Journal tags: colour

I had a lot of fun making the website for Patterns Day.

If you’re interested in the tech stack, here’s what I used:

1. HTML
2. CSS

Actually, technically it’s all HTML because the styles are inside a style element rather than a separate style sheet, but you know what I mean. Also, there is technically some JavaScript but all it does is register a service worker that takes care of caching and going offline.

I didn’t use any build tools. There was no pipeline. There is no node_modules folder filling up my hard drive. Nothing was automated. The website was hand-crafted the long hard stupid way.

I started with the content. I wrote out the words and marked them up with the most appropriate HTML elements.

Time to layer on the presentation.

For the design, I turned to Michelle for help. I gave her a brief, describing the vibe of the conference, and asked her to come up with an appropriate visual language.

Crucially, I asked her not to design a website. Instead I asked her to think about other places where this design language might be used: a poster, social media, anything but a website.

Partly I was doing this for my own benefit. If you give me a pixel-perfect design for a web page and tell me to code it up, either I won’t do it or I won’t enjoy it. I just don’t get any motivation out of that kind of direct one-to-one translation.

But give me guardrails, give me constraints, give me boundary conditions, and off I go!

Michelle was very gracious in dealing with such a finicky client as myself (“Can you try this other direction?”, “Hmm… I think I preferred the first one after all!”) She delivered a colour palette, a type scale, typeface choices, and some wonderful tiling patterns …it is Patterns Day after all!

With just a few extra lines of CSS, the basic typography was in place.

I started layering on the colours. Even though this was a one-page site, I still made liberal use of custom properties in the CSS. It just feels good to be able to update one value and see the results, well …cascade.

I had a lot of fun with the tiling background images. SVG was the perfect format for these. And because the tiles were so small in file size, I just inlined them straight into the CSS.

By this point, I felt like I was truly designing in the browser. Adjusting spacing, playing around with layout, and all that squishy stuff. Some of the best results came from happy accidents—the way that certain elements behaved at certain screen sizes would lead me into little experiments that yielded interesting results.

I’m not sure it’s possible to engineer that kind of serendipity in Figma. Figma was the perfect tool for exploring ideas around the visual vocabulary, and for handing over design decisions around colour, typography, and texture. But when it comes to how the content is going to behave on the World Wide Web, nothing beats a browser for fidelity.

By this point I was really sweating the details, like getting the logo just right and adjusting the type scale for different screen sizes. Needless to say, Utopia was a godsend for that.

I was also checking back in with Michelle to get her take on design decisions I was making.

I could’ve kept tinkering but the diminishing returns were a sign that it was time to put this out into the world.

It felt really good to work on a web page like this. It felt like I was getting my hands into the soil of the web. I don’t think it’s an accident that the result turned out to be very performant.

Getting hands-on like this stops me from getting rusty. And honestly, working with CSS these days is a joy. There’s such power to be had from using var() in combination with functions like calc() and clamp(). Layout is a breeze with flexbox and grid. Browser differences are practically non-existent. We’ve never had it so good.

Here’s something I noticed about my relationship to CSS; my brain has finally made the switch to logical properties. Now if I’m looking at some CSS and I see left, right, top, or bottom, it looks like a bug to me. Those directional properties feel loaded with assumptions whereas logical properties feel much more like working with the grain of the web.

It’s often said that it’s easier to make a fast website than it is to keep a website fast. Things slip through. If you’re not vigilant, performance can erode without you noticing.

It’s a similar story for other invisible but important facets of your website: privacy, security, accessibility. Because they’re hidden from view, you won’t be able to see if there’s a regression.

That’s why it’s a good idea to have regular audits for performance, privacy, security, and accessibility.

I wrote about accessibility testing a while back, and how there’s quite a bit that you can do for yourself before calling in an expert to look at the really gnarly stuff:

When you commission an accessibility audit, you want to make sure you’re getting the most out of it. Don’t squander it on issues that you can catch and fix yourself. Make sure that the bulk of the audit is being spent on the specific issues that are unique to your site.

I recently did an internal audit of the Clearleft website. After writing up the report, I also did a lunch’n’learn to share my methodology. I wanted to show that there’s some low-hanging fruit that pretty much anyone can catch.

To start with, there’s keyboard navigation. Put your mouse and trackpad to one side and use the tab key to navigate around.

Caveat: depending on what browser you’re using, you might need to update some preferences for keyboard navigation to work on links. If you’re using Safari, go to “Preferences”, then “Advanced”, and tick “Press Tab to highlight each item on a web page.”

Tab around and find out. You should see some nice chunky :focus-visible styles on links and form fields.

Here’s something else that anyone can do: zoom in. Increase the magnification to 200%. Everything should scale proportionally. How about 500%? You’ll probably see a mobile-friendly layout. That’s fine. As long as nothing is broken or overlapping, you’re good.

At this point, I reach for some tools. I’ve got some bookmarklets that do similar things: tota11y and ANDI. They both examine the source HTML and CSS to generate reports on structure, headings, images, forms, and so on.

These tools are really useful, but you need to be able to interpret the results. For example, a tool can tell you if an image has no alt text. But it can’t tell you if an image has good or bad alt text.

Likewise, these tools are great for catching colour-contrast issues. But there’s a big difference between a colour-contrast issue on the body copy compared to a colour-contrast issue on one unimportant page element.

I think that demonstrates the most important aspect of any audit: prioritisation.

Finding out that you have accessibility issues isn’t that useful if they’re all presented as an undifferentiated list. What you really need to know are which issues are the most important to fix.

By the way, I really like the way that the Gov.uk team prioritises accessibility concerns:

The team puts accessibility concerns in 2 categories:

1. Theoretical: A question or statement regarding the accessibility of an implementation within the Design System without evidence of real-world impact.
2. Evidenced: Sharing new research, data or evidence showing that an implementation within the Design System could cause barriers for disabled people.

The team will usually prioritise evidenced issues and queries over theoretical ones.

When I wrote up my audit for the Clearleft website, I structured it in order of priority. The most important things to fix are at the start of the audit. I also used a simple scale for classifying the severity of issues: low, medium, and high priority.

Thankfully there were no high-priority issues. There were a couple of medium-priority issues. There were plenty of low-priority issues. That’s okay. That’s a pretty good distribution.

If you’re interested, here’s the report I delivered…

Accessibility audit on clearleft.com

Colour contrast

There are a few issues with the pink colour. When it’s used on a grey background, or when it’s used as a background colour for white text, the colour contrast isn’t high enough.

The SVG arrow icon could be improved too.

Recommendations

Medium priority

• Change the pink colour universally to be darker. The custom property --red is currently rgb(234, 33, 90). Change it to rgb(210, 20, 73) (thanks, James!)

Low priority

• The SVG arrow icon currently uses currentColor. Consider hardcoding solid black (or a very, very dark grey) instead.

Images

Alt text is improving on the site. There’s reasonable alt text at the top level pages and the first screen’s worth of case studies and blog posts. I made a sweep through these pages a while back to improve the alt text but I haven’t done older blog posts and case studies.

Recommendations

Medium priority

• Make a sweep of older blog posts and case studies and fix alt text.

Low priority

• Images on the contact page have alt text that starts with “A photo of…” — this is redundant and can be removed.

Headings

The site is using headings sensibly. Sometimes the nesting of headings isn’t perfect, but this is a low priority issue. For example, on the contact page there’s an h1 followed by two h3s. In theory this isn’t correct. In practice (for screen reader users) it’s not an issue.

Recommendations

Low priority

• On the home page, “UX London 2023” should probably be h3 instead of h1.
• On the case studies index page we’re currently using h3 headings for the industry sector (“Charities”, “Education” etc.) but these should probably not be headings at all. On the blog index page we use a class “Tags” for a similar purpose. Consider reusing that pattern on the case studies index page.
• On the about index page, “We’re driven to be” is an h3 and the subsequent three headings are h2s. Ideally this would be reversed: a single h2 followed by three h3s.

Link text

Sometimes the same text is used for different links.

Recommendations

Low priority

• On the home page the text “Read the case study” is re-used for multiple links. It would be better if each link were different e.g. “Read about The Natural History Museum.”

Forms

The only form on the site is the newsletter sign-up form. It’s marked up pretty well: the input has an associated label, although a visible (clickable) label would be better.

Tabbing order

The site doesn’t use JavaScript to mess with tabbing order for keyboard users. The source order of elements in the markup generally makes sense so all is good.

The focus styles are nice and clear too!

Structure

The site is using HTML landmark elements sensibly (header, nav, main, footer, etc.).

While I’m talking about the SVGs on The Session, I thought I’d share something else related to the rendering of the sheet music.

Like I said, I use the brilliant abcjs JavaScript library. It converts ABC notation into sheet music on the fly, which still blows my mind.

If you view source on the rendered SVG, you’ll see that the path and rect elements have been hard-coded with a colour value of #000000. That makes sense. You’d want to display sheet music on a light background, probably white. So it seems like a safe assumption.

Ah, but when it comes to front-end development, assumptions are like little hidden bombs just waiting to go off!

I got an email the other day:

Hi Jeremy,

I have vision problems, so I need to use high-contrast mode (using Windows 11). In high-contrast mode, the sheet-music view is just black!

Doh! All my CSS adapts just fine to high-contrast mode, but those hardcoded hex values in the SVG aren’t going to be affected by high-contrtast mode.

Stepping back, the underlying problem was that I didn’t have a full separation of concerns. Most of my styling information was in my CSS, but not all. Those hex values in the SVG should really be encoded in my style sheet.

I couldn’t remove the hardcoded hex values—not without messing around with JavaScript beyond my comprehension—so I made the fix in CSS:

[fill="#000000"] {
  fill: currentColor;
}
[stroke="#000000"] {
  stroke: currentColor;
}

That seemed to do the trick. I wrote back to the person who had emailed me, and they were pleased as punch:

Well done, Thanks!  The staff, dots, etc. all appear as white on a black background.  When I click “Print”, it looks like it still comes out black on a white background, as expected.

I’m very grateful that they brought the issue to my attention. If they hadn’t, that assumption would still be lying in wait, preparing to ambush someone else.

I was doing some accessibility work with a client a little while back. It was mostly giving their site the once-over, highlighting any issues that we could then discuss. It was an audit of sorts.

While I was doing this I started to realise that not all accessibility issues are created equal. I don’t just mean in their severity. I mean that some issues can—and should—be caught early on, while other issues can only be found later.

Take colour contrast. This is something that should be checked before a line of code is written. When designs are being sketched out and then refined in a graphical editor like Figma, that’s the time to check the ratio between background and foreground colours to make sure there’s enough contrast between them. You can catch this kind of thing later on, but by then it’s likely to come with a higher cost—you might have to literally go back to the drawing board. It’s better to find the issue when you’re at the drawing board the first time.

Then there’s the HTML. Most accessibility issues here can be caught before the site goes live. Usually they’re issues of ommission: form fields that don’t have an explicitly associated label element (using the for and id attributes); images that don’t have alt text; pages that don’t have sensible heading levels or landmark regions like main and nav. None of these are particularly onerous to fix and they come with the biggest bang for your buck. If you’ve got sensible forms, sensible headings, alt text on images, and a solid document structure, you’ve already covered the vast majority of accessibility issues with very little overhead. Some of these checks can also be automated: alt text for images; labels for inputs.

Then there’s interactive stuff. If you only use native HTML elements you’re probably in the clear, but chances are you’ve got some bespoke interactivity on your site: a carousel; a mega dropdown for navigation; a tabbed interface. HTML doesn’t give you any of those out of the box so you’d need to make your own using a combination of HTML, CSS, JavaScript and ARIA. There’s plenty of testing you can do before launching—I always ask myself “What would Heydon do?”—but these components really benefit from being tested by real screen reader users.

So if you commission an accessibility audit, you should hope to get feedback that’s mostly in that third category—interactive widgets.

If you get feedback on document structure and other semantic issues with the HTML, you should fix those issues, sure, but you should also see what you can do to stop those issues going live again in the future. Perhaps you can add some steps in the build process. Or maybe it’s more about making sure the devs are aware of these low-hanging fruit. Or perhaps there’s a framework or content management system that’s stopping you from improving your HTML. Then you need to execute a plan for ditching that software.

If you get feedback about colour contrast issues, just fixing the immediate problem isn’t going to address the underlying issue. There’s a process problem, or perhaps a communication issue. In that case, don’t look for a technical solution. A design system, for example, will not magically fix a workflow issue or route around the problem of designers and developers not talking to each other.

When you commission an accessibility audit, you want to make sure you’re getting the most out of it. Don’t squander it on issues that you can catch and fix yourself. Make sure that the bulk of the audit is being spent on the specific issues that are unique to your site.

I added a dark mode to my site last year. Since then I’ve been idly toying with the addition of a dark mode to The Session too.

As with this site, the key to adding a dark mode was switching to custom properties for color and background-color declarations. But my plans kept getting derailed by the sheet music on the site. The sheet music is delivered as SVG generated by ABCJS which hard-codes the colour in stroke and fill attributes:

fill="#000000" stroke="#000000"

When I was describing CSS recently I mentioned the high specifity of inline styles:

Whereas external CSS and embedded CSS don’t have any effect on specificity, inline styles are positively radioactive with specificity.

Given that harsh fact of life, I figured it would be nigh-on impossible to over-ride the colour of the sheetmusic. But then I realised I was an idiot.

The stroke and fill attributes in SVG are presentational but they aren’t inline styles. They’re attributes. They have no affect on specifity. I can easily over-ride them in an external style sheet.

In fact, if I had actually remembered what I wrote when I was adding a dark mode to adactio.com, I could’ve saved myself some time:

I have SVGs of sparklines on my homepage. The SVG has a hard-coded colour value in the stroke attribute of the path element that draws the sparkline. Fortunately, this can be over-ridden in the style sheet:

svg.activity-sparkline path {
  stroke: var(--text-color);
}

I was able to do something similar on The Session. I used the handy currentColor keyword in CSS so that the sheet music matched the colour of the text:

svg path {
  fill: currentColor;
}
svg path:not(stroke="none") {
  stroke: currentColor;
}

Et voila! I now had light-on-dark sheet music for The Session’s dark mode all wrapped up in a prefers-color-scheme: dark media query.

I pushed out out the new feature and started getting feedback. It could be best summarised as “Thanks. I hate it.”

It turns out that while people were perfectly fine with a dark mode that inverts the colours of text, it felt really weird and icky to do the same with sheet music.

On the one hand, this seems odd. After all, sheet music is a writing system like any other. If you’re fine with light text on a dark background, why doesn’t that hold for light sheet music on a dark background?

But on the other hand, sheet music is also like an image. And we don’t invert the colours of our images when we add a dark mode to our CSS.

With that in mind, I went back to the drawing board and this time treated the sheet music SVGs as being intrinsicly dark-on-light, rather than a stylistic choice. It meant a few more CSS rules, but I’m happy with the final result. You can see it in action by visiting a tune page and toggling your device’s “appearance” settings between light and dark.

If you’re a member of The Session, I also added a toggle switch to your member profile so you can choose dark or light mode regardless of your device settings.

I added a dark mode to my website a while back. It was a fun thing to do during Indie Web Camp Amsterdam last year.

I tied the colour scheme to the operating system level. If you choose a dark mode in your OS, my website will adjust automatically thanks to the prefers-color-scheme: dark media query.

But I’ve seen notes from a few friends, not about my site specifically, but about how they like having an explicit toggle for dark mode (as well as the media query). Whenever I read those remarks, I’d think “I’m really not sure I’ve got time to deal with adding that kind of toggle to my site.”

But then I realised, “Jeremy, you absolute muffin! You’ve had a theme switcher on your website for almost two decades now!”

Doh! I had forgotten about that theme switcher. It dates back to the early days of CSS. I wanted my site to be a demonstration of how you could apply different styles to the same underlying markup (this was before the CSS Zen Garden came along). Those themes are very dated now, but if you like you can view my site with a Zeldman theme or a sci-fi theme.

To offer a dark-mode theme for my site, all I had to do was take the default stylesheet, pull out the custom properties from the prefers-color-scheme: dark media query, and done. It took less than five minutes.

So if you want to view my site in dark mode, it’s one of the options in the “Customise” dropdown on every page of the website.

I wrote recently about moving away from Sass to using native CSS features. I had this to say on the topic of mixins in Sass:

These can be very useful, but now there’s a lot that you can do just in CSS with calc(). The built-in darken() and lighten() mixins are handy though when it comes to colours.

I know we will be getting these in the future but we’re not there yet with CSS.

Anyway, I had all this in the back of my mind when I was reading Lea’s excellent feature in this month’s Increment: A user’s guide to CSS variables. She’s written about a really clever technique of combining custom properites with hsl() colour values for creating colour palettes. (See also: Una’s post on dynamic colour theming with pure CSS.)

As so often happens when I’m reading something written by Lea—or seeing her give a talk—light bulbs started popping over my head (my usual response to Lea’s knowledge bombs is either “I didn’t know you could do that!” or “I never thought of doing that!”).

I immediately set about implementing this technique over on The Session. The trick here is to use separate custom properties for the hue, saturation, and lightness parts of hsl() colour values. Then, when you want to lighten or darken the colour—say, on hover—you can update the lightness part.

I’ve made a Codepen to show what I’m doing.

Let’s say I’m styling a button element. I make custom propertes for hsl() values:

button {
  --button-colour-hue: 19;
  --button-colour-saturation: 82%;
  --button-colour-lightness: 38%;
  background-color: hsl(
    var(--button-colour-hue),
    var(--button-colour-saturation),
    var(--button-colour-lightness)
  );
}

For my buttons, I want the borders to be slightly darker than the background colour. When I was using Sass, I used the darken() function to this. Now I use calc(). Here’s how I make the borders 10% darker:

border-color: hsl(
  var(--button-colour-hue),
  var(--button-colour-saturation),
  calc(var(--button-colour-lightness) - 10%)
);

That calc() function is substracting a percentage from a percentage: 38% minus 10% in this case. The borders will have a lightness of 28%.

I make the bottom border even darker and the top border lighter to give a feeling of depth.

button

On The Session there’s a “cancel” button style that’s deep red.

cancel

Here’s how I set its colour:

.cancel {
  --button-colour-hue: 0;
  --button-colour-saturation: 100%;
  --button-colour-lightness: 40%;
}

That’s it. The existing button declarations take care of assigning the right shades for the border colours.

Here’s another example. Site admins see buttons for some actions only available to them. I want those buttons to have their own colour:

.admin {
  --button-colour-hue: 45;
  --button-colour-saturation: 100%;
  --button-colour-lightness: 40%;
}

admin

You get the idea. It doesn’t matter how many differently-coloured buttons I create, the effect of darkening or lightening their borders is all taken care of.

So it turns out that the lighten() and darken() functions from Sass are available to us in CSS by using a combination of custom properties, hsl(), and calc().

I’m also using this combination to lighten or darken background and border colours on :hover. You can poke around the Codepen if you want to see that in action.

I love seeing the combinatorial power of these different bits of CSS coming together. It really is a remarkably powerful programming language.

I had a very productive time at Indie Web Camp Amsterdam. The format really lends itself to getting the most of a weekend—one day of discussions followed by one day of hands-on making and doing. You should definitely come along to Indie Web Camp Brighton on October 19th and 20th to experience it for yourself.

By the end of the “doing” day, I had something fun to demo—a dark mode for my website.

Y’know, when I first heard about Apple adding dark mode to their OS—and also to CSS—I thought, “Oh, great, Apple are making shit up again!” But then I realised that, like user style sheets, this is one more reminder to designers and developers that they don’t get the last word—users do.

Applying the dark mode styles is pretty straightforward in theory. You put the styles inside this media query:

@media (prefers-color-scheme: dark) {
...
}

Rather than over-riding every instance of a colour in my style sheet, I decided I’d do a little bit of refactoring first and switch to using CSS custom properties (or variables, if you will).

:root {
  --background-color: #fff;
  --text-color: #333;
  --link-color: #b52;
}
body {
  background-color: var(--background-color);
  color: var(--text-color);
}
a {
  color: var(--link-color);
}

Then I can over-ride the custom properties without having to touch the already-declared styles:

@media (prefers-color-scheme: dark) {
  :root {
    --background-color: #111416
    --text-color: #ccc;
    --link-color: #f96;
  }
}

All in all, I have about a dozen custom properties for colours—variations for text, backgrounds, and interface elements like links and buttons.

By using custom properties and the prefers-color-scheme media query, I was 90% of the way there. But the devil is in the details.

I have SVGs of sparklines on my homepage. The SVG has a hard-coded colour value in the stroke attribute of the path element that draws the sparkline. Fortunately, this can be over-ridden in the style sheet:

svg.activity-sparkline path {
  stroke: var(--text-color);
}

The real challenge came with the images I use in the headers of my pages. They’re JPEGs with white corners on one side and white gradients on the other.

I could make them PNGs to get transparency, but the file size would shoot up—they’re photographic images (with a little bit of scan-line treatment) so JPEGs (or WEBPs) are the better format. Then I realised I could use CSS to recreate the two effects:

1. For the cut-out triangle in the top corner, there’s clip-path.
2. For the gradient, there’s …gradients!

background-image: linear-gradient(
  to right,
  transparent 50%,
  var(—background-color) 100%
);

Oh, and I noticed that when I applied the clip-path for the corners, it had no effect in Safari. It turns out that after half a decade of support, it still only exists with -webkit prefix. That’s just ridiculous. At this point we should be burning vendor prefixes with fire. I can’t believe that Apple still ships standardised CSS properties that only work with a prefix.

In order to apply the CSS clip-path and gradient, I needed to save out the images again, this time without the effects baked in. I found the original Photoshop file I used to export the images. But I don’t have a copy of Photoshop any more. I haven’t had a copy of Photoshop since Adobe switched to their Mafia model of pricing. A quick bit of searching turned up Photopea, which is pretty much an entire recreation of Photoshop in the browser. I was able to open my old PSD file and re-export my images.

Let’s just take a moment here to pause and reflect on the fact that we can now use CSS to create all sorts of effects that previously required a graphic design tool like Photoshop. I could probably do those raster scan lines with CSS if I were smart enough.

This is what I demo’d at the end of Indie Web Camp Amsterdam, and I was pleased with the results. But fate had an extra bit of good timing in store for me.

The very next day at the View Source conference, Melanie Richards gave a fantastic talk called The Tailored Web: Effectively Honoring Visual Preferences (seriously, conference organisers, you want this talk on your line-up). It was packed with great insights and advice on impementing dark mode, like this little gem for adjusting images:

@media (prefers-color-scheme: dark) {
  img {
    filter: brightness(.8) contrast(1.2);
  }
}

Melanie also pointed out that you can indicate the presence of dark mode styles to browsers, although the mechanism is yet to shake out. You can do it in CSS:

:root {
  color-scheme: light dark;
}

But you can also do it in HTML:

That allows browsers to swap out replaced content; interface elements like form fields and dropdowns.

Oh, and one other addition I added after the fact was swapping out map imagery by using the picture element to point to darker map tiles:

<picture>
<source media="(prefers-color-scheme: dark)" srcset="https://api.mapbox.com/styles/v1/mapbox/dark-v10/static...">
<img src="https://api.mapbox.com/styles/v1/mapbox/outdoors-v10/static..." alt="map">
</picture>

So now I’ve got a dark mode for my website. Admittedly, it’s for just one of the eight style sheets. I’ve decided that, while I’ll update my default styles at every opportunity, I’m going to preservethe other skins as they are, like the historical museum pieces they are.

If you’re on the latest version of iOS, go ahead and toggle the light and dark options in your system preferences to flip between this site’s colour schemes.

Patterns Day is not one of Clearleft’s slick’n’smooth conferences like dConstruct or UX London. It’s more of a spit’n’sawdust affair, like Responsive Day Out.

You can probably tell from looking at the Patterns Day website that it wasn’t made by a crack team of designers and developers—it’s something I threw together over the course of a few days. I had a lot of fun doing it.

I like designing in the browser. That’s how I ended up designing Resilient Web Design, The Session, and Huffduffer back in the day. But there’s always the initial problem of the blank page. I mean, I had content to work with (the information about the event), but I had no design direction.

My designery colleagues at Clearleft were all busy on client projects so I couldn’t ask any of them to design a website, but I thought perhaps they’d enjoy a little time-limited side exercise in producing ideas for a design direction. Initially I was thinking they could all get together for a couple of hours, lock themselves in a room, and bash out some ideas as though it were a mini hack farm. Coordinating calendars proved too tricky for that. So Jon came up with an alternative: a baton relay.

Remember Layer Tennis? I once did the commentary for a Layer Tennis match and it was a riot—simultaneously terrifying and rewarding.

Anyway, Jon suggested something kind of like that, but instead of a file being batted back and forth between two designers, the file would passed along from designer to designer. Each designer gets one art board in a Sketch file. You get to see what the previous designers have done, leaving you to either riff on that or strike off in a new direction.

The only material I supplied was an early draft of text for the website, some photos of the first confirmed speakers, and some photos I took of repeating tiles when I was in Porto (patterns, see?). I made it clear that I wasn’t looking for pages or layouts—I was interested in colour, typography, texture and “feel.” Style tiles, yes; comps, no.

Jon

Jon kicks things off and immediately sets the tone with bright, vibrant colours. You can already see some elements that made it into the final site like the tiling background image of shapes, and the green-bordered text block. There are some interesting logo ideas in there too, some of them riffing on LEGO, others riffing on illustrations from Christopher Alexander’s book, A Pattern Language. Then there’s the typeface: Avenir Next. I like it.

James G

Jimmy G is up next. He concentrates on the tiles idea. You can see some of the original photos from Porto in the art board, alongside his abstracted versions. I think they look great, and I tried really hard to incorporate them into the site, but I couldn’t quite get them to sit with the other design elements. Looking at them now, I still want to get them into the site …maybe I’ll tinker with the speaker portraits to get something more like what James shows here.

Ed

Ed picks up the baton and immediately iterates through a bunch of logo ideas. There’s something about the overlapping text that I like, but I’m not sure it fits for this particular site. I really like the effect of the multiple borders though. With a bit more time, I’d like to work this into the site.

James B

Batesy is the final participant. He has some other nice ideas in there, like the really subtle tiling background that also made its way into the final site (but I’ll pass on the completely illegible text on the block of bright green). James works through two very different ideas for the logo. One of them feels a bit too busy and chaotic for me, but the other one …I like it a lot.

I immediately start thinking “Hmm …how could I make this work in a responsive way?” This is exactly the impetus I needed. At this point I start diving into CSS. Not only did I have some design direction, I’m champing at the bit to play with some of these ideas. The exercise was a success!

Feel free to poke around the Patterns Day site. And while you’re there, pick up a ticket for the event too.