Version 12

equivocality.com is now run­ning ver­sion 12, in what I sus­pect will be the final design iter­a­tion for this site1.

The gem cannot be polished without friction

I’ve been itch­ing for a new look for a while now, around the time I was in England, some­thing that was reflec­tive of the peace I’ve made with myself and the world.

Life no longer feels like a draft where I’m try­ing to fig­ure things out, so I’ve aban­doned the beloved graph paper back­ground which debuted in ver­sion 9. Most ele­ments and text have been toned down a bit2 to give things a slick, clean, and pol­ished look, very much inspired by Jin Yang’s blog. I’m still in love with the large single-column lay­out that lets me post big pic­tures and videos, and most of the design is still based around that.

I’ve never been a fan of ver­ti­cal rules — they always seem to claus­tro­pho­bi­cally trap con­tent more than any­thing else — but I found they brought much-needed def­i­n­i­tion to the wide col­umn, now that the graph paper is no longer there. Other ele­ments are strong enough on their own to define the under­ly­ing grid. I’ve also added some gravity-defying page cor­ners to bring a bit of depth to the layout.

Even though Version 12 has been based sig­nif­i­cantly on my Version 11 code and design, I decided to give it a major revi­sion num­ber because it’s a new theme at heart. They may look sim­i­lar, but they feel very different.

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  1. For a very long time at least []
  2. I’ve real­ized that you don’t need retina-burning con­trast to give some­thing strong def­i­n­i­tion. []

Version 11

Version 11 has been retired here.

equivocality.com is now run­ning ver­sion 11. For a per­son who was noto­ri­ous for the fre­quency of his design changes, ver­sion 10 stuck around for a very long time — mea­sured in years, not months.

To everything, there is a season

I’m going through a sig­nif­i­cant shift in atti­tude right now. For the first time in so long, I feel sta­ble and com­plete, and I wanted my site to reflect this change. I’ve also been let­ting go of many things, and this cer­tainly gave me the moti­va­tion to update even though I adored the pre­vi­ous version.

I found lots of inspi­ra­tion in Jin’s recent refresh, which has an extremely smooth and slick feel to it. The ironic thing is that he wanted it to be clean and pol­ished, and told me he looked to ver­sion 10 of equivocality.com for ideas. Here I am get­ting ideas from his ideas from my ideas, in a won­der­ful cre­ative syn­ergy, and I think we’re both very happy with our mutual results.

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More Stolen Words and Pictures

Most recently, a per­son called Cleo, who also goes by the mis­nomer “sexy1980”, stole both words and pic­tures from a heart­felt entry I wrote after a par­tic­u­larly hard day. Word-for-word. You see that car on her site? That’s my car.

Cleo steals

If you dare to look at this abor­tion of a web page, do so at your own risk. I warn you, the ani­ma­tions and colours are not for the feint of heart.

I wasn’t happy when some­one started copy­ing entire entries of mine, word-for-word, or when another per­son stole my design of Version 10 (his attempted redesign in an effort to cover up his actions isn’t that far off either). Sure, I also get peo­ple hotlink­ing my images too, but I take sim­ple plea­sure in replac­ing the images with pic­tures of a lemon party, because I get to laugh at things like this.

But when some­one steals both my words and hotlinks my pic­tures I get really pissed off.

Design Robbery

After my Perishable Press inter­view, and hav­ing Version 10 fea­tured in a Crestock arti­cle titled “13 Minimalist Designs You Really Should See”, this site has seen a surge in design-related traf­fic. But increased expo­sure is a double-edged sword. Higher pro­file sites make you a big­ger tar­get for secu­rity issues, spam, and design robbery.

Such as the case with eric-akmal.com.

Does this look familiar?

Eric Akmal Dot Com top

Eric Akmal Dot Com bottom

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Featured at Perishable Press

10.0 is cur­rently being fea­tured at Perishable Press, the first in a series of arti­cles explor­ing min­i­mal­ism in mod­ern web design. From the article:

Equivocality’s new min­i­mal­ist design is very impres­sive. The site appears clean, bright and refresh­ing and nav­i­gates with nat­ural sim­plic­ity. Jeff has elim­i­nated clut­ter to focus on con­tent, which is strongly uni­fied within the site’s sharp, spa­cious design. Attentive vis­i­tors will revel in the site’s exquis­itely restrained details, such as the sub­tle tex­ture pro­vided by the bleached back­ground grid, or the dynamic inter­play between com­ple­men­tary type­faces, Arial and Avenir. Overall, the design’s the­matic neu­tral­ity and uni­ver­sal approach inspire vis­i­tors to relax, focus, and enjoy.

In addi­tion to a detailed site review, Jeff Starr did a mini inter­view with me. I’ve come across Perishable Press sev­eral times through my WordPress wan­der­ings and it was great to work with some­one I’ve always known but never met.

10.0

Version 10 has been retired here.

Design break­down and inter­view about this ver­sion at Perishable Press, on the Minimalist Web Design Showcase.

Introducing the tenth ver­sion of equivocality.com.

Surgical Style

When approach­ing 10.0, I knew I wanted a note­book feel, so I used a grid back­ground to give the hint of paper. The idea was min­i­mal­ism. Single col­umn, no more icons, and super stripped-down meta data.

It’s still based on the good old 480 pixel-wide col­umn, although it’s bro­ken down into a grid with two main columns, which is used for the footer and other vary­ing pages. The dates on the left side are bul­lets that break out of the grid to help visu­ally sep­a­rate entries, and for a bit of style. Otherwise, it can be a lit­tle boring.

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8.0

equiv­o­cal­ity 8.0 has arrived. Though arriv­ing with lit­tle fan­fare, I felt this design update was impor­tant enough to have it’s own entry.

8.0 is an evo­lu­tion in the design of this blog. I wanted a lay­out where the infor­ma­tion was pre­sented with less clut­ter, while main­tain­ing the min­i­mal­ist feel. There’s a rea­son behind every mar­gin, every line, every shade.

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