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Cold Storage

I furnished my last design studio with bespoke Danish shelving, three Eames desk units, nine glass tables, 12 chairs, etc. When I closed the studio I moved the furnishings plus a few hundred design books—including books I’d written, foreign translations of my work, books by other designers that I’d published, translations of some of those books, oversized and rare design books, books signed by their authors and sent to me, and so on.

I could not fit the Danish shelving into my apartment—hell, it’s too large to fit into the elevators in my building. I gave away the Eames Desk units and fancy chairs. I managed to drag home my tulip chair and ball chair. Everything else went into a storage unit in Chelsea. It was an easy walk from my old studio to the Chelsea storage unit, and a healthy walk from my apartment to the unit. Every month I paid around $400 for the privilege of storing the stuff.

When companies buy other companies, employees and customers lose big.

At some point Chelsea Storage sold out to another company, which then sold to a third company, located somewhere in the middle of the Bronx.

That company didn’t tell me they’d moved my stuff, did not contact me about it, and certainly did not obtain my consent before moving it. I assume they were equally cavalier with the other existing customers. They didn’t even send a new contract.

Instead, they jacked up the monthly rate to $500 and began charging my old studio zeldman company card. I didn’t notice, and I cancelled the card soon afterwards, as you do when you close a business. Oops!

When their automated bills to me stopped getting getting paid, they naturally took responsibility for their mistake and reached out to me cordially.

I kid of course. What they did was send my account to a collection agency.

Ring-ring, my telephone’s talking.

When the agency reached me by phone and I inquired politely who they were (remember, nobody had contacted me), they explained grudgingly that I owed a few thousand dollars in back rent on the storage place I’d never heard of and had never contracted with.

I asked, what if I remove my stuff from your unit? They said, you can’t remove it until you pay us the back fees.

I went into debt to do so—at the time my partners and I were saddled with painful closing costs from shuttering our conference and publishing companies, so it was just more kindling for the big fire of business debt.

Once I got the money together to pay them off, they sent me a new two-year contract. I had no choice but to sign it.

A brief calm settled in. For a time, $500 flew out of my bank account every month and was directly deposited to these crooks’ account because I now had an ironclad contract with them and there was no other place to put my stuff.

I never visited the location or looked at my stuff. The whole thing might be a scam. For all I know, they set the old units on fire and are billing me for an imaginary storage space.

In any case, I’m an adult and a professional, and I don’t want my credit hurt any worse by debt than it has to be, so naturally I continued to pay them, telling myself I would shop around and find a closer and more affordable storage option soon, but this would do for now. And now, as is its frequent habit, soon stretched into years.

Bad business, meet bad software.

Then about six months ago, the company either changed their name again, or sold to a new owner, or for some other reason (rabies? astrology?) decided that since auto-pay through my bank worked fine and got them paid each month, they would stop using it.

Whatever the rationale, they stopped accepting payment from my bank and sent a boilerplate email telling me to visit their new custom payment website and leap backwards through my own anus each month to pay their increased fee with the least convenience possible.

Listen. There’s good payment software out there. You know it. I know it. My company makes some of the best, and, before I joined Automattic, my old studio had a partnership with another great shopping platform. But people who buy storage units without informing their customers don’t use or know about such things. They typically find some terrible software that’s built cheaply, quickly, and badly, and that’s what these folks did.

Remember: Good UX is what companies do when they have to. A company that has your stuff locked away doesn’t have to.

You’ll never guess what happened next.

Their new website has never ever worked for me.

Thus, every month I get an automated, threatening text demanding immediate payment via their website that never works. Every month I try.

I squander a good 20 minutes trying to log in. Every month the terrible website no longer accepts my password. Every month I create a new password which sometimes works for that month only, and then never again, and sometimes doesn’t even do that. (Because the new password process demands access codes and other information they have never sent me, so I cannot provide it.)

Inevitably, every month I reach out to them, explain the situation—not the part about them being shitheads whose business model is extractive and whose lousy business practices undoubtedly violate dozens of consumer protection laws. I never complain about any of that, because why burden an overworked phone operator, who has naught to do with the company’s policies? Besides, you attract more flies with honey, etc. So I just tell them—as if it is news; as if it hasn’t happened every month before—that I’m locked out of the site so cannot pay them, and politely ask them to send me a new temporary password so I can pay them.

Invariably they ignore me at first, because of course that’s what a company like this would do.

Typically they phone me a few dozen times—but I never pick up when they do. Eventually, they do what I asked. Which enables me to send them $500 that one time. Next month I’ll face the same hassle. And every month after that. For the privilege of believing that my precious book collection and those glorious shelves still exist somewhere, safely housed from storm and fire and mildew.

I know the solution is to journey to the Bronx twice: First time, to see if I even have a storage unit at the place, what’s in it, and what options I may have. (Switch to smaller, cheaper unit? Drag everything to the street?) Second time to take every stick of furniture out of their shitty business and find other places for it. Assuming any storage business in NYC behaves ethically, of course. Which, hey, eventually, with our new mayor, may happen. But hasn’t yet and I wouldn’t lay odds.

And whenever I actually have enough days off in a row to consider tackling this problem and putting it behind me, something else comes up—I’m sick, or my kid’s sick, or I just don’t feel like traveling to the Bronx to argue with some nice person who needed a job and has nothing to do with the bullshit their company inflicts on its customers. (After all, the company is likely even shittier to its employees than it is to its customers.)

For years, now, this thing has been like a small cancer in my life—like a painful wart in a private place—and I still can’t bring myself to deal with it. Blame it on PTSD and anxiety disorder. Anyway:

I never make new year’s resolutions but hear me now: Before this year ends, I will resolve this, if only just to symbolically give the finger to every low-down, chiseling, extractive business in Christendom as personified by these feckless fucks.

First post of 2026: Done. Apologies for not writing it prettier.

Bonus treat: studio.zeldman 3D walkthroughRoland Dubois.

Categories
business Design Ideas

Behind every successful launch, there are 100 interesting failures. 

We must stop thinking of failure as an end of something, and learn to see it as a natural part of progress. The first incarnation of a new idea may die, but the best ideas will find new lives. Behind every successful launch, there are 100 interesting failures. 

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Career glamorous

Staying relevant

Or not.

My fears melted away. And in their place came acceptance. All this vast majesty of creation. It had to mean something. And then I meant something, too. Yes, smaller than the smallest, I meant something too. To God, there is no zero. I still exist. — 
The Incredible Shrinking Man (1957)

AKA:

How I feel after not updating Designing With Web Standards or writing a new book since 2013.

AND:

And also how I feel now that there’s no longer a single, agreed-upon digital town square (and, further, now that the biggest one, where I once enjoyed a hefty following for some pixel pusher, has turned into a N*zi bar, where I no longer choose to spend time).

And since Covid killed the conference I co-founded, and I cut way back on travelling and giving conference talks and focused on paying off the debts we were left with.

And since financial reality forced us to kill our publishing company, too. So many nice things, all gone.

I had the world, or at least a wee piece of it, by the eyeballs, and, not entirely by my own choice, bit by bit, I let it go.

Kinda depressing, sure. But also, and mainly, pretty liberating.

I also learned something about people and friendship, and remembered something about the passing of all things.

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37signals A Book Apart A List Apart Acclaim Adobe An Event Apart books Brands business Career Collectibles Community conferences content Coudal Partners Deck, the Designers E-Books editorial eric meyer Ethan Marcotte Free Advice glamorous Grief Happy Cog™ HTML5 Indieweb industry Jason Santa Maria Jeremy Keith launches Mentoring My Back Pages New York City NYC Products Publications Publisher's Note Publishing Responsibility Responsive Web Design San Francisco Small Business speaking State of the Web Surviving The Essentials The Profession This never happens to Gruber Typekit User Experience UX Wah! Web Design Web Design History Websites Wit and Wisdom Working writing zeldman.com

Of Books and Conferences Past

Some of A Book Apart’s 50-odd primary paperbacks, arranged like a color spectrum, and photographed against a piece of wood.

Just as nobody who marries spends their wedding day planning their divorce, almost nobody starts a business contemplating what rocks it will eventually splinter and break upon, and how to build a life raft for themselves.

I take that back. Some folks I know, who played pivotal roles in the evolution of the web, actually started their businesses with a clear goal of selling them to somebody bigger. Like Typekit was designed to sell to Adobe. Or Blogger was designed to sell to Google.

Such folks, several of whom are now post-economy wealthy, lived in the Bay Area in the 1990s and early 2000s, where building to flip was widely discussed and accepted.

Meanwhile, in NYC…

I, on the other hand, live in New York. So I started my web businesses (like Happy Cog™ design studio) to serve clients, as NYC creatives have always done, and with no understanding that I would one day need to leave the company and should have an exit plan. Why would I exit? Why would I ever stop doing work that brought excitement and meaning to my life?

Similarly, I started my personal site with its “Ask Dr. Web” tutorials in 1995, and co-founded my web design publication, A List Apart, in 1997, for the sheer joy of sharing knowledge, with no concept of making money, let alone of one day selling the business.

Eventually, despite my naivete, and mostly thanks to Jim Coudal and Jason Fried, A List Apart began making money by running one carefully screened ad per page. I used that money, as you will expect, to pay our writers, editors, and producers. And when it came time to stop running ads, I slowed our publication schedule, paid writers out of my own pocket, and worked with a small crew of fellow volunteers, who published ALA because we believed in the mission. (Still do.)

If I had come of business age in San Francisco, I likely would have sold A List Apart to somebody like O’Reilly, but that was never my plan because I make toys to play with, not to give away.

An ecosystem apart

In spite of A List Apart’s running at a loss, in the early 2010s I co-founded two businesses that spun out of it: An Event Apart design conference with Eric Meyer, and A Book Apart with Mandy Brown (later replaced by CEO Katel LeDu) and Jason Santa Maria. And during those first years, business was great.

We published HTML5 For Web Designers the day after Steve Jobs, waving an iPhone on the world’s biggest stage (okay, sitting at his desk), announced that Flash was dead because HTML5 would bring app-like dynamism to the web using open standards instead of proprietary code. It (our first book, I mean) sold brilliantly. “Gee, publishing isn’t that hard” I naively told myself. (No, I knew it was hard. My favorite publishers had been laying off my favorite editors for ten years before my partners and I took the plunge. But the early success did make me think the books we published about web design would always find a large, eager audience. In time, I would learn otherwise.)

And while we began the publishing house by relying on the best writers we knew personally to write about the topics they were most passionate about, I’m proud to say that, as we went along, we also discovered brilliant first-time book authors, helping them create perfectly polished, fluff-free manuscripts that made genuine contributions to our readers’ understanding of UX and all it entails. (And not just to our readers. The insights they brought to their work after digesting our books rubbed off on their colleagues.)

In giving these brilliant writers a platform, we not only helped them take their careers to the next level, we also helped people who create web content think and work better, which in turn helped the people who used the websites, applications, and products our readers designed and built. Of that, I am proud.

Stay hungry

An Event Apart (RIP) was also a damned fine early success. Web designers liked our innovation of a multi-day, single-track conference, with a holistic approach to web design, code, and content, and unifying themes between the individual talks. Our freaking-amazing speakers debuted Huge Ideas including Mobile First and Responsive Web Design—ideas which, like perfect contextual menus in UX, arrived at the very moment designers needed them.

Not only that, but these humble geniuses also sat in the auditorium with our audience for all three days of each conference event: listening to each other’s presentations, and updating their own presentations to better bounce off each other’s ideas and the evolving themes of that particular show. 

I could spend hours telling you how our producer Toby M. made miracles happen at every show, or how person-in-charge Marci E. brought joy to our community. How many of our speakers became authors. How some “graduated” from An Event Apart as newcomers replaced them. How the diversity of our speaking line-up, which wasn’t terrific in 2008, improved greatly each year. (Not that we ever said, “We need another black speaker” or “We need a trans speaker” or what-have-you. Just that we learned to swim outside the pool we came from, and discover great talent everywhere.) Our speakers were also almost uniformly Just Nice Good People, which doesn’t always happen when you’re collecting the greatest minds in an industry. 

That’s not even to mention the incredible people who attended our shows, some of whom became lifetime friends for me.

So why, given the joy these businesses brought to everyone connected to them, including me, would my partners and I have even conceived of an exit strategy? We wanted the Good Times to roll on forever.

But of course they never do.

Things end

COVID did in An Event Apart. Some conferences survived, of course. Different priorities, different overheads, different business models. Some that survived do not pay their speakers. Others, where the conference is an adjunct to a bigger business, laid off or reassigned conference staff while the pandemic made live events impossible. Others that survived mostly rely on volunteer labor, whereas we had paid staff. They were worth their weight in platinum, and we’d have paid them more (because they were worth more) if the pandemic and six-figure hotel contracts hadn’t made continuing the show impossible. My partner and I earned nothing during the business’s last five years, and got personally stuck with a six-figure debt when the event closed. It is what it is.

Although books should be COVID-proof, multiple financial problems eventually beset our publishing house as well. For most of the run of the business, my partner and I earned nothing beyond the glow of contributing to our community’s knowledge. We paid our CEO, authors, and editors, kept nothing for ourselves, and tried, oh how we tried, to keep the business going as its revenues tanked.

Speaking only for myself, I’ve learned that I am good at starting businesses and keeping them going creatively, as long as somebody else figures out the money. I suck at that, and I’m obsessed with the notions of fairness and self-sacrifice that were drummed into me by a narcissistic family that valued me for taking on the roles they were emotionally incapable of handling—such as bringing up my baby brother in my father’s absence, which no child is  equipped or should be asked to do, and yet it happens all the time. Growing up this way made me put my own self-interest last. Which is also why it never occurred to me to plan an exit. And by the time I needed to do so, the businesses were not in shape to sell.

Closing a conference is bad, but attendees can go to other conferences, and speakers can speak at other conferences; closing a conference doesn’t end a community. It sucks for the business but doesn’t strand participants.

But closing a publishing house hurts like hell, and you feel you let everybody down. I know how much our closing hurt some of our authors, and I think about that, instead of the good we achieved, when I look back. 

No doubt when my partner and I write the large personal checks to cover our deceased business’s outstanding debts, we’ll be regretting the harm our closing caused, not basking in the warm glow of how many careers we changed for the better. Like the standup comedian who obsesses about the guy who’s frowning at table 3, and doesn’t hear the laughter of the rest of the crowd. We also, hopefully, won’t focus too closely on our financial wreckage. Just pay the bill, and move on.

Anyway, I hadn’t publicly addressed the endings of these businesses, so I figured it was time to do so. I’m sharing my experience only. If you ask any of the people I worked with on these projects, they might have a different story to tell. And that would be their story, and it would be every bit as valid as anything I’ve said here.

I also didn’t ask permission of my partners, speakers, or authors before sharing these thoughts. Probably I should have. But, hey. As I’ve said. I’m speaking here only for myself.

So, anyway.

Parting gift

Is it worth the risk of starting a web-related business that isn’t a venture-backed startup? I still think it is, and I applaud all who try. Heck, I might even do so myself someday. If you’re doubtful because of (((gestures at everything))), it might be worth noting that I started Happy Cog™ during the dot-com crash, when studios were closing all around me. And we launched A Book Apart during the world financial crisis of late 2008. Don’t let (((all this))) deter you from trying something bold. Let me know when you do. I’ll keep watching the skies.

P.S. Under swell third-party ownership and management, Happy Cog is still going strong. Check it out!

Categories
"Digital Curation" Acclaim art direction creativity CSS Design Designers Ideas IXD Layout links mobile State of the Web Typography User Experience UX Web Design Web Design History Websites

Web Design Inspiration

If you’re finding today a bit stressful for some reason, grab a respite by sinking into any of these web design inspiration websites.

Gathered from conversations on Reddit and elsewhere, each site offers a collection of other sites’ designs, chosen for impact, originality, and innovation. Each collection should offer at least a few designs that will inspire your own ideas and creativity—and most contain more than a few. Lots more.

We make no claims as to usability, accessibility, or appropriateness of design. Which doesn’t mean that the chosen websites are unusable, inaccessible, or inappropriate to the brand, subject matter, or needs of the audience. Indeed, from the care devoted to the graphical interface, we assume that many of these sites are as good under the hood as they are on the surface. But it’s just an assumption; we haven’t tested, and the point of this post is purely to share visual and creative inspiration. Enjoy!

And for dessert…

Enjoy https://betteroff.studio/, an individual studio’s rhythmically organized, sensory-appealing design.

Categories
apps Archiving art Design Illustration My Back Pages Web Design Web Design History

For love of pixels

Sure, watches that tell you when you’re walking unsteadily and pocket computer phones that show you the closest pizzeria are swell, but were you around for ResEdit? That humble yet supremely capable Macintosh resource editing tool is what we used to design pixel art back in the day. (And what day was that? Come August, it will be 30 years since the final release of ResEdit 2.1.3.) Stroll with us down memory lane as we celebrate the pearl anniversary of pixel art creation’s primary progenitor, and some of the many artists and design languages it inspired. Extra credit: When you finish your stroll, consider posting a Comment sharing your appreciation for this nearly forgotten art form and/or sharing links to additional pixel art icon treasures missing from our list below.

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Authoring Best practices Blogs and Blogging Code Compatibility CSS Design development Free Advice Future-Friendly HTML industry Layout links maturity Off My Lawn! Platforms Rants Responsibility Standards State of the Web The Profession Web Design Web Design History Web Standards wisdom

The More Things Change… (or: What’s in a Job Title?)

I’m not a “[full-stack] developer,” regardless of what my last job title says.

I’m not even a front-end developer, thanks to the JavaScript–industrial complex.

I’m a front-of-the-front-end developer, but that’s too long.

So, I’m a web designer. And I also specialise in accessibility, design systems, and design.

…Why do I think that this is the best title? Here’s why.

I’m designing for the web. The infinitely flexible web. The web that doesn’t have one screen size, one browser, one operating system, or one device. The web that can be used by anyone, anywhere, on any internet connection, on any device, on any operating system, on any browser, with any screen size. I’m designing with the web. Using the web platform (HTML, CSS, JS, ARIA, etc.), not a bloated harmful abstraction. I have a deep understanding of HTML and its semantics. I love CSS, I know how and when to utilise its many features, and I keep up-to-date as more are added. I have a strong understanding of modern JavaScript and most importantly I know when not to use it.

Front-end development’s identity crisis by Elly Loel

See also:

The Wax and the Wane of the Web (2024): Forget death and taxes. The only certainty on the web is change. Ste Grainer takes a brief look at the history of the web and how it has been constantly reinvented. Then he explores where we are now, and how we can shape the future of the web for the better. – A List Apart

The Cult of the Complex (2018): If we wish to get back to the business of quietly improving people’s lives, one thoughtful interaction at a time, we must rid ourselves of the cult of the complex. Admitting the problem is the first step in solving it. – A List Apart

Dear AIGA, where are the web designers? (2007): For all the brand directors, creative directors, Jungian analysts, and print designers, one rather significant specimen of the profession is missing. – zeldman.com

Standardization and the Open Web (2015): How do web standards become, well, standard? Although they’re often formalized through official standards-making organizations, they can also emerge through popular practice among the developer community. If both sides don’t work together, we risk delaying implementation, stifling creativity, and losing ground to politics and paralysis. Jory Burson sheds light on the historical underpinnings of web standardization processes—and what that means for the future of the open web. – A List Apart

The profession that dare not speak its name (2007): “No one has tried to measure web design because web design has been a hidden profession.” – zeldman.com

Categories
Accessibility Design IXD Usability User Experience UX

A faster horse

“The user is never wrong” means, when a user snags on a part of your UX that doesn’t work for her, she’s not making a mistake, she’s doing you a favor.

To benefit from this favor, you must pay vigilant attention, prioritize the discovery, dig deeply enough to understand the problem, and then actually solve it.

In so doing, you will not only be secretly thanking the user who discovered your error, you’ll be aiding all of your users, and ultimately, attracting new ones.


Think about this tomorrow. For today, Happy Labor Day to all who toil.

Categories
Design industry Information architecture

My Liz Danzico Joke

I used to tell a joke I made up. An American goes to the Vatican on Easter Sunday, joining a huge crowd of worshippers who gaze up in awe at a raised platform. On the platform stands the Pope. Beside him is Liz Danzico.

The American turns to a nearby man and asks, “Excuse me. Who is that with the Holy Father?”

The man answers, “I don’t-a know who’s the guy in the pointy hat, but that’s-a Liz Danzico up there.”

Categories
Design social media social networking software twitter

“A $44 billion version of MySpace.”

The beautiful Twitterific icon, designed by The Iconfactory. Rest in peace.

My longtime friend and former collaborative partner Craig Hockenberry bids a dignified adieu to Twitterific, Twitter, and his mom … and calls for a standards-based universal timeline. — The Shit Show

Categories
art art direction creativity Design Designers experience Illustration industry New York City NYC people Portfolios Startups Stories Web Design

Looking Back, Looking Ahead: artist Dan Licht

Illustration by Dan Licht: a scary cowboy smoking a stogie and sloshing his drink. His eyes are red and he looks like he's itching for a fight.
Illustration by Dan Licht
Illustration by Dan Licht.

In 1999, I had the good fortune to work alongside Dan Licht at an NYC digital startup called SenseNet, RIP. Back then, although still in his early 20s, Dan was already an accomplished art director and digital designer. Today he’s a fantastic comics illustrator, artist, and creative director. Check his recent art on Instagram and his client work at Daniel V. Licht dot com.

A heroic letter carrier is pictured sending letters on their way in this illustration by Dan Licht. The picture has a great deal of energy, and the action is all flying toward you, the viewer.
“Protect the U.S. Postal Service,” a 2020 illustration by Dan Licht.
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An Event Apart Appearances art direction better-know-a-speaker books Career conferences Design Designers Education events Genius glamorous Illustration industry Interviews New York City NYC Off My Lawn! speaking Stories Surviving Teaching The Profession UX Web Design Web Design History work

My Night With Essl

Mike Essl and I discuss his portfolio.
Mike Essl and I discuss his portfolio on Night 2 of An Event Apart Online Together Fall Summit.

Herewith, a scene from last night’s interview with legendary web & book designer (and Dean of The Cooper Union School of Art) Mike Essl, who shared his portfolio, career highlights, early web design history, and more. Fun!

If you get a chance to meet, work with, or learn from Mike, take it. He’s brilliant, hilarious, warmly human, and one of the most creative people you’ll ever have the good fortune to know. 

Mike Essl

So ended Day 2 of An Event Apart Online Together Fall Summit 2021. Day 3 begins in less than two hours. You can still join us … or watch later On Demand.

Categories
Advertising Best practices Career creativity Design Designers glamorous links work Working

Never give up

This story is a bit long, but I promise it will be worth it, because it contains the two most important principles every designer must know and take to heart if you intend to do great work anywhere, under almost any circumstances, over the long, long haul of your career.

Sticking To It – fresh from JZ in Automattic.Design
Categories
Advertising Career Design glamorous

The Whims

One of my first professional jobs was at a tiny startup ad agency in Washington, DC. The owner was new to the business and made the mistake of hiring a college buddy as his creative director. This guy was not up to the job. He was not the slightest bit curious about our clients’ businesses, or what mattered to their customers. His day was one long lunch hour bookended by naps. He thought we couldn’t hear him snoring through the closed door of his office.

Once a day, he would call a “creative meeting” to discuss whichever project would soon fall due. He would not bring sketches, or notes, or a creative brief to these meetings. Instead, he would “lead a creative brainstorm,” which meant we had to listen to him spout whatever shallow, idiotic idea proposed itself to his limited mind at that moment. We were then supposed to leave the room and execute his so-called “concept.” It didn’t matter if the idea was derivative of someone else’s widely known better ad, or if it was superficially cute but meaningless, or wrong in tone, or more likely to hurt than help the client’s business. He had spoken, and that was that.

Needless to say, after a few weeks—and even though they were old friends—the agency owner realized he had to fire this creative director. After all, it was widely agreed, a quarter-page newspaper ad for a local Ford dealership was far too important to entrust to the whims of an imbecile.

Categories
Advocacy art direction Design Designers Ideas industry interface IXD Jason Santa Maria links Off My Lawn! Redesigns Responsive Web Design State of the Web Tech The Profession User Experience UX Web Design Web Design History webfonts

The Web We Lost: Luke Dorny Redesign

Like 90s hip-hop, The Web We Lost™ retains a near-mystical hold on the hearts and minds of those who were lucky enough to be part of it. Luke Dorny’s recent, lovingly hand-carved redesign of his personal site encompasses several generations of that pioneering creative web. As such, it will repay your curiosity.

Details, details.

Check Luke’s article page for textural, typographic, and interactive hat tips to great old sites from the likes of k10k, Cameron Moll, Jason Santa Maria, and more. 

And don’t stop there; each section of the updated lukedorny.com offers its own little bonus delights. Like the floating titles (on first load) and touchable, complex thumbnail highlights on the “observer” (AKA home) page. 

And by home page, I don’t mean the home page that loads when you first hit the site: that’s a narrow, fixed-width design that’s both a tribute and a goof.

No, I mean the home page that replaces that narrow initial home page once the cookies kick in. Want to see the initial, fixed-width home page again? I’m not sure that you can. Weird detail. Cool detail. Who thinks of such things? Some of us used to.

And don’t miss the subtle thrills of the silken pull threads (complete with shadows) and winking logo pull tab in the site’s footer. I could play with that all day.

Multiply animated elements, paths, and shadows bring life to the footer of Luke Dorny’s newly redesigned website.

Now, no site exactly needs those loving details. But danged if they don’t encourage you to spend time on the site and actually peruse its content

There was a time when we thought about things like that. We knew people had a big choice in which websites they chose to visit. (Because people did have a big choice back in them days before social media consolidation.) And we worked to be worthy of their time and attention.

Days of future past

We can still strive to be worthy by sweating details and staying alive to the creative possibilities of the page. Not on every project, of course. But certainly on our personal sites. And we don’t have to limit our creative love and attention only to our personal sites. We pushed ourselves, back then; we can do it again.

In our products, we can remember to add delight as we subtract friction.

And just as an unexpected bouquet can brighten the day for someone we love, in the sites we design for partners, we can be on the lookout for opportunities to pleasantly surprise with unexpected, little, loving details.

Crafted with care doesn’t have to mean bespoke. But it’s remarkable what can happen when, in the early planning stage of a new project, we act as if we’re going to have to create each page from scratch.

In calling Luke Dorny’s site to your attention, I must disclaim a few things:

  • I haven’t run accessibility tests on lukedorny.com or even tried to navigate it with images off, or via the keyboard.
  • Using pixel fonts for body copy, headlines, labels, and so on—while entirely appropriate to the period Luke’s celebrating and conceptually necessary for the design to work as it should—isn’t the most readable choice and may cause difficulty for some readers.
  • I haven’t tested the site in every browser and on every known device. I haven’t checked its optimization. For all I know, the site may pass such tests with flying colors, but I tend to think all this beauty comes at a price in terms of assets and bandwidth. 

Nevertheless, I do commend this fine website to your loving attention. Maybe spend time on it instead of Twitter next time you take a break?

I’ll be back soon with more examples of sites trying harder.


Simulcast on Automattic Design