Category Archives: Web Design

Going Back on Friends

Social NetworkingAmong social networking applications on the Web, one thing has puzzled me: why is it so difficult to go from friend to friend? Take Flickr, for example: a tremendously successful example of social networking that relies heavily on the idea that it’s your friends who are producing the content (photos) in which you’re most interested. The very latest of your friends’ photos are available in a meta view, which is handy, but there’s no apparent way to simply skip from one friend’s photos to the next without using the browser’s ‘back’ button to return to your list of contacts.

This seemed wrong to me somehow, and, admitting that I’m hardly the world’s foremost expert on constructing interaction models for social software, I thought I’d try and understand better why I was so frustrated. I quickly determined that, when it comes to organizing your network contacts — friends, basically — in a social networking application, there are basically two models.

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Arts & Croft’s

It’s the sixth annual May 1st Reboot today, in which designers all over the Web launch visual makeovers of their Web sites. You can go and see the sites that have launched under the rubric of the original campaign at May1Reboot.com, and you can see the campaign’s less Flash-intensive, more standards-friendly offshoot at CSSReboot.com. Together, both efforts can boast of literally hundreds of participants; a heck of a lot of designers have been busy nights and weekends over the past several weeks.

But the only one you really need to go see is the brand new JeffCroft.com, which is a major home run of a redesign if I ever saw one. It’s perhaps the deftest and most cohesive user experience yet fashioned from all of the various de rigeur weblog features, circa 2006: there’s a blogroll, a list of shout-outs, an integrated Flickr feed, comments on everything, a “tumblelog” that orders everything Croft touches, apparently, into a single, chronological view — not to mention a good ol’ fashioned weblog of stuff he writes, too.

It’s a kit of parts that could have easily produced chaos, but Croft unifies everything with a particular élan that has the feeling of a breakthrough. The interface is thoroughly unified and orderly, yet pleasing inventive at all levels — there’s a bold and striking effect to the whole presentation that can be taken in instantly, but it’s a nuanced performance, too (I’m not sure if anything Croft has done before has balanced gestalt and minutiae so successfully; if it has, I want to see it soon). This is the kind of design that thrills me; completely self-motivated and yet unfailingly conscientious in its attention to detail. And it makes me think that things around here are starting to look a little long in the tooth.

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Arts & Croft’s

It’s the sixth annual May 1st Reboot today, in which designers all over the Web launch visual makeovers of their Web sites. You can go and see the sites that have launched under the rubric of the original campaign at May1Reboot.com, and you can see the campaign’s less Flash-intensive, more standards-friendly offshoot at CSSReboot.com. Together, both efforts can boast of literally hundreds of participants; a heck of a lot of designers have been busy nights and weekends over the past several weeks.

But the only one you really need to go see is the brand new JeffCroft.com, which is a major home run of a redesign if I ever saw one. It’s perhaps the deftest and most cohesive user experience yet fashioned from all of the various de rigeur weblog features, circa 2006: there’s a blogroll, a list of shout-outs, an integrated Flickr feed, comments on everything, a “tumblelog” that orders everything Croft touches, apparently, into a single, chronological view — not to mention a good ol’ fashioned weblog of stuff he writes, too.

It’s a kit of parts that could have easily produced chaos, but Croft unifies everything with a particular élan that has the feeling of a breakthrough. The interface is thoroughly unified and orderly, yet pleasing inventive at all levels — there’s a bold and striking effect to the whole presentation that can be taken in instantly, but it’s a nuanced performance, too (I’m not sure if anything Croft has done before has balanced gestalt and minutiae so successfully; if it has, I want to see it soon). This is the kind of design that thrills me; completely self-motivated and yet unfailingly conscientious in its attention to detail. And it makes me think that things around here are starting to look a little long in the tooth.

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Event of the Summer

An Event ApartEric Meyer and Jeffrey Zeldman’s rolling design conference tour, An Event Apart, is coming to New York City in July. For the first time, it will be two days long; the first day will be devoted to matters design, and the second day will be devoted to matters code.

Count me a lucky bastard, as these gentlemen have been nice enough to invite me to be one of the presenters on the first day, appearing on the same slate as the prolific Jason Santa Maria and the scary-smart Adam Greenfield, two design practitioners and thinkers that I would gladly pay to see any time. The second day will feature the amazing Aaron Gustafson, from whom anyone can learn more about the practice and management of good code. And, of course, the estimable Eric and Jeffrey will be around too, either in “yadda yadda” mode or “as needed.”

It’s going to be exciting and I can’t wait. Registration isn’t yet open, but you can keep tabs on the An Event Apart Web site or its RSS feed to find out as soon as it goes online. Past events have sold out quickly in Philadelphia and Atlanta, so it’s reasonable to expect the same thing to happen here in New York City. Plus, if you don’t live here, you can treat yourself to a fun few days roaming the Big Apple — the July heat’s not to be missed!

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Pictures for Clothes

Adrian Tomine for Perry EllisI’m going to make it a two-fer week for comics fans here: I never got around to writing about the Adrian Tomine-illustrated advertising campaign for Perry Ellis that kicked off earlier in the year, so following on my post about Seth’s wonderful “Wimbeldon Green,” I thought I would. It’s a fairly striking creative strategy for a fashion label that completely eschews photography for hand-drawn illustrations from the author and artist of the indie comic book “Optic Nerve.” Tomine uses his self-consciously mild drawing style to recount quiet moments of modest poignancy in the lives of apparently attractive, Perry Ellis-garbed young singles. He tells three short stories in comic strip form with the same attention to detail and deft draughtsmanship that you’ll find in his normal comic work. None of them are of any particular consequence, but reading each of them at PerryEllis.com, they come off as reasonably successful impressions for the brand.

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The Home Page’s Middle Manager

NYTimes.com MOTHsOne of my favorite features on the new NYTimes.com is the row of feature articles that we have running across the middle of the home page. With questionable creativity, we refer to them by their acronym, “MOTHs,” though when they appear at the bottom of an article I guess they really ought to be referred to as “BOTAs.” I had almost nothing to do with designing them, so it’s not bias talking when I say that I think they’re a very attractive, eye-catching method of highlighting features using sometimes very different kinds of imagery (or no imagery, as with the headline-only ones) in a surprisingly cohesive presentation.

They’re also incredibly effective at signaling a different kind of content from what appears at the top of the home page, which is an important role in a layout that must juxtapose sometimes incredibly serious and upsetting content with sometimes esoteric or lighthearted content. The editorial team have used the MOTHs to great effect to publish a mix of opinion, arts, sports, technology and other articles less urgent than those at the top of the main columns. They make it all work together.

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The Home Page’s Middle Manager

NYTimes.com MOTHsOne of my favorite features on the new NYTimes.com is the row of feature articles that we have running across the middle of the home page. With questionable creativity, we refer to them by their acronym, “MOTHs,” though when they appear at the bottom of an article I guess they really ought to be referred to as “BOTAs.” I had almost nothing to do with designing them, so it’s not bias talking when I say that I think they’re a very attractive, eye-catching method of highlighting features using sometimes very different kinds of imagery (or no imagery, as with the headline-only ones) in a surprisingly cohesive presentation.

They’re also incredibly effective at signaling a different kind of content from what appears at the top of the home page, which is an important role in a layout that must juxtapose sometimes incredibly serious and upsetting content with sometimes esoteric or lighthearted content. The editorial team have used the MOTHs to great effect to publish a mix of opinion, arts, sports, technology and other articles less urgent than those at the top of the main columns. They make it all work together.

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Wrapper’s Delight

There’s a new “Links” sub-section at the bottom of the Subtraction.com home page, which is more or less what you would expect: literally, a list of sites that I think are interesting. I haven’t had it before, in part because I think such lists are a little show-offy for my taste, and also because I always feared I’d snub someone by inadvertently leaving out a link to them. But, as time has gone by, I’ve come to feel that such lists are de rigeur for weblogs, and it’s a little impolite not to have one on mine. So here you go; I’m sure I’ve accidentally missed someone, but I’ll be trying to update this regularly — or soon, anyway.

The presentation style of these links is the manifestation of an idea that I had for showing lots of blog links by making use of the favicon, a concept that I had wanted to use for a project at work. As it turned out, we opted not to use it, so I thought I’d put into service for the links section. I’m fond of it because it’s a nice use of some very standardista-friendly elements — a simple, unordered list and favicons — expressed in a manner reminiscent of typographical tricks more commonly associated with print design (the drawback, of course, is that I can only list sites and feeds that feature unique favicons; not for technical reasons, but for editorial ones).

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Wrapper’s Delight

There’s a new “Links” sub-section at the bottom of the Subtraction.com home page, which is more or less what you would expect: literally, a list of sites that I think are interesting. I haven’t had it before, in part because I think such lists are a little show-offy for my taste, and also because I always feared I’d snub someone by inadvertently leaving out a link to them. But, as time has gone by, I’ve come to feel that such lists are de rigeur for weblogs, and it’s a little impolite not to have one on mine. So here you go; I’m sure I’ve accidentally missed someone, but I’ll be trying to update this regularly — or soon, anyway.

The presentation style of these links is the manifestation of an idea that I had for showing lots of blog links by making use of the favicon, a concept that I had wanted to use for a project at work. As it turned out, we opted not to use it, so I thought I’d put into service for the links section. I’m fond of it because it’s a nice use of some very standardista-friendly elements — a simple, unordered list and favicons — expressed in a manner reminiscent of typographical tricks more commonly associated with print design (the drawback, of course, is that I can only list sites and feeds that feature unique favicons; not for technical reasons, but for editorial ones).

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The Awesome Redesign I Didn’t Do

The New York TimesAlert and not-so-alert readers of NYTimes.com will notice a little something different this morning: a major redesign of the site’s look and feel, from top to bottom (almost). In a Sorkin-esque, marathon session of exhausting and exhilarating proportions, our team spent all weekend implementing this new design, pushing it live in progressive stages starting Sunday afternoon. The home page, that hugely symbolic focal point of any site, went live at 11:33p Eastern Standard Time.

I think it’s a sterling piece of work, a great example of how to evolve a user experience rather than reinvent it: the best reaction it could receive from readers (those not among that vanishingly small subset of the general populace who can be called ‘design savvy’) would be something along the lines of “The new design looks just like the old design.— That would suit me fine, because it would signal a continuity that I think is completely appropriate for such a closely watched site like The New York Times’, and besides, I know for a fact that it’s more elegant and more useful than it was before.

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