Notes on High Class and Low Class Web Design.
Respecting your audience. Do you treat them as equals? Culturally, educationally? What if they’re not your peer group? People who call their audience “marks”. Fans officially, but the treatment in the industry is “marks”.
This is the 2nd panel that has used this carny terminology. Evan Prodromou was also critiquing the mindset that treats an audience as marks or suckers.
The room is very large and crowded, so I can’t tell who is speaking. Someone’s talking again about being too class conscious and how that leads to a lack of respect.
Methods of making design decisions. Measuring sales with varying design in publishing and in web design and with usability studies. Liz Danzico is talking about usability, class, and layout.
Web sites and products targeted at “lower classes” use statistical methods of determining good and bad design, while stuff for “upper classes” rely on personal expertise for design. That maps to other high end products like fashion and luxury goods. For high end they’re designed and they see what happens, while for “lower” they are the product of testing. Steve Jobs mentioned…
(I think that it’s pretty funny that this panel purports to be respectful, but they’re using terminology like “high” and “low” which I find inherently disrespectful. And I would talk about “working class” not low class or “unwashed masses”. Jeez!!!)
Khoi Vinh talks about the NY Times and their testing process. He disagrees, I think, that the NYT is high class, but also says that if you think it is “high class”, he would like people to know that they do do testing and usability studies.
Appropriate design and aspiration. If you are designing for an audience that is different than you, do you aim for uplifting their sensibilities? Or do you design based on what you know they already like? A question for designers in the audience to consider.
Liz Danzico talks about how to tell how much is too much. When you’ve gone over someone’s comfort level. The toothpaste ad with toothpaste smeared on the guy’s chest. (Audience laughter)
Brant talks about his experience at WWE. Expanding the design for a wider audience who would not be embarrassed to pick the magazine up. Men in their 20s.
Starsky and Hutch, Dukes of Hazzard, int he past. Now we have Sorpranos, Lost. Complicated shows. People stopped looking down on their audience. TV is better than it was 20 years ago. Quote from Paul Rand. The Language of design. The public is more familiar with bad design than good design. It is, in effect, conditioned to perefer bad design… The new becomes threatening, the old reassuring.” You’re exposed to a certain design style your whole life. Is this design taste related to class, what you learn ? Or is there an inherent goodness or badness that transcends?
This question relates well to a book I’ve been thinking about all year, A Framework for Understanding Poverty. It explains a lot of class conversations and expectations in relation to class. Working class geographies of understanding the world are based on people and trust of people. Middle class geographies of importance are rooted in stuff, in brands and quality of stuff. Upper class geographies prioritize aesthetics and discernment. Aesthetics is a tool often used to establish and maintain class boundaries.
Wow, Peter from Adaptive Path just made that very point about aesthetics and class mobility. Aesthetics is used to prevent that class mobility! I was just thinking about Widmerpool’s overcoat from Dance to the Music of Time; he gets it subtly wrong and the upper class characters know it and shun him; he can’t ever really pass. IMHO, in the U.S. this is also used to maintain race and gender boundaries that connect to class status.
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