Bummer! This is just a preview. You need to be signed in with a Pro account to view the entire video.
Keynote - Type is Visible Language43:39 with Erik Spiekermann
The web is more type than anything. We might as well get it right...
Good evening, a little warning, two warnings. 0:00 A, I tend to be, to speak very quickly because life is short and I'm already 67. 0:02 B, I have been called potty mouth because this is not my first language, 0:08 not even my second language. 0:13 >> So swear words just have no meaning to me like, you know, they're like, 0:15 random syllables so I may use the odd one that might may insult some of you. 0:18 More delicate people. 0:23 Yeah? >> [INAUDIBLE] 0:24 >> Tough shit is all I can say to that. 0:26 >> [LAUGH] >> I mean, when I see FO, you know. 0:27 [LAUGH] You know what I think. 0:32 >> [LAUGH] >> It also seems weird that I'm, at 67, 0:34 should be speaking about the future of web design. 0:37 I mean, what the fuck do I know. 0:40 Except. 0:42 I did buy my first Mac in 1985, 0:43 where probably most of you weren't even thought of, let alone born. 0:45 And and before then, the 70s, when we were doing photosetting. 0:49 You know, we had the little square brackets. 0:53 And and little back slashes. 0:55 Green on black. 0:58 So I kinda, like, HTML didn't seem very scary when it came out. 0:59 And we do use. 1:02 Syntactically awesome style sheets by the way. 1:03 And, and ruby not that I do, but I let my, the people in my office do that. 1:05 What else? I have because I've gotta be out of here 1:11 soonish cuz I have a book presentation at 6:30, 1:14 I, I might have to skip the odd slide. 1:17 Not, not that I remember what I was gonna say anyway. 1:19 'cause introvise, im, improvise. 1:22 Now, this is my, my motto. 1:24 But, because this is, what, kerning, there is no kerning there. 1:28 And the reason there is no kerning there because this is, this is a wood type. 1:32 Wood type kerning means. 1:36 A fucking saw. 1:38 And life's too short for that. 1:40 And also the copy was gonna read, move fast and get stuff done. 1:41 But in that type as it only had 2 F's so you change the copy, right? 1:45 That's 1 thing about letter press, more about this later. 1:49 You can look up in our the famous or the infamous work. 1:52 On your own and have to show This is not gonna be a, a, a review of, 1:56 of the most amazing achievements ever but, vanity does, demand that 1:59 I should show you some of the type I've done over time and all at the present. 2:04 But, >> [MUSIC] 2:09 [MUSIC] 2:13 [MUSIC] Dont worry it's only about 20 2:15 minutes [INAUDIBLE] 2:17 [MUSIC] 2:17 [MUSIC] 2:24 [MUSIC] 2:29 [MUSIC] 2:34 Well this is the trouble when you have not sufficient resolution, 3:40 this looked like crap from here. 3:42 So we spend you know, days finessing probably from there even, more so, you 3:46 know, about these pixels, and we talking about the resolution of 2000th of a unit. 3:51 And then it comes it up here at brick size. 3:56 Too bad. 3:59 The main reason I show it is because I play that awesome bass on that 4:00 music track [INAUDIBLE]. 4:03 So I've divided this, as you can see in, in three chapters. 4:06 And, I should [UNKNOWN]. 4:10 First thing of course, people always ask me, and 4:12 that is perfectly justified, why do we need so many typefaces? 4:15 And, who needs them? 4:18 So, I would like to test you. 4:19 There's no price here, but I know what this is. 4:22 Do you know what this is? 4:24 Oh, We all know what this one is? 4:26 It's not the same. 4:28 Right? 4:32 So one is the one and the other one is the other. 4:34 The one on the top is the imitation. 4:36 The bottom one is Helvetica. 4:38 Of course, so this, I'm only showing this because this is where I work. 4:39 In the, in, in the, in the sphere that you don't even see the difference. 4:43 It's, like, you know, talking about red and green to a color blind person. 4:47 And I have been known to marf up about Helvetica. 4:52 Not about the typeface, but ca, because people use it as a, as an attitude, 4:55 as a solution to problems that don't even exist. 4:59 I have to admit that way back in 83, 5:02 I was involved in redesigning what you call, wrongly, of course, Helveticanoia. 5:04 No, it's neue helvetica cuz new is an adjective and 5:10 german adjectives come before the noun. 5:12 As they do in English, actually. 5:14 [UNKNOWN] sort order had to be underage way back in the in the eighties, but 5:16 it should be under nevermind. 5:21 It's called neue-fucking-helvetica, ok. 5:22 So, I was involved and I may be involved again, 5:25 so I can afford to criticize because I know what I'm talking about. 5:27 [LAUGH] >> By the way. 5:30 Which is a very, very good piece of advice. 5:32 I just listened to Berman there. 5:35 I'm not gonna talk about Suss or Suzie. 5:37 My, my, my wife's called Suzannah, so I do talk about Suzie now and again. 5:39 But because I learned that I only will, 5:43 I will only ever talk about stuff I know about. 5:45 Because you know them well that an audience has the famous BS detector. 5:47 To avoid the word [BLEEP] here. 5:51 If somebody talks out of their, you know, the other end audience knows it so 5:53 I'll only talk about stuff that I know about, which is mostly type. 5:58 Now and again a client comes along, in this case Mozilla and, or Motzilla as we 6:01 say in German, and want typeface for a, for a, new for new product. 6:06 And they actually pay for it, and then it goes on GitHub and is public. 6:11 So you go on GitHub, you get Fira for nothing. 6:15 And thus by adding 16 weights, I think we, we add one every hour. 6:19 Right now, we're working on a Monospace that isn't quite Monospace, 6:23 because you don't really need Monospace, even coders don't. 6:25 You just need bigger periods and, and. 6:28 Bigger slashes. 6:31 Which is ideal for me as the client pays me and 6:32 then gives away what I made for them. 6:36 The best of both worlds and if I say so 6:38 much I think [UNKNOWN], even on this projector looks unique. 6:40 Theres a little story I have to. 6:45 the bridge cell was like that. 6:47 They were because they're called Firefox and they want to be international. 6:49 They were gonna call this a, typeface, feura, or F U, 6:52 F E U R A, which is Portuguese for fire. 6:57 You pronounced it fuera. 7:01 Right? >> [LAUGH] 7:03 >> Typeface made in Germany called Fuhrer. 7:04 >> [LAUGH] >> It took them a while to, you know. 7:06 I was gonna say, look, you know. 7:09 I don't think this is a very good idea. 7:10 One Fuhrer is enough, and we've had one. 7:13 So thank you very much. 7:15 >> [LAUGH]. >> So they went back to calling it Feura, 7:16 which is much better. 7:18 And the cool thing is these days. 7:21 If you don't like. 7:22 Yosemite, why's that called Yosemite, why's that called Yosemite by the way. 7:24 What the [BLEEP]? 7:27 I mean, some of your American words are so weird Yo, Yosemite, I know its Spanish but 7:28 Yosemite I call it anyway which is the not my, my, my favorite operating for us. 7:33 I still don't have it on here. 7:38 You can hack it and put. 7:40 Another type is in there. 7:42 In this case you can get Fira or Fira from GitHub and replace Helvetica. 7:43 It's a simple, renaming issue. 7:48 You just, you know, you call, the system think it's Helvetica. 7:50 So you rename the font and never mind. 7:54 It, it's cheating but it's worth it. 7:56 So if anybody here wants to be a type designer, 7:58 this is the first check I ever got from ITC back in whatever it was. 8:00 Eight 89, 91, $1.09, and as you can see, 8:03 I still have that check cuz honestly I never cashed it, so 8:08 if anybody thinks they're gonna be a millionaire very quickly be designing 8:11 another addition to the 250 thousand fonts out there, forget it. 8:14 >> [LAUGH] >> And this is a movie, should be a movie. 8:18 That shows the four character set of what we have to do. 8:24 This has two and a half thousand characters. 8:28 It's a science font. 8:30 So it does in our set has all the characters for dead languages, language 8:31 that people spoke 2,000 years ago, which for some reason scientists need, and 8:35 math, mathematics and canvas in all the works of it. 8:39 So if anybody still wants to be a type designer. 8:41 This is way boring. 8:43 It is so fucking boring. 8:45 >> [LAUGH] >> that I look like 75 and I'm only 67. 8:46 I don't do this anymore really. 8:53 This is the advantage of being a little older. 8:54 I have my minions, my. 8:56 Well that's how we all start, we all start sweeping the factory floor. 8:59 I certainly did and schlepping stuff around but 9:03 now I can afford to have younger people who. 9:05 Pretend to learn from me by doing that, that menial work. 9:08 [LAUGH] This probably goes on for another 45 minutes, so I should skip it. 9:11 [LAUGH] In the event of expediency. 9:15 So, when people say you know, why do you need, I have 13 bicycles, 9:17 for example, so, and I have 6,000 books. 9:21 I didn't count them, but when we moved recently, the architect said, you know,. 9:24 What sort of books have you, you now? 9:28 I said, I think I've got like 1200 books. 9:29 And she counted them, and it's 6000 bloody books. 9:31 I mean, who, you know? 9:34 I've gotta be 150 years old to even look at them, let alone read them. 9:35 But there's still an answer. 9:38 Why does somebody need so many fonts, so, so many bikes, and, and so many books? 9:39 It's a very, very simple formula. 9:44 And plus one. 9:47 We always need one more right? 9:48 That goes for anything we have, I mean that's pretty obvious. 9:50 And type of quotes is something that. 9:53 I don't know why I keep looking up there I could look there, couldn't I. 9:55 Or here, even. 9:57 Of course, you don't know this typeface because I'm from Germany and if you were 9:58 German you would know this because this is the, the brand of the German Railways. 10:03 We, we have a national railway, which is still state-owned, that's why it's 10:08 actually on time and mo, more or less on, actually this week they're striking again. 10:11 The cool thing is, if you design this sort of thing for, for 10:16 your own, country, as you were. 10:18 It becomes ubiquitous. 10:21 And, and everybody knows it, but they don't know I did it. 10:23 And I get a really kick out of that. 10:25 I get a kick out of sitting down in first class, 10:26 getting my coffee with my typeface all over it. 10:28 [LAUGH] And of course, I look around, and I say, I did it, I did it. 10:30 [LAUGH] OF course, they don't know. 10:33 And I'm not gonna get up and say, look, guys, 10:34 I did this typeface, cuz they couldn't care less. 10:36 But I just, that's really is a kick to do something that, that changes, in a way, 10:38 the look of your country. 10:42 Way better than invading and bombing other people. 10:43 >> [LAUGH] >> Which we used to do. 10:45 Now of course there are sort of German words that are very international like 10:48 autobahn. 10:52 Now, I don't think you would want to go on a road that looks like this. 10:53 You might as an American expect it to look like this. 10:56 >> [LAUGH]. 10:59 But it doesn't I'm afraid. 11:00 It does look like this. 11:01 It's good old din which means Deutsche industry. 11:02 Normal German industrial norm which has become a very popular typeface over here 11:05 and we don't use it. 11:09 We just have it. 11:10 You know, it, it grew somewhere in the 20s and this is not, yeah, 11:11 this is when you [FOREIGN]. 11:16 [LAUGH] it's exit in English, very obviously. 11:18 Okay, but more to you here type on screen. 11:22 Yeah, it, it is still not, not as, as we, I mean this is living proof so 11:26 I, I package 1920 pixels at home, I move it across the Atlantic and 11:30 it becomes 1280 and it sort of, there's some rendering going on that, 11:35 we don't know who renders this, it's not Apple. 11:39 It's not the conference people, it's somebody out there, 11:41 the god of render rendered my, my fantastic images to hell. 11:43 So we design this stuff. 11:50 In the beginning there was the a. 11:52 And then these are the out, the ideal outlines and then the pixels. 11:54 Start looking at this, and then we redo our lines to catch the pixels, and 11:58 we have LCD, and now we have, we have LEDs, we have all sorts of screens, so 12:03 whatever we do is a losing battle. 12:07 We don't know. 12:08 Whatever we do would end up looking, you can, you, I think you, 12:10 you can sort of interpolate or extrapolate as you were. 12:14 This, it always looks like crap. 12:17 It never looks good because we don't know. 12:18 Apple has a different renderer. 12:20 If you design something for 12:21 a normal screen it looks like the stuff on the, on the left. 12:23 The stuff on the right is done, you know, like, on a retina screen. 12:26 That's why the kids at Apple, and 12:31 they're all like 21 year old graphic designers out of [UNKNOWN] London. 12:33 They come, they come to Cupertino and they think Helvetica Ultralight 12:38 is the best thing ever, because they don't read it themselves. 12:41 I mean, you know, they design it. 12:44 They don't have to read it. 12:46 And then they have, you know, 50/50 sight, in the first place. 12:47 So, people design for the stuff on the right there, but 12:51 most people read the stuff on the left. 12:54 So. 12:56 I've finally come to the conclusion, which is really, really easy, that basically, 12:58 if you design stuff for bad print, it works on the screen. 13:03 So in other words, you know, what I learned 50 years ago still works. 13:07 It's pretty cool. 13:10 And one thing we, we still had, there's still a divide between us print designers, 13:13 and I, I am very much a print designer, or I used to be a print designer. 13:17 That we have this fantastic, these fantastic features in fonts that, 13:22 that you can't really get to. 13:25 These are the famous stylistic sets which Adobe managed to hide about 13:27 four menus deep, that really only hardcore designers get to it. 13:30 So we've got all these fantastic characters, alternatives, 13:34 four different character sets. 13:37 You know, aligning, non-aligning. 13:38 Old style, whatever. 13:39 Also the figures. 13:40 I usually design six different types of figures, which are very useful. 13:41 You can get to them, but really only if you dig that deep. 13:45 There is now actually about 1500 people signed an open letter to Adobe. 13:48 Is there somebody here from Adobe, maybe? 13:53 Asking them to maybe get the three major, the print problems Illustrator, Photoshop, 13:55 and, and InDesign to maybe have the same sort of menu structure so 14:00 you could find the shit. 14:03 I mean, you know, it's there. 14:06 You know, I know it's in some cloud or rather, but I'd rather have it down here. 14:07 You can't, we design all this stuff and then they hide it. 14:12 And it's, it's impossible. 14:15 The glyphs palette doesn't work in all three pro- it's, it's a total mess. 14:16 So maybe Adobe will actually listen to us. 14:20 So you can actually get to one. 14:23 See we design all this stuff. 14:24 I mean there's an amazing wealth of information in a font 14:25 that will solve a lot of problems. 14:28 There's buttons there, there's numbers and circles and stuff. 14:29 That people start, then making them, said well realize they actually pay, 14:32 well nobody pays for fonts but-. 14:35 >> [LAUGH]. >> They've actually downloaded them 14:36 already. 14:38 Actually you'd be surprised some people do. 14:39 So you're all familiar with this sort of stuff, right? 14:41 You know this stuff. 14:45 But more often than not I find that, 14:46 that even you x guys don't really know what these all mean. 14:48 Now in, in real time this is what this means and some of these are useful. 14:52 You know, I don't think a ct lig, ligature is exactly useful, it's pretty. 14:55 But then again, you know, why do women have more than two pairs of shoes? 15:01 So, you know, why do men have ligatures? 15:04 It's the same kind of thing. 15:06 We think they're pretty. 15:08 Right? 15:10 And if you ever want to find out how, how to use these guys, 15:11 opentype feature, Elliot Jay Stocks, you, some of you might have heard him speak. 15:15 He works for Typekit amongst others. 15:19 In which is of course, as you know, Adobe. 15:22 Here is the authority in using that stuff, so go and look him up. 15:24 One thing I found if you're using the very, 15:28 very simple optimizeLegibility, it isn't good enough. 15:31 There's, there's more you can do. 15:34 You look at font-feature-settings, and there's that, I think, very useful site. 15:37 Can I use dot com? 15:42 Because those features change by the day. 15:43 This is probably, I think this is like six weeks old, and you can look at, you know, 15:45 does it work in Chrome? 15:49 Does it work in Firefox? 15:50 Nothing, well, there is still Internet Explorer, which we, in our offices, 15:52 decided two years ago to totally ignore because as you damn well know, 15:55 to make anything work in IE, even eight takes you 80% of the time. 16:00 So we just ignore it, quite frankly, and look for different clients. 16:03 No, seriously. 16:07 It's, I'm not being frivolous. 16:08 It's just, nobody pays for that. 16:09 So, a little bit of work. 16:12 You can look it up, yourself. 16:14 You know, obviously, we build website. 16:15 Ableton is one of our, I think, sort of successful ones, cool radio stations. 16:17 Anybody wants to listen to radio on, on, on your iPhone, 16:23 Red Bull Music Academy, RBAM, RBMAradio.com is the fastest. 16:27 We spent a lot of time making it really, really fast. 16:33 We do magazines and then we have to deal with the not so 16:35 pretty things, you know, that you have to get those ads in there. 16:39 And this, as you, as you can imagine, 16:43 a lot of programming going on just fitting those things in there. 16:45 And on, especially when you have responsive sites because you still have to 16:48 have ads there. 16:51 We spend a lot of time doing that. 16:52 And recently we've started doing quite a bit of, [UNKNOWN] work. 16:55 Quite a bit of, publications. 17:00 And I'm, I'm, I'm sort of surprised when I, when I go to the newyorktimes.com, and 17:02 it's not responsive. 17:06 I mean, this is one of the biggest website in the world, I should have thought. 17:09 Or certainly in America. 17:12 And it's not responsive. 17:14 So, the whole discussion between, you know, they give you 100 apps. 17:15 So you have to have all these apps, one on your iPad, one on your phone, one on your, 17:20 one on your other phone, and one on, one on your computer one at home, one for 17:24 the journey. 17:28 It's, it's incredibly stupid, which is another discussion in the future of web 17:29 design, you know, are we going to be designing websites, or apps, or both? 17:32 Very confusing. 17:35 Luckily we have some clients who understand this. 17:37 But more about this in a minute. 17:39 One little project, just, just quickly because it's, it was a challenge for us. 17:41 Font Shop, we, you heard that I started it. 17:47 I'm out of it now, kind of. 17:51 I still sort of decide what fonts we publish or, or, or not. 17:52 To re-design that website that has 250,000 typefaces, fonts on it. 17:56 That each exist about four or five times, so the database is like 2 million items. 18:03 Which is kind of serious. 18:07 It's not quite Amazon, but almost. 18:08 And I'm showing Katerina's face here because the project was actually, 18:10 we do have some front end developers who are female, or in other words, 18:15 we have female front end developers. 18:18 I think it's that way around, they do exist we wish we had 18:20 more it's still a very, very male, male business for, for no reason whatsoever. 18:23 And you know the process, 18:27 you know you stick stuff on, on the wall and over time the wall gets heavier. 18:29 Everybody in the office, of course, wanted to work, you know, 18:33 to, to redesign the Font Shop site. 18:35 To, to design, to, to define how, what type would like on screen, 18:38 and on the side was a dream project. 18:43 And as you can see there, well you can't see, but 18:46 I'm telling you, we actually had content first. 18:48 More about this in a minute. 18:50 They wrote the stuff, and then we did our little quickie sketches. 18:52 We don't really do, wire frames anymore, but we draw a lot. 18:55 I'm not sure all of you do. 18:59 Drawing is, is the quickest way to, to get the stuff up there. 19:01 And, you know, then, you have some sort of, you make up some, some, 19:05 some sort of scrolling page, and, and pin it on a person. 19:09 And go through stuff really quickly. 19:14 This of course would be yellow if this was a decent projector. 19:17 We don't have them any more here. 19:22 We just, just had TV screens because they always get this green stuff. 19:23 I mean ,what it is it that, you know, well I guess it's RGB, really grotty beamer. 19:26 But you know this stuff, I mean, you work this way. 19:34 Also, we, we found that we, we, we draw a lot more than we ever did. 19:37 It's funny, and I, there is a little movie I might play it all the way. 19:41 It's if, if anybody wants a site called nix dot font shop dot com, 19:48 because we're late. 19:52 Surprise, we're supposed to launch the full site two weeks ago. 19:53 And it's now been postponed till, whenever it launches. 19:58 Which should be before Christmas. 20:06 I'm only talking about the back end here at the moment. 20:07 You've, you've used the front end you get all this, this great displays. 20:09 You can do the most amazing stuff with the, the type there, when you go and, 20:12 and, and buy, I guess and some people do buy fonts, it's amazing. 20:16 Then you get you get over, you get switched over to the old, to the old site. 20:20 And they take your dollars, or euros, or pounds whatever. 20:24 I think it's pretty nifty if I say so myself. 20:26 And of course as I said a dream job for a designer. 20:32 You know, to design one of the of the most basic and the most elaborate tools and 20:35 to do web site for that. 20:40 This is of course a movie. 20:42 I'm not doing this, right. 20:43 [LAUGH] And then there's little. 20:44 Well, because, if I did, I'd probably get lost, and 20:48 I'd start looking at details that doesn't, don't interest you. 20:50 So I'd rather not. 20:52 See, there, for example, we have. 20:53 Some of the, the type designers we didn't have an image for. 20:56 So we did the little smiley but 20:59 the smileys made up from the font that they designed. 21:00 Those are the little, little projects on the side that you get to do 21:03 as a reward for sticking it out forever. 21:07 It's, you know, no, nobody but me and now you knows about this, but it's still fun. 21:10 And of course, it's responsive, I mean that's duh. 21:16 It's pretty obvious. 21:19 [LAUGH] Right. 21:21 And a few weeks ago we were there. 21:23 So we spent about 4 weeks gathering info, information. 21:26 We did the first beta after 11 sprints and then we started releasing and now we're, 21:30 we're about 17 sprints when I left the office about a week ago. 21:35 So now that the sprints are, are two weeks. 21:38 We used to do weeklies. 21:41 Now we do two weeks. 21:42 And we're nowhere near ready, but it's getting there. 21:44 Budget went out a long time ago, but, you know, you, you're stuck in there, so 21:48 you gotta do it. 21:51 So, you can go and try it out. 21:53 And we did a little as, as, as we heard earlier. 21:55 So, we have a little styleguide but it's only for 21:59 us internal because there's seven people worked on it, sometimes ten people. 22:01 And the seven people changed all of the, all of the time. 22:05 And we had people from the client there. 22:07 Our people all worked in, in, in one project room. 22:10 So if you don't have an internal styleguide you will reinvent 22:12 the button every time you sit down to work. 22:16 So, this is, this, we did this, Spiros, our Greek Guy and, and 22:18 of course we have, you know, 22:22 I think over time there was like a dozen languages spoken at that very team. 22:23 So, without the styleguide and, and I'm talking about 22:27 languages as opposed to programming languages, we wouldn't have got anywhere. 22:30 Because, after three or four days, you know, 22:33 you hear this, what was the color again? 22:35 Was it F00 whatever, and then people start improvising, and then, 22:37 then the sizes are all over the place. 22:40 So, we did this internal styleguide pretty much after the first week of work. 22:42 Okay, I'm racing through this pretty quickly. 22:48 So, I have another magic formula. 22:52 For our work, you might have heard this. 22:54 This is the English spelling, by the way. 23:00 You, for some reason, spell ass with a double s, 23:02 which is actually a female donkey. 23:04 I don't understand that. 23:06 [LAUGH] You Americans are so shy about calling a spade a spade. 23:07 It's weird. 23:10 [LAUGH] Anyway, that's been my life motto and and if you go to our website, 23:11 by the way, we have about 100 people in a couple of locations. 23:15 Most of them in Berlin. 23:19 We still do traditional print work, but I think 80% is, is is online work. 23:20 And we have at least 20 developers in there, the rest of them are designers. 23:27 So we have this, this this manifesto, and client. 23:32 We don't do pitches, by the way. 23:36 We stopped doing pitches. 23:37 Not even paid pitches. 23:39 We don't do any pitches any more because if people want to do a pitch ad, 23:40 we got a clue about what the hell they want and they want us to figure it out. 23:43 They can do that but then they pay us. 23:46 So don't do pitches. 23:48 We have this and we send clients there and say okay you read this. 23:49 And if you still want to work with us fine. 23:52 It's not arrogant it's useful. 23:55 Some people think it's arrogant okay fine. 23:57 I think it's very useful because it basically tells people what to expect. 24:00 Especially this one here. 24:05 That's my, my, my favorite one, you know, because I mean, 24:06 why do they come to us in the first place? 24:09 And then they want to start micro managing. 24:10 Oh, can we this, then, and have you tried this and I said, no. 24:12 If we had, we wouldn't tell you because it doesn't work. 24:15 It's in the, you know, I did this once long time ago. 24:18 I actually brought the what do you call the dustbin? 24:21 What do you call the waste paper basket, to a client. 24:24 Said, I've done it, and here it is, and I chucked it. 24:26 Because, it's, that's what I do. 24:28 I chuck the shit that doesn't work [LAUGH] so you don't have to chuck it, you know? 24:30 And oh, whatever. 24:34 [LAUGH] And this is also very important. 24:36 We work, as you heard before, we know, we make our clients successful. 24:39 That's our job, to happify our clients. 24:42 We make them little local heroes with their people back in their office. 24:44 I've heard this often. 24:48 When the job goes right then they go in meetings, oh, my designers you know. 24:49 They did this for us and they send him their designers you know. 24:54 But it's fine, we make our clients look good. 24:58 It makes us look good and they come back for more. 25:00 Now I'm sure most of you here are familiar with working the Agile way. 25:03 Does anybody not work Agile? 25:12 Well, your clients probably don't. 25:13 Oh, really? 25:15 Okay. 25:16 No, I'm. 25:17 What happens, as you all know. 25:18 Traditionally. 25:21 Even today. 25:22 We come in. 25:22 Clients come in and say, okay. 25:23 We want a website. 25:24 Obvi. But everybody wants a website and 25:24 just do us some, you know, 25:26 yellow as a house color and we use Helvetica as a font, whatever. 25:28 Do us a website and we say, no, we can't do your website because it's like, 25:32 you know, what, do you have any copy, you have any images. 25:35 Nah, nah, just, we gather this as we speak. 25:38 Just do us the website. 25:40 No, we won't because even if you start doing that, 25:41 if you do some pretty pictures, then of course. 25:44 Then somebody from backend comes in and says, oh, no, no, no, no, that won't work, 25:48 cuz our service and we have to work with Windows CE or people still have that. 25:50 Lufthansa runs their entertainment system on Windows CE, 25:56 I mean you don't even remember that. 25:59 It was before we had running water that, that system. 26:01 [LAUGH] Incredibly old. 26:05 So, this happens. 26:06 And then, of course, so, the, the, the, the, the implementation doesn't work. 26:07 Then somebody comes along, yeah, weeks later, oh, 26:11 by the way, we don't have any images. 26:13 We only have copy. 26:15 Oh. You know. 26:16 Okay. You chuck all the images and 26:17 then, well, you know what? 26:19 Our copy is kind of long. 26:20 We don't have any headlines. 26:21 So, the whole thing just keeps breaking. 26:22 It's total rubbish. 26:24 So, instead, using agile. 26:24 You start making, we do prototype from day one. 26:28 I mean you, you would sit down and using Ruby on Rails you make 26:31 websites, or apps, or whatever and, but only if the client brings content. 26:37 The content will change over time. 26:42 It does anyway, you know, it's called life. 26:43 If a newspaper content changes every hour in the first place. 26:45 But they also have to give you some sort of images, so you know whether there's 26:48 going to be lots of images, are the going to be small images, will they change over 26:51 time, do that have video to embed, you know, what, what is this thing like? 26:54 Will it live on mostly on smart phones, 26:57 will it live mostly on 40 inch monitors or whatever. 26:59 Unless you know this, you can't do this. 27:02 And of course, you know release early, 27:04 release often everything is in beta anyway, in fact, life is. 27:05 And one day I think I'm gonna come up to my final version. 27:10 Which is probably when I die essentially then I then I'd be 1.0 or 1.0. 27:14 And this works and 27:20 we have basically said good bye to all clients who won't work with this. 27:21 And it's not all that we do scrum. 27:24 And not everything is scrum because scrum also tends to be very rigid. 27:26 So, they're not always sprints. 27:29 We have some clients that we work with for, for 27:30 a while and now, Red Bull is one of them, where we don't have to do Scrum anymore 27:32 because they are kinda so, so good with their briefing 27:35 that we don't need to talk with them every other day as you would doing Scrum. 27:38 We still, you know, get together at, at, in our case, at, 9:30 in the morning, 27:41 you know, stand up meetings as you do in Scrum. 27:46 But one thing is very, very difficult for me, as a, sort of, not only German, 27:49 but as a topographer and pipe designer. 27:53 Is to give up control. 27:56 You know, I am so used to making a book, that's a book. 27:57 That gets printed. 28:00 I, I used to send negatives now I send a pdf and it gets printed the same way 28:01 as it left my desktop kind of, you know, except on paper. 28:06 You can't do this anymore. 28:10 This, there is no such thing as a standard. 28:11 So, you know, we do this handwritten walls and we have little device walls. 28:14 I think that's, there's not many at the moment. 28:18 We, we built a little Lego thing and, and I think, right now, we're testing what, 28:21 40 or 50 devices, and you know, there's 500 out there. 28:25 So the minute you have tested one Samsung they come out with another one. 28:28 And there's more, four more pixels in there, 28:31 so everything you do is messed up anyway. 28:33 But we still have to learn to give up control. 28:35 I'm not saying being shoddy, but essentially what we designers do, 28:38 we take something, we take it apart. 28:42 Look at the elements and then decide which ones will go back in again. 28:44 If it's a car. 28:47 You'd be surprised. 28:48 I mean, I used to do, mend my own cars. 28:49 There was always, there would always be a couple of bolts left over. 28:50 The car still ride [LAUGH] cuz there's obviously redundancy 28:53 to built in somewhere. 28:56 I mean, I'm, I'm not talking about leaving brakes out, but you know, 28:57 all, I do put four wheels on. 29:00 But it's amazing how tolerant systems are, even, even the web. 29:02 If you any, 29:07 anybody ever looked at the, I did the other night, the code of my own blog. 29:07 Jesus Christ. 29:11 It started really clean in WordPress and I've been adding shit over time and 29:12 it's so messy I'm embarrassed, so don't look. 29:15 But I'm not gonna clean up either, cuz it works. 29:18 You know, I mean, what the hell? 29:20 Who looks behind the scenes anyway? 29:21 You might. [LAUGH] 29:24 And it's great that, you know, 29:27 we're back to, to really like 40 years ago. 29:28 We just sketch all the time. 29:31 We actually have a rubber stamp iPhone, rubber stamp now for iPhone 6. 29:32 We made a big rubber stamp and 29:35 we just stamped it on the wall 100 times and you could draw in there. 29:36 It was the quickest way to, to visualize for, for ourselves and even for clients. 29:39 And people sort of huddle around and, and move pictures around. 29:43 And, and, and the best thing is here I know but you don't know whose are the, 29:46 you know, who is the designer here, who is the front ender, who is the back ender? 29:50 I know but I'm not gonna tell you. 29:53 But there's a Greek there, a German there and, and an Englishman. 29:56 But they worked together, that's the whole point. 29:58 They worked together, they, they, [LAUGH] they speak English of sorts. 30:02 One question I get asked all the time yes you can come and work for us. 30:10 We, we are in urgent need of front end people. 30:16 Go to the website. 30:19 Is that o, it's okay if I have a little plug here? 30:21 [INAUDIBLE] I'm not sure what it's like at 30:24 the moment but I know we're always looking for good people wherever they come from. 30:30 We have quite a few Americans, Canadians. 30:34 See, I shouldn't say that, I should say US Americans and 30:37 Canadians, cuz it's, Canadians are also are Americans. 30:39 I'm speaking in Toronto on, on, on Thursday, I have to watch that. 30:42 I actually, I might end up speaking in French, and that, that'll solve that one. 30:45 Cuz they do, they're supposedly bilingual in. 30:51 [LAUGH] Wouldn't it be funny if I spoke French in Toronto? 30:52 Cuz they're supposed to be bilingual. 30:56 Hehe. [LAUGHTER] So, the, Michelle who, who got 30:58 me here said, oh you got to say something about what's next for web design. 31:04 And I said, well if I had that crystal ball I would bring it. 31:08 I don't. 31:11 I really have, haven't got a clue. 31:12 There's a few things I do know. 31:13 You know, whether the, the glass is half full or, or half empty. 31:16 There's a few things I, I can certainly safely say. 31:19 One of them, for example, is this one, 31:21 that the end of the designer centered has come a long time ago. 31:24 I know everybody's been paying lip service, oh, you know, we're doing this 31:29 because of the, the user, the consumer, the, the, the customer, whatever. 31:32 But really is there now because everybody can see what we do and 31:37 everything is out there and everything is public, you can't hide anything. 31:40 I sometimes show a picture of 31:44 a water brand from Korea, and it's called Biological Water. 31:49 Bio water. 31:55 I mean come on. 31:56 You know, I'm using it as an example because what happens these days 31:57 if something is corrupt people will find out more quickly than ever before. 32:00 If something is corrupt it won't survive very long because we have Twitter, 32:04 we have Facebook we're out there, 32:07 we can call something that is, well it doesn't quite work. 32:09 You're voting today right? 32:12 You should be voting today. 32:13 It doesn't quite work in politics. 32:14 Some of the crap. 32:16 [INAUDIBLE] So much seems to come to the top there but that's because your, 32:17 your Congressmen spend 80% of their time getting money for 32:21 the next time instead of doing their work. 32:24 But, other than that, this, 32:26 this to us has been a, a useful lesson that we don't work in a vacuum anymore. 32:30 It's not like a print designer, I'll print a book and leave it out there and 32:34 I have no feedback whatsoever. 32:37 There's plenty of feedback out there. 32:39 And this is other thing that I mentioned earlier, you know? 32:41 Every minute you walk out the door, there is another resolution, 32:44 there's another screen there. 32:48 So I have no idea whether we're gonna be doing web design or 32:49 whether we're gonna be doing apps. 32:52 Are apps and the web going to merge? 32:53 I think so. 32:55 I think apps are actually going to disappear 32:55 as separate entities that you actually pay money for. 32:59 But don't quote me on this. 33:02 One thing we've noticed for doing publication design is that 33:03 which I think is, is sort of a rather important lesson to learn, 33:08 that as a print designer I create positions. 33:12 I say, you know, the, the top right is the newsie, 33:17 the left is maybe the gossipy stuff, the bottom is the less important stuff. 33:19 That doesn't work anymore because you don't know how it's gonna be arranged on 33:23 a smartphone and some other, so you have to define hierarchies, not positions. 33:25 There maybe chaperone what's, what's top news now, five minutes later, 33:30 maybe the second part on, the second item on the page because it moves around, 33:34 it's not fixed ever. 33:38 So, for a, for a print designer, 33:39 this is really a difficult lesson to learn as is this one. 33:41 We don't build pages anymore. 33:44 We build modules, because you don't know what is going to happen with this. 33:48 So, you build a module that could be the top page today, tomorrow it could be down, 33:50 down in the long read or it could be over in sideways. 33:56 It could become smaller, it could have fewer pictures in it, it could have more 34:01 pictures, it could be the feature story, it could have lots of copy, no copy. 34:04 These things move around so 34:07 we have to design modules that can morph into anything. 34:08 Really difficult for me as a, as a print designer to understand that because I'm so 34:12 used to, you know, doing the X, Y's if it's the top left it's 34:17 the most important part, top right is equal, equally important. 34:20 Doesn't work anymore. 34:23 You have to make modules. 34:24 Really, really difficult lesson to learn. 34:25 If you do this, then you can actually design very very lively pages. 34:28 And of course, that's the, the one thing I can predict. 34:32 Not really predict, actually observe, that there is no normal 34:35 difference between designing for the web, or for online, and, and for print. 34:40 Basically we design something, we design communication, a message for a client. 34:43 We don't often know where it's going to end up, it may well be printed. 34:48 Websites become books, books become websites, websites become apps. 34:52 We, if we design content that looks it's best in whatever shape then, 34:57 then we're doing our client and our work justice. 35:02 So you know, but you could also say is the glass half full? 35:05 I think this is, this is half empty or half full? 35:08 I think this is half empty. 35:12 There's a few things going on that I'm not quite sure about. 35:13 Read this quote from a guy from Forbes. 35:17 I, I first read it and I thought, this is very cool. 35:21 The guy's saying, I now write for my audience, not my editor. 35:23 Sounds like, you know, great, fantastic, finally, you know, the people have, 35:28 what they, what the people want. 35:32 But then looking at politics again, if you, 35:34 if we just do what the audience wants, all we'll have is gossip, crap, 35:37 jeopardy on TV, that sort of stuff, cause that's what the audience wants. 35:43 Whereas I think journalism has a responsibility to, to maybe 35:47 go beyond the news, go beyond what people may just want to kill time with. 35:50 So it's a little scary if for someone is. 35:55 Of course you should work for your editor, but if you look back in, you know, what, 35:57 what, what magazines, what newspapers, what radio or TV stations were successful. 36:01 There were those that had editors that had people running it 36:05 who had responsibility who had a an agenda even whatever it may have been. 36:08 But certainly people who wanted to achieve something that wanted to 36:12 tell the truth and find out what the truth was. 36:16 Just pleaseing the audience just means counting you know numbers clicks, 36:18 participation online voting. 36:23 That's a quite a sort of scary thought. 36:26 Good. 36:30 I'm two minutes and forty-three seconds away and I shall go ten seconds over. 36:31 Then people ask me what's what's next for me and and 36:36 I should just simply show you this little video and be done with it. 36:40 [MUSIC]. 36:44 It's in German, but that's-. 36:48 >> [FOREIGN]. 36:50 >> Sorry, you can't hear this. 36:57 >> [FOREIGN]. 36:58 >> Things disappear on the internet and I think what's so 38:29 cool about printing is that it's, it's more permanent. 38:32 You know, when you have a deeper connection to what you make. 38:34 [MUSIC] 38:38 [FOREIGN]. 38:44 >> Yeah, having restraints. 38:58 You know, having designing and printing things with restraints of, 38:59 of the technology. 39:03 >> [FOREIGN]. 39:04 [MUSIC] 39:36 [MUSIC] 39:39 [FOREIGN] 39:55 [FOREIGN] 40:12 [FOREIGN] 40:28 [MUSIC] 40:44 [MUSIC] 40:50 I don't think that the making movement ever stopped in Germany. 41:00 I don't think it's a trend. 41:02 I think it's actually, the Germans always made things. 41:04 [FOREIGN]. [FOREIGN] 41:08 [SOUND] 41:13 [MUSIC] 41:16 [MUSIC] 41:22 The reason I show this is not so much b, 41:44 because I'm nostalgic about it because that really is my prediction. 41:46 The people we have doing courses in our workshops mostly online people. 41:49 They, they, they spend all their lives in front of screens and they come back and 41:54 they do get some, I don't know if you could read any of the subtitles. 41:57 They do get some grounding and what we notice is that just going back and 41:59 touching the stuff in between the characters, you know, 42:03 that's no return key. 42:07 There's no delete either and there is only limited amount of characters so, 42:08 you learn those constrains not restraints as [UNKNOWN] said, 42:12 of course that's their own word. 42:15 English is her first language, what does she know? 42:17 It's difficult, to, to be in touch with the world 42:19 when you spend literally all your life looking at screens or me, what worries me. 42:24 That this, these kids, 42:28 21 year old kids in Silicon Valley that design the world that we live in. 42:29 Those kids have never been exposed to that world. 42:32 They come out of college. 42:35 They go and work at Apple, Google, Facebook, you name it. 42:35 And they're designing our world. 42:38 It's very, very scary. 42:40 So being in this, in this maker environment. 42:40 The called it [UNKNOWN] of the word or whatever. 42:44 People are making stuff again. 42:47 And to me, the, the future is. 42:49 All of us will be designing what, whatever is required. 42:51 But being grounded in the real world is important. 42:55 Cooking your own food or at least eating your own food rather than 42:57 eating stuff that's manufactured by whoever. 43:00 I think it's very important and, and, and I look very, very happily forward to. 43:03 A future where we don't make those distinctions. 43:09 Web design. 43:12 Print design. 43:12 As far as I'm concerned they don't exist. 43:13 We work for clients. 43:15 Clients have something to communicate whatever it may be. 43:16 If we want to work for a client we have to be 150%loyal. 43:19 And, or we don't work for them in the first place. 43:22 And that's my prediction for the future. 43:25 And I am now 1 minute and 52 second over. 43:27 I'm sorry, but I'm done. 43:30 Thank you very much. 43:31 [APPLAUSE] 43:32
You need to sign up for Treehouse in order to download course files.Sign up