Jeffrey Zeldman's Blog, page 5

Designer Jonathan Lee

Meet Jonathan Lee

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The gift of a three-month sabbatical

It was late winter when my sabbatical began, and it’s late spring as it comes to an end. Next week I return to my post after three months’ paid leave, courtesy of Automattic’s sabbatical benefit. Three months. A season. With full pay, and zero work responsibilities. In a job full of rewards, this is perhaps the greatest perk. Here’s why:

You work for so much of your life that your time passes in a blur. You don’t even notice it hastening by until someone or something calls your attention to a past milestone. 

And then suddenly, into this rushing blur, comes an uncanny gift: back-to-back days that are yours, to do with as you choose. For a long enough period of time that your work brain quiets. For the first time in years, you have a chance to reflect on who you are, and where you are right now. To see where you’re going, and consider whether it’s still the right destination for the person you’re becoming. To think about who’s traveling with you.

During my sabbatical, I was able to renovate my apartment and rid it of books, furniture, and clothing I no longer need. Without three months to call my own, I would never have had the insight to seek these changes, let alone the time and energy to implement them correctly. 

And because I had time, loads of it, three big swollen months of it, I was able to make these moves calmly and judiciously, instead of rushing anxiously, bungling things because I had to make snap decisions, and regretting the mistakes for years. 

The gift of time also let me and the people I care most about look at ourselves, rejoice in all the good, and sand down a few rough edges.

Thanks to the sabbatical, I also tripled my daily steps. Admittedly, I started from a low step count because I am still recovering from Long COVID, and because I am slightly arthritic (age, old injuries), and because I tend to sit in my chair for huge swaths of physically inert hours, speed typing and mousing and forgetting to get up and get out. My father was always working, and so have I been. And I’ve let my anxiety (always a problem, but worse after COVID) turn me into a chair-bound workaholic, even though I know better. 

I do not blame my job for the way I’d let myself run down. The job encourages us to have balance in our lives. I ignored that advice. But when I return to work, I will follow it. Because of this time in which I have luxuriated as if it were a warm bath, I have built new health habits that I will carry forward into my return to work.

I’ve even made some mature (and long overdue) decisions about what and how much I share online. Again, it’s all thanks to the amazing gift of this sabbatical. (Forgive me if following some of the older links here or on my disparate social feeds leads you to dead ends.)

I plan to use my next sabbatical for traveling, but I’m thrilled with how I spent this one, and I will always be grateful for this wonderful gift of time.

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Ah yes, the famous “intern did it” syndrome

Soon after we launched A List Apart Magazine, we began to notice other websites reusing our content (including illustrations) without permission, and often without so much as a credit. As that violated our author’s copyrights and ours, we’d invariably reach out to the makers of those websites with brief, politely worded takedown requests. 

Not every content poacher was contactable, but those we did reach almost always quickly complied with our requests. They also nearly always claimed that an “intern” or “freelancer” had grabbed the content without their knowledge or permission. Some, perhaps fearing that we might be litigious, even went so far as to tell us that they’d “fired” the imaginary intern/freelancer the instant we informed them of the issue.

We always pretended to believe them.

Why? Because letting embarrassed people save face is kind. It also helps the whole interaction go more smoothly. Besides, the amateur pillager claiming “the intern did it” today may be your colleague or friend tomorrow.

I recalled this common awkwardness yesterday after a former US president who’s running for reelection blamed Nazi language in his social media post on a “staffer.” It would seem the buck stops anywhere but here.

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Indigenous

The definition of “Zionist” that I’ve always used is a person who believes the Jews deserve a state where they can be safe. That is something I believe. I also believe the Palestinians deserve a state where they can be safe, the Israeli occupation has been a disaster and Benjamin Netanyahu needs to be replaced.

As for the suggestion that Jews, or more precisely Ashkenazi Jewish Israelis — those of European heritage — should book a one-way ticket to Warsaw, I realize it’s not a point of view representative of the whole of the protesters on U.S. campuses. Yet it is undeniably a reflection of the “settler colonialist” position on Israel, a narrative that has gained traction despite more than half of Israeli Jews being Mizrahi — that is, from the Middle East. Palestinians and Israelis are two Indigenous peoples occupying the land that is being fought over.

—Have we learned nothing? by Seth Greenland, Los Angeles Times

Also available from Apple News

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Suckage begins here: why search engines now prioritize advertising over good UX

This kind of virtuous rising tide rent, which benefits everyone, doesn’t last. Once the growth of the new market slows, the now-powerful innovators can no longer rely on new user adoption and collective innovation from a vibrant ecosystem to maintain their extraordinary level of profit. In the dying stages of the old cycle, the companies on top of the heap turn to extractive techniques, using their market power to try to maintain their now-customary level of profits in the face of macroeconomic factors and competition that ought to be eating them away. They start to collect robber baron rents. That’s exactly what Google, Amazon, and Meta are doing today.

— Tim O’Reilly, Rising Tide Rents and Robber Baron Rents: The Replacement of Organic Search with Advertising by Google and Amazon and What That Might Mean for the Future of AI

See also:

The Man Who Killed Google Search by EDWARD ZITRON:  This is the story of how Google Search died, and the people responsible for killing it. (Hat tip: mORA.)

Search Party (2009): Triple Issue No. 292 of A List Apart, for people who make websites, is all about search. By JOHN FERRARA, AVINASH KAUSHIK, and LOU ROSENFELD.

Illustration: Kevin Cornell

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This Web of Ours, Revisited

ONE MONTH and 24 years ago, in “Where Have All the Designers Gone?” (my HTMHell design column for Adobe of March 20, 2000), I discussed the deepening rift between aesthetically focused web designers and those primarily concerned with creating good experiences online:

More and more web designers seem less and less interested in web design.

Over the past 18 months or so, many of the best practitioners in the industry seem to have given up on the notion that a low-bandwidth, less than cutting-edge site is worth making. Much of the stuff they’ve been making instead has been beautiful and inspiring. But if top designers wash their hands of the rest of the Web, whose hands will build it, and whose minds will guide it? The possibilities are frightening.

An Imperfect Medium for Perfectionists

Why were many of the leading graphic designers and studios at the time uninterested in web design? For one thing, designers trained to strive for visual perfection found the web’s unpredictability depressing. The article provided clues to the frustrations of the time:

Good designers spend hours tweaking typography in Illustrator and Photoshop. Then visitors with slow connections turn off images.

Of course, where professionals trained in graphic design saw a distressing lack of control, others glimpsed in the infant technology a tremendous potential to help people, pixel-perfection be damned. To reduce the conflict to a cartoon, you might characterize it as David Carson versus Jakob Nielsen—though doing so would trivialize the concerns of both men. Designers already charged with creating websites found themselves somewhere in the middle—barking themselves hoarse reminding clients and managers that pixel-perfect rendering was not a thing on the web, while arguing with developers who told designers the exact same thing.

Visually inspiring websites like K10k showed that the web could, if approached carefully and joyfully, provide aesthetic delight. But many designers (along with organizations like AIGA) were unaware of those sites at the time.

Us and Them

Another source of tension in the medium in 2000 sprang from the discrepancy between the privileged access designers enjoyed—fast connections, up-to-date browsers and operating systems, high-res monitors (at least for the time) offering thousands of colors—versus the slow modems, aging and underpowered computers, outdated browsers, and limited-color monitors through which most people at the time experienced the web.

Which was the real design? The widescreen, multicolor, grid-based experience? Or the 216-color job with pixelated Windows type, a shallow “fold,” and pictures of headline text that took forever to be seen?

To view your masterpiece the way most users experienced it, and at the syrup-slow speed with which they experienced it, was to have an awakening or a nightmare—depending on your empathy quotient. Some designers began to take usability, accessibility, and performance seriously as part of their jobs; others fled for the predictability of more settled media (such as print).

A New (Old) Hope

My March, 2000 article ended on an upbeat note—and a gentle call to action:

For content sites to attain the credibility and usefulness of print magazines; for entertainment sites to truly entertain; for commerce sites and Web-based applications to function aesthetically as well as technically, the gifts of talented people are needed. We hope to see you among them.

That was my hope in 2000, and, all these years later, it remains my vision for this web of ours. For though the browsers, connections, and hardware have changed substantially over the past 24 years, and though the medium and its practitioners have, to a significant extent, grown the Hell up, beneath the surface, in 2024, many of these same attitudes and conflicts persist. We can do better.

Minus the framesets that formerly contained it, you may read the original text (complete with archaic instructions about 4.0 browsers and JavaScript that broke my heart, but which Adobe’s editors and producers insisted on posting) courtesy of the Wayback Machine.

☞  Hat tip to Andrey Taritsyn for digging up the article, which I had long forgotten.

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Don’t bring venture capital to a knife fight

Contrary to what Imran, Ken, and I’m sure many others at Humane believe, the iPhone didn’t begin with their work in the 2000’s on Project Purple. It began in 1976 with the Apple computer, and the decades of goodwill it built up in consumers. The project was spearheaded by a guy ready to waste billions in iPod revenue if it helped achieve his vision, and he answered to nobody. It came together at the perfect point in time, when everyone knew the power of the Internet, but there wasn’t a way to carry the whole experience in your pocket. You can’t replicate all these factors in a few years, no matter how much money a VC throws at you.

Benjamin Sandofsky, Oh, the Humanity: Why You Can’t Build Apple With Venture Capital

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Both Sides, No

There’s no situation so awful our news media can’t make it worse. In a cowardly, doomed, and deeply misguided effort to appear “balanced” during an emergency that requires plain speaking, our news editors tie headlines into fantastic pretzels of spurious equivalence. In today’s edition of her subscriber-only newsletter, Washington Post columnist Jennifer Rubin tears into an especially egregious atrocity by the copy wizards of The New York Times:

Journalism 101

People on social media and other critics justifiably mocked, derided and denounced the New York Times for the headline, “Two Imperfect Messengers Take On Abortion.” The sub-headline was nearly as bad: “Neither side of the abortion divide would probably design the exact candidate they have in 2024.” This could be the crown jewel of “both-sidesism,” accomplishing that feat in multiple ways.

For starters, it blurs the distinction between Biden’s clear and unwavering position (to write Roe v. Wade into a federal statute) with Trump’s well-documented inconsistencies, deflections and contradictions. These two men simply are not equally deficient communicators. That imbalance in clarity and sincerity actually might determine the campaign’s outcome.

In addition to mischaracterizing the candidates’ relative abilities, this quintessential “process story” diminishes the issue’s moral gravity. You could not imagine a 1942 headline: “Two imperfect messengers take on world war.” Awarding style points, as the story does, trivializes the abortion issue.

Finally, the Times headline amounts to a self-parody of gamified political coverage: “Neither side of the abortion divide would probably design the exact candidate they have in 2024.” (Well, neither team in the World Series would design the exact lineup they have.) In essence, the Times tells us, “No one’s perfect!” — an empty platitude. Journalists owe readers an accurate depiction of the candidates’ vast differences in consistency, clarity and moral seriousness on abortion. Alas, such precision would demand truth-telling in lieu of feigned “balance.”

Washington Post subscribers can view the complete text of today’s newsletter on the paper’s website. You may also sign up to get it in your inbox free of charge.

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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.

Susan Kare website (kare.com) | Susan Kare Apple Macintosh icons (kare.com) | Susan Kare bio (Wikipedia)Iconfactory Freeware icons feat. decades-old works of genius such as this Copland-inspired Apple desktop collectionThe Dead Pixel Society (2014) and founders: “We honor the humble pixel with icon creations designed under 90’s era MacOS constraints: 256 colors, pixel-by-pixel, on a 32 x 32 canvas.” K10k in 2003 (℅ Web Design Museum); mini-bonus: K10k tag on DribbbleMOZCO !GARASH! via Wayback Machine ℅ Flickr post by John RainsfordIntroducing Candybar by Panic and Iconfactory ℅ Wayback MachineDead Pixel Society interview post (zeldman.com) and podcast (Episode № 121 of The Big Web Show featuring Justin Dauer AKA @pseudoroom, creator of the Baby Yoda icon adorning this post).Still online, albeit with missing files after many server migrations: this very website’s 1995 “Pardon My Icons” collection.Semi-related and interesting: “A Pixel Identity Crisis” by Scott Kellum in A List Apart Issue № 342, January 17, 2012

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Akismet means never having to say you’re sorry

The wizards behind AI have been busy lately providing meaningful employment for digital nonpersons.

One of the hottest jobs for non-humans is crafting and deploying website guestbook spam. This market’s on fire!

If you thought the guestbook spam of yore was impressive, you ain’t seen nothing yet. The new, AI-assisted comment spam has improved keyword stuffing, fewer grammatical mistakes, and, best of all, there’s tons more of it. Your Comment section was never so useless!

And we’re not just talking quantity, here; we’re talking quality.

Compared to the spammers of yore, the new signal depressors have a bold confidence that proclaims, “Hello, world! I’m here to waste your time and extinguish what’s left of your hard-won reader community. Watch me work!”

Yes, the bots who shit in your sandbox are bigger, brassier, and better than ever at wasting your readers’ time and abusing your content to score points on the Google big board.

What’s that you say? You’re not a comment spam enthusiast?

In that case, do as I do: use Akismet to keep cruft where it belongs: off your website. Akismet was strong enough for the comment, form, and text spam of the past, and it’s strong enough for the new junk, too.

(Full disclosure: I work at Automattic, makers of Akismet, but I penned this post this morning purely as an Akismet customer, after happily reviewing the blocked comment spam on this here WordPress site of mine. Thanks, Akismet!)

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