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Name Suggestion

I’ve started playing an occasional game with my iPhone, where I type in a word to start a message, and then repeatedly accept whatever autocorrect suggests as the next word.  If I’ve understood the terms correctly, I’m manually accepting iOS’s Markov chain output.

I’m inclined to post the results to a Twitter account, sort of like I did for Excuse of the Day, but I’m stuck on the most prosaic of roadblocks: I’m having trouble thinking of a good name for it.  (Here, ‘autosuggest’ will not help me.)  Anyone have a winning name they’re willing to contribute?  Full credit to the winner in the Twitter bio, not to mention here, plus a percentage of the multi-million-dollar royalties from the inevitable book and movie deals.

Update 10 May 16: thanks to everyone who made (auto)suggestions!  The final winner is @markovmywords, as suggested by Jonathan Schofield (@schofeld).

Design For Real Life Now Available

A banner showing ‘Design for Real Life’ in various media

Available as of this morning from A Book Apart in both digital and paper formats: Design for Real Life, the book Sara Wachter-Boettcher and I started writing not quite a year ago.

Anil Dash was kind enough to write a wonderful foreword for the book, in which he perfectly describes the background we were working against:

Two billion people now have some kind of access to internet technologies, and almost all of them are spending more and more time with their thumbs flicking across their phones. And the technology they’re using has a real impact on their lives. They don’t use an app to “share photos”; they use it to maintain a relationship with distant family. They don’t need to do “online banking”; they need to lend a friend money to help them out of a jam. Nobody wants to learn a complicated set of privacy controls; they just want to be able to express themselves without antagonizing bosses or in-laws.

Our thesis, against that, was to say, “As personal and digital lives become closer and effectively merge, the things we design will have to work harder and harder to deal with real people in all their messy complexity.  How can we start people thinking about this, and what tools can we give them?”  That’s what we strove to create, and now you can judge for yourself whether we succeeded.

I’ll be honest: we were pretty scared as we wrote it.  This is not a topic area that’s gotten a ton of attention, and in a lot of ways we were breaking new ground—but, at the same time, we were very aware that there was existing research and knowledge in related areas, so we wanted to be sure we were inclusive or, and respectful of, that work.  We talked to a lot of people in a variety of disciplines, trying to make sure we brought in information that would help the reader and not flying in the face of things that were already known.

So you can imagine our relief and gratitude as we’ve heard glowing reactions from people who read preview drafts—among them Kim Goodwin, Indi Young, Sara Soueidan, Caren Litherland, and Karen McGrane.  Paul Ford said, “Anyone who aspires to build global products that people love should read this book now,” and Kate Kiefer Lee said, “It will be required reading on my team.”

You might think cover blurbs like those are pure marketing fluff, and maybe in some genres they are.  For us, they serve double duty: to let you know that people who know what they’re talking about believe we know what we’re talking about, and also to let us know that.  There were days we weren’t entirely certain.

To be clear, this isn’t a book about forever treating people with kid gloves.  We say “compassion isn’t coddling”, and that’s absolutely the case.  An error message still needs to convey the error; an account lockout still needs to keep the account locked.  But how we convey errors or lockouts, and how we make people aware of the possible ramifications of their actions, is critical.  Just as there are good ways and bad ways to commiserate with a grieving friend or handle a difficult work situation, there are good ways and bad ways to approach people in our designs.

As I said before, we need to deal with real people, in all their messy complexity.  We hope Design for Real Life is the start of a whole new conversation within our field, one that will teach Sara and me just as much as anyone else about how we can be more thoughtful and humane in what we create.

Local Ipsum

Throughout 2015, a few people who’ve seen me present “Designing for Crisis” at An Event Apart have noticed that, on the slides where I have filler text, it’s a localized variant.  In Washington, DC, for example, one section started out:

Andrew ellicott lobortis decima thomas jefferson vulputate dynamicus fiant kingman park sollemnes ford’s theater. Vero videntur modo claritatem possim quis quod est noma howard university consequat diam. Blandit ut claram north michigan park seacula judiciary square william jefferson clinton hawthorne millard fillmore iis…

This was a product of some simple PHP I’d originally written to generate Cleveland-themed filler text a year or so back, which you can find at localipsum.meyerweb.com, and which I’d expanded upon to let me generate text for my presentations at AEA.  The name comes from the original idea I had, which was to provide a list of cities/regions/whatever, so that users could pick one and generate some filler text.  That never quite came together.  I had a semi-working version once, but the UI was horrible and the file management was worse and I got discouraged and rolled back to what you see now.

I kept telling myself that I’d get back to it, do the city-selection thing right, polish it nicely, and then finally release the source.  I’ve told myself that all year, as I manually swapped in city information to generate the filler text for each of my talks.  Now I’ve finally admitted to myself that it isn’t going to happen, so: here’s the source.  I chose a pretty permissive license—BSD-ISC, if I recall correctly—so feel free to make use of it for your own filler text.  I’ll be happy to accept pull requests with improvements, but not package-management or complete MVC restructuring.  Sorry.

I know, it’s a goofy little thing and the code is probably pants, but I kinda like it and figure maybe someone out there will too.  If nothing else, we can look for a few laughs in the output and maybe—just maybe—learn a little something about ourselves along the way.

(P.S. Speaking of “Designing for Crisis”, look for a post about that, and more specifically video of it, in the next few weeks.)

Rebecca’s Boardwalk

One month from today is the first-ever Rebecca’s Boardwalk, a fundraiser in support of Rebecca’s Gift.  It’s a family-friendly afternoon of carnival games with actual prizes to be won, a facepaint and temporary tattoo booth (many thanks to Tattly for their generous support!), indoor mini-golf and bounce houses, boardwalk food, and a pretty great silent auction.  We’ll have everything from gift-card grab bags to artisanal meat parties to signed shooting scripts from The Walking Dead up for bid!

All of the proceeds will go to fund the mission of Rebecca’s Gift, which is to provide healing family vacations after the death of a child.  The organization has already raised enough to assist at least two families in 2016.  We’d very much appreciate your support in helping us lend a helping hand to more families in desperate need of time to reconnect, rebuild, and relax.  It’s one of the very few organizations we know of that supports families after a child’s death, as opposed to before.  This is something I touched on in a piece I wrote for Natural Papa back in September, in conjunction with St. Baldrick’s.  It’s something Kat and our friend Karla are determined to do something about, and I’m honored to support their efforts.

I very much hope you can join us for Rebecca’s Boardwalk, or if not, support the event via a sponsorship.  Rebecca loved travel and boardwalks in particular, and we can’t think of a better way to celebrate her life while striving to help others heal as best we can.


(Side note for the web folks in the audience: the Rebecca’s Gift site in general, and the event page in particular, makes use of flexbox for simple layout.  Just in case you were looking for a public deployment example.)

Finding My Way

With presentations of “Designing for Crisis” at AEA Orlando and World Usability Day Cleveland now behind me, I’m getting into the process of reviewing and refining the talk for 2015.  This will be my talk at An Event Apart all throughout this year, making me one of the rare AEA speakers who won’t have a brand-new talk in 2015.  (We’ll have a mix of new and familiar faces, as we always try to do, and they’ll all be bringing new material to the stage.)

Even “Designing for Crisis” will have some new aspects to it, as I discover ways to strengthen it and loop in some new thoughts and discoveries.  As an example, I just recently had a great chat with Amy Cueva, who gave me some really sharp insights into how I can share the message even more effectively.  I expect that kind of iterative improvement to continue throughout the year, given how new the topic is to me, and possibly to everyone.  It’s been something of a surprise to have many people tell me it’s caused them to see their own work in a whole new light—even people working in fields where you might think they would already be on top of this.  I’m really excited to bring this talk to people at AEA, and elsewhere as opportunities arise.  I hope it will do some good in the world.

In parallel with that ongoing effort, I’m getting back to writing more than just the occasional blog post.  I’ve restarted work on the fourth edition of CSS: The Definitive Guide—details on that will be forthcoming just after the holidays.  I’m also starting to write down some of the thoughts and approaches in “Designing for Crisis”, as well as some nascent thoughts on network effects, responsibility, community, and guidance.  I’m also trying to teach myself git so I can push out public repositories of my CSS tests and some bits of code I’d like to release into the wild, but honestly that’s pretty slow going, because it’s always a fifth or sixth priority behind my family, working on AEA, refining and rehearsing the new talk, and writing.

(“Bits of code”.  SEE WHAT I DID THERE?)

Given everything that’s coming together, I really am looking forward to 2015 and a return to speaking and writing.  For painfully obvious reasons, I was pretty out of the loop for nearly all of 2014, not to mention the last half of 2013.  I tried to stay up to date, but it’s one thing to be in the middle of things, and quite another to observe things from a distance.  (The mosh pit never looks like it feels, you know?)  So in addition to all the other stuff, I’m working overtime to catch up, and that’s where I could really use some help from the community.

So, tell me: what did I miss?  What’s emerging that I should be (or should already have been) paying attention to, and what am I already behind the curve on?  What has you excited, and what sounds so awesome that you’re hungering to know more about it?  And maybe most important of all, where should I be going to get caught up?

All input welcome, whether here in the comments, or out there on les médias sociaux.  And thank you!

Gravity Wars Redux

Over the past few weeks, I’ve been writing a remake of/homage to a game I last played somewhere around 1990: Gravity Wars.  I gave this personal project a few hours here and there each day, or more usually each evening, slowly resurrecting a little piece of my past and putting my own spin on it.  You can check it out for yourself, if you like: Gravity Wars Redux.

There are a few things I changed from the version I played all those years ago, besides the change of colors.  First of all, instead of taking turns, in my version the ships fire simultaneously, meaning a no-survivors tie is possible.  Second, the shot preview paths weren’t part of the original game.  Third, the “Gravimetric display” wasn’t a thing in the original game either.  That and the shot previews are leftovers from my development testing that I decided to keep around, either because I thought they added something to the game or because I just liked them too much to dump.

In fact, most of the code in there is accreted leftovers from the experimentation and development process.  Looking at it now, I can see all the things I should have done.  It just got to a point, as with most coding projects, where I could add another scoop or two of spaghetti to the existing mound and ship it, or I could start over and try to make the lasagna properly this time.  I decided to ship it.

I have to admit the point of all this wasn’t actually to recreate Gravity Wars, as much as I like the game and am glad to have a working copy of it.  It was instead to teach myself about the canvas API, and also to try to get a handle on some JS features that have never quite made sense to me.  I think I did okay on the both fronts, in my own idiosyncratic way.

At this point in a JS-related post, I usually throw in a disclaimer about being a JS newb whose code should never be inspected by anybody.  That’s probably still true, but I know I’ve advanced quite a bit from where I was, which pleases me.  I can see that not just in that the code I’m publishing today, which is convoluted and clumsy but still better than what I’ve written in the past.  I can also tell I’ve gotten better simply because I can see better approaches, as a result of what I learned along the way.

This may be where I end the project, or I may go back and take another crack at making lasagna.  We’ll see.  The carrot for me in doing that is it would let me add some other fun features and useful improvements pretty cheaply, not to mention I could fix some things that aren’t quite what they should be (like the placement of planets and ships, which should be a little less random).  The stick is of course having to rewrite code I already wrote.  I mean, lasagna is nice and all, but I like spaghetti too.

Anyway, I enjoyed writing it and learning as I coded, so if slinging missiles around planetary limbs sounds like your idea of a good time, please enjoy.


I’m indebted to Sohrab Ismail-Beigi, whose 1989 PASCAL source code I studied and in some cases directly ported; and to pascal-source.ru, for making that code available for download.  My thanks to both.

Catching Up: TWB #2 and #3

I’ve been a little bit remiss in keeping up with The Web Behind.  I think that’s irony?  Or maybe it’s just a bummer.

Anyway, the second episode, starring Steve Champeon, was recorded and released last week.  Hear about SGML and HTML, progressive enhamcement, the inside and little-known story of the WaSP’s success, and more.  I learned at least one thing I had never heard before, and Steve’s just a fun guy to talk to regardless of topic, so hopefully you’ll find it as interesting as I did.

Next week, we’ll be recording our third guest, Dave Shea, on the afternoon of Wednesday, October 17th (a week from today!).  In addition to being a pretty darned fantastic designer, Dave is of course the mastermind behind the groundbreaking CSS Zen Garden.  We’ll spend our time talking about that and other products of Dave’s brilliance, like CSS Sprites and Chalkwork Icons, as well as find out what he’s been doing of late.  Jen and I hope you’ll join us!

Pricing ‘CSS:The Definitive Guide’

When I announced the serial publication of CSS: The Definitive Guide, Fourth Edition, I failed to address the question how pricing will work.  Well, more decided to break it out into its own post, really.  As it turns out, there are two components to the answer.

First component is the pricing of the pre-books.  Roughly speaking, each pre-book will be priced according to its length.  The assumed base for the electronic version is $2.99, and $7.99 for the print version, with significantly longer pre-books (say, one where two chapters are combined) priced somewhat higher.  How much higher depends on the length.  It’s possible that prices will drift a bit over time as production or printing costs change, but there’s no way to guarantee that.  We’re basically pricing them as they come out.

At the end of the process, when all the chapters are written and bundled into an omnibus book edition, there will be discounts tied to the chapters you’ve already purchased.  The more chapters you bought ahead, the deeper the discount.  If you bought the pre-books direct from O’Reilly, then you’ll automatically get a discount code tailored to the number of pre-book you’ve already bought.  If you bought them elsewhere, then O’Reilly’s customer service will work to create a comparable discount, though that will obviously be a slower process.

The second component is: how much will the codes cut the price of the final, complete book?  That I cannot say.  The reason is that I don’t know (nor does anyone) what minimum price O’Reilly will need to charge to cover its costs while taking into account the money already paid.  I’m hopeful that if you bought all of the pre-books, then the electronic version of the final book will be very close to free, but again, we have to see where things stand once we reach that point.  It might be that the production costs of the complete book mean that it’s still a couple of bucks even at the deepest discount, but we’ll see!  One of the exciting things about this experiment is that even my editor and I don’t know exactly how it will all turn out.  We really are forging a new trail here, one that I hope will benefit other authors—and, by direct extension, readers—in the future.

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