Scott Boms

Our March 2005 Back Catalogue

Mapping Out Content

Content. It’s the thing that gives people a reason to go anywhere beyond the homepage on your site. It’s a big reason why people visit a site in the first place and it’s still amazing the number of clients that do not understand that.

Designing around the content

In starting work on the Wishingline Design Studio, Inc. site and generally any project, my own methodology starts by mapping out preliminary content which allows me to take into consideration site architecture and design elements. Aside from providing structure, and ensuring work is on-strategy, our job as designers is to make content both visually appealing and readable. Not knowing what the content will be greatly affects design decisions. It should at least.

What information does the client want to make available? How should it be organized? What parts are simple, small and fairly static (unchanging) and what parts are likely to grow and expand? Will there be long passages of text, possibly spanning multiple pages (or long individual pages)? Where will images, flash and other multimedia content be used for more than decoration? Will there be content that appears in multiple places on the site?

In organizing site content I like to start using a flat hierarchy; that is, no hierarchy and then start to tie pieces together. Are there things that belong in more than one place? Sticky notes can be a real time-saver here. Low-tech often works best at this point.

Create meaningful primary categories that will become your first level hierarchy and work your way down. Do things need to be separated out further? For example, if you’re maintaining a news archive, does it make sense to organize the archived content by year? By month? Some other way? At all? Some sections may be flat (no sub-categories) and others may result in multiple levels. This is where you should start thinking long-term about maintenance and future redesigns.

When structuring your content, try to keep in mind what the user will have to do to actually find and get to the content. Make it as easy as possible. Complex hierarchies are often a deterrent for less savvy users because it’s easy to get lost. Typically I refer to Microsoft’s site as an example of this. I always get lost myself anytime I need to look for information there.

Determining such things before putting pencil to paper or fingers to keys can save you in the long run. What I mean is, try to avoid writing or designing anything until you know how content will be organized and fit together.

Cut from the same cloth?

In general I’ve found most designer or agency sites follow a fairly common structure in terms of content. There are things that a site must have along with others that could fall under the nice to have banner. There should be information on the business itself — what it does, who is behind the business, philosophies and strategies along with a portfolio of work, or case studies. Exactly what content is needed is up to you, the designer and the client. Thankfully this is easier if you’re your own client ;-)

More and more agencies and freelancers are also adding blogs to their sites to better communicate to clients, peers and attract new potential clients. A blog can also act as a great marketing tool to get your name out into the world. Just look at a high-profile agency such as Coudal Partners who does just that. In my case, I started backwards — starting with the blog and working out, building the informational side of the site second. My mother’s always said I was a little backwards. Hi mom!

Taxonomy

Another often overlooked component of the content process is taxonomy. What are things going to be called? Are you going to use consistent labelling throughout the site? Are labels clear and understandable by the user? For many users it’s unsettling to look at unusual site taxonomies and know what to do.

Unusual labelling can lead to users shaking their heads, getting frustrated and giving up, probably never to return. That’s bad for business. All is not lost though. An unusual taxonomy can be made usable but providing users with additional hints in the HTML using title attributes, alt tags, or rollovers whenever possible. Make icons clear and easily identifiable. Some visual icons are easily recognizable (eg. print — usually a printer icon) while some may be more abstract or difficult to instantly recognize.

As an example — labelling your design portfolio as just that, you’re less likely to confuse a user than if you were to label it “catalogue”. Some users will explore but many do not have the time, patience or willingness to learn your taxonomy and explore. Clarity is often better for the user experience than simply being clever. Generally the idea is not to confuse or confound the user but rather to engage and delight them.

Depending on the needs of your site or a project, creating a taxonomy guide could be a helpful document to ensure consistent and easily identifiable labelling.

Know your audience

When mapping out content it’s also good practice to begin with a reasonable understanding of your target audience. Who are you trying to communicate with? What is important to them? What information do they want and expect from you? What tone should the writing use? Funny? Serious? Playful and creative?

Content is just one of the hooks that gets people coming back to your site, but if the content is boring or not on strategy, you may miss the boat. This means speaking to your audience (and not speaking down to them). It means engaging them and giving them a reason to return.

The most universal hook is humour. Make people laugh or chuckle and they’re more likely to stay interested than if you take the dry and uninteresting corporate-speak route. In many cases that is what is required though; but there are still ways to keep content lively and interesting.

Mapping and architecture

Mapping out the content may mean putting together a rudimentary sitemap diagram or perhaps a more complex one showing how pages interrelate to each other or by indicating where different types of content fit into page layouts. It can also be useful to indicate where modular code such as “includes” are used by creating page schematics.

Content boxes illustration
Content boxes illustration

Why would you want to map out your site and content? Planning up front will save you time in the end; trust me. If you’ve thought through the problem, the solution will be easier to manage and implement and you’ll be less likely to second-guess yourself. Second-guessing means re-work, and no one likes re-work. Not me anyway.

A good example of this would be writing a contact form more than once if you’re going to potentially re-use the same code in a number of different places. The key here is finding those bits and reusing them as “includes”. Consider how the final pages will be structured. This will allow you to develop code in a way that makes using these include files easy and in a way that can accomodate subtle differences in different contexts throughout a site. Don’t repeat yourself.

A simple, real-world example is the calendar displayed in the sidebar of this site (at is exists today). This is a single index template in Movable Type which is included in other templates where required. The code is not repeated in multiple places. Instead a single line of code adds that external template code into others which makes maintenance and troubleshooting easy.

Wrapping Up

Hopefully by this point you’ve got a few ideas on how to get organized and think about site organization and structure. The key for much of this is to put yourself in the shoes of the user and look at things from their perspective. It’s about the experience. Make it a good one.

Designers Secrets Of Colour

One of the challenges with any design project is selecting an appropriate colour palette. It’s often overlooked; an afterthought for web projects when perhaps it should be one of numerous driving forces.

Colours each have their own meanings or associations, and the options for choosing the right ones to use — past experience and colour knowledge, sampling photographs/illustrations, colour swatches, magazines, visits to local paint stores, going for a walk in the park, or even using one of the myriad of web-based colour tools such as the Behr’s EXPLORE Colour Tool are virtually unlimited. The method of selection isn’t important, but the output is.

Colour choices can be equally as important as the visual aspects of a design itself. Poor colour choices can destroy beautiful designs causing viewers to move on rather than take valuable time to absorb the content or message. In the same vein as using the wrong colours, too much or too little colour may have the same effect.

For example, if you were looking to evoke feelings of calm, serenity and a sense of something being “classic”, you wouldn’t necessarily choose red as your primary colour. Instead you might look at greens, blues and whites since green traditionally symbolizes nature, freshness, harmony and safety. Blue is stability, depth, trust, and wisdom. White is light, goodness, purity and is considered to be the colour of perfection.

Most sites start with primary and secondary colours, often drawn from a company identity or set of visual brand guidelines. Tertiary colours are often used to add complexity to the colour palette — as accents or to draw attention to parts of the site. Well thought out choices can pull viewers in, grab attention and trigger the desired emotional response. Throw in some good typography and you’ll really be on your way.

Choosing colours for the web

In the early days of the web (mid-to-late 90’s) designers were more restricted with regard to colour choices due to limitations in what could be expected on the viewer’s end. Large displays capable of rendering millions of colours was not the norm as they are now. Today the majority of users have more powerful computers with larger, brighter displays capable of moving the industry beyond imagery restricted to the Web colour palette. The internet, like the real world can be a colourful place.

At this point in time, millions of colours and 1024×768 resolution are taken to be the lowest common denominator though there’s still reason to take into account users with smaller, lower resolution display capabilities. It’s safe to export GIF images using the Adaptive colour palette, along with a trend towards using 24 bit PNG images which also support full alpha transparency and improved colour fidelity despite a lack of full support in Internet Explorer 6.

When selecting colours to use, bear in mind the gamma differences between Windows and the Mac. Colours typically look darker on Windows-based computers than they do on the Mac. There’s a option in Photoshop that help you get a better idea of what your images and colour selections will look like on a PC and I highly recommend making use of it.

Complexity By Design

The thing which typically separates small-frys from the bigwigs in terms of colour decisions really comes down to complexity. This means selecting a palette which is both complementary but also offers a degree of contrast and variety. This means not using only blue and orange or red and green — it may mean adding magenta, brown, yellow or some other colour to provide additional visual interest.

A handful of good examples of this in my opinion can be seen on sites such as Terminus 1525, Masterfile, Basecamp and of course Apple, just to name a few. Doug Bowman’s Stopdesign site another great example of the use of colour complexity in design. Doug is consistent in his colour choices but with adds complexity with his use of accent and highlight colours to divide content and provide a sense of navigational space.

Using The Colour Palette

Colours can be used to liven up otherwise stark designs, to call attention to items, or may be the focal point of the design itself. The use of colour is dependent on the needs of the design and the intentions of the designer. Do the colour choices add to or detract from the underlying message? For example, photography sites are often stark in terms of their use of colour because of the affect it can have on the photographs themselves. In such cases, neutral (white, black or shade of gray) is usually better.

Sample Colour Palette
A sample of the Wishingline site colour palette

Web designers need to be concerned about colour for a number of reasons, but one of the more notable ones is that colour can be used to instruct users about how a site is structured or how it works. Link colours are a perfect example. Links can change colours when the user mouses over them, clicks on them or has visited a link. Interactions such as this subtly tell users something about how the site works, sets expectations and aids in learning.

Colour can be used to create logical sections for sites — use red as a primary colour for the ‘news’ section and ‘blue’ for the company info section for example. Wired used to do this on their site but recently removed the feature. See Stopdesign for an example of this in use.

But colour should not be used in a vacuum. Considerations should also be made to accomodate people who are colour blind or who may not be able to see all colours.

Making Intelligent Colour Choices

Although I haven’t talked much about what I’m planning for the Wishingline site throughout this article, but you can infer some ideas based on the colour swatches above (not finalized and may change dramatically). I’m still tinkering with the site’s primary and secondary colours; making sure everything is happy, harmonious and has the right balance of complexity and appeal.

Colour choices can be based on current trends, mood, meaning and on existing branding information, but whatever the case they should complement the design rather than detract from it. This means do not use a red background with blue type on it!

Start by picking one or two colours that complement each other then spread out from there choosing secondary and tertiary colours. Remember not to go overboard though — too many colours is somehow worse than not enough. I tend not to count shades of a base colour as colours in the palette, but whether you do is personal preference.

Serious Colour

If you’re really serious about colour, I can’t more highly recommend getting yourself a set of Pantone Colour Books — it’s one thing to see colours on screen, but it’s another entirely to see them on paper they way they’re often intended. Pantone offers a set which is both affordable and an excellent investment.

As an aside, do yourself a favour and read Dave Shea’s piece on CMYK for RGB designers if you haven’t already. It’s a good primer on CMYK, Spot and RGB colours, their differences and uses.

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