Alan Coleman's

I have a couple of great additions to my world of web development that are worthy of a mention.

The first is the discovery of WebDevRadio, a site based around a set of regularly updated podcasts on web development issues. The podcasts themselves are hosted by Michael Kimsal, an genuinely friendly bloke who discusses anything from the weather in his part of the world to the finer points of his favourite PHP class of the moment. It’s all very listenable and down to earth, in fact he comes across like he’s talking it over with a few mates down the pub. On the back of listening to the latest podcast whilst doing my ironing (2 shirts, that was it) I tried to find some UK based podcasts and came across Fresh Egg, a design and marketing agency who I think are based out of Reading in Berkshire (shit county). If it’s not Reading then I apologise, but not to the people of Berkshire (shit county). Their podcasts stand in complete contrast to those of Michael Kimsal, both in terms of delivery and content. For a start, their overwhelming self importance gives listeners the feeling of being spoken down to, not good. Then there’s the intensely annoying accents, that middle England sixth form slur copied from daytime Radio 1. The content isn’t much better, instead of insightful discussion the podcasts contain a series know it all sound bites designed to fool potential clients into thinking that ‘These guys really know their stuff’. A truly awful listening experience.

Americans? Best music, best literature and best web development podcasts.

The second point I’d like to talk about is my new Whiteboard. It sits on the wall next to my desk and came complete with a set of coloured pens and accessories. It’s a really good way of visualising concepts, brainstorming ideas or even just a large area to design schemas or normalise database tables. Big, long sweeping coloured arrows make for a great environment to refer back to at the turn of the head. It’s a bit like being at school but without getting laughed at in the showers after cross country. The thing is, all of the above is just a way of avoiding what I’m stuck on at work, ISAPI_rewrite. Oh joy.

Photoshop Elements, a fantastic product and a piece of marketing genius. A stripped down version of the fully fledged software install, with all the functionality you’re likely to need unless you work in Hoxton or drink Latte Coffee or wear a Nike Windcheater. Ideal for developers like myself who just need to cut and crop and maybe do bit of contrast correction. It had the Adobe professional interface from Illustrator and Photoshop so if you learnt on one then it’s all easy, same menus, same shortcuts, same everything. All for about £50 – it’s all good, as everyone says now.

So Photoshop Elements, it’s all good. At least it was.

So there I was in one job using my trusty old Elements to great effect, then I got made redundant and moved on to my current position and they used Illustrator for Photo manipulation. Bad as it is impossible. No, “Elements” I said nodding happily, “That’s all I need”.

Elements turns up and it’s version 5 which I start to get exited about. After loading it up however, nothing could have prepared me for the horror that awaited me in my new bling monitor. I actually felt my heart drop with disappointment as I looked at my beloved Elements in utter amazement.

It’s been domesticated. By that I mean it now looks like the kind of thing that you got free with a cheap digital camera in 2003. Gone is the familiar interface, shortcuts and working environment, and in its place are huge buttons and tacky picture album templates. It is, f**king awful. Nothing works now, a prime example is the resize tool that you can no longer constrain with the shift key! The most basic piece of Adobe functionality!

Also, it’s made the Microsoft mistake of trying to be too helpful. It leaves an icon in the tray that leaps into action whenever a new device appears, helpfully looking for photos. “No, stop! Go away, I don’t want you to help me find those pictures tucked away deep in the bottom of my Flash thingy”

So now I’ve got to go back to the IT manager and ask for CS like a greedy student who’s never satisfied. I’ll never use most of the functionality and the company will have to float on the stock market to afford it.

If it’s not broken, please, don’t fix it.

I think I’m okay when it comes to technology, not like a geeky genius or anything, but able to have at least a limited grasp of how digital devices work and interact with each other. There are times however when I can’t get my head round simple concepts of usability, like mobile phones for example, which I still find difficult to use after ten nearly years use (has it really been that long?).

One of the biggest usability hurdles in my life is the touch screen ticket machine, which I find so infuriatinlg difficult to understand that I have to get someone else to operate them for me. Mind you, shouting obscenities at yourself in an underground station isn’t always the best way to get people to help you.

Okay so this is sounding a bit tabloid now, overweight middle aged white men moaning about technological progress, but I really think I’ve got a point here.

There are two issues at play, architecture and design. Both intrinsic to each other as well as to a satisfactory user experience. What is happening is that they are both being overlooked in the rush to provide machines, shut the ticket offices and of course, save money. A depressingly common theme as we use technological advancement for economic rather than customer benefit.

From an architecture point of view the information, or products on sale, are usually always organised in a manner more in keeping with a database structure rather than a humanistic one. This leads to a confusing mass of information that takes so long to digest that the ‘See more’ button at the bottom is usually overlooked. Nothing really seems to make sense as my brain struggles to keep up with the sheer weight of content.

A better way to arrange content would be to display the most popular stations choosen in the last 12 hours, plot that to a calendar for obvious variations and it won’t be long before the initial choices will change depending on the time, day and even weather. More human, more dynamic.

Which brings me neatly to design, which never really seems to extend much further than the default Visual Basic buttons laid onto a dodgy train montage. It simply doesn’t work, and the ticket machines abroad aren’t much better either, same layout, same buttons. The machines on the Berlin Metro are to usability what Helmut Cole was to tightrope walking. You know we have a problem when the Germans can’t get it right!

It’s quite obvious that these processes are put together by IT staff or web developers who have no interest or experience in Information Architecture or the fundamental tenets of usability. If you like, an unwelcome distraction from the joy of working with the Internet. Interface design is a disciple in its own right that deserves thought, creativity and above all, testing.

Okay, the 2012 logo, I like it.

All too often with these things we end up with a fairly predictable corporate logo that looks like something that fronts a local council recycling initiative.

What we have been presented with is a fresh and vibrant image that is both challenging and unashamedly stylish, which is essentially what London is all about. But as Wolff Olins - http://www.wolffolins.com/ quite rightly point out, it’s not just about the capital, which is why we haven’t got any tedious silhouettes of the London skyline or dodgy Tube map metaphors. All that’s been done before, and the competition to create an alternative logo demonstrates just how conservative design can be.

So the tabloids are up in arms? So what? Surely that just goes to show how forward thinking we’re being on this, and in breaking with convention showing how liberal we are as a city – Like it or not, London is a Labour Party city. If it was left to the Daily Mail we’d have something designed by a nine year old called Elizabeth from a Putney primary School, and if it was left to The Sun we’d have a picture of Zara Phillips in Union Jack knickers on Page 3.

Despite turning into a load of fat bastards, we love sport in this country, and as a tribute to that we’re challenging preconceived ideas as part of our well proven creative track record.

We’re great, and you know it!

I’ve been getting back into buying CDs lately, as it seems to be the only way that I actually get round to listening to music. After a few years of downloading off dodgy sites it occurred to me that I was simply going through the motions for the sake of it, not because I wanted to listen to a particular album.

Essentially, digital greed. Just because it’s free, it doesn’t necessarily mean that you want it.

Don’t get me wrong, it’s not that I don’t like the idea of getting hold of an infinite music collection for free, it’s just that things are never really that simple. For example I might be using Limewire or other such software to get hold of an album I want, great, but more often than not I’ll end up with half of it at a dubious quality. Even if I do get the whole album it’ll probably end up forgotten on a memory stick at work.

If I buy an album on CD I’ll listen to it because I’ve spent the money, I get the artwork and it’s easier to put on for a few minutes whilst doing the washing up. Also, when I write the thing to iTunes, or whatever, I can dictate the quality.

Finally, I got into music through my old mans music collection, thumbing through records and getting to know the artwork, putting an album on and listening to it like you would read a book. If I ever have kids, it’s unlikely they’ll get the same satisfaction from a hard drive full of MP3s.