Step 1: Find Out What Went Wrong

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.

9 novembre 2020/par Service comm.

Branding 101: Creating the Visual Identity for Your Business

There are so many things to think about when first starting a business. What will your business offer? How will this differ from existing solutions? Who will benefit most from your offering? And why are you so passionate about this?

If you haven’t done so yet, work through this exercise to come up with your brand identity and business name.

Once you’ve figured out your brand identity, you have to create a visual identity — also referred to as brand imagery — to go along with it.

While you could easily throw together visual elements that speak to you, your goal should be to choose visuals that resonate with your audience. So, building your visual identity is going to require some work.

In the following post, we’re going to look at how your brand’s visual style can give off certain signals to those who encounter it (and how to use those to your advantage). We’ll also break down what you need, to piece together your visual identity.

The Power of Visual Identity

Each of the design choices you make that website visitors, social media followers, and customers can see will impact how they approach your brand. Are you a fun-loving company that caters to a younger crowd? Do you create high-tech products that solve serious global problems? Are you a successful entrepreneur who’s reshaping the way we talk to one another?

When done right, our brand visuals convey our brand’s personality, values, and mission without having to use any words.

Think about your favorite clothing brand. What do you picture? Let’s use Athleta as an example.

The logo is probably the first visual element that comes to my mind:

The grey radial shape is one I’m very familiar with. It’s on their website, their social media, and it’s usually imprinted somewhere on their clothing.

The second thing I think about when I think of Athleta is its physical imagery:

Rather than include images of the clothing on its own, there’s often someone wearing Athleta clothes while hiking along a trail, walking on a beach, or working out in a studio.

There’s so much that just these two visual elements tell us about this brand:

Athleta targets active female consumers; we see this in its images and CTAs. The fine touches and shape of the logo may suggest this as well.
Athleta creates understated but highly functional clothing; we see this in the product photos as well as in the brand’s use of neutral colors and fonts across its designs.
Athleta’s mission is to help customers have a healthier and more balanced life; we see this in its product photos, but we also get a sense of this from the simple symmetric structure of the logo.

There are overt ways to use visuals in your branding (usually through your choice of photos or illustrations). But there are also ways to subtly convey more about your company, what it does, and for whom you work through your choice of colors, fonts, structure, and more.

How to Create a Visual Identity for Your Brand

Let’s walk through each of the elements you need to pull together to create your visual identity:

The Color Palette

Like with everything else in business, you’re here to give your audience something they need, so they have to be at the forefront of your decisions — including which colors you put into your brand’s palette.

So, where do you start in choosing a color palette for your site and other marketing channels?

Let’s take a systematic approach.

1. Choose a Primary Color

Go to the Canva color meanings and symbolism tool.

Have a look through the colors and find one that feels good to you. Open up the page and read more about what the color means:

You’ll find the following on each page:

A brief history on the color;
How it’s been used by people over the years;
What it’s symbolized over the years and around the world;
How to use the psychology of the color to affect people (i.e. your audience);
Alternate shades and colors if this particular one doesn’t send the right signals;
Colors that pair nicely with this one.

While it’s important to consider how colors evoke different emotions, it shouldn’t be the only driving force. Your primary focus should be to choose colors that positively affect the user experience. In other words, you don’t want them to get in the way or distract prospects from getting to know your brand and eventually converting.

2. Create a Full Color Palette

Once you’ve picked a primary color, you need to come up with a color palette. You’ll want one or two colors to use in your logo and a full color palette for your website and other branded channels.

You can use Canva’s palette suggestions (in the top-right corner of the color page) to create a basic color palette.

For something a little more robust, use Material Design Palette:

Color options are a bit limited, but it does a good job of spelling out where you should use each color. You can then adjust the color palette as you see fit.

Typography

The design and pairing of your fonts can greatly impact the way people respond to your brand and the words you’ve written about it.

So, the goal with typography is to make your words easy to read while also giving hints about your company’s personality and style.

1. Understand Font Styles

Figure out what style of font goes best with your brand identity.

This is the simplest way to categorize fonts:

Sans serif: These are simple fonts without any “feet” (lines at the ends of letters).
Serif: These are more traditional-looking fonts (the kinds you see in literature and newspapers) with feet.
Script: These are cursive and curly fonts that mimic handwriting.
Display: These are fonts designed specifically to appear in logos, hero images, and advertising because of their large, bold styling.
Monospaced: These are fonts with characters that comprise the same amount of horizontal space, often resembling typewritten text.

You can break these down even further and really get to the root of the style. Fonts.com has a great explainer page on each of these classifications:

Here are some sources to help you find fonts for your brand:

2. Settle on Two or Three Fonts

Choose two or three fonts for your brand. Max. Anything more than that will create a distracting and overwhelming interface for your audience.

You’ll need:

A font for your header text. It needs to look good in big sizes, be easy to read, and easy to identify from other text when scanning through a page or document.
A font for your body text. It needs to look good in small sizes (16 pixels and up) and be highly legible.
Optional: A font for your logo and hero images. It wouldn’t stray too far from the style of your headers, but if you need something a bit more decorative or unique, you can use a different font family for this.

If you find that you need more variety in your fonts to create a clearer hierarchy on the page or to call out certain elements, use superfamilies with dozens or even over a hundred different styles. That way, your users’ eyes won’t get fatigued from having to switch between too many font types.

3. Learn Font Pairing Rules

To pair fonts, use styles that contrast yet complement one another. Ultimately, you want the pairing of your fonts to send a cohesive message to your audience.

For example, a sans serif header and serif body are a common way to combine fonts. Like this pairing of Fira Sans and Merriweather from the FontPair website:

This modern-looking duo sends the message that: “Your comfort is priority #1 for us. Take your time reading and enjoy.”

There are tons of ways to make varying styles play off one another while sending the right signals to your audience: A safe serif with a retro cursive header font to come off as a playful, yet professional brand; a futuristic header and a neutral sans serif body font to give your product pages a very techy feel; and so on…

Once you have one or two fonts you like the vibe of, use FontPair to track down a good complement to the one you want to use.

Imagery

We can use this as a blanket category for any visual content you might use in your branding:

Photos
Videos
Illustrations
Icons
Backgrounds
Textures
Animations or GIFs

But just because there’s all this content to use, that doesn’t mean it should all appear on the same site to represent the same brand. You’ll want to narrow it down based on your company’s personality and how the style of imagery fits with it.

1. Photos vs. Illustrations

You can alter your brand’s voice and style based on the kind of imagery you use.

For instance, tech companies like Stripe often use illustration in their brand designs:

Even though SaaS companies sell one type of product, their audiences are usually quite vast, so it would be hard to find photos that represent everyone. And it’s not like users are focused on their relationships with the people behind the scenes. These companies put technology into the hands of their users, so it’s best to let the product shine and not the people. This opens up the door for some fun and creative possibilities with illustrations.

That said, choosing photos over illustrations doesn’t completely bar you from using vector graphics and icons. You can mix-and-match those visuals so long as they blend well with one another. What you don’t want to do is to mix two very different styles that say different things about your brand at once.

To decide what’s best for your brand, approach this from your users’ point-of-view. What kind of visuals will help them connect to your brand and what you sell?

2. Style

It’s not just the type of image you use that impacts your brand identity. It’s the style you apply to those visuals that can transform your visuals, putting visitors in a different time, place, or headspace.

Will you apply a filter to give your photos a similar look and feel?

Will you place each of your product photos against the same backdrop for a uniform look?

Will you use a completely new style of imagery for one of your product lines the way Apple has done for the iPhone 12?

There’s nothing wrong with using out-of-the-box imagery. However, if they don’t give off quite the right tone, don’t be afraid to use your design skills to make adjustments and cater them to your own style.

Logo

Your logo is the last of the visual elements you’ll need to invest some time in. The good news is that you’ve already done most of the legwork:

You’ve defined your brand’s identity.
You’ve given your business a name.
You’ve selected the main visual components that will represent your brand: colors, fonts, and images.

That’s really all you need to create a logo that is relevant, unique, attractive, potent, and memorable.

That and a way to bring it all together. You have a few options.

Option #1: If you’re a graphic designer, you can create your own from-scratch.

Option #2: If you want help getting started, you can use a tool like Wix Logo Maker:

You’ll fill out a short questionnaire and then receive dozens of pre-made logos to start with. You’ll later have the chance to customize the design to your liking.

Option #3: You can hire someone to design a totally custom logo.

Wrapping Up

In the next post in this three-part series, we’re going to look at the next step:

Getting your business online.

We’ll take everything you’ve done so far in coming up with a business name, brand identity, and now visual identity, and put it towards your website and the marketing channels that are best for your business.

4 novembre 2020/par Service comm.

How to Get Dark Mode Design Right

Dark themes are everywhere these days.

As human beings continue to spend more of their time interacting with technology, dark themes provide a more relaxing way to engage with the digital world. More often than not, these themes are easier on the eyes, more attractive, and perfect for the dedicated user.

Throughout 2020, countless leading brands have debuted their own version of the dark theme. Google has a solution for your Drive, while Apple and Android have built dark theme performance right into their operating systems.

If you haven’t learned how to make the most out of dark mode yet, then you could be missing out on an excellent opportunity to differentiate your design skills, and earn more clients going forward.

Why Dark Mode?

Before we dive too deeply into the possibilities of creating your own dark theme, let’s examine what dark mode is, and why it’s so effective.

Ultimately, dark themes are created to reduce the amount of luminance emitted by everything from your desktop and laptop, to your smartphone and smartwatch. Dark themes help to improve the visual ergonomics of design, by reducing eye strain, adjusting brightness to suit current lighting conditions, and more. Additionally, many dark mode offerings are also fantastic at conserving battery life.

Here are some of the main benefits of adding dark themes to your design portfolio.

Better user experience: A focus on user experience is one of the most important trends of the digital age. You need to be willing to deliver incredible experiences to everyone who visits your website if you want to stand out today. Dark mode reduces everything from eye strain, to battery power consumption. This helps to keep customers on a website for longer.
Innovation and cutting edge appeal: Most companies want to prove that they can stay on the cutting edge of their industry. The ability to offer an opt-in dark mode version of a website theme or appearance can help your clients to stand out from the crowd. As the environment becomes more mobile-focused, more companies will be looking for designers that can provide the best mobile experiences.
Support for universal design: Dark mode isn’t just great for people who have light sensitivity at night. This solution could be more comfortable for visually-impaired users who would struggle with eye strain when visiting your websites otherwise. If you want your content to be more inclusive for a wider range of viewers, then learning how to design for dark mode is a good way to start.

Best Practices When Designing for Dark Mode

Designing for dark mode is easier than you’d think. Most of the time, it involves simply thinking about how you can replace some of the brighter, more overwhelming aspects of your site, with something deeper and darker.

Here are some useful tips that will get you moving in the right direction.

1. Experiment with Colors

A big issue for a lot of web designers when it comes to developing a dark mode solution is that they get too caught up with things like pure white text against pure black backgrounds. However, this high-contrast option can be a little much after a while.

It’s often much easier to use a dark grey as your primary surface color, instead of a true black. Additionally, rather than using bright white, think about slightly off-white alternatives that will be warmer to the eye.

Experiment with surfaces and color combinations that are unlikely to cause too much eye strain. Dark grey foundations often offer a wider range of depth, too, because you can demonstrate shadows on grey.

Additionally, when you are experimenting with colors, remember that saturated colors often vibrate painfully against very dark surfaces, making them harder to read. Desaturating your colors will help to reduce the contrast and make your websites more welcoming.

Lighter tones in the 200-50 range will have better readability on dark themes. However, you can always experiment with your choices. Google Material Design recommends using a contrast level of around 15:8:1 between your background and text.

2. Consider the Emotional Impact

Much of the effort involved with dark mode design is figuring out how certain colors work together. It’s easy to get carried away with stark contrasts, particularly when you’re used to working with a white background. However, you need to remember that you’re designing for a user that’s primarily looking for an easier and more subdued browsing experience.

While you’re working, remember to consider the emotional aspect of the design too. The emotion in colors can make or break a buyer’s journey in any environment. However, an often overlooked-aspect of color psychology, is that people perceive shades differently when they’re on a black background.

For instance, think of the color green. On a light background, it conveys nature and even financial wealth. However, on a dark background, the same green could come across as something venomous, toxic, or even sickly. It’s important to think about the kind of impressions end users are going to get when they arrive on your site.

3. Give Users the Freedom to Choose

One of the biggest mistakes you can make when you begin designing for dark mode, is thinking that you should focus entirely on your dark themes, and nothing else. This lines you up for a problem if you interact with users who want the best of both worlds. If you’re designing for apps in particular, you’re going to need web pages that can switch naturally between light and dark themes.

Learning how to implement both a dark mode and a light mode option into the desks you create will help you to reach a wider selection of customers. Remember, you’ll need to test the performance and impact of your designs in both themes, to check that they deliver the same kind of experience, no matter how your user chooses to browse.

Although dark mode should offer a different experience to end-users, it still needs to feel as though they’re browsing on the same website. That means that you’re going to need to experiment with the most natural combination of light and dark mode options.

4. Remember the Basics

Remember, although the three tips above will help you to get on the right path for dark mode design, you’ll also need to consider the opportunities and limitations of the platforms that you’re designing for. The kind of dark mode experience you can deliver for Google Chrome websites is going to be very different to what you can create for something running on iOS.

Examining the documentation provided by the system that you’re designing for will help you to develop something with a close insight into what’s actually possible.

Other top tips for dark mode design include:

Focus on your content: Make sure that your content stands out on the page, without being too overwhelming.
Test your design: In both light and dark appearances, you need to make sure everything is working as it should be.
Adopt vibrancy for your interfaces: Vibrancy helps to improve the contrast between your background and foreground.
Use semantic colors: Semantic colors adapt to the current appearance of a website automatically. Hard-coded color values that don’t adapt can seem more aggressive.
Desktop tinting: Try experiment with things like transparency and filters to give your websites and apps a slightly warmer tint – ideal for late-night browsing
Icons: Use individual glyphs and icons for dark and light modes if necessary.

Ready to Design for Dark Mode?

Preparing your web development and design portfolio for an era addicted to dark mode can be a complex experience. You need to think carefully about how people are going to browse through your websites and apps when they’re searching for something more subtle, and less visually overwhelming than the websites that we’re used to making.

The most important thing to remember is that everything on your website or application should look just as beautifully tailor-made in dark mode as it does in light mode. Simply adding a dynamic black background when people want to switch settings in an app isn’t enough. You need to go in-depth with your designs and examine how different fonts, colors, and images work together.

16 octobre 2020/par Service comm.

When Does Emotional Design Cross a Line?

Designing for emotion in and of itself is not a problem. Websites are bound to elicit an emotional reaction from visitors, even if it’s as simple as them feeling at ease because of the soft, pastel color palette you’ve designed the site with.

I don’t want to outright villainize emotional design. Unless there is some form of unethical manipulation at play, designing for your visitors’ emotions can actually provide them with a more positive experience.

So, here’s what I’d like to look at today:

What is emotional design?
When does emotional design cross a line?
What’s the right way to design for emotions?

1. What Is Emotional Design?

When we look at emotional design in the context of a website, we’re focused on three types of emotional reactions:

a. Visceral Reactions

Visceral reactions are instinctive ones. Usually, visitors experience these as their first impressions of a website or web page. For instance, a cluttered or otherwise poorly designed homepage might leave visitors feeling overwhelmed, hesitant, or wanting to flea.

A minimally designed homepage interface, on the other hand, might have visitors not feeling much of a reaction at all. In this case, no feeling is a good feeling.

Like Irene Au said:

Design is like a refrigerator. When it works, no one notices. When it doesn’t, it stinks!

— Irene Au (@ireneau) February 14, 2015

b. Behavioral Reactions

Behavioral reactions stem from the usability of a website. There’s a lot that can stir up negative emotions here, like:

Extra-long contact forms
Confusing menus
Error-ridden content
Slow-loading pages
And more

Again, if a website is easy to get through and attractively designed, visitors aren’t likely going to “ooh” and “aah” with every step they take on the site. And that’s a good thing. If they’re focusing more on how the design looks, they’re not paying attention to the brand’s actual offer.

c. Reflective Reactions

Reflective reactions are the third type of emotions we design for.

This is complicated because there’s a lot wrapped up in how visitors feel about a website after the fact. Sometimes the most well-designed interfaces and experiences can’t save them from a bad experience, whether they realized too late that the products were overpriced or they were treated poorly by a live chat representative.

As a web designer, all you can really do is to make sure you’re working with reputable companies and then aligning the designs of their sites with their values.

When Does Emotional Design Cross a Line?

There’s already enough social pressure online; your website doesn’t need to be one of those places, too

Emotional design shouldn’t be about manipulating consumers’ emotions. In most cases, emotional design is about controlling the environment of the website so that emotions don’t go spinning wildly out of control — in either direction.

It’s when we take what we know about influencing someone’s emotional state to monetarily benefit from it that emotional design becomes problematic.

Here are some ways in which you might negatively impact the emotions of your visitors through design:

FOMO

The fear-of-missing-out isn’t always a bad marketing strategy. However, when FOMO is used for the purposes of rushing consumers to take action now and without time to really think it through, it definitely can be.

Chances are good they’ll feel badly no matter what. Either because they regret the rushed (and probably unnecessary, or expensive) decision or they blame themselves for missing out on an opportunity to be like everyone else.

There’s already enough social pressure online; your website doesn’t need to be one of those places, too. So, be careful with how you present customers with limits (on time, on products, etc.) or how you frame the call-to-action (“If you don’t buy this now, expect to fail/be miserable/suffer even more”).

Analysis Paralysis

It doesn’t matter why people specifically seek out your website. They have a problem or a hole in their life, and they’re looking for something to fix it.

Now, you can’t help it if the website has too much to offer in the way of options or solutions. Companies have to provide every possible solution/option so their users don’t feel like they have to go somewhere else to get what they need. However, the way you design these options can lead to a negative emotional state if you’re not careful.

For instance, your visitors might experience analysis paralysis, where there are so many options that it becomes impossible to take action. Similar to FOMO, this can lead to regret either with the decision they made or the one they were incapable of making.

By simplifying how many choices are presented at once, or designing a clear and supportive pathway to the right option of many, your website will leave visitors feeling much more positively about the whole experience.

Trendy Nostalgia

Nostalgia can be a great way to play upon the positive associations and emotions consumers feel towards an era gone by or a place they once knew. But, again, it depends on how you design with it.

For example, if you design a vintage website for an agency launched in 2019 and run by a group of 20-somethings, it might come off feeling disingenuous once customers start to catch on.

For a restaurant known as the oldest bar in the state, that would be a different story. That nostalgically designed website would be a real part of its story; not just done as a sales gimmick. As a result, customers would likely embrace those warm feelings for the “good ol’ days” they get from the website.

Also, think about how quickly nostalgia fades if it’s done to align with a trend. Unless you’re committed to redesigning a website the second that nostalgic feeling falls out of favor, you could be condemning your client to an outdated website mere months after launch.

What’s the Right Way to Design for Emotions?

Like I said before, there’s nothing wrong with designing for emotions. You just have to make sure your website visitors don’t feel manipulated and that they welcome the pleasant feelings the site gives them.

make sure your website visitors don’t feel manipulated

It might seem harmless at the time. After all, what are they doing on the site if they weren’t interested in the first place? And it’s not like they were bullied into spending their money, right?

But if they sense in any way that their response was driven by an emotion they wouldn’t have otherwise felt, they’re not going to be happy. While it might not be enough for them to cancel their subscription or services, or to return products they bought, it will definitely leave a bad taste in their mouth. And, ultimately, it can cost your website loyal visitors and customers.

So, if you’re going to use emotional design on a website, do it to improve their experience, not to put more money into your clients’ pockets. That means your emotional design choices need to be honest, transparent, and focused on eliciting naturally positive emotions like:

Satisfaction
Feeling impressed
Trust
Calm
Feeling valued

Go back to the three emotional reactions I brought up earlier. If you can design a website to give off a positive first impression, and to be pain-free and usable, you can spend the rest of your time injecting small bits of happiness and positivity into the website with color choices, friendly micro-interactions, personalized content, and more.

Featured image via Unsplash.

23 septembre 2020/par Service comm.

How to Improve Largest Contentful Paint (LCP) and SEO

Contentful; Webster’s Dictionary defines “contentful” as… not found. Clearly someone made up this word, but that is not necessarily a bad thing.

The world of user experience metrics is moving quickly, so new terminology is needed. Largest Contentful Paint (LCP) is one of a number of metrics measuring the render time of content on a web page.

What is Largest Contentful Paint?

Google defines LCP as “the render time of the largest content element visible within the viewport.” For what we are talking about in this blog, we will consider “content” to be an image, typically a JPEG or PNG file. In most cases, “largest” points to a hero image that is “above the fold” and is one of the first images people will notice when loading the page. Applying optimization to this largest content is critical to improving LCP.

It is probably more instructive to view LCP relative to other metrics. For example, First Contentful Paint (FCP) and Visually Complete book end LCP.

First Contentful Paint (FCP): measures the time from when the page starts loading to when any part of the page’s content is rendered on the screen. (lab, field)
Largest Contentful Paint (LCP): measures the time from when the page starts loading to when the largest text block or image element is rendered on the screen. (lab, field)
Visually Complete: measures the time at which a customer will perceive the web page as looking complete.

Each metric has its pros and cons, but LCP is a happy medium. LCP marks when web page loading starts to have a substantial impact on user experience.

In Google’s opinion, to provide a good user experience, LCP should occur within 2.5 seconds of when the page first starts loading. Poor values are anything greater than 4 seconds.

How Does Largest Contentful Paint Impact Lighthouse Scores and SEO?

LCP is now part of several “Core Web Vitals” scores that Google will measure in its ranking algorithm. Each of the Core Web Vitals represents a distinct facet of the user experience, is measurable in the field, and reflects the real-world experience of a critical user-centric outcome.

In the case of the overall Google Lighthouse score, LCP represents 25% weighting on the performance score of Lighthouse version 6.0. This makes LCP the most important Core Web Vitals metric in determining the performance score.

While Google has indicated that content is still the most important factor in SEO ranking, a better user experience (as measured by Core Web Vitals) will generate higher rankings in a crowded field. If there are many websites competing for the top search engine spots, then Largest Contentful Paint will play a critical factor in rankings.

How to Improve Largest Contentful Paint

Now that you know that LCP is important, what can you do to improve it by making content load faster? Google provides a number of suggestions, but the most effective technique is to optimize content for the device requesting it.

For example, a website includes an 800kb JPEG image that is intended for high resolution desktops. On a smartphone, that would be optimized down to less than 100kb, with no perceptible impact on quality. LCP can improve by more than 60% — or several seconds — through this single optimization.

Find Savings in Largest Contentful Paint by using Image Speed Test

Image Speed Test is a great tool offered by ImageEngine.io that provides an analysis of LCP improvement opportunities. Just paste in the URL of the web page you are interested in optimizing, and the test will show you:

Image Payload Reduction
Speed Index
Largest Contentful Paint
Page Load Time (Visually Complete)

It also provides a video of the web page loading with and without optimizations. Finally, it analyses each image to provide an estimate of payload savings. In this case, the “largest content” on the page is this image. With optimizations, the image payload is reduced by 94%. That delivers a huge improvement in LCP.

How Does ImageEngine Improve LCP

ImageEngine is an image content delivery network (CDN) service that makes image optimization simple. Basically, for each image on the page, the image CDN will:

Detect the device model requesting the web page;
Optimize the image in terms of size, compression, image format;
Deliver via a CDN edge server that is geographically closest to the user.

ImageEngine improves web performance for every image on the page, including the largest. You can learn more about ImageEngine here, and also sign up for a free trial.

Best Practices: Preconnect

In addition to using an image CDN like ImageEngine, a few other best practices can improve LCP. Using the resource hints to provide a preconnect for your content can streamline the download process.

For example, putting the following link statement in the HTML will accelerate the download process. The link statement will make the browser connect to the third party as early as possible so that download can start sooner. ImageEngine’s optimizations make each image download smaller and faster, but preconnect save time in the connection phase.

Best Practices: Minimize Blocking JavaScript and CSS

When JavaScript or CSS is “blocking” it means that the browser needs to parse and execute CSS and JavaScript in order to paint the final state of the page in the viewport.

Any website today relies heavily on both JavaScript and CSS, which means that it is almost impossible to avoid some render blocking resources. On a general note: be careful with what kind of CSS and JavaScript is referenced inside the <head> element. Make sure that only the strictly necessary resources are loaded in <head>. The rest can be deferred or loaded asynchronously.

When looking to improve the LCP specifically, there are some practices worth looking into more deeply.

Inline Critical CSS

It is not an easy task, but if the browser can avoid making a request to get the CSS needed to render the critical part of the page – usually the “above the fold” part – the LCP is likely to occur earlier. Also you will avoid content shifting around and maybe even a Flash of Unstyled Content (FOUC).

The critical CSS — the CSS needed by the browser to set up the structure and important styles of the part of the page shown above the fold — should in-inlined. This inlined CSS may also refer to background images, which of course should also be served by an Image CDN.

Do Not Use JavaScript to (lazy) Load Images

Many modern browsers natively support lazy loading, without the use of JavaScript. Because images usually are heavily involved in the performance of LCP, it is best practice to leave image loading to the browser and avoid adding JavaScript in order to lazy load images.

Lazy loading driven by JavaScript will add additional latency if the browser first has to load and parse JavaScript, then wait for it to execute, and then render images. This practice will also break the pre-parser in the browser.

If an image CDN is used to optimize images, then the benefits of lazy loading become much smaller. Especially large hero images that are above the fold have a large impact on LCP and will not benefit from being lazy loaded with JavaScript. It is best not to make JavaScript a blocking issue for rendering images, but rather rely on the browser’s own ability to select which images should be lazy loaded.

[– This is a sponsored post on behalf of ImageEngine –]

21 juillet 2020/par Service comm.

The Designer’s Guide to Letter-Spacing

Actualités

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.

Actualités, Méthodes et organisation des process IT

20 juillet 2020/par Service comm.

Why Builder Is Often an Antipattern and How to Replace it With Fluent Builder

The Builder Pattern is extremely popular in Java applications. Unfortunately, it’s often misunderstood and incorrectly applied, which results to runtime errors.

Let’s remember the purpose of Builder: set only necessary fields in some object and keep remaining fields set to default values. For example, if we’re preparing a configuration object, then it’s convenient to change only the necessary parameters and keep other parameters set to default values.

Source de l’article sur DZONE

17 juillet 2020/par Service comm.

Case Study: Storytelling Through Brand Design

Actualités

A successful rebrand goes far beyond flashy graphics and high-res photos. It tells a story. It positions a product to fulfill the wants and needs of the consumer. Following the rebrand journey of Lettuce Grow, take a look at how visual elements can enforce the mission of your brand, engage your consumer and cultivate incredible results.

Lettuce Grow introduced a sleek, revolutionary, hydroponic growing system that makes growing food from home accessible to the modern lifestyle. However, its branding, to everyday people, presented its product as just another gadget for gardening enthusiasts, as opposed to a lifestyle that anyone can benefit from. The previous website was cluttered and disorganized, leaving the visitor with mixed messages. The bright, colorful, cheery nature did not communicate a premium product. While a bright website is not inherently bad, it isn’t right for the millennial consumer that expects a Peloton or Away Luggage look and feel.

At ONA Creative, we repositioned the Lettuce Grow brand in a way that not only reflects the premium quality and functionality of the product, but also drives home the brand’s core values and key messaging, which encourage people to lead healthier, more sustainable lives. Simultaneously, by highlighting these core values, we positioned Lettuce Grow squarely at the target consumer intersection of food, wellness and sustainability.

Through the brand strategy and brand identity, Lettuce Grow has evolved into a brand that makes the “growing your own food” lifestyle thoughtful, timeless and efficient. Here are the 8 elements that transformed Lettuce Grow.

1. Logos

The Lettuce Grow brand mark represents the cycle of growing food on the Farmstand, while the hidden triangle suggests a strong foundation, upward movement and a nod to the food pyramid. The Lettuce Grow wordmark is used as the primary logo in combination with the brand mark when the opportunity permits. The curved crossbars in the letter E create a unique and iconic look, connect to the brand mark, and give a nod to growth.

2. Icons

All of the icons were hand-drawn to carry on the same elegant, minimal visual language as the brand mark. Futuristic, yet approachable. Clean lines reflect the premium look and feel of the rebrand.

3. Colors

The new color palette was inspired by the colors and textures found in nature, specifically those found on a farm. Primary colors of recycled white, natural black and kale are the core brand colors that should be used when introducing the brand and prominently thereafter. A mixture of earth tones juxtaposed with a touch of bright colors. Off-white and off-black because there is no such thing as pure white or pure black in nature.

The secondary color palette was inspired by some of the brighter fruits and veggies one can grow on a Lettuce Grow Farmstand. Secondary colors are intended to be used very sparingly to add an element of playfulness to the otherwise muted color palette.

3. Typography

Consistent use of typography allows consumers to immediately recognize any brand, and Lettuce Grow is no different.

We selected Rubik as the primary typeface. Rubik’s simple and geometric features embody the modern aesthetic we wanted to achieve.

Source Serif was chosen as the secondary typeface. It is a classic sans serif font that softens the brand and creates a sense of class.

4. Website

The website was redesigned with simplicity and premium quality in mind. We wanted our viewers to immediately sense and understand the ease and simplicity of having and using the Lettuce Grow Farmstand. As the consumer scrolls through the site we break down every potential buying barrier to present this beautiful system. In the first month after the launch of the new website, Lettuce Grow saw a 15% conversion rate increase.

5. Packaging

Understanding that the product itself was forward-thinking and beautifully designed, we wanted to create a thoughtful, timeless and minimal brand. The packaging is a perfect expression of this efficiency, featuring the brand mark on one side and the wordmark on the other.

6. Photo

The photography captures conscious modern people and families living the “grow your own” lifestyle. Grey and white tones are emphasized, with pops of green coming from vegetables. Sleek and modern aesthetics are complemented by organic raw materials and textures including stone, wood and concrete.

7. Social

The social strategy and content evolution reflected the aesthetics of the rebrand, creating a clean, premium look and feel. The content educates, encourages and engages the active Lettuce Grow community. Everything from social icons to testimonials was thought out, custom-designed and executed with the brand in mind.

8. Email

We redesigned the newsletter, and built out the welcome and post-purchase drips with conversion in mind.

Reaction

Reflecting on the consumer response to this thoughtful, modern, minimalist brand identity, it’s clear that the bright and poppy original brand identity did not resonate with this audience. The updated visual elements appeal to the values and sensibilities of millennial consumers that are willing to invest in a product they believe in, and that tangibly stands for their values. Authenticity. Sustainability. Innovation. No mixed messaging here.

Each design element works like a chapter in the overall story of Lettuce Grow: a story that empowers people to live sustainably and invest in a healthy, all-natural food source. Lettuce Grow once offered what was perceived as a mere gardening gadget. Now it offers a holistic lifestyle that can be passed onto future generations. There’s an enormous difference. The logos, icons, typography, website, packaging, photography, social, and email assets are geared toward a target audience that values sophistication, luxury, and simplicity. Goodbye neon colors. Goodbye clutter. Hello Lettuce Grow.