, Affinity Photo is stronger than Photoshop in some areas, and weaker in others. Affinity Photo’s bitmap scaling is much better than Photoshop’s, largely due to Lanczos 3 sampling.

Affinity Photo also solves a lot of little irritations that Adobe has chosen not to address for legacy or philosophical reasons, such as the toggleable ratio setting when resizing the canvas — I’ve lost track of the hours I’ve spent in Photoshop manually calculating vertical whitespace so that it’s proportionate to the horizontal.

TinyPng

Both Affinity Photo and Photoshop are poor at web format optimizations. Photoshop perhaps has the edge, but its output certainly isn’t acceptable for production.

I run bitmaps through TinyPng, which on average halves the size of the file without any appreciable loss of quality. (It stripped 66% off the images for this post.)

Fontstand

When I started to drift away from Creative Cloud, the one service that delayed me was Adobe Fonts (née Typekit). Not so much for the webfonts — which are faster and more reliable self-hosted — but for the ability to sync desktop fonts into my design apps.

I tried Fontstand when it was first released, and I loved the concept, but was worried about the small library. When I took a second look and discovered the library is now substantial for both workhorses and experimental typefaces, it was an easy decision to switch.

Fontstand is a desktop font rental service. Once you’ve found a typeface you’re interested in, you can activate an hour-long trial, then choose to rent the font for a small fee. You can auto-renew the rental if you need to, and if you rent the font for 12 months it’s yours forever.

If there’s one tool on this list I genuinely could not design without it’s this one. Fontstand makes working with fonts from independent foundries affordable for freelancers, and it’s enriched the typographic palette available to me.

Khroma

Every designer has strengths and weaknesses. Since day one of art school, my weakness has been color. It just doesn’t come naturally to me, and I have to work quite hard at it.

An incredibly helpful tool that I’ve been using for a few months is Khroma. It helps my eyes warm up before approaching color, and helps me find a starting point that I can then refine. Comparing my design work before, and after Khroma, the latter color choices are cleaner, more vibrant, and more interesting.

Atom

A good code editor is essential, and I’ve never found one that I’m completely happy with. For years I’ve flitted back and forth between Brackets, Sublime Text, and BBEdit. I think that probably reflects the changes in the type of coding I’m doing.

For now, I’ve settled on Atom. It’s fast, reliable, and it’s not biased to front or back-end code.

CodeKit

I held out on compilers longer than I should have, using apps like Minify to minify CSS and JavaScript, and the command line to process Sass (see below). Then I found CodeKit and it’s been essential to my workflow ever since.

What I like best about CodeKit is that it’s a GUI. Which means I can change settings while coding, like toggling off the JavaScript linting, without switching mental gears into another language.

MAMP

MAMP is a tool that allows you to run a local server environment, meaning I can run PHP and MySQL without the tedious process of FTPing to a server to test a change. Mac comes with Apache, so this isn’t strictly necessary, but it’s simple to use and works well with both CodeKit and Craft (see below).

There’s a pro version of MAMP, which allows you to switch seamlessly between projects, but it’s heavily geared towards WordPress. I’m still trying to find the time to evaluate Laravel Valet.

Dash

When you first start coding you try and memorize the entire language. It’s very possible to become fluent in the core of a language, but there are always nuances, defaults, and gotchas that you miss. As you grow more experienced, you realize that all professional coders Google the answer at least once per day.

When I got tired of Googling I started using Dash which is a superb app that combines the docs of numerous different languages into a searchable window. I use it daily for everything from SVG to Twig.

LambdaTest

It doesn’t really matter what you’re building, even the indy-web needs to be tested. Ideally you’ll test on real devices, but if you can’t afford a device library — and who but the largest agencies can — you need a live testing solution.

There are a few upstarts, but your choice is basically between BrowserStack and LambdaTest. I went for LambdaTest because I prefer the style of the UI, but that’s entirely subjective. If you’re not sure, toss a coin, you’ll get the same results with both.

Sass

I can’t write CSS without Sass — and I mean that literally. If I try and write vanilla CSS I guarantee I’ll nest something with @at-root and it will throw an error.

Craft CMS

Stating any preference for a CMS online that is not WordPress inevitably invites impassioned protests from developers whose career is built on the WordPress platform. So let me say preface this by saying: if WordPress works for you, and more importantly for your clients, then more power to you; I think it’s a dog.

Shopping around for a CMS is challenging, and I’ve gone through the process several times. A good CMS needs to be in sync with your mindset, and it needs to be appropriate for your clients — all of them, because unless you’re in a large agency with multiple coders, you need to commit to a single solution in order to master it.

I have looked and looked, and finally settled on Craft CMS. Craft makes it easy to build and maintain complex, high-performance sites. It has a shallow learning curve that grows exponentially steeper, making it easy to get started with plenty of room to grow.

Vue.js

Way back when Flash went kaput I switched to jQuery, and that was a really easy route into JavaScript — ignore the people who tell you to master the core language first, do whatever it takes to start using a language, that’s how you learn. But jQuery is heavy, and I found I needed it less and less.

These days 90% of the JavaScript I write is progressive enhancements in vanilla JavaScript to keep the dependencies low. Occasionally I encounter a job that requires complex state management, and then I fall back on Vue.js. JavaScript developers are as partisan as CMS aficionados, so let’s just say I favor Vue.js because it’s not controlled by a mega-corp and leave it at that.

Ulysses

As editor at WDD, I cannot emphasize enough that the right way to write copy for the web is markdown.

Markdown is faster to write so you don’t lose the thread of your thought process, and it doesn’t impose formatting so you can easily migrate to a CMS. If you’ve ever spent 20 minutes stripping the class, id, and style tags out of a file created in Word, Pages, or (by far the worst offender) Google Docs, then you don’t need to be sold on this point.

There are a few markdown-based writing apps available, I tested half a dozen, and the one I settled on was Ulysses. I like its distraction-free mode, I love its clean exports. Everything I write, I write in Ulysses.

Screenshot Plus

Much like markdown editors, there’s no shortage of screenshot apps. My current favorite is Screenshot Plus.

Screenshot Plus has one feature that makes it standout for me, and that is its Workflows. It sounds like a small problem, but when you’re taking screenshots of a dozen sites, the extra clicks to save, switch to your editor, and open the file are laborious. I have several workflows setup in Screenshot Plus that allow me to take a screenshot, save it to a specified folder on my local machine, and then open it in Affinity Photo, all with a single click.

Spark

I get a lot of email, a lot. At one point the influx was so bad I was using multiple email apps to segment it. Yes, I use Slack daily, but it doesn’t eliminate the need for email.

I‘ve been using Spark for around six months and it’s radically sped up my workflow. I’m a big fan of the smart inbox that allows me to compartmentalize email like newsletters, and email that warrants a reply. I like that I can switch to a chronological list if I’m looking for something specific. I love the ability to pin, or snooze messages, which helps me triage my inbox.

Todoist

I’m one of those people who can’t make it through the day without being organized. I need lists and sublists, and I need something native that opens automatically when I boot my Mac, and something that sits on the home screen of my Android.

There are as many to-do apps as there are things to do. When I’m working in a team I’ll use whichever task-tracking system it prefers. But by choice I always use Todoist thanks to its balance of simplicity and power. At this point it’s something of a meta-tool, and the app I open first every morning.

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The Designer’s Guide to Letter-Spacing

Most of the information we consume happens through reading, so it makes a lot of sense to pay attention to the words when designing. There are many aspects to typography, but one of the things that helped improve the quality of my design was letter-spacing.

Letter-spacing is about adding and removing space between letters. Some people confuse it with kerning, but these two are different; letter-spacing affects the whole line of text, whereas kerning adjusts the space between two individual letters at the time. Kerning is best left to type designers, besides which, unlike letter-spacing there is currently no way to control kerning in CSS.

I believe that practice and a lot of observation will change the way you treat letter-spacing in your work as well.

The Purpose of Letter-Spacing

The main purpose of letter-spacing is to improve the legibility and readability of the text. Words act differently depending on their size, color, and the background they are on. By adjusting letter-spacing to the environment you are working with you will help readers consume your information faster, and more efficiently. The fun part is that they won’t even notice it — that’s the whole point of the job.

Bear in mind that typographers think about letter-spacing and kerning when designing a typeface. It means you don’t have to apply it to all your text, but in order to have an understanding when it’s necessary, you should know some basic principles, and use good typefaces.

How Letter-Spacing Affects Legibility and Readability

The legibility and readability of your text depend on things like line-height, paragraph length, font size, typeface choice, letter-spacing, and much more. Regarding letter-spacing, if you are just getting into typography, the best thing you can do is not overuse it. What I mean by that is simply don’t make the distance between letters too big or too small; even if you think it looks good, people will struggle reading it, and that will ruin their experience.

Letter-Spacing Capital Letters

Capital letters are designed with the intention that they will appear at the beginning of a sentence or proper noun, in combination with lowercase letters. When capital letters are next to each other, the space between them is too tight. So in order to achieve better readability, space needs to be increased. This applies to both large and small font sizes.

Letter-Spacing Headlines

If you are using well designed fonts, you can be sure that they are calibrated well, and you won’t need to make any major adjustments to them. However, the problem with headlines is that at larger scales the space between letters looks unbalanced. It can be fixed by increasing or decreasing the letter-spacing value.

There are no strict rules for letter-spacing — there are a lot of typefaces and all of them require an individual approach — but if you look at how big companies like Google and Apple treat their typefaces, you can find a lot of valuable information there.

Let’s take a look at the “Roboto” and “San Francisco” typefaces (the first one is used in Material Design and the second one in Apple’s ecosystem). Headlines from 20 to 48 pixels have either a positive letter-spacing value or none. If the font size is bigger, letter-spacing becomes negative. These exact numbers are not going to work that well for other typefaces, but after trying different approaches I can state that it’s a common pattern.

I’ve tested several guidelines for letter-spacing and the one that was published by Bazen Agency works for a lot of popular typefaces. It will be a good starting point for you, but you can always apply additional adjustments:

  • H1 — 96px — -1.5%
  • H2 — 60px — -0.5%
  • H3 — 48px — 0%
  • H4 — 34px — 0.25%
  • H5 — 24px — 0%
  • H6 — 20px — 0.15%
  • Subtitle — 16px — 0.15%

If you happen to design a lot of apps or you’re planning to do that, one thing that helps me is using the default Material Design and Apple guidelines for their typefaces. They are well balanced and it saves a lot of time.

Letter-Spacing Body Text

If you ever read anything about letter-spacing, you’ve probably have seen this popular wisdom from typographer Frederic Goudy: “Anyone who would letter-space lowercase would steal sheep”. (There’s an argument that he was only referring to blackletter fonts.) Some designers took it as a hard rule and now never adjust the letter-spacing of lowercase text.

Based on my practice and by looking at the work of designers I can’t agree with Goudy, because sometimes small changes can make a big difference in how your text performs. Let’s take, for example, condensed fonts. At a small size, the letters are too close to each other, which leads to poor legibility. By increasing letter-spacing by 1.5% you will see that the text is now easier to read.

If we look at my previous example, in the guidelines for “Roboto” and “San Francisco” typefaces, letter-spacing is applied to body text; even though San Francisco has a dedicated “SF Pro Display” for headlines and “SF Pro Text” for body text, letter-spacing is still used to refine them.

There are a lot of different typefaces and a single rule doesn’t apply to all of them. Experiment with letter-spacing and do what seems right to you. There are some simple guidelines that will lead you in the right direction, especially when working with body text:

Keep in Mind Line-Height

If you have a line-height greater than 120%, most likely negative letter-spacing will lead to an unbalanced look to the paragraph. To refine it you would need to either keep it at 0% or only slightly increase it.

Light Text on Dark Background

On a dark background, white text looks overexposed and therefore letters appear too tight. To make it more legible, I would suggest you increasing letter-spacing a small amount.

General Values for Body Text

You can use the following guidelines for body text, which I have tested with several typefaces:

  • Body 1 — 16px — 0.5%
  • Body 2 — 14px — 0.25%

Letter-Spacing Captions

Unlike headlines and body text, smaller font sizes don’t have many variations in letter-spacing. It’s a common practice when a font size is lower than 13px to increase the space between letters to make it legible. But there are always exceptions (“SF Pro Text” guidelines suggest using positive letter-spacing only when a font size is 11px or below). Make sure you experiment with settings.

You can use the following values as a starting point and then edit them to what seems right to the typeface of your choice:

  • Caption — 12px — 0.5%
  • Overline — 10px — 1.5%

Final Tip

One of the things that helped me improve my skills in typography was looking at other designers and especially type foundries. By decoding their work you might notice some nuances of how they treat typography and it will help you in future projects.

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Why Do Websites Look the Same (And Should We Care)?

If we don’t question this kind of design homogenization, do we put ourselves at risk of perpetuating the same mistakes in the years to come? Or is it even a mistake to begin with?

Today, I’m going to look at four things that are likely causing this, and what you can do to break the mold.

1. Education

We used to have a design school in every city in the world, each with its own design style or, at the very least, the encouragement of its designers to be creative and come up with something new.

These days, though, traditional design education isn’t as popular as it once was. According to Design Census 2019, only about a third of working designers have a formal education and degree:

The rest have been trained through a variety of means:

  • Online learning (17%)
  • Self taught (12%)
  • Workshops (10%)
  • Mentorship (6%)
  • Certificate programs (4%)

Cost and convenience are definitely two factors influencing this shift towards online learning methods. And with a wealth of resources online to teach them how to design and code, why not go that route? Plus, designers have to keep learning new things in order to remain competitive, so it’s not as though a degree is the be-all and end-all of their design training.

Plus, there isn’t as much demand for it from employers. Unless you plan on working for one of the top global marketing agencies, many hiring companies just want to see proof in the form of a portfolio and maybe have you do a test job.

Now, I’m not saying that online courses and other informal design education don’t foster creativity. However, in order to make them cost-efficient and quick to get through, they have to focus on teaching essential best practices, which means less room for experimentation. Perhaps more importantly, their curriculums are guided by fewer voices. So, this could likely be one of the culprits.

2. Design Blogs and Vlogs

You have to wonder if all the design blogs out there (yes, like Webdesigner Depot) impair designers’ ability to break free from the homogeneity of websites.

I think the answer to that is both “yes,” and “no”.

Why, Yes?

What is the purpose of a web design blog? Mainly it’s to educate new and existing designers on best practices, new trends, and web standards.

By their very nature, they really should be teaching web designers the same kinds of things. Let me show you an example.

This is a Google search for “web design trends 2020”:

Most design blogs will publish trends predictions around January 1. And herein lies the problem. The writers/designers can only deviate so far from what we know to be true when writing on the same topic… so these sites end up with similar recommendations.

For instance, the top search results recommended similar things for 2020:

  • Dark mode
  • Hand-drawn illustrations
  • Immersive 3D
  • Glowing colors
  • Minimalist navigation
  • Geometric shapes
  • Inclusivity
  • Accessibility

When web designers receive the same guidance no matter where they turn, it’s only logical that they’d end up creating websites that adhere to those same practices.

Why, No?

Because I write for web design publications, I can tell you that there’s a big difference in the kinds of content some of them publish.

For instance, I find that WebDesigner Depot isn’t interested in rehashing what everyone else is writing about this month. We’re given topics that challenge us to think outside the box and present readers with meaningful insights and recommendations.

So, I think that finding design blogs that push the boundaries and don’t just want to recap what everyone else is saying is really important. That’s how web designers are going to master the basic skills they need to succeed while getting inspired to try new things.

3. Designs Tools and Frameworks

This is another one that’s not as cut and dried. I think it depends on the tools used and the intent to use them.

Where Issues Start to Arise

There are certain site builder solutions that you’re going to be hard-pressed to create something innovative with. The same goes with using templates from sources like Dribbble. It’s just the nature of the beast.

If your goal is to create a cheap website very quickly for a client, then you’re probably going to use a cheap builder to do so. With ready-made templates and a lot of the work already done for you, you can create something that looks good with little effort.

When you’re limited by time and cost, of course you’re going to rely on shortcuts like cheap site builders or boring (but professional) design templates.

How to be More Careful

You can run into these kinds of issues with more flexible content management systems like WordPress or frameworks like Bootstrap, too.

Whenever you rely heavily on ready-made templates, pre-defined styles, or pre-built components, you run the risk of someone else’s work informing your own.

The solution is simple: Use demos, templates, UI kits, and so on as a base. Let them lay down the foundation that you work from.

But if you want your website to look different from the sea of lookalikes, you’re going to have to spend much more time developing a unique visual style that’s equally as effective in its mission. Which also means moving beyond clients that have small budgets or low expectations.

4. User Data

Data gathering is an important part of the job you do as a web designer.

You research the target user (or the existing user, when applicable). You look at industry trends as well as the competition to formulate an idea of what you need to build and how you’re going to do it. And you also use resources like Nielsen Norman Group and Think with Google that put out definitive research on what users want.

Even with the most niche of audiences, consumers’ wants and needs are all basically the same. So, obviously, you have to design experiences that align with them. If you deviate too much from what they expect from your site or brand, you run the risk of creating too much friction.

Is This a Bad Thing?

It’s not in terms of usability. If we build simple, predictable and user-friendly interfaces based on data that successfully drive visitors to convert, that’s great. So long as the content remains strong and the UI attractive, there’s nothing wrong with that approach.

But…

This is the same issue presented by templates and site builders. If you do exactly what’s needed and not much more, your site is going to look and act just like everyone else’s. Which comes at the cost of your brand reputation.

Just look at Google’s Material Design. This design system may have made it easier for web and app designers to create new solutions that were user-friendly and responsive, but there was just too much spelled out. And this led to a slew of Material Design lookalikes everywhere you turned.

This is the whole reason why companies take the time to craft a unique selling proposition. Without a USP, brands become interchangeable in the eyes of consumers.

So, again, my suggestion here is to use data to formulate a strategy for building your website. But don’t forget to spend time adding a unique style, and voice of the brand to the site.

Wrap-Up

It seems like, despite all that we’ve learned to do, websites are becoming less and less diverse in terms of design. And I think a lot of that is due to the fact that it’s much easier to design websites today than it was ten, or even five years ago.

Modern-day education, resources, tools, and consumer data take a lot of the questions and the work out of building websites. Which is good… but only to a point.

Unless you’re building websites for clients who have absolutely no budget, you can’t afford to skimp on the creativity and personalization that will set their website apart. Yes, you need to adhere to tried-and-true practices and standards, but beyond that, you should be experimenting.

 

Featured image uses photo by Kari Shea.

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Diversity Initiatives in Web Design

Web developers have been the bedrock of any company’s business strategy for some time, and the industry is continuing to thrive and grow at a rapid pace. This is why it’s surprising that it is so lacklustre when it comes to diversity.

A recent study revealed 80% of those in the design industry are male, and more specifically 79% within the field of web design. According to WISE, just 23% of the people working in STEM roles (Science, Technology, Engineering and Maths) are female and women currently account for just 15.8% of the UK’s current generation of engineering and technology graduates.

Why the Lack of Diversity in Web Design?

The main reason for this, as cited by the Organisation for Economic Co-operation and Development (OECD) found that women still lack the confidence to pursue these careers, despite their school results being as good as (or better) than their male counterparts. Research has found that the professional and technical services sector has the fourth-highest gender pay gap of all UK industries. If more women were to join these higher-paid sectors it could help reduce the gender pay gap as a whole, as well as help female economic empowerment.

This division is seen in ethnic minority groups too. The numbers for BAME (Black, Asian, Minority Ethnic) employees in the British tech industry are unknown but is estimated by the British Computer Society to be at 1-2%, a ridiculously low number in this day and age. This is why groups and organisations are cropping up designed to promote an industry that reflects all of society rather than one part of it. Here are some of the organisations to pay attention to who are bridging the diversity gaps in web design.

Girls Who Code

Girls Who Code are working to create opportunities for women within tech, aiming to deepen their computer science skills and confidence. They run a range of programs designed to equip women with the necessary computing skills to pursue opportunities in the field and to give chances that are often shunned due to society. Founder Saujani states that women are socialized to seek perfection, and this is something that needs to be overcome. One way to break that mentality at an early age, she says, is coding:

[Girls] walk into these classrooms and they feel like they will never be good at it, and when they learn how to create something, whether it’s a website or app, it changes their mindset and they stop giving up

Adobe Design Circle

Adobe Design Circle is another initiative aiming to introduce all members of society to design. They want to create more visibility for design as a viable career path for anyone that might be considering it, and to help with youth entering the field. This is opening the opportunities of working in tech and web to aspiring designers at a young age who aren’t necessarily yet conditioned by the pressures of society and showing them it can be a realistic career path.

They have their own scholarships and mentoring initiative to support these goals too. The faces behind the team of Adobe Design Circle range through multiple ethnicities and have a fairly even male-female divide. This equal representation alone is inspiring. One of Adobe’s core missions is to offer youth the opportunity to learn and express themselves through creativity and technology, regardless of their economic or cultural backgrounds. With this they specifically encourage applicants of all backgrounds to apply and offer many other opportunities from mentoring to internships.

Ladies that UX

Ladies that UX are a collaborative community of women in UX aiming to “support each other, push the UX boundaries and promote female skill and talent.” It is a European-based initiative where each city involved runs slightly different events and groups decide together what they would like to get from their meetups. They assist each other with UX challenges, discuss topics, and brainstorm ideas. Ladies that UX was created in 2013 by Georgie Bottomley and Lizzie Dyson with the aim of bringing together women in the industry, offering support and creating connections around the world.

Xuntos

Xuntos is aiming to create the largest community of ambitious and talented individuals from under-represented groups in the technology industry. It works to nurture university students and recent graduates that are often overlooked in the tech industry by the means of educational workshops, university hubs, events and an active community. The very name “Xuntos” is a Galician word which means “together” and this is their most important factor. They want people to realise they are not alone and just because the representation isn’t there, doesn’t mean their capabilities aren’t.

Colorintech

Colorintech is a non-profit organisation that was founded in 2016. It aims to close the gap and shorten the learning curve, with a strong community designed to help each other. The company was founded by Silicon Valley tech executive Dion McKenzie and ex-Googler Ashleigh Ainsley after they became frustrated at the few black individuals in the field. Since its inception 30,000 students, professionals, volunteers and tech companies have been impacted by their work, and over 450 minorities graduated from their programs in 2019 alone.

UKBlackTech

UKBlackTech are on a mission to create the most diverse tech sector in the world. Their aim is to encourage more ethnic minorities to enter the UK’s technology workforce and make an impact. To help with this, they design and implement different initiatives to help them get employed and retain employment, put on bespoke events that target aspects such as specific job roles or tech topics and promote different opportunities for members to apply to.

Witty Careers

Witty Careers was created with the aim to support women from black and ethnic minority backgrounds in the UK and equip them with the skills to build a career in the tech industry. They run different practical skills workshops and events which in the past have included visits to a Microsoft store, Uber, and Pivotal. They open doors for communications, networking and future career prospects for those in the minority. They also have a handy range of resources designed to help you get into the career you want. From CV writing advice to industry insights, they are all free of charge.

Featured image via Unsplash.

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How Listening to Terry Gross Can Make You a Better Developer

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For most developers, staying abreast of the latest tech skills is just another day at the office. As HackerRank’s 2019 Developer Skills Report put it, “Developers are voracious learners by nature and necessity.” Indeed, given the extremely rapid pace of technological innovation these days, devs certainly won’t fare well clinging to outdated concepts.  

But if you peruse the numerous articles out there offering guidance on how developers can fast track their careers, there is one piece of advice that invariably appears, suggesting this thirst for knowledge may not actually be as insatiable as it needs to be. “Anyone can do the technical stuff,” explains a recent piece in SD Times, “but the soft skills are the ones that some architects may struggle with.” Another article in CIO echoes this sentiment: “Technology is constantly changing, and while technical skills are valuable, soft skills are much more noteworthy to businesses in the long run.”

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