We tend to look back to these days with some cringe. Yes, the design and technology of that era were lacking. And there were very few standards to speak of. But there were also plenty of positives.

I’m biased – my web design journey began in this era. Therefore, I have a lot of nostalgia. I’ve written about it a time or 10.

But there are things I miss about those days. Practices and ideas that defined the enthusiasm of the time. Things that have long since faded.

As such, here are some parts of the early web I’d like to see come back – even if only for a day!

The Absence of Big Data

So-called big data wasn’t prevalent in the 90s. Google would plant those seeds in the decade. However, the web was yet to be controlled by trackers and algorithms.

Perhaps we didn’t have the same level of personalization. So what? The side benefit was a lack of manipulation.

We still saw this in the early days of Facebook and Twitter. Remember when your feeds were all in real time? It provided a sense of witnessing things as they happened.

Early search engines had similar perks. You were likely served the same results as someone on the other side of the world. Less convenient? Sure. But also less intrusive.

What we see now is ultimately controlled by companies. We don’t necessarily see the best search results. We see whatever Google’s algorithm deems appropriate.

Social media companies make it harder to view your feeds in chronological order. And advertisements are a little too personal, in my opinion.

It’s easy to understand why things have changed. Manipulating users is a profitable business. Plus, advertisers want to target specific audiences.

Still, I miss the days when the web had more randomness. Stumbling upon something new seems like a lost art.

The Simplicity of Website Design & Structure

“Things were simpler back then.” That’s a common refrain when adults talk about their childhood. I think it also applies to web design and structure.

There’s a good reason for that simplicity. HTML was basic. CSS didn’t even exist for part of this time. And there was only so much we could do with the day’s technology.

I can’t deny the prevalence of poor design. Web design was new. We were all amateurs in a sense. I played a role in making the place a bit unruly!

Even so, the limitations were often a good thing. The dangers of overcomplicating things became apparent. Designers eventually learned that simplicity was better for everyone.

On the other hand, we had very few standards or best practices. Things like performance, security, and accessibility received little consideration.

Today, we tend to overcomplicate things as a default. We use heavy content management systems (CMS) for brochure sites. We make a mess of security. And we use DIY tools without much thought about portability or ownership.

Perhaps the good parts of modern design can stay. But how about a resurgence of simplicity?

The Impact of the Solo Entrepreneur

Entrepreneurship is still possible on the web. It’s the idea that an individual can make an impact with their creativity. That could be a product, service, or even great content.

I think it has become harder for individuals to succeed, though. There are too many mountains to climb.

Those algorithms make it harder to gain visibility. And there are so many people (and bots) competing for attention.

Not to say it was easy back in the day. But originality tended to shine through. Oddities like the Million Dollar Homepage are a prime example.

Early bloggers also had an opportunity to find a core audience. They built niche online communities dedicated to a shared interest.

Tools like WordPress make it easier to self-publish content. But reaching people has become a full-time job. Creators must often rely on sponsors and product placement to gain traction.

It used to be possible for content to spread organically. Search engines weren’t prioritizing big sites over small ones. Thus, anyone had a shot to be seen by potential followers.

What started as a side gig could turn into something more. That’s still possible in theory.

YouTube and TikTok are the flavors of the minute for this. But they are walled gardens. Doing something similar on an open platform is daunting.

The Freedom to Create and Connect

I love to think of the early web as uncharted territory. We couldn’t look to the past when populating this new medium. So, we made it up as we went along.

There were positives and negatives about this. Even then, some used the web for nefarious purposes. But they seemed like dark corners that were avoidable.

The bigger picture was all about freedom. Anyone could create and publish content. And the web would be a vehicle to make positive connections with others.

There was talk of the great potential it held for society. People without a voice suddenly gained one.

The biggest impediment at the time was access to technology. But that could be resolved through cheaper devices and widespread internet. The sky was the limit.

I believed in the web as a change agent. And that the world would be better for these newfound connections.

We haven’t quite gotten there. Repressive regimes have stifled free speech. Bot farms spread misinformation and create division. Large corporations make the rules with little oversight.

The web didn’t become a whole new world. It instead became a reflection of the one we already had.

Say it isn’t so, Tim Berners-Lee.

Letting the Past Guide Us

Here’s the good news: We now have a past era to look to. We can use it as a guide when building the web’s future.

I don’t expect Google, Facebook, or Twitter/X to change their ways. Not without the mandate of a governing body. But we also don’t have to follow their lead.

Those of us who build and publish can keep the ideals of the early web alive. Think of them as small pockets of resistance.

How do we do it? We can start by embracing open tools and platforms. Use a browser that focuses on user privacy. Publish with a CMS that gives you ownership. Support decentralized systems like the Fediverse.

Most of all, pass these lessons to the next generation. They haven’t experienced a truly open web. Show them why it’s worth having.

Perhaps the web was bound to be changed for the worse. But we can still use our little corner of it as a beacon of light.

The post Aspects of the Early Web I’d Like to See Come Back appeared first on Speckyboy Design Magazine.

For example, I take my routine to the next level. I start each morning the same way: I turn on my computer and open the apps I need – all in the same order. Maybe I’m a bit obsessed?

But this behavior goes further. It also applies to the way I build websites. There are certain styles and layouts that I’m comfortable with.

Don’t get me wrong – I do like some variation in how things look. But I also have a preferred way of working. Thus, I become unnerved when someone asks me to change.

There’s both a level of fear and frustration when leaving one’s comfort zone. But it can be a more rewarding experience than our brains will allow us to believe.

Let’s explore why projects outside of our sweet spot can cause such discomfort. Along the way, we’ll discuss some things we can do to meet these challenges with enthusiasm (or cautious optimism, at least).

Finding Your Design Happy Place

Success breeds complacency. That’s why, in the world of sports, it’s incredibly hard to win multiple championships in a row. Maintaining that same level of intensity is difficult.

In web design, successfully completing a project makes us feel great. But it can also result in becoming formulaic in how we do things.

Our process may evolve in some areas. But overall, we do what has led to positive outcomes in the past. It’s a natural reaction.

This approach is also great for efficiency. Especially when we have multiple projects to manage. Repeating these steps allows us to get more done in less time.

That is, until someone comes along and disrupts our happy little pattern.

Thanks for Ruining a Good Thing

Has a client ever asked you to create something that isn’t your style? It can throw you off your game.

I’ve been in this situation before. A client wants a unique layout for their site. Hearing this makes me feel a bit insecure. They were well within their right to ask. But I immediately felt like I was going to fail.

What was I so afraid of? They’re asking me to go beyond my comfort zone. Since I haven’t built this type of site before, how can I possibly succeed? Maybe this project will destroy my confidence. What if I disappoint my client?

This is an irrational way to approach the situation. I’ve been at this for long enough to where I should know better. But, like it or not, that’s usually my first reaction when life takes me to unexpected places. I don’t count it as one of my strengths.

Take a Deep Breath & Come To Reality

The biggest hurdle in these situations is taking the first step. Maybe it’s the fear of failure or the sense that you aren’t good enough. But it seems that the longer you avoid doing uncomfortable things, the worse you feel.

The solution is to get to work. Eliminate any distractions and spend some quiet time with your project. You may find that a decent idea can grow into something better. Pretty soon, you’ll be on your way to a successful outcome.

Problem-solving is a part of design that doesn’t always come naturally. When you’re handed the same problem over and over, you solve it the same way. But when handed a more unfamiliar riddle, you might be unsure of the answer. Uncertainty is uncomfortable, after all.

For me, the initial panic usually gives way to laughter. I wonder why I ever worried in the first place. Practicing patience and allowing myself room to experiment often leads to positive results.

With that in mind, here’s what I’m going to tell myself the next time I face a similar project. Maybe it will help you, too.

• You’re Not Being Punished – Being uncomfortable can be the worst feeling. It’s as if a curse has been put on me. I know that’s not the case (at least, I don’t think it is). But it’s important to remember that this is just another challenge in a life full of them. Others have been through far worse.
• You Might Fail Initially – Your first idea may not be the best one – but that’s OK. You have to start somewhere. Design is a process. And it’s particularly tough when you’re swimming in uncharted waters.
• You’ll Get It – Eventually – Working a different way often requires some trial and error. It also takes a bit more time. Patience and persistence are keys. If you keep working, you’ll end up with the right answer.
• The Experience Will Make You Better – Oftentimes, the best way to combat being uncomfortable with a project is to force yourself to do it. The reward is that you’ll feel more confident about having taken it on. You’ll also be able to lean on this experience when facing future challenges. That’s good because another one is always just around the corner.

It’s All Part of the Job

When you think about it, web design (and life) would be pretty boring if we did things the same way every time. Still, going outside your comfort zone is hard.

Your initial reaction may be to run as fast and far away as possible. But that leads to complacency and stagnation. Neither trait is good for your career.

It turns out that the key to dealing with these situations is to work through your fears and preconceived notions. Along the way, you’ll find that your design skills are much more flexible than you might have thought.

The post Taking Trips Outside of Your Design Comfort Zone appeared first on Speckyboy Design Magazine.

Designers don’t always get to make that decision, though. Clients often provide images for their websites. And they may insist on using a particular image, even if it’s of poor quality.

But there’s still a chance to get the best results. It’s all about understanding the role photography plays in web design. Educating clients (and ourselves) can make a difference.

With that in mind, here are some tips for choosing the best photos for your website.

The Image Subject Should Be Relevant to Your Website

First and foremost, a photo should reflect the subject of your content. It’s not an exact science, however. Thus, there’s room for interpretation.

The easiest solution is to hire a professional photographer. They can provide a perfect match for your needs.

But that’s also beyond the budget of many organizations. That leads to the inevitable use of stock photos.

Stock photography may not always hit the nail on the head. But you can still use it to convey a message. That may mean using a more generic image.

For instance, let’s say that you’ve written about the benefits of hiring a piano tuner. Perhaps you don’t have any images of someone tuning a piano. But the odds are that you can find photos of a piano. Better yet, an image that focuses on its internal parts.

The goal is to find images that keep the user focused on your subject. Perfection isn’t required. But don’t stray too far from the content’s messaging.

Think About Color and Post-Processing Effects

Tools ranging from Adobe Photoshop to CSS allow us to tweak an image’s color composition. We can change the hue and saturation. Or even convert the image to black-and-white.

But it’s important to consider which colors make the most sense for your project. The branding of your website is a big factor. As is the mood you’re hoping to create.

For instance, a full-color photo on a dark background can make a bold statement. But black and white might be perfect if subtlety is your goal.

Post-processing effects should also be considered. Not every image will be a good candidate for the specific look you want to create.

Let’s say you’re applying a color overlay to a series of header images. You’ll want to be sure that the photos look consistent when the effect is applied. If an image looks out of place, it may not be the best fit for this use.

Image Size and Orientation Matters

The images you choose will likely be cropped before they are added to your website. Even with broadband connections and 4k monitors, gigantic images (with equally large download sizes) aren’t user-friendly.

Therefore, it’s important to consider how you plan to use a specific image. What impact will cropping have on it? This is where an image’s size and orientation come into play.

Consider a background image placed within a hero area. This is typically a wide, landscape-oriented photograph. Attempting to stretch a portrait-oriented photo into this spot is not advisable. It will likely lead to undesirable results.

Pixel size is also important. It’s best to choose images that are larger than you need. This allows you to crop the image to suit. Enlarging a small image generally leads to poor display quality. With that in mind, look for an image that will fit your desired use.

And don’t forget mobile devices! You may need to adjust an image for small screens. That could include displaying it in a different orientation.

About Your Client’s ‘Terrible’ Photo

We alluded to situations where a client insists on using a photo (a.k.a. the “wrong” one). It’s easy to dismiss it as a bad idea. But we should be cognizant of both their feelings and thought processes.

Discussing the matter with them will help you gain insight. Start by politely stating any concerns you have. Maybe the sizing won’t work. Or the quality just isn’t up-to-snuff. Regardless, it’s best to get your thoughts out in the open.

Also, try to find out why they chose the image. It may be the best photo they have available. On the other hand, it may hold some sentimental value.

From there, you can offer them some options. Things like adding effects or making it part of a collage could help.

Clients are usually flexible when it comes to images. Plus, they need to know that you’re working in their best interest. That way, they’ll be more likely to meet you in the middle.

Therefore, don’t interpret their initial request as a final answer. There’s likely some room for compromise.

Better Photos = Better Website

A nearly infinite number of images are available at our fingertips. It’s easy to just grab one and put it to use. But is it the right one for the job?

It takes effort to find the best photos. Consider your site’s subject matter, color scheme, and sizing requirements. That will help narrow your search. From there, it’s all about experimenting with different options and determining the best fit.

It’s also important to communicate with clients about their ideas. Work with them to make the most of the opportunity.

Photography can truly make your website stand out. Therefore, take your time and choose wisely!

The post A Quick Guide to Great Website Photography appeared first on Speckyboy Design Magazine.

• Who are you designing for?
• Are you putting your client’s needs first?
• Is showing off the project in your portfolio a motivating factor?

You’d like to think that most designers are ethical. And they’ll keep their focus entirely on client needs.

But we’re all human. And sometimes, we add bells and whistles to a project for the wrong reasons. We may not even be aware of what we’re doing.

It comes down to those little decisions we make during the design process. Sure, they can enhance our portfolios. But they may not have a positive impact elsewhere.

Thus, understanding our motivation is crucial. Are we focused on our clients or ourselves? How can you tell the difference? Let’s try and identify who that fancy feature is benefitting.

The post How to Balance Client Needs vs. Building Your Portfolio appeared first on Speckyboy Design Magazine.

It’s also not a good thing for your eyes. If there’s no focal point, the food can overwhelm you, and you’ll find yourself lost in a vortex of scary, calorie-filled nightmares.

You’re not going to process your eating experience; you’re simply going to start at the least offensive corner and chow down until it’s all gone and your stomach’s about to burst.

That’s why, when you go out to nicer restaurants, the chef portions out your food in small amounts, so that you can take your time and absorb not just the actual eating but also the sensory experience – the sights, the smells, even the sounds. Yes, people. Food is complicated.

Today, I’m going to talk about simplifying your designs using the very same principles a chef uses to ensure that you have the most pleasant eating experience possible.

And just like you’re much more likely to return to a restaurant that serves you an experience rather than a mess, your users will be more likely to do the same when your designs are clean, strong, and simplified.

Focus In

We humans are programmed to make things complex. In the field of cultural anthropology, there’s overwhelming evidence of this fact, as societies around the world have progressed over the millennia from simple (think ‘hunter-gatherer’ type societies) to complex (modern “post-industrial” countries).

It’s in our DNA to want to add on rather than take away, which can make the average designer’s job pretty difficult.

From your end as a designer, it’s generally quite hard to be objective about which information or design elements are “necessary” versus which are not. Getting a second opinion can help sometimes, but if the person you’re asking is not a seasoned designer, they might not have the experience to tell you what’s not working and why.

When I’m working on a project that’s gotten too out of hand, I usually stop and take out the notes I took at the beginning of my process.

The mind maps, diagrams, and lists that illustrate precisely what my main focus was supposed to be for the project. It’s inevitable that you’ll lose sight of your main focus at least once during the design process.

That’s okay, as long as you refer to your notes and refresh your memory. Designing around your main focus helps you to be more discerning about the content you include in your design, as it makes it clear what’s directly related to that main focus and what isn’t.

Use the Pareto Principle

The Pareto Principle is something that’s been getting quite a bit of attention in recent years, thanks to personal development gurus like Tim Ferriss. But just in case you don’t know the basic idea behind it, here’s a quick run-down.

The Pareto Principle, or the “80-20 Rule,” as it’s sometimes known, basically states that 20% of any given element is responsible for 80% of the results, and vice-versa.

Designers love the 80-20 rule since it’s so applicable to the design process, particularly in those areas where information or sales are at the heart of the design goals.

While you’re designing your product, website, or other deliverables, here are two important questions to ask yourself so that you don’t “over-design” those elements that don’t need it and so that you can keep your focus on the 20% of the elements that are the most important:

1. Who, specifically, is most likely to benefit the most from this design element?

I’ve talked at length about narrowing down your career focus to zero in on one or two specific markets.

This question is one you can ask yourself at any time during your creative process. If you devote time to researching exactly the target markets you’re best equipped to serve, you’ll have a much easier time finding and understanding the needs of clients.

And when it comes time to simplify your designs for this target group, you’ll know exactly what they’re looking for, how they look for it, and how to provide it to them simply.

2. How can I deliver the most value to this group of people using the least number of steps?

As an extension of the above idea, your process will become much simpler when you begin focusing on the number of steps it will take your users to get from your design to the information or product they’re looking for.

It’s helpful to write it out in a literal list; start with the key action step on your website, brochure, poster, etc., and document exactly what needs to happen from there to make the sale.

Once you’ve done that, the path usually becomes very clear in terms of what’s actually needed to get the user to their destination, and what’s not.

Smart It Up

A lot of the advice you may read about simplifying your designs might make it seem like designers think their users are the stupidest people in the world.

Skim a few articles and you’ll see what I mean – everything is concerned with making the important elements as obvious as they can possibly be so that the user doesn’t have to use their brain for anything.

It can actually make you start to feel a bit sorry for the average user at first since designers seem to think so little of them.

But if you understand the underlying principles behind this philosophy, you’ll begin to realize that not only do designers not think their users are stupid, they’re actually being very smart about creating an experience that caters to the needs of the very top of the user “hierarchy.”

It’s not that you should automatically assume that people are stupid. Rather, your assumption should be that everyone is smart – each of your users is far too busy living productive, interesting lives to waste time where they don’t need to.

Once you embrace this mentality, it will become easier for you to zero in on exactly what makes these smart, productive, interesting people tick, and how you can help them absorb the exact information they need to go on about their awesome lives. This has the added effect of allowing you to go on about your awesome life as well.

Your users should be able to get to the specific information they need with as little effort as possible.

Whether that involves less reading, scrolling, or interactivity, make sure you keep your focus on the actual steps required to encourage the biggest results from the least amount of action.

The post Why You Should Simplify Your Designs for the Smartest User appeared first on Speckyboy Design Magazine.

Why am I talking about pie on a design website? Well, because I think that designers, of any kind, can learn a lot from bakers who skip over the fancy trimmings to give people what they want most – an uncomplicated plate of minimalist goodness.

Apple pie has endured through the years because it’s something people easily understand. In the same way, a simple, classic design that doesn’t require your audience to think too hard to understand the message will still be relevant after years of fancy fluff and bad trends have come and gone.

Apple pie is something you can’t really mess up – unless you start adding things that don’t really need to be there. It might not be easy to create the perfect design, but simplifying your “recipe” of features and information is one of the most important steps toward creating the best user experience possible.

“Pare” Necessities

The best recipes for apple pie, in my opinion, are the ones that keep things basic. In culinary terms, this allows the flavor of the main ingredient – apples, in this case – to shine. The apples are the “selling point,” so to speak. When you sit down to design a website, flyer, or brochure, make sure your audience knows exactly what they’re looking at.

In America and most of Europe (with a few exceptions), apple pies are covered with a crust. This crust is traditionally either flat or plaited into a lattice, and it sends a signal to hungry folks that the fruit they’ll find inside is probably going to be apples.

Make sure your selling point in a design is as clear as the apples in a pie. Determine exactly what your users are looking for and what they want. Ask them, if you can. The more testing you can conduct before publication, the higher your probability of creating a design that speaks to your users’ specific needs.

If, for example, you’re designing a clothing website, do your users want to search based on the types of clothing (shirts, dresses, shoes, etc.) or the types of materials (silk, cotton, leather, vinyl)? The only way you’ll know the answer for sure is if you ask.

Getting feedback from friends and acquaintances is a time-honored way of gathering “market” research in the initial stages of a design. Ask them specific questions about their experience – is something missing that they’d like to see? Can they digest the information they need clearly and without any assistance? If you’re bound by confidentiality agreements (or you have no friends), it’s perfectly acceptable to ask your client to produce this research for you or enable you to do it yourself.

This will probably be a terrible pun/cliche combo for both this article and this topic (forgive me), but Apple is the leader in the area of simple design and streamlined user experience. The Apple website and store are specifically designed to lead you, the user, through the buying experience with as little hassle and stress as possible.

The product images are big; the text is short and obvious. Additional information is available at the click of a mouse, but if you don’t click the links, you never need to worry about it. You’d better believe that the web design department at Apple spent hundreds of hours figuring out the things their users wanted – and needed – to see in order to complete the sale. And well, cliches just mean that something is extra-extra true!

Sweet Reduction

There are plenty of things you can put on top of a pie: ice cream, sugar, whipped cream, syrup, cookies, cherries – the list goes on and on. Some people might think this makes the pie taste better, but in my opinion, if you have to add that many extra things to your pie to improve the taste, you’re starting from the wrong end of the plate.

Similarly, extra bells and whistles usually only serve to clutter up a design and obscure the fact that it wasn’t very good to begin with.

I’m not saying you should never add, say, an extra column, widget, or typographic treatment if you really need to, or even just really want to. But it’s important to start with a good “base.” Make sure the fundamental message of your design gets through loud and clear. Don’t give your users extra options they don’t need or aren’t looking for.

Don’t make it harder for them to get to where they need to go. Make your users’ main goal your top priority, and add in the “toppings” only once you’re sure the main event is a treat. And hey, toppings can be delicious. My favorite is apple pie à-la mode!

Ask Grandma

You know what they say: if your Grandma can’t figure out how to navigate through your design, it’s too complicated. Elderly people tend to have less patience, ability, or desire to sift through tons of unnecessary information. That makes them perfect starting points for determining exactly what’s needed for your design and what’s simply taking up space.

Let’s say, for example, that you’re testing a design for a web template store. Is your objective clear (instant download of PSD files)? Will it be easy for your customers to find exactly what they’re looking for? Is the font size large enough for most people to read? Is there too much text? Too many ads? Is the shopping cart/payment method simple to find and navigate through?

Simply put: is there anything standing in the way of your user getting exactly what they want? If so, Grandma might just get up and head down to the record store. (Assuming there still is one in her neighborhood!)

Remember to run your design past your grandmother (or your uncle, your great aunt Matilda, or anyone who’s not so “tech-savvy”) and see if she gets it. If so, perhaps she’ll bake you a nice apple pie!

The post How Simple, Classic Design Should Work appeared first on Speckyboy Design Magazine.

We’re going to explore the history of the humble shopping cart, taking lessons from its design, marketing, and even the psychology of use, that you can start applying to your design process today.

Revisions Are Key

A couple of ordinary folding chairs were the inspiration that spawned the early prototypes of today’s shopping cart. This was an invention that helped revolutionize the retail grocery business. But it wasn’t perfect at first. Sylvan Goldman and his associate revised the design of the shopping cart many times before it began to resemble the modern cart we know today.

They had to work through safety issues – the little space for children was developed after observing how mothers would put their children in the early carts, which was dangerous and which also left little room for their groceries (and thus defeated the entire purpose of using the cart in the first place).

I know designers love to complain about client-initiated revisions (and I’m definitely including myself here), but designer-initiated revisions are extremely important to the design process. Vital, even.

Many designers often rely on the first or second idea that comes to them, which may get the job done and be “good enough” for the client, but it’s terrible for fostering true innovation and creativity.

Challenge yourself to be your own worst critic for each job you take on. Begin training yourself to look for areas you can improve on and ideas that could be developed further, and you’ll start to see glaring errors you wouldn’t have noticed before.

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Determine Your Selling Points

Nowadays, shoppers are most likely to complain about inefficient steering on their shopping carts, making it nearly impossible to turn corners or pivot to avoid other shoppers or freestanding food displays. But back in the 1930s, grocery store owners were very interested by the small amount of space Goldman’s new shopping carts took up.

Before Goldman’s invention, people placed their groceries in heavy, bulky baskets made out of wicker or wire. Once filled up with groceries, they got so heavy and cumbersome that store clerks would approach struggling shoppers and provide them with a new, empty basket, taking their full basket to the check stand for them.

These baskets took up a lot of room in the stores as well, so Goldman’s upright, foldable carts were a very welcome boon to store owners.

As a designer, it’s always important to consider the selling points of your designs, not just to your clients, but also to your client’s eventual users, audience, or consumers. The shopping cart solved a problem both for the store owners (took up less space) and for customers (were less heavy and cumbersome).

If you make your client happy, that’s a good thing. They will pay you and send you on your merry way. But if your design fails to make your client’s users happy, your client will be calling you back, possibly demanding a refund.

Goldman experienced exactly this phenomenon firsthand when his client (the grocery store) attempted to sell their customers on the idea of the shopping cart.

Image Source

Know Your Audience

Believe it or not, Goldman and his associate had the most difficulty not with developing the shopping cart model itself, nor with perfecting its functionality. The biggest problem they faced was in getting store shoppers to actually use them.

Female shoppers of the day thought they too closely resembled baby carriages – they refused to push yet another cart on wheels and add to their daily drudgery.

And male shoppers were too macho to use a dainty little cart on wheels when they could just use their “big strong arms” to carry around one of the old-fashioned baskets. Who knew shopping carts weren’t considered manly in the early 20th century?

The only users who actually liked the idea of shopping carts at first were older people. Not good.

So, how did Goldman get around this marketing obstacle? If you guessed ‘use plants to manipulate shoppers into using the new carts via peer pressure,’ give yourself a prize!

Goldman hired several “pretend” shoppers of various age groups to use the carts in the store. He then proceeded to suggest to real shoppers that “everyone” was using the new carts, which created a social imperative to fit in.

Almost instantly, the new shopping carts were a hit – everyone began using them within a few weeks.

Is it unethical to persuade your target market to consume your products or information by appealing to their need for social acceptance? Absolutely not. Companies, as well as everyday people, do it all the time.

When you and your friends are deciding where to go out to dinner, and one friend is holding everyone up by not making a decision, what’s the first thing you do?

If you’re anything like me and my friends, you’ll appeal to the “majority rule” and try to persuade your friend to choose what everyone else has chosen. This is exactly how companies have persuaded people to have televisions in every room of their house, or purchase hideously ugly shoes that no sane individual would ever spend their hard-earned money on.

The power of social persuasion is nearly limitless, and as a designer, you should definitely be using it to your advantage whenever appropriate. If you have to resort to an obvious persuasive tactic or two, that means you’re using your power as a creative professional to sway public opinion and generate profits for your client.

Either that, or you’re just a big jerk. Who knows, really?

Never Stop Innovating

First came the “folding basket carrier,” the initial prototype for the shopping cart perfected by Goldman and his people. After ten years of successfully marketing this cart to stores, there came the “nest cart,” which included the new mechanism of being able to nest itself inside the next cart in front of it.

This mechanism should be familiar to you if you’ve seen those long lines of “nesting” carts at cart kiosks or drop-offs.

Shopping carts have gone through many, many changes over the years. You may have been grateful for the shelf underneath your cart, which allow you to select heavy objects without having to lift them too high, or irritated at the security measures stores have taken in recent years to prevent theft (the carts in my neighborhood store automatically lock down the wheels of any cart that wasn’t cleared by the system, which has taken me by surprise more than once).

Sylvan Goldman died in 1984, but his innovations have lived on in the imaginations of countless product designers, and there are now more versions of the shopping cart than even he lived to see.

Just because you finish a design job with one client, that doesn’t mean the research and testing you conducted for that project has no further use. If you work to narrow down your focus to a particular market or two, you can collect research data from each future job you take on, accumulating a database of knowledge and experience which will allow you to innovate faster and more efficiently with each passing year.

In a couple of years, you’ll have far surpassed those designers who ignore the goldmine of business, marketing, and psychological insight they have at their fingertips through their clients and their clients’ users.

The post Taking Inspiration from the Humble Shopping Cart appeared first on Speckyboy Design Magazine.

Even people who have no idea what the original design was even used for will discuss its beauty, simplicity, and timelessness.

What goes into creating work of that caliber? Today, we’re going to explore some possible explanations and try to get an idea of how a designer might go about creating timeless designs.

Will It Be Timeless?

Some things might seem as though they will be instant classics. Then, without warning, they fade into obscurity and no one ever mentions them again.

Why does this happen? No one really knows for certain, but there are some possible explanations. The most important, in my opinion, is that the general public – not just the design community – either stopped caring about the design, or never cared enough in the first place.

Design is meant to change the way people interact with one another in the world, not just designers, but everyone. If it fails to do so and generate influence beyond the scope of the original brief, it will never become the classic it could be.

Glitch Mona Lisa by Dan Svetlichnyy

Design Marketing Problems

Public opinion is fickle, but it can be greatly influenced by the right advertisement. Brands like Coca-Cola, Apple, and Microsoft didn’t get to their current level of market dominance by chance.

Even great art like the Mona Lisa has been heavily promoted to be recognizable to a modern audience.

There were plenty of contemporary works that were just as popular in their day, and even some that were more so. But it was marketing that propelled the Mona Lisa, the Sistine Chapel, the statue of David, and other iconic works of the Renaissance to last as long in the public memory as they have.

To Trendy To Be True?

As I’ve said in the past, if something feels like a trend, it probably is. I’m not simply talking about phenomena that are currently all the rage, like neumorphism or previously flat design.

I’m talking about things that merely look cool without any underlying fundamentals to ground them. Such trends are destined to be one hit wonders, fading as the design world moves on to more solid ideas.

A good way to spot a trend that’s being milked purely for profit is to determine what the most respected members of the design community have to say about it.

If the ‘movers and shakers’ of design are constantly lambasting the trend then there’s a good chance it’s simply a throwaway fad. However, if they don’t have much to say or are even incorporating it into their own work, it’s probably a winner.

Neumorphic Radio Player App by Alexander Plyuto

No Good Designers Left?

A lot of designers complain that the current crop of design professionals are too caught up in trends and technology and are ignoring the fundamental principles of good design.

These designers tend to be older and may even feel a bit left out as the world seems to be embracing a completely foreign approach to design.

This happens every generation, with the old-timers complaining about ‘today’s kids’ and their apparent lack of respect for the profession.

I’m sure the designers from the 1940s and 50s griped about ‘whippersnappers’ in the 70s and 80s with their Rapidographs and floppy disks or…whatever.

It’s true that there are a lot more designers actively working now than there ever have been in the past.

But the number of talented designers who have a solid understanding of the fundamentals has not diminished. If anything, it has increased due to the larger pool of designers out there.

The likelihood that at least a handful of these designers will produce something lasting is very high, even though one might have to wade through a lot of junk to find it.

Rapidograph & Notebook by Harry Diaz

Timeless Doesn’t Equal Boring

Think that classic design is boring and behind the times? Think again. Every single designer is influenced by those who have come before them.

If you choose only recent, contemporary designers to be influenced by, you’ll only be regurgitating the most recent trends, which could hasten their demise and make all of your work look horribly dated.

Try heading to the library and flipping through examples of classic designs by the greats of the 20th century. You might even be surprised at how often (and how badly) those designers were ripped off by later copycats.

The post How a Designer Might Create Timeless Designs appeared first on Speckyboy Design Magazine.

The thing is, there are probably some people who share your opinion, but many more who don’t. This is perfectly okay, because it means that you as a designer have even more opportunities to reach your own special niche audience.

Don’t Think Of Everyone

You don’t have to try to make that “perfect design” that will appeal to everyone. I can’t even imagine what that would look like, but it likely would be terrible.

Why? Because people have such different expectations that trying to fulfill them all is always going to fail miserably.

This is why generic designs never sell as well as many clients seem to think they will.

The next time your client insists that you try to reach a more “general” audience with your design, remind them that no one wants to bother with something that’s made with “everyone” in mind.

Think about it: what else is made for “everyone”?

Let’s see… car dealerships (with a thousand different choices and options), hospitals and health care facilities (with multiple specialists to cater to virtually anyone’s particular problem), newspapers (with hundreds of sections for people to flip right to the information that interests them).

Do you see a pattern here? Even things that are supposedly for everyone have many, many sub-categories, so that “everyone” can filter themselves into more easily manageable groups.

What You Want Vs. What Is Best

You have to line up your message with the needs of your niche audience. If this happens to include your own needs, then it will be easier for you to engage personally with whatever it is you’re selling.

There’s a lot to be said for being able to stomach the work you must do as a designer. If you hate the message you’re sending out, perhaps you need to question whether or not you need to find new clients.

The relationship between designer and client should be symbiotic, and also sync up with whatever it is your client’s target market is looking for.

Which Version Is The “Right” One?

There is never one perfect solution to a design problem that will satisfy absolutely everyone. There are only a series of perfect solutions, each one tailor-made to fit a very specific group of people – sometimes extremely specific.

Malcolm Gladwell famously outlined this tendency of ours to prefer a multitude of different solutions in his legendary TED talk about spaghetti sauce.

He gave examples of the spaghetti sauce manufacturer, Prego, that stumbled upon a completely untapped market when it began offering “chunky” spaghetti sauce, in addition to the thinner, more traditional Italian-style sauces.

To use an even more specific example of multiple solutions to problems, most cat owners are perfectly happy training their cat to use the litter box.

Some owners, on the other hand, choose to take things a step further, and actually hire someone to train their cat to use the toilet. That’s right. There are cats who are actually potty trained.

Quite literally, there is a product or service out there that caters to every possible need.

Don’t confuse your personal favorite designs with the one your target audience is hungry for. Make sure you choose a market that you understand and you can satisfy without selling your soul.

Figure out that unique, perfect solution to your clients’ needs, and the needs of their customers, and everything will be just “perfect” from there.

The post Is There a Perfect Solution to a Design Problem? appeared first on Speckyboy Design Magazine.

Copywriters provide the engaging content that snags users’ attention and prompts them to buy, and designers provide the overall framework that facilitates a great experience for said user.

In fact, designers and copywriters have quite a bit to learn from each other. Having done both for quite some time now, I’m going to let all of you designers in on some important secrets from the copywriting side.

Let’s explore some of the things that you designers can learn from copywriters to improve your problem-solving strategies and communicate better with your target audience.

Headlines Are All Important

If you can’t hook your audience with the first few words, you’re toast. Similarly, if you can’t catch your user’s attention with the initial impression of a design, no one will care how well it solves their problem.

There could be a really useful article behind that bad headline, or a really useful solution behind that ugly design, but no one will care.

Sure, many designers have written and spoken at length about the undue emphasis on “pretty” designs, especially among the crop of so-called “Dribbble designers.” Designers will post work specifically to get praise and positive feedback, and not be concerned about how it actually works.

But there’s something to be said about an eye-catching design. In fact, looking good is part of the function a design serves. You have to get people’s attention somehow, after all. Pretty up those “headline” elements.

Even If You’re Preaching To The Choir

Even if people know and like your work, a copywriter will still need to work to capture people’s attention and keep them coming back. People who subscribe to newsletters will quickly unsubscribe if the content gets boring or unengaging.

It works the exact same with design. Just because people enjoyed your work in the past, it doesn’t mean they will in the future. Especially nowadays, with so many things available to occupy our attention, both designers and copywriters have to work really hard to grab those all-important eyeballs.

Aim For Strategic Hooks

It’s impossible to create a winning piece of content every single time, even within the same project. Not everything can be a winner, as they say. That’s just the reality of any creative endeavor – you win some, you lose some.

Keeping this fact in mind a good copywriter needs to structure their releases to hook people at key times. Holidays and major life changes (buying a new house, weddings, children, etc.) are ideal for your most powerful hooks.

In fact, they might not even work any other time. Same thing for designers. You can get away with certain things for these types of events – crazy type, bold colors, skewed or unconventional compositions – that you would never be able to get away with at any other time.

People Have Less Time Than Ever

People are busier than they’ve ever been before. Everyone is multitasking – checking Twitter and Facebook while skimming their emails at work and texting their spouses about what to eat for dinner.

They don’t have time to slowly peruse your boring or slow website. A copywriter has a very short window to grab someone’s attention, and if they can’t do it, they can kiss that user goodbye.

Designers, you guessed it: the same applies to you. It might not be an ideal situation when someone is only giving an average of three seconds to your content, but there’s nothing you can do about it.

It’s your job to adapt to reality and make sure that people are intrigued enough by your designs to take a closer look.

The post The Symbiotic Relationship Between Designers and Copywriters appeared first on Speckyboy Design Magazine.