What is a mid-weight designer?

It’s your first ever job and your purpose is to soak everything up.

Just like a foundation course at college, being a junior designer is all about understanding the foundations of your craft, picking a specialism to hone into and becoming a T-shaped person; or in the case of UX design comb-shaped.

The average duration of a junior role is around 3 years. Beyond this point you will often start to see adverts for positions described as a mid-weight designer. You may even be in a place where this is how you are described today.

The question I have been posing to myself and have opened up through The UX Coach podcast is, what does that really mean?

Is it time to drop the 10,000 goal?

For most people moving into a creative career, our goal in life is to become a master craftsperson, an expert practitioner.

Through repeating design efforts we become efficient in our discipline  and During this period of your career you are becoming highly skilled in a specific area, or if you’re a UX designer maybe a few areas of deep knowledge.

For a long time we’ve talked about this as developing your 10,000 hours; the length of time Anders Ericsson in his paper The Role of Deliberate Practice in the Acquisition of Expert Performance back in 1993 claimed it took to become an expert at anything.

You could argue that the concept of being a mid-weight designer is the act of becoming a master. Using this derogatory labelling of mid-weight can lead to people feeling they are not good enough.

The truth is we are simply designers.

By allowing ourselves to be bought into the concept of the 10,000 hour theory is that it is virtually impossible to gain this in a linear fashion.

Unlike a concert violinist for example, who will only ever play violin and even a specific style, a UX designer is likely to learn a multitude of instruments, some with a basic grasp and others with strong proficiency.

Being classified as a mid-weight designer can make you feel lesser, and is emphasised in the workplace by the fact that in many cases, whilst carrying this label you will be unable to access other areas of design or the business that you may in fact excel in, or be truly passionate about.

How do we overcome the mid-weight rut and get access to strategic senior roles?

Beyond being a designer is the notion of a senior designer.

Asking a variety of people throughout the industry what this means, gets mixed opinions. A conversation with Mark Branigan for The UX Coach podcast, gave me the best framing I’ve heard so far.

Seniority should be driven from your experiences – not time. One person can have the same experience over a decade as another has within just a few months.

Context is everything when it comes to seniority. Unfortunately for most of us being senior comes with pros and cons.

In most organisations being senior shoulders you with responsibilities you are unlikely to be experienced or equipped to handle because you’ve spent your career perfecting your practitioner craft.

  • Being responsible for people
    Leading a team of individuals of varying capability and experiences
  • Managing a department, or team
    Involves finances, money in, money out. Costing out projects, budgets, you may even be responsible for generative the income streams for the business
  • Strategic thinking
    Being senior usually entitles you access to work that is of a more strategic nature, or considered to be complex

From this list, the responsibility for people; their work and their wellbeing, and the ability to work on strategic work are where I have decided to focus my research of late.

It seems crazy to me that we are missing the opportunity to have incredible talent supporting others in management capacities, and working on strategy because they haven’t earned their stripes.

The Designer Career Path doesn’t involve people

The learning and career paths for digital design disciplines is infantile. Much of our practice has existed for less than 10 years, and an international education system that is failing new designers with outdated course materials, even more outdated modules and a distinct lack of understanding as to what is expected of today’s workforce.

What is troubling me of late is that whilst we have hundreds of pop-up businesses providing training for career switchers, side-movers and graduates to develop the foundations of digital design it is only increasing the knowledge gap.

We now have far more people who want to be practitioners than we do people that want to support and enable others to do great work.

Staying for longer in a company should mean you become a Manager of people

Purely by staying in one spot for long enough people are elevated to positions of Manager, Senior X or Lead but rarely have experience in what it means to be responsible for other people. It’s not often I find there are any tangible training and learning opportunities for these people to gain those skills either.

Equally as common is finding out these people never wanted this responsibility. It isn’t their passion or desire to be developing and supporting other people to do great work – They are confident and impassioned by doing that work themselves.

These roles manifest or are taken on by practitioners because it bumps their salary and because it is considered to be an acknowledgement of their experience.

When this happens it can be a big problem for everyone in their team as they may not get the support and development they need. It’s just as important to consider the stress and strain that can take on the individual suddenly responsible for them.

This is when I find I am being contacted the most.

The disconnect between practice and enablement

There are no clear opportunities for people to explore within the earlier stages of their career roles that relate to management. It means there is no career path that is intended for leaders or managers – people who want to enable others.

Gia Puha Lihua laid this out well in her post Mapping your UX career trajectory.

Career progressions in the Practitioner and Managerial route by Gia Puha Lihua

The diagram shows that these are laid out in two distinct camps but highlights that there are no obvious joining paths from column A to column B.

I believe we can change this story.

How the ‘Ops movements might save us all

Last year, along with hundreds of people across the world I became part of the ResearchOps (https://twitter.com/TeamReOps) community. A group that has become increasingly aware of the need for operational support for people working in user research.

I took part in the first international workshop in London before co-hosting another. Workshop were carried out all over the world with 100s of attendees.

Almost all the participants were research practitioners.
Results to the workshop questions resulted in the same things emerging when it came to our point of global synthesis – practitioners wanted support in various ways in order to get on with their jobs – the craft.

As a result, one question kept coming into my mind.Do you want to help others do great work?

At some point in time you should reflect on what you enjoy and what energises you.

Do you find that the thing that gets you truly amped is knowing that today you’re going to go in and be helping a colleague learn something new, or overcome a challenge they’re facing?

Then I would say you are destined for a successful career in some kind of managerial design role and we certainly need more of you to step forward.

What can we do next?

Be clear and honest with yourself about what gives you passion.

If the idea that more of your time is going to be spent ensuring others can be successful and very little is going to be carrying out studies or designing interfaces, then think twice about accepting that lead design or head of design role – and don’t be ashamed to admit it.

You can explore this at any point in your career because there will always be something you have to offer others. Become a mentor, volunteer your time to work with someone in your company, or outside of it.

Setup a mastermind group within this community here, or register yourself at the UXPA and offer your knowledge back to others.

There’s some work to do for company founders and leadership teams too. Let’s not get them off the hook too easy.

I believe that:

  • Senior shouldn’t mean responsible for people
  • Shouldn’t mean able to now work on complex projects, systems design, strategy etc
  • Management and leadership roles should be considered earlier in career development
  • Title does not dictate behaviour (Thank you Kevin Smith)
  • Age does not equal wisdom

I want to keep this conversation going and ideally to help with the eradication of the derogatory label of mid-weight anything.

To do this, I put these thoughts and a few questions out to the design community and got an overwhelming response.

This has resulted in the creation of The UX Coach, a podcast series to hear how others feel about this, what their career paths have looked like, what the future holds and advice on making those difficult decisions on roles and responsibilities.

You can subscribe on iTunes, Spotify, Stitcher and pretty much anywhere else. And if it isn’t where you download your podcast feed from, let me know and I’ll make it happen.

Further reading

The Role of a manager has to change in 5 key ways

The Brutal truth about becoming a design manager

How to become an expert at anything (Anders Ericsson)

Mapping your UX career trajectory Pt1

What is a symbol and what is an icon?

An icon is a way of providing information without the use of written text.

It shouldn’t be confused with a symbol which is a pictorial that doesn’t have to depict the object, or action that it is displayed for. An icon is intended to represent the object that is present.

For example, a speed camera sign on UK roads is a symbol. In the sign it uses a box browning camera, a device that is not the one in use at the side of the road, even though the early gatso camera’s did look a little like a giant yellow box camera. There is also no film in the camera. What adds further confusion is that the device in question is obsolete, very few drivers will understand what the pictorial is of.

A symbol has to be learnt, an icon however should be recognisable and familiar and representative of the thing. It’s also why I hate the funnel icon so much you often see being used to denote a filter. You do not use a funnel to filter a liquid, you use a funnel to transfer a large volume of liquid to a vessel of equal, or greater size with a shallow opening, or to ensure it is added in a controlled way.

A good example of an icon is the house often used on web applications and websites because it is denoting that you will be returned to the home-page. Although understanding the structure of a website and that every site has a home is a learned behaviour, it requires little cognition.

If you are looking at something and trying to determine whether it is a symbol or an icon – we can determine its purpose from what is drawn.

Amazon Music Dark Patterns for Cancellation

After discovering that children and Alexa don’t mix (unless you enjoy high card bills every month) I needed to find a way of cancelling Amazon Music subscription.

I discovered a rather dirty dark pattern in the form of switching action states. Every Amazon user will be familiar with their button sequences, yellow buttons = positive / primary action with grey buttons action as cancel / secondary actions.

Throughout the entire Amazon Music subscription cancellation process they’ve switched the button logic around. Here’s the flow in it’s gory detail.


Notice how this first question is in fact a feedback survey – and you can skip it using the standard link below the action buttons – but you can’t select submit and confirm cancellation until you have selected an option.Amazon Music then tries a final attempt to keep you based on your response, in this example, I’m not using it enough it shows me all the things I’ve probably not utilised yet and that there’s really a lot on offer et et et et.You’ll see that even up to the point of confirmation the buttons are reversed. Also notice that the progress indicator implies you’re finished. i wonder how many people close the window at this point never actually cancelling their subscription?

The Problem With Digital Transformation

excerpt from Homeland by Cory Doctorow

This post is in response to the writings of Simon Norris on The Problem with Digital Transformation on the Nomensa blog.

In his post he writes with a heavy focus on his opinion that businesses are failing with digital transformation projects because they don’t have ‘design’ in their board rooms, or that the business isn’t building things with a customer-centric focus.

I have to confess that I am not sure I’ve fully understood some of the things Simon has written. I’m not sure who his intended audience for it was, but I don’t think it was me and that’s OK. Regardless, I have some thoughts on this myself and you should of course read Simon’s post too.

Please, accept that design is not the answer to everything – thinking about what you’re doing, is.

Many digital transformation project failures can be attributed to the partners they engage with – digital agencies and platform resellers primarily. In my experience the majority of these suppliers believe digital transformation is another description for selling in systems and site redesigns using the ‘customer experience stick’ to drive their point home.

This is an element of the process, yes. We want to ensure that our services from a digital perspective are meeting the expectations of the people we want to use it and there, in that statement, is my problem with Simon’s post. Continue reading “The Problem With Digital Transformation”

Chrome’s full screen safety seems a bit odd

Screen Shot 2016-03-30 at 21.11.14

If you’ve ever clicked on a video embed in a page to go full screen you will most likely have encountered this (see above). An irritating alert bar informing you this site wants to go full screen – is this ok? But isn’t this closing the gate after the horse has bolted? Why doesn’t this notification appear prior to the video going full screen and block the action.

Advice on Learning UX for Junior Designers

Whilst looking through the status updates on LinkedIn I began responding to a question from a Junior UX Designer in London, but for some reason, as I pressed comment her post had been removed.

I am currently mentoring two fantastic individuals at very different stages in their careers. The subject of learning and training in UX Design comes up often, not just with them, with many people I speak to. That’s why I wanted learning UX Design skills to be an integral part of the service from We Are AFK.

The original question was, could anyone recommend conferences or courses to do?

Option A: The Pantomime

There was a time that I thought conferences were the best resource for learning; after all, these are the greatest minds in our industry. Aren’t they?

If you want to learn how to do something, a conference may not be for you. Many people go to conferences today to be able to walk away feeling confident that what they feel, think or are already doing is right. this can come from not having anyone around them they can validate those feelings with. There’s nothing wrong with this, we all need some reassurance from time to time, but for someone starting out it can be overwhelming, with so many talks on ideas, theories and observations leaving the individual with a head full of stuff and no way of actioning any of it. That, can lead to work-life frustration.

A lot of the time, speakers have written lengthy articles on the subject they’re talking about, or in some cases entire books, which you can retain in your head for longer so look out for those when you’re reviewing that speaker list.

Option B: Get Your Hands Dirty

In terms of actually learning something that you can do tomorrow, look for anything that is workshop based training. In 2015 I ran a workshop at UXBristol. It’s a fantastic day which I hope to return to this year. The group is relatively small with 3 workshops running simultaneously, but there’s never any over subscription. You can easily have a conversation with your fellow classmates and have access to the tutor to ask more. Most important, is that I believe every workshop gave me something practical that I could use the following day if I wanted to.

I’m happy to see this year that there are more of these hands-on workshop based events happening. It is still worth keeping an eye out on Lanyrd for new User Experience Design Workshops. You should check your local meet-up groups too, many of them now run workshops as one-off events and you’ll also have an opportunity to meet people who are working at companies in your area that you can talk to and share with and see if others are feeling the same.

Option C: Alternative Education

If you want to learn how to code, or using specific applications like Photoshop. For the past decade many online courses have emerged giving you practical hands-on lessons. Sites like Lynda, Treehouse, Khan Academy, Code School, and more recently Udemy and Udacity.

I’d always wondered whether it was possible to teach User Experience Design skills in the same way, as it doesn’t have such a defined ruleset, there’s no language to speak of or an application you do it in. Then in 2014 an email went out from IDEO, to gauge interest in an online University focussing on Experience Design and its many facets. IDEO-U was launched in 2015 with their debut course Insights For Innovation.

I took part in this first course and highly recommend it. It was a perfect blend of theory and the practical application of it. There are a number of courses now being run throughout the year with real course leaders (members of the IDEO team) who are on-call as your tutor, and they regularly run webinars and hangouts during the course to see how everyone is getting on and have opening discussions.

If you’d like to learn more about UX Design, or talk to someone about the sort of areas you want to gain more experience and knowledge in, contact me at hello@werafk.com.

This was originally posted on the We Are AFK Blog.

Agile In Design With Jon Aizlewood

My good friend Jon Aizlewood recently wrote about his approach to keeping ontop of design patterns that emerge during an agile, or sprint based design process for a project on his blog http://jonaizlewood.com/articles/visual-inventories-for-agile-design.

In the years that I was at Clearleft, I got to work with Jon the most. As with any collaboration, after a few projects we really found a rhythm, and shared with one another our approaches and methods. Jon’s technique in Sketch at first seemed like insanity with this giant canvas and loads of things sprawled across it, however as he mentions in his post if you scroll out you get this incredible 30,000ft view of the design construct, very much like looking at a teardown photo or unboxing that have become so popular in recent years.

Disassembly photo of a bicycle by gizmodo
Disassembly of a bicycle Source: Gizmodo

As the part of the duo that focussed mainly on the content aspect; and order of the structure, I was really there to provide Jon with real content that he needed to stress test his design language. This ability to zoom in and out of the page types and having this scratch pad of emerging patterns and where they currently appear meant much faster development of new page & content types as we progressed because I had this option to zoom out, and search for whether we have tackled a similar problem in a previous sprint and whether it can be either re-used, or extended.

Find a base and extend it’s use

This idea of extension becomes much easier to sketch out in rough once you have an understanding of what the base component can be. There’s nothing in my portfolio I can use to illustrate this, however if you were to look at penguinrandomhouse.co.uk You’ll see that Jon and I developed this idea of a card based system for housing certain types of information. This evolved over a number of sprints by being able to look at the content pattern and then add to it new data, this is how you go from a person card, to a building card, to a book card. The core design principle for housing this data is ultimately the same, but we’re extending it to include a new data attribute.

Without the ability to look at all the patterns that are emerging within each sprint and viewing each page type this not only could have taken longer, but we may have exhausted time developing design patterns which we thought were unique when they were in fact just an extension of an existing one.

The Right Way To Present A Proof Of Concept

This cropped up on Reddit Video and I had to have a listen. The original poster was making the point that despite not being able to play a single instrument, Michael Jackson was always credited as being a song-writer in full on his records, with session musicians being brought in to perform the arrangements – even though he also could not write a note of music. Continue reading “The Right Way To Present A Proof Of Concept”

A/B Testing – Mistake?

This post is my response to the article: 11 Worst A/B Testing Mistakes According to Experts published by Usability Tools via Medium.

The benefits or purpose of A/B testing I’ve always found to be questionable. Even when you have been able to provide the right kind of hypothesis for running it, you’re failing to consider so many other variables. The same person could have different opinions on that thing based on what they ate for breakfast [that day] let alone connection speeds or any of the other many factors that may be within your control to create that engaging converting experience. Continue reading “A/B Testing – Mistake?”

Vehicle tax renewal – the greatest online experience?

I’ve just renewed the tax for another six months of glorious motorcycle lifestyle; although the number of weekends I’ve been out are outweighed by the number I have.

Now we no longer require a visible tax disc in the UK, the ability to pay online has become even easier, so much so that the only thing the form requires is the payment card details! It was truly amazing experience and was over in less than 5 minutes. It asked me if I wanted to provide my email address and my phone number, both of which were optional, and only if I wanted to receive a copy of the payment receipt; which you can print at the end of the transaction if you wish to.

Talk UX 2015

Back in March I spoke at a new conference based on Manchester, Talk UX. I was part of a curated 300 seconds talk session again, alongside people who have either never spoken in public before or are only just starting to get out there.

Building Prototypes is not enough – people need to use them

There had been rumours for a while that something big was about to come out of Harley Davidson, the American motorcycle manufacturer known the world over as the vehicle of choice for leather vest wearing hairy bikers that don’t go very fast and make the most noise.

The motor industry was shocked to say the least when towards the end of June Harley D’ launched Project LiveWire. A prototype electric motorcycle, inherently silent, economic, and to be honest, it actually looks quite cool too.

Why is this so significant? If the fact that the fuel guzzling giant is investing in electronic vehicles isn’t enough for you their approach to how this will come to market should ring a few bells, or at least make you think differently about how you approach business.

As you can see in this episode from Motorcycle.com the team are focussed on using this prototype to gather feedback from riders, to further refine their offering and then they will put it on general sale. They’ve taken their expertise in design and manufacture and are now taking the prototype on tour to almost every Harley dealership across the United States and booking in riders to take it out for an hour and give them honest blunt feedback.

President Matt Levatich notes that they want customer feedback first and foremost, roll that into the next prototype and do it again and then wait for the technology to advance – hoping that in doing this and getting real people to try their product the technology will improve exponentially.

In the space of just a few weeks, Harley Davidson has become one of the most talked about brands on the planet, all from trying something new; something out of their comfort zone, but crucially because they’ve been completely honest, upfront and set expectations – this is not a machine we will see on sale in a few months time, it may be a few years.

There is a great deal we can learn from this. Being more aware of the impact we have on the world we live in and working towards reducing it. Accepting that being an expert doesn’t make you God, that your only an expert if you’re providing knowledge that makes a difference to another person. Seeing the value in really talking to the people you are wanting to help, listening, and considering what you can do next to reach their goals over your own, because ultimately, they’re will both be achieved if you get the first bit right.

This year I have worked on a few projects where I have developed prototypes. When some people talk about prototypes, they only think of a facade, intended to get a general idea of whether something works. But I’ve taken it further, in the same way that Harley Davidson have with Project LiveWire I have built services that can be used by people in order to gather more information before updating and repeating. As a result it has helped speed up development, by reducing the number of dead-end roads we could go down, determine whether our design style fit with the expectations of people that would potentially sit in front of it for hours a day, and in a surprising outcome, gave us an opportunity to rethink a key aspect of the service.

We have so many of these so called prototyping tools, applications designed to quickly simulate a thing. For sake of argument let’s call it a website. Well, that’s great. You can quickly make something that looks like a website, behaves closely to a website, but why not just build a website? Why not do it with the technologies you are likely to do it with? Prototype holds many insights, one of which is research, not just researching whether your idea works, but researching how you can achieve it. What use is there in creating an application in something like Axure, only to find you can’t make it a reality? It’s wasted effort and why I believe Harley have gone down this route unlike others who are now moving into the market space.

Remember that prototyping isn’t just about speed, it’s about learning something new. Use the opportunity to teach yourself a new skill, and listen to what people tell you in return.

response to images – responsive day out

During Owen Gregory’s talk at Responsive Day Out he touched on the theory of the Golden Ratio in design and how you can still use traditional design theory in a fluid world without compromising on form.

Many others throughout the day had discussed the current issues we face when approaching the use of images in design and content in designing for a fluid web. There were discussions on file sizes, how to serve up images, what kind of image files we should use and when to use them, the types of images, are they for context or decoration?

Bruce Lawson went through the ideas of serving up entirely different versions of an image to align with a particular layout. In His example he showed an image where a dog sat centrally in a photograph. Using breakpoints, he presented different crops of the same image citing that these were better contextually based on the viewport size. I disagree with this, but that’s another story.

What nobody questioned however is whether images themselves are actually the plague on good design when it comes to the web? Are they the devil we know that can never be changed?

Last year I was working with Paul Swain on a project which we knew was going to be heavily lead by imagery. During the wireframing stage Paul was placing image placeholders in that used a 16:9 aspect ratio. I asked him why he kept putting them in the layout? His response was that 16:9 gives more data in an image. For example in a sports scene it allows for the subject to be the focus with his surroundings given extra space to breathe. He also noted that when designing a fluid site we should consider that the screen sizes are all moving towards widescreen, columns are going to become wider than they are long.

I couldn’t let this go. As a photographer, I have never owned a camera that shoots images at 16:9; I have a FlipHD handheld video camera that shoots in 16:9 but none of my Nikon SLRs do. All I could think of was somebody having to spend more time shooting with a taped off back screen (see below) and more time editing before getting a story out on a news site for example. I brought this scenario to the table and we removed the placeholders exchanging them for 4:3 placeholders, if the image was in a widescreen format, they had a bounding box they could fit it into.

It did get me thinking as to whether the likes of Nikon will completely lose their minds and do away with the 4:3 ratio we are all used to? Of course, there are other image sizes that are still commonplace today notably instagram with it’s square images in a homage to the Polaroid and the hipsters do love their Lomos.

Owen Gregory questioned why we have these ratios in our devices that do not meet with the golden ratio? Modern displays, flat screen televisions and monitors use a16:9 ratio whilst older displays were set at 4:3 as are most cell phones, the iPad and many other tablet devices such as the Kindle and Galaxy Tab. In 2012 Apple The iPhone5 is 16:9 and along with the Samsung S3 and Nexus 4 are evolving handheld devices into the widescreen HD era.

How did these ratios come to be and can we ever have visual perfection?

Well, it isn’t but that is where it all starts, with William Dickinson and Thomas Eddison creating a concept of a roll of film and a loader for a camera.

Edison and Dickinson wanted to create images which gave the same level of detail as when looking straight ahead; minus the periphery. The human eye has a field of view which is 155oH x 120oV (4:3).

Their film wrapped around a spindle with sprockets gripping it in place. The frame needed to meet the 4:3 ratio and finally they concluded the ideal size was 35mm wide and 3 perforations high (the distance between the sprockets).

Does it have legs?

Naturally, when artists started considering moving pictures the starting point was to use 35mm film and lots of it. There were experiments with other formats as the movie makers started to look at how to make a more immersive experience. As with all good art, the marketing people had other ideas, how do you get more people in front of a film and make more money per show? The natural solution? make it wider. Wider screen = more seats.

The most notable movement came from France where the Paris film scene was booming. In 1897 Raoul Grimoin Sanson patented Cineorama, a widescreen film format, it never took off.

Other concepts emerged during the early 19th century including cinemascope which was costly to produce requiring two camera operators and further time editing. With the Depression came cut backs in Hollywood and the anamorphic format given with most widescreen solutions was dropped, returning to the cheaper 35mm 4:3 systems.

Alfred Hitchcock refused to shoot in cinemascope citing that it created an unnatural and displeasing image, instead favouring VistaVision which could be adjusted to suit a number of aspect ratios.

The Golden Age turns to Pyrite

As televisions found their way into more and more households in America Hollywood started to feel the pinch. Here is where we see history repeating itself (see 3D in 1915, 3D in the 1950s, 3D in the 1980s, HD and 3D again in the 2000s). Film studios began experimenting with dimensions again purposefully shooting in wider ratios that needed new projectors in the cinemas affiliated with the film studios and providing a cinematic experience which clearly set it apart from television.

It caused chaos. Letterboxes became a visual cue to what kind of film you were watching and ensured that every cinema could syndicate the movies into their theatres without needing to upgrade their equipment.

Many of us will remember (I’ve actually seen it in France in the last month) the frustrations of watching a film bought by a television network where the titles are chopped off left and right and you can’t help but wonder whether you’re losing important plot points to the outer limits of the shiny pastic surround encasing the liquid crystal display.

Thankfully, Dr Kerns Powers rallied for some kind of standardisation to be formed. Eventually 16:9 was agreed upon, not because it is the most pleasing ratio to experience moving pictures, but because it is the middle ground in a muddy film landscape. This is why even now with your HD (or even UHD/4K) screen you will see letterboxes when watching certain movies.

How do ratios fit into responsive design?

I have on quite a few occasions attempted to mimic another film format to the one I am shooting with. Back in 2009 (the golden age of Flickr?) I was inspired by Dustin Diaz’s 365 project where the majority of his shots were 16:9 and letterboxed. I spoke to him at the time about how he was doing this and tried it myself.

Perhaps we can start thinking about this in our web design. Can we use margins and padding in the same way as to create faux widescreen experiences, or even bring widescreen back down to 4:3 after all, isn’t this what we’re doing every time we set body to margin: 0 auto?

Originally posted on avangelistdesign.com