What Does the Demise of Internet Explorer Mean for the Future of Website Design?

On January 21, 2015, web developers everywhere let out a great collective sigh of relief. Why? Because that was the day Microsoft announced that Windows 10 will ship with a brand new browser, code-named “Project Spartan,” thus effectively signaling the inevitable demise of the old stalwart Internet Explorer. According to Microsoft, Spartan is designed to provide a more interoperable and reliable experience with advanced features including the ability to annotate web pages, a distraction-free reading experience and integration of Cortana for finding and doing things online faster. While this all might sound appealing to the average user, it is particularly welcome news for web developers, for whom Internet Explorer has long been regarded as the very bane of their existence. You see, each browser interprets code in different ways, and each has different versions that offer different capabilities. While Chrome, Firefox and Safari do have their differences, for the most part they have the same capabilities. However, Internet Explorer, or IE, has historically been the odd one out, notorious for causing issues for website designers due to its lack of capabilities, especially in older versions like IE7 and IE8 (which, for example, does not support such simple design elements as rounded corners and text shadows). But while web devs are raising their glasses to toast IE’s impending downfall, you’re probably left with more than a few questions. After all, since IE has been the standard Windows browser since the mid-1990s, that little blue “e” icon has become synonymous with the Internet for many everyday users. So what exactly does Microsoft’s decision to do away with Internet Explorer mean for you – and most importantly – for your website? Let’s explore (no pun intended).

The challenges of IE

On today’s Web, the various browser manufacturers have agreed on a certain set of standards that they will all obey. This is incredibly important for web designers (and, by extension, for businesses that have websites), because it means that as long as your website conforms to those agreed upon standards, it should be displayed in a fairly consistent manner no matter which browser a visitor uses to access your site. Unfortunately, this is not always the case. In the mid-to-late 1990’s, Microsoft was engaged in a heated race for market share with the other most popular browser of the day, Netscape Navigator. Instead of agreeing on a singular set of standards, these two companies tried to outdo each other by adding proprietary features to their software that would interpret and display websites differently. This created a lose-lose scenario for web designers and businesses, as it meant that you either had to develop two different versions of your site (one for each popular browser) or dictate which browser visitors should use (this is why it became commonplace to see disclaimers on sites reading something like “Best viewed in Internet Explorer 4”).  This exclusive approach is what led some companies to build the software they use to run their business for those specific platforms. Even now, almost 20 years later, companies that continue to use that software may still be dictating that their employees must use a woefully outdated browser. This is where IE begin to falter, especially in the court of public opinion. As newer browsers, such as Google’s Chrome – which now ranks as the most popular according to many studies – began to enter the market, people started using them at home. They quickly discovered that these modern browsers were not only much faster but that they also included many new features and capabilities. It didn’t take long for consumers to develop a strong preference for these newer browsers and to begin pushing back against their IT departments’ requirements that were keeping them shackled to antiquated versions of IE at the office.

Microsoft realizes the problem

You might think that Microsoft would love any scenario in which people are forced to use their browser. On the contrary, however, it has created a major PR problem for them. The same IT departments that would not allow employees make the switch to a new browser also prevented them from upgrading to newer versions of Internet Explorer. The reality is that those new versions of IE are very capable browsers that, like the others on the market today, conform to the standards that are an important part of modern web design. Microsoft wants customers to begin using these new versions of their software because the continued use of versions that were originally released 10 years ago or more has created a vey negative perception of their product in the marketplace that has tainted the Internet Explorer brand as a whole.

The struggles of web designers

While old versions of web browsers certainly pose problems for consumers, they are doubly challenging for web designers and for the companies they build sites for. Testing newly developed websites in legacy browsers to ensure reliable backwards compatibility  is a critical step in the process that requires significant time and effort, creating overhead that adds to the timeline and budget of every project. Exactly how many people are visiting your site with those outdated browsers? It depends on the nature of your business. For instance, my company works primarily with IT professionals, and our traffic numbers indicate that the majority of our audience uses newer browsers (including many on mobile devices). As a result, we don’t need to develop and test for very old browsers because our visitors simply aren’t using them. However, if your business serves a more broad base of consumers – and especially if many of your customers are likely to be older and/or less tech savvy – it is important to ensure that your site performs equally well on new and old browsers alike. A good place to start is by examining the analytics data for your site, which can tell you which browsers are being used to access your site. One of the nice things about newer browsers like Chrome and Firefox (and even current versions of IE) is that they auto-update. This means that they automatically download and install their own updates so we no longer need to worry about radically outdated versions of the software. However, older versions of IE do not do this, which is why we still struggle to support software that came out over 10 years ago. With Microsoft’s new browser – which we expect will include auto-update approach – we may hopefully have arrived at a point where even that legacy software is forced to be rewritten for the new age and we can all say a final goodbye to outdated browsers.

Better days ahead

So what does the emergence of Project Spartan mean for your business and your website? In the short term, you may not feel an immediate impact, but you likely will begin to reap the benefits in the not-too-distant future. If Microsoft succeeds in its objective of transitioning customers away from old versions of IE and adopting their new Project Spartan (or other more current and capable browsers), by the next time you are ready for a redesign, the amount of time required for browser testing may be significantly reduced because the browser landscape will have gotten less diverse with the continued shift away from those legacy browsers, which can only mean good things for your project budget! Another benefit will be a greatly reduced potential for users to encounter problems on your site due to browser compatibility issues, which of course means less chance that a frustrated visitor will need to call your company for support (best-case scenario) or will give up on your site and go elsewhere (worst-case scenario). Finally, the release of a new, more capable option from a company that has been at the forefront of browsers for years (despite popular opinion, Microsoft remains a power player in the world of the Web) is a great thing because it gives users more options. And if Microsoft is successful, their competitors will inevitably up their game as well – and that is good news for everyone!

Don’t throw dirt on IE’s grave just yet

While there is certainly much to look forward to with the future release of Project Spartan, unfortunately, we can’t call time of death on IE yet (as much as we might like to). As AdWeek’s Krista Monllos explained to NPR, Spartan is in for an uphill battle: “By introducing a new browser, you're asking people to change their daily habits. If someone is used to Chrome or used to whatever it is they use, they probably don't want to change.” After all, Internet Explorer still accounts for almost a quarter of the present-day desktop browser market, and IE8 is still used by almost seven percent of people in the United Sates. Therefore, moving forward, it will be important to keep a finger on the pulse of the shift in these numbers – as well as any changing trends in your own analytics data – in order to ensure that your site is designed and tested to serve the needs of your users, no matter where they may fall in the continuum of browser evolution.

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The Cult of Personality (Part 2)

Recently Fame Foundry had the opportunity to talk with Eliza Metz, the "Violet" half of Lime & Violet. What began as a late-night conversation between friends led to a podcast for the yarn-obsessed that struck a chord with fellow fanatics. The secret to their success is equal parts serendipity and savvy, as they have carefully grown and nurtured their legion of dedicated followers into a full-fledged knitting empire. Below Eliza shares some of the lessons she's learned along the way. FAME FOUNDRY: Thank you for sharing this time with us. ELIZA METZ: My pleasure. Did someone mention an open bar? (kidding, kidding...) FAME FOUNDRY: You're known as Violet to your audience and most of the world. What's the origin of this name? ELIZA METZ: Lime & Violet was born from late-night hysteria, actually. Miss Lime and I were driving to a fiber festival in Colorado about nine hours or so from where we live. We'd left late, and were having a few way-way-way-too-much-coffee moments, since it was 2 a.m. and neither of us were very coherent. At one point, she misheard something I said, thinking I'd answered "lime and violet." The whole weekend, any time we didn't understand something, we'd just look at each other, say "lime-n-violet," and laugh at our own joke. We still do that even now. On the way home, I told her we should start a podcast. There were only two knitting-related podcasts at the time (versus the 100+ there are now), and after explaining what a podcast was, she agreed that it'd be a fun little project for our spare time. The name came from the inside joke, and since she really wanted to stay anonymous to avoid the crazies that proliferate on the Internet, we decided I'd be Violet and she could be Lime. We had no idea that neither of us would ever have spare time again, or that random strangers would know us better by our "anonymous" names than our real ones. (Not that that's a bad thing, either, really.) FAME FOUNDRY: So the podcast, which evolved into this massive business, was purely and spontaneously created out of your own interest in knitting and putting on a show for the fun of it? ELIZA METZ: Simplistically speaking, yes, that was the genesis of the thing. It's not to say we didn't have a plan, however. I'm one of those people who writes business plans for fun, so we had a pretty good idea before we ever put voice to mic where we wanted it to go. The problem, we found, was that we didn't dream big enough or fast enough, really. It took on a life of its own pretty quickly and started branching out pretty organically from there. But, yes. It was just for the fun of it at the time. FAME FOUNDRY: Sounds like you were expecting this from the beginning. ELIZA METZ: We were. I think we didn't know the whole extent of just how big it would be, or what it would spawn, but we knew it had the potential to be big. Or maybe we just didn't know how big "big" really was at the time, which is probably a good thing. If we'd known about all the work, we may have given up and decided to take up macrame instead. FAME FOUNDRY: What was the first sign that let you know this was big. ELIZA METZ: Oh, man. That's an easy one. A couple of months after we started the show, we had quite a few (we thought at the time) online "fans." The community was starting to form, and podcasts in general were becoming a bit more well-known in yarncrafting. It wasn't uncommon to get e-mails with offers of yarn or undying love, and we were okay with that. It was all kind of remote and surreal. Then one night we were in a local yarn shop in Nebraska, and a customer -- a complete stranger -- stopped her transaction and asked if I was Miss Violet. blinkblink She recognized me by my voice, which I hadn't really expected. So we made a huge joke about it all, started calling ourselves rock stars and carried well-publicized purple and green Sharpies in our purses so we could sign boobs at yarn stores. No, really. (And, yes, we've signed them.) FAME FOUNDRY: And thus began 'The Empire'? ELIZA METZ: Of a sort. There was a fair bit of work from there, but it was the first time we realized that we had a little bit of sway with the knitters, and it sort of drove home the fact that we had this fabulous base of customers who were listening to us, for sure. Empires aren't built in a day. FAME FOUNDRY: And the Empire seems to even refer to itself as 'The Empire." Quite a stunt there. ELIZA METZ: Of course it does. Luckily, we're benevolent rulers. FAME FOUNDRY: So everything -- the blog, the store -- evolved out of the podcast? ELIZA METZ: In a sense, yes. All of it sort of grew organically around the podcast's evolution. It's a little hard to explain, really. See, while a lot of the places that the podcast has grown into are completely random and unexpected (happy accidents, of a sort), we sort of knew where we wanted it to go from the beginning. We had this ridiculous business plan before we even put down the first tracks -- more of a wish list of activities than an actual business plan, per se. We had it structured so that growth would be based on the number of listeners because we truly thought that it would give us quite a bit of time to do things. At 100 listeners, we'd set up the message boards to let the fans talk to each other and start building a community. At 500 listeners, we'd start putting together the first knitting pattern book...that kind of thing. I remember writing down a milestone for 5,000 listeners and thinking that was just crazy, that we'd be waiting for YEARS before that ever happened. Three months later, we hit 5,000. I sat back, took a screenshot, sent it to Lime and told her that, perhaps, we should look into changing the structure of our business plan. Ahem. Duh, right? The problem, we found, was that we didn't dream big enough or fast enough, really.Not all of what we've done has been a part of the plan, since we had to scrap most of that pretty early on. We had a catastrophic lightning strike that took out our first book and the back-up copies thereof. Local hotels laughed at us when we approached them about doing a knitters' retreat on a full floor of a hotel (even though we had over 1,000 people who had filled out the form saying they'd come to our slumber party weekend). We tried partnering with various yarn/knitting-related companies for co-branded product support, but we found that contract law isn't quite our strong point and the brand started diluting a little. Lots and lots of learning experiences in that first year or so. If you want something done right, you need to do it yourself. So we started doing dyed sock yarns, which sprouted off into bath and body stuff when we talked a lot about the indie companies. The blog was just a way to pass on information to the listeners every day, since the volume of really fabulous projects and patterns and yarns coming into L&V Central was just too much to talk about on a weekly show. We keep learning all the time. It's one of the best things about the way we just dived right into this. Had we KNOWN the kind of work we were in for, we'd have turned tail and run, honestly. Our ignorance saved us from the get-go, really. The big lesson from the past year -- at least for me -- has been that narrowing the focus of what we're doing isn't nearly as counterproductive as I thought it'd be. We launched the Intention Yarn line, which has a very, very narrow focus (and, uh, intent), but it does 10 times better than our generic sock yarns did, largely because people know what they're about. They get the concept, so it's something they can buy not just to support their Lime & Violet addiction, but for a specific purpose of creation, and they seem to dig that. Same with things like the Neil Gaiman project, TheFatesThree.com -- which isn't just generic knitting patterns, but patterns all created with a theme around a particular author's works -- the narrowing-down process made the focus just that much more clear for both listeners and the occasional non-listener who stumbles upon it. There are other projects unrelated directly to Lime & Violet -- KnitLife, which is an oral history collection process that's just getting going, for instance. While it's not directly related to the show, I've got no illusions that being "known," so to speak, doesn't help promote the projects or get the word out there. Whether or not it's an obvious connection, the Empire doesn't just affect the success of the stuff we do -- it's the basis for it. FAME FOUNDRY: You share a lot of yourself with your audience and the community that has formed around the Lime & Violet brand. Where do you draw the line between your personal life and what you broadcast to the public? ELIZA METZ: There's supposed to be a line? (You can't see me right now, but trust me, I'm laughing relatively hysterically.) If someone has listened to every single show, they know more about me than my own mother. Before there was a Lime & Violet, there was me. And way back in the olden days of the Internet, when you used to have to do markup by notepad and ftp everything from a command line and design was largely a matter of tables with varying cellpaddings (and we rode dinosaurs to school both ways uphill in the snow...), I was one of those freaks with an online journal. (This is in the pre-Greymatter, pre-typepad, pre-blog days. Told ya it was in the prehistoric era.) I was one of the original 50 nutjobs who thought that their own lives, as mundane as they may be, were interesting enough to warrant putting it out there for the world to read. (And, incidentally, comment on. Good heavens, the e-mails...) Coming from this background and posessing of some kind of weird self-revelatory urge that's probably borderline pathological, I don't have a line most of the time. There are some things that we don't talk about much on the show, and we try to maintain the anonymity of the innocent (relatively speaking), but for the most part, if someone has listened to every single show, they know more about me than my own mother. I'm still not sure if that's a good thing or not. Contrast that with Miss Lime, who keeps a very strict bubble around her identity. No pictures of her are allowed on the site other than one that she swears looks nothing like her. Nobody knows her real name. For a while, we even kept it secret that we're in Omaha, though that slipped out through other channels. She's pretty convinced that the crazies would find her if they knew her name, and for that, I can't really blame her. The Crazy is pretty much everywhere on the Internet. FAME FOUNDRY: You mentioned the "crazies" on the Internet. What's the craziest encounter you've had with a an Internet fanatic? ELIZA METZ: I could tell you stories that would probably make Dateline NBC producers salivate. For the most part, we've found that knitters are a pretty sane bunch, with a few notable exceptions, but the combination of Internet anonymity and pseudofame still brings out the occasional whackjob. For instance, once we mentioned on the show that we love our fans. We love them so much that we'd love to invite them all over to my house for a great big slumber party. I mentioned that I have a guest room and a couple dogs that are quite fond of visitors, and I make a mean cookie. While intended to be kind of a joke, apparently I sounded serious enough that one girl found my real name, looked up my address and drove NINE HOURS to my house, where she got out of the car with four overnight bags (three of them were knitting projects-in-progress, I might add), and just expected to stay. Um. Oh-kay... She ended up staying three days. Great girl, but omg we never said anything like that again. Then there was the lady who didn't understand personal space and kept petting my hair. Or the one who named her babies after us. Or the one who, when we didn't write her back in an arbitrarily selected timeframe, made a WE HATE VIOLET website. I wish I was kidding. The Crazy. She is everywhere. FAME FOUNDRY: You're active on Twitter, Facebook and Plurk, though you use Plurk as your micro-updating site of choice. Why's that? When it comes to what we're trying to do -- building a community rather than just a following -- there needs to be interaction. ELIZA METZ: For me, it's a matter of connection. Twitter and Facebook and all the other myriad microblogging sites out there are all fine and good for most things, but it's largely one-way communication. You broadcast what you're doing to the world. Which, again, is all fine and good, if that's what you're looking to do. When it comes to what we're trying to do -- building a community rather than just a following -- there needs to be interaction. A conversation rather than just blindly telling people what you had for lunch. And Plurk has a format that depends on conversation and commentary to stay interesting, so people get involved. Once a fan is invested in a conversation, either with me or with the other followers, they feel like they're part of it. Instead of just reading ABOUT someone, they're talking WITH them. It's just a more human format to me, and it's the one I end up going back to over and over again as a result. FAME FOUNDRY: Art journaling is a big part of your life. How has this influenced your artistic approach online? ELIZA METZ: Through art journaling, I've found out a couple of big things about my own aesthetic. I really like handwritten things (more personal). I can have all the colors in the watercolor box, and I'll still end up with a white or mostly white background (which unclutters things for me visually). And white space keeps me sane. I don't claim to be any kind of techno-head web person who writes code in my sleep. In fact, I'm one of those freaks who still uses Notepad for most things. Call that a disclaimer from a semi-luddite here. That said, almost everything I put out there has a lot of that same, rustic, plain-looking, hand-hewn feel to it -- partially from just not knowing how else to do anything, and partially because that IS my approach. And if it works, I see no reason to fix what isn't broken. I'm just happy when there aren't broken links and people look at it now and again. FAME FOUNDRY: Thank you for sharing your vast experiences in building this empire you have. ELIZA METZ: And thank you for the interview. That'll be four goats and a skein of good cashmere, payable to the jester by the door. Elli Metz is the benevolent ruler of the Lime & Violet empire, which includes the independent republics of media, yarn, perfume and history. When she's not wearing her crown (which she often does), her job title is "starmaker," a fact that still amuses her.

 

 

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