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Adam Silver - Form Design Patterns

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Form Design Patterns: summary, description and annotation

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On first glance, forms are simple to learn. Made up of just a handful of inputs, you can create a form in little time. But when we consider the journeys we need to design, the users we need to design for, the browsers and devices of varying sizes, capabilities and bugs being used; and ensuring that the result is simple and inclusive, form design becomes a far more interesting and bigger challenge.

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Imprint Published 2018 by Smashing Media AG Freiburg Germany All rights - photo 1
Imprint

Published 2018 by Smashing Media AG, Freiburg, Germany.
All rights reserved.
ISBN (ePUB): 978-3-945749-75-3
Cover design: Espen Brunborg
Copyediting: Owen Gregory
eBook production: Cosima Mielke
Syntax Highlighting: Prism by Lea Verou

Form Design Patterns was written by Adam Silver and reviewed by Heydon Pickering.

Please send errors to: errata@smashingmagazine.com

Table Of Contents

In memory of my beautiful and amazing mum, Libby Silver.

About The Author

Adam Silver is an interaction designer with over 15 years experience working on the web for a range of companies including Tesco, BBC, Just Eat, Financial Times, the Department for Work and Pensions and many others. Hes particularly interested in inclusive design and design systems and writes about this on his blog and popular design publications such as A List Apart. This isnt his first book either: he previously wrote Maintainable CSS which is about crafting maintainable interfaces with CSS.

About The Reviewer

Heydon Pickering is a freelance web accessibility consultant, interface designer and writer living in the UK. He is an author and editor for Smashing Magazine, and he also works with leading web accessibility specialists, The Paciello Group, focusing on accessible User Experience Design. He also has written multiple books on the subject of accessibility for the web, including Apps For All , Inclusive Design Patterns , and Inclusive Components .

Acknowledgements

Id like to thank a number of people who helped me write this book.

Graham Veal for helping to set up the foundations of the design system that accompanies the book. His Node.js and Heroku expertise saved me many hours of pain. John Oates for reviewing some of my early drafts, which stopped some of my bad writing habits early in their tracks. He also taught me a lot about content design in general, which I hope improved my writing. Steven Proctor for reviewing the section on error message design. If you want to know how to write a good error message, Steven is your man. Mark Jenkins , friend and unofficial mentor, for encouraging me to start writing. Owen Gregory for editing my words to be simpler, plainer, more coherent, and consistent. Espen Brunborg for the book cover that complements the content and message of the book so well. Markus Seyfferth for letting me write this for Smashing and producing such a beautifully crafted book. Heydon Pickering for many things: championing the book to Smashing; inspiring the books approach (by problem, not principle); being my technical editor; and if that werent enough, for writing the brilliant foreword. This book would simply not exist without him.

Finally, my wife Jen, for her patience in letting me spend so much time writing the book while she looked after our two little ones.

Foreword

Every so often, someone will point out that I use blackish text on whitish backgrounds for almost all my page layouts. And the only comeback I can think of is that the same approach has worked for hundreds of billions of publications over the course of hundreds of years. You know, that old chestnut.

Making a habit of flouting convention will garner you attention, spark controversy and earnest debate even earn you awards. But it will also confound and alienate your readers and users the people your work is really meant for. That is abject failure.

Paradoxically, in a world saturated with rule breaking and reinvention, a reverence for the straightforward, familiar, and simple becomes radical. And its a welcome revolution, because interfaces that are obvious are also inclusive. Its not a bad thing to be on the nose.

Let me give you an example. Imagine my excitement when reading this book, to find Adam recommending that form labels should appear above their respective inputs. Not off to the side at an angle, not inside the input where the actual user input should go, and certainly not as some absurd animated combination of different positions and orientations at different times.

Thats actually radical, and really refreshing to read. Because most designers will do anything but the expected. Then I have to tell them off on behalf of the users theyre forcing to decipher their interface. Nobody has time for that.

Dont get me wrong: Im not saying theres nothing new in this book. I learned plenty. Its just that my reaction was never OK, I guess thats one way of doing it LOL, and always Damn, thats it I should have been doing this all along. And it turns out that when you combine standard elements and simple concepts, even daunting components like the airplane seat chooser can be accessible, logical, and lightweight.

To me, this book is about simple solutions to would-be complex problems. As such, its not just about forms. But if you can make forms easy and pleasurable to use (forms!), then most everything else will be a cinch.

Heydon Pickering

Introduction

I remember my first foray into forms. At the turn of the century, web design was one of the modules on the information communication and technology course I took at sixth form college. My learning mostly consisted of cutting and pasting snippets of HTML, CSS, and Javascript. Yes, I came from the view-source school of web design and development.

My obsession with forms started when like with any other HTML element I tried to cut and paste it. Despite rendering OK, when I submitted it nothing happened. Fast forward seventeen years and here I am writing a book about form design patterns.

Why Forms?

Every meaningful interaction that happens on the web is achieved by a form of some sort. Without forms, the web merely becomes a passive experience just a way to consume content.

Forms allow users to create, update and delete things. Whether its communicating through email, buying a product, online banking, or working on a fully-fledged administrative digital service, forms are always front and center.

At first glance, forms are rather easy to grasp. In less than an hour, youll have text boxes, radio buttons and select boxes on the page. But their low barrier to entry turns them into what Heydon Pickering refers to as a 10,000-volt electromagnet for attracting usability problems.

This is a big part of why Im writing this book. Typically, these usability problems come up again and again.

Why Patterns?

Design patterns serve as guidance and solutions to people solving similar problems over and over. The reason for design patterns is twofold.

First, instead of solving the same problem from scratch every time, we can instead use previously designed, available, recognized, and well-researched solutions. This saves a lot of time. And we can use that time to solve newer and perhaps bigger problems.

Second, by solving the same problem in the same way, users have a consistent and more coherent experience. The service, app, or whatever it is, becomes familiar. Familiar interfaces require less effort to operate. Think about it: every time you encounter a door, you just know that it can be opened, closed, and sometimes locked.

Using design patterns for digital experiences or, more specifically, forms, makes sense too. By the end of the book, youll have many patterns you can use in your own interface immediately.

Why These Forms?

I first based this book on 50 principles. Originally, each principle would become a short chapter. So there was a chapter called Always Use a Label and another called Placeholders Are Problematic.

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