It's an enjoyable trip, looking back...

I can't say for sure when I started blogging. Or, blogging as we now know it, at least. The first post here is circa April 2002, when I was in the middle of developing my own CMS. Before then, I had something like this. That was all long before I launched v6 of this site, in 2008, when I eventually migrated to WordPress.

From version to version, blogging has consistently played an integral role in the way I've presented myself online.

I don't feel much sentiment toward the majority of my blog content, which is a good indication that I never took it all that seriously. My archive is littered with trivial rubbish and outdated content which I no longer want to associate with. That, coupled with a lack of motivation, a desire to minimise information overload that blogging presents, the meteoric rise in microblogging, and how I now feel about amateur blogging in general, are my primary reasons for deciding to retire my blog indefinitely.

Moving forward...

My immediate plan (albeit long overdue) is an exercise in rebranding.

If you follow my activity elsewhere online, you might have noticed my new logo design, which I recently launched across all my social networking profiles. Next up, I will be redesigning this site. This will be accompanied by the simultaneous launch of a new brand to represent my business venture. Sparing the detail, my intention is to separate my personal and professional identities. I've outgrown my coda alias for business purposes, and am really looking forward to starting something fresh.

I do intend to keep my blog (after a thorough purge of my 800+ posts), and will carry it through in the redesign, but it will remain inactive and will not be a feature of the site.

To the readers of this blog over the last 8 or so years, old and new, I thank you for your time and sincerely hope you found some value in what I've posted here, or in the comments that followed. I have some good (and some not so good) memories of my blogging experiences and appreciate that I could share them all with you.

Please connect with me on Twitter @coda_za, where I continue to microblog more trivial rubbish, until the next big thing...

Cheers for now!

Dress up. Leave a false name. Be legendary.

query.dropSlideMenu.js v1.0 - View Demo or Download

There are plenty of jQuery drop-down menu scripts already available, but I often find that they're either too basic, or too complicated and bulky, or don't support a proper sliding effect (instead the menus simply change height as they're revealed).

I'm publishing this script with the hope that others might find it useful. Hopefully as it gains popularity, so will the potential for it to improve. Also, I've developed this plugin partly as a jQuery learning exercise. So if you do find yourself downloading and using it, and you're proficient with JavaScript, I would really appreciate if you could spend a minute or two reviewing my code and providing suggestions for improvement.

Features include:

• Requires the mouse cursor to decelerate over the menu before activating, to prevent unintentional opening (big thanks to threedubmedia for their jquery.event.hover plugin)
• Dynamic styling of clickstream (path of links are compared with path of the current URL) - optional
• Possible to set widths on each list item and its drop down
• Possible to individually style each list item and its drop down
• List items with no link behaviour (where href is "#") are disabled
• Settings to control the duration (speed of drop down animation), and delay (before the drop down closes)
• Select elements are hidden (IE6) - optional
• Customisable Easing Effects
• W3C-valid HTML and CSS

To begin, download the source files (.zip) and browse the demo source code to familiarise yourself with the necessary files required, and the way in which they fit together. Assuming you already have the most recent version of jQuery, the JavaScript and CSS files that need to be included in your page are:

<link rel="stylesheet" href="jquery.dropSlideMenu.css" type="text/css" />

<script src="jquery-ui-1.7.2.custom.min.js" type="text/javascript"></script>
<script src="jquery.event.hover.js" type="text/javascript"></script>
<script src="jquery.dropSlideMenu.js" type="text/javascript"></script>

To attach the plugin to a menu, include the following jQuery script in your page (in this example, #navigation is the menu wrapper):

$(document).ready(function() {
	$("#navigation").dropSlideMenu({
		indicators: true,
		clickstream: true,
		openEasing: "easeOutQuad",
		closeEasing: "easeInQuad",
		duration: 600,
		delay: 800,
		hideSelects: true
	});
});

The settings are fairly self-explanatory. I'm not going to go into more detail as I assume you know what you're doing with jQuery and CSS. If you do require further assistance, please leave a comment below - I can't guarantee that I'll be able to help, but I do make an attempt to reply to all comments.

The most recent version of this plugin will always be the one available for download on this post.

Please let me know if you decide to use it, or have any feedback. Thanks!

Metro FM

Metro FM is the largest National Urban Commercial station in South Africa with around six million adult listeners tuning in from all across the nation. The station’s core genre, R&B, is the most popular music genre among South Africans between the ages of 16 and 34. Metro’s penetration within this market is 43 percent of the total market. (source)

I know next to nothing about this identity design (their marketing dept. never replied to my e-mail), other than to say that the typeface is the FF DIN family. Metro FM is an SABC radio station (SABC logo featured in Part 1) so it might be safe to assume that their design team are responsible for this one too.

I really like how the M letterform, resembling both an audio spectrum analyzer and cityscape, breathes life into the logo when animated, like the Sasol logo. Take a look at their website or TVCs to see the M in action:

Kalahari.net

Kalahari.net is the largest and most dominant e-Commerce platform in Africa offering a huge range of books, music, DVDs, games, electronics and gifts. First registered in April 1998, Kalahari.net offers top-selling products available on 24-hour delivery, various payment options, door-to-door delivery, wish list facilities, vouchers, free gift-wrapping, etc.

Kalahari.net is a division of Media24, a Naspers brand. The name links the brand to Africa by its association with the Kalahari Desert, a well-known African landmark.

Interestingly, they might have been called Kalahari.com by now, if they'd won a domain name dispute back in 2001. I really enjoyed the below extract (for context, I was employed by Electric Ocean a month before, just as they were entering a state of turmoil, so it comes as no suprise...):

On a date prior to June 9, 1999, the Complainant entered into an agreement with a company named Electric Ocean to acquire the registration of the Domain Name which was at that time held by Electric Ocean. However, before the transfer could be effected the registration of the Domain Name was cancelled on Electric Ocean’s failure to pay the fees. The Domain Name fell back into the public domain.

The logo was designed by Garth Walker of Mister Walker Design (formerly Orange Juice Design, who were later acquired by the design house of Ogilvy South Africa). Garth never responded to my e-mail either, but I had better luck contacting Kalahari.net themselves, and they had this to share:

In essence, it was our aim to capture the spirit of the organisation through the use of a 'symbol'. The 'symbol' itself is the man running with the sun/streamer and with the use of warm colours, the logo represents the spirit of our organisation. i.e. A happy, warm company within an African heritage. The logo is horizontal in format for web legibility with no use of vignettes or thin lines. Type is simple and complimentary to the logo's message.

My favourite part is the hypnotic ribbon. I'm not sure what the typeface is - the closest match I can find is Fiendstar Extended (UPDATE: it's Nimbus Sans Extended). The running man (Khoisan rock paintings figure) also features in the 2010 FIFA World Cup logo.

Kaizer Chiefs

Kaizer Chiefs is a South African football club, founded 7 January 1970 in Soweto, Johannesburg, by soccer legend Kaizer Motaung shortly after his return from the USA where he played as a striker for the Atlanta Chiefs of the NASL. (How about this for a classic moment in time.)

The team is nicknamed Amakhosi which means "lords" or "chiefs" in Zulu. The club is unarguably the biggest football club in the country in terms of success and popularity, estimated to have over 16 million (very, very, very fanatical) supporters - Nelson Mandela being one of them.

Kaizer Chief's brand manager responded to my e-mail request for information on the logo with the following:

Kaizer Chiefs logo was made in 1969 and the only changes that have been made have been tiny graphic details to make it easier for embroidery etc. At one stage we were called IWISA Kaizer Chiefs after a sponsor. The Chiefs insignia has always been there and the colours have always been the same.

After some more digging around I found the Atlanta Chiefs logo (1967 - 1972, altered slightly when the club briefly reformed in 1979), and so the origins of the Kaizer Chiefs identity became clear. The chief mark underwent some small cosmetic changes, the full "Kaizer Chiefs" name was added around the mark, and two footballs were added on either side.

I feel the footballs are unnecessary and redundant though, and I'm not a fan of the arc effect on the type either (although it doesn't bother me so much in the Atlanta Chiefs logo). And I'd always thought that the Kaizer Chief's chief had a visible eye line, but it turns out to be the beginning section of his headdress!

I have as much dispute with IE6 as the next guy - there's no denying that it's holding us back and we'd be better off without it - and I fully support non-disruptive evangelism efforts that encourage IE6 users to upgrade to a modern and more secure browser. It's in their best interest after all.

But the notion that IE6 support should be discontinued, or that its users should be blocked, is dangerously misguided and missing the point. IE6 isn't your problem, and you shouldn't even maintain a list of supported browsers in the first place. If you think I'm talking to you, continue reading.

Via Inclusive Web Design For the Future (by Steven Champeon & Nick Finck):

The goal of Web design is not merely to dazzle, but to deliver information to the widest audience possible. Compromise is possible and desirable, but such compromise should not come at the expense of the user, but rather in terms of the native capabilities of the user's choice of device.

As someone that designs and develops online, one of my primary responsibilities is to deliver an accessible user experience. To my users, and not their choice of access. Their media device, operating system, browser, screen resolution or viewport - there's no denying that these factors should be considered when planning a new project, but they shouldn't ever be treated as constraints that place limitations on the interface or experience. They are merely variables that come together in any number of ways for any number of users. And although you can trend and analyse them today, they will undoubtedly change tomorrow, and next week, and month, and year... you get the picture.

If you think IE6 is today's problem, how will you deal with IE7, Firefox 2, Safari 3 or similar browser generations a year from now when they fail at rendering your standards-compliant CSS3? Cry foul like a stuck record from a bygone era and demand that your users upgrade once again to meet your standards? No, I didn't think so.

Then what's the alternative?

So glad you asked - progressive enhancement of course!

Before you point fingers, I'll be the first to admit that I'm not exactly a PE poster boy candidate. Using this site as a quick example - I built it with best intentions just under a year ago, and despite saying then that I'd adopted a PE strategy, there are so many things that I'd do differently today. But in my defence, that's the very nature of designing for the web: a continuous cycle of learning, adapting and growing.

So PE isn't new to me, but adopting it's methodologies into my workflow has taken longer than I'd like, only because it demands changing a system that I've spent a long time refining, and these changes demand free time that I generally don't have. But with every new project, I take another step closer towards PE utopia. I'd say I'm currently bordering on a solid progressive enhancement strategy, while some thinking around the defunct graceful degradation approach still remains.

See Understanding Progressive Enhancement by Aaron Gustafson for an overview of the subtle differences between the two concepts.

Both graceful degradation and progressive enhancement consider how well a site works in a variety of browsers on a variety of devices. The key is where they place their focus and how this affects workflow.

Although I don't appreciate the sweetness offered by the M&M anology, the article does a good job of introducing the two important follow-ups: Progressive Enhancement with CSS and Progressive Enhancement with JavaScript. Definitive reading!

Ultimately, you will need to take the basic principles and adapt them as best you can into your workflow, all within context of course (if you exclusively develop intranets for IE6 then don't bother). For example, the biggest changes that I've made include:

• Adopting a JavaScript library - together with behavioural separation, jQuery provides me with powerful, unobtrusive and accessible methods for manipulating style and content. I swear by it, but I'm careful to not rely on it.
• Resetting my CSS: see Eric Meyer's Reset Reloaded (and Again) as a starting point, or A Killer Collection of Global CSS Reset Styles if you have the time.
• Sizing my layouts and typography using ems - How to Size Text in CSS (by Richard Rutter) is invaluable.
• Using conditional comments to target IE6 and IE7-specific CSS for style compatibility. Familiarise yourself with IE's hasLayout too - adding one simple rule to your conditional CSS will save you a lot of trouble and time.
• DD_belatedPNG - Medicine for your IE6/PNG headache! - the holy grail of PNG support in IE6
• Being comfortable with the idea that despite the above points, my interface designs are secondary to the content that they deliver. They will never render consistently for all users - but then, they won't know the difference anyway.

And there you have it! No more reason to blame IE6 for your laziness or reluctance to adapt. If you're not convinced, have your say in a comment. I'd also love to hear if and how you're using PE in your own work, or any experiences worth sharing.

More reading:

• Pragmatic progressive enhancement  - why you should bother with it (by Christian Heilmann)
• Creating gracefully degrading javascript and enabling progressive enhancement (via Mark Story)
• Progressive enhancement in action (via Nvision)

Daft Bodies (male version, Simpsons version):

Daft Hands (6x speed version):

Dwarfed Punk:

Groovy Dancing Girl:

Also don't miss The Daft Punk's Console by najle.com.

Sasol

I fell in love with the Sasol logo the moment I first saw it, which if I remember correctly was in an animated format online. It's almost hypnotic, I can stare at it for ages, and I have to say that it's one of my top favourites of this series.

The international award-winning Sasol rebrand was launched in 2001 (I bet you don't remember their previous logo).

Sasol (originally Afrikaans for Suid-Afrikaanse Steenkool en Olie - South African Coal and Oil) is an innovative and competitive global energy company, engaged in the commercial production and marketing of chemicals and liquid fuels; with a growing interest in oil and gas exploration. Established in 1950 by the South African government, Sasol employs more than 32 000 people worldwide and remains one of South Africa’s largest investors in capital projects, skills development and technological research and development.

Via Sasol's Corporate Identity page:

Sasol's identity owes its inspiration to what is at the core of what Sasol does - chemicals. It suggests the essence of the products, and businesses working in harmony in order to create something new and dynamic. The central sphere denotes stability, while the six rotating 'business units' suggest a force greater than the sum of its parts - strength through synergy.

Well that's the short of it. Clifford Boobyer, Creative Director at Firedog (then creative lead at Trademark Design), was responsible for the Sasol global rebranding project and identity design. I exchanged a few e-mails with Clifford, who was very accommodating to share some insight into his creative processes:

It was a mammoth project, with a very simple easily sold creative burst right up front.

At this stage of my career, I had just moved on from fiddling around with an application that shipped with early Macromedia called Extreme3D onto the more serious 3D Studio Max. I thought I might try build an identity around a 3D application - this was still before the trend of 3D marks we see so readily today, and it felt kind of cool to do something different.

So I got to grips with the Sasol business and soon worked out that all their business related back to organic compounds one way or another. Whether it be oils, gas, or any other compound - they all seemed to be built from the same building blocks: Hydrocarbons. And when you start looking at modelling around hydrocarbons - you can really get to understand where the brand mark started to develop. So I guess it was the geek in me (before Wikipedia, mind you) which became fascinated behind the science of the brand.

Chemistry in Motion

I asked Cliff about the animated logo that applies to digital environments:

Coupled with the new application I was learning, this journey of discovery inspired me to create a very progressive and animated mark. So I recreated the model in 3D Studio Max, based on a very basic layout sketch that I did. I think because what I wanted to do was so singular in it's idea - I didn't spend long sketching.

I dropped in a large Silver carbon atom and created a series of coloured hydrogen atoms that rotated on paths closely around the core. I remember the mark being multiple colours, red, green, blue, yellow etc. - we changed them all to shades of blue later on client consultation. It was then just a case of bringing the hydrogen atoms to life and making them move around the core, without bumping.

Because it was early days in 3D - there was no Flash output. I laboured one of the junior designers of the time with the process of recreating all the frames of the end animation in vector Flash. It turned out nicely at least!

So, I think it was one of those rare occurences of a brand identity that started with an animation. And moved on from there. The client bought the idea and the pitch in one go.

I think it was in the studio for 18 months and the brand guidelines generated in the end topped 750 pages.

More reading: Sasol re-brand at Firedog, and Sasol's Electronic Brand Book (2.3mb SWF)

Wimpy

Up until I started this series, I'd always assumed that Wimpy is a uniquely South African brand. As it turns out, Wimpy was founded in London in 1954 while the brand (originally called Wimpy Bars) was originally created as early as the 1930s. By the early 1970s the business had expanded to over a thousand restaurants in 23 countries.

Wimpy UK, which comprises 194 outlets across England, Scotland and Wales, and operates a further 20 restaurants under a master licence arrangement in Ireland, is the largest independently owned franchised restaurant chain in the United Kingdom. The business owns the Wimpy trademark in 15 European countries.

Wimpy opened in South Africa in Durban in 1967. Today, Wimpy is one of the leading restaurant franchise groups in South Africa with more than 400 restaurants.

Famous Brands, owner of the Wimpy franchise in South Africa, acquired Wimpy UK in February 2007. Having acquired the brand, Famous Brands rebranded Wimpy in the UK to bring it in line with Wimpy South Africa.

The bun logo in use today is apparently one used by Wimpy UK from the 1960s until the 1980s. After a bit of digging on Google and Yahoo's image searches, I came across the following Wimpy logos, although I have no idea when and where they were in use.

My understanding is that the logo currently in use evolved from previous revisions and has since found its way back to the UK. So not strictly a South African logo, but a South African-owned brand and a real icon which I feel deserves some recognition. I love how the logo captures the essence of the brand with such simplicity.

Neotel

The much anticipated Second National Operator (SNO) for fixed line telecommunication services in South Africa, Neotel is licensed as South Africa's first alternative infrastructure-based telecoms provider, capable of delivering a broad range of wireline and wireless data telecoms services on a national and international level. It launched in August 2006.

The Brand Union, a global brand agency with 21 offices worldwide, were tasked with a full brand creation which began in November 2005. I hope they don't mind that I've borrowed some images from their photo journal to illustrate how the logo mark was conceptualised:

You can view a comprehensive case study on their website. What follows is a short extract:

The primary identity is composed of two points connected by the energy of communication. These "points" could represent people, places, ideas, even business opportunities. But overall, the symbol stands for Connectivity. Communication. Possibility.

This uniquely South African symbol draws from a warm, rich palette and resonates with the exuberance of a South African sunrise. The dawn of something new. Ultimately optimistic, the symbol is reflective of a future of hope. The activated orange creates a dynamic plane of colour in which the identity lives and advances. This creates the impression of the symbol living on, and beyond the page, advancing towards the customer. This upward, dynamic movement suggests aspiring to new heights.

Etc, etc, etc. See the logo in action on the Neotel website and in their first television ad:

Continued: Part 3

I've mostly sourced information online, which I've found difficult for some, so if you have anything to contribute please do so in a comment, or contact me directly if my information is incorrect, and I'll amend my post accordingly.

Which are your favourites, and why? Spend a few days thinking about it.

The logos featured are listed in no particular order. Here are the first 3:

SABC

Simple. Attractive. Brilliant Concept.

The SABC (South African Broadcasting Corporation) is the state-owned broadcaster in South Africa and provides 18 radio stations (AM/FM) as well as 4 television broadcasts to the general public.

A snippet from their downloadable Corporate Identity Usage Manual (PDF):

Our identity encapsulates the original colours of South Africa’s rich heritage and national flag. The design depicts a clean SABC font for legibility, the broadcast signal of radio and television, radiating outward is paired with the shape of the African continent.

The SABC type is based on the Frutiger typeface. It bears witness to our self-image - no frills, but by no means ordinary, state-of-the-art but not artificially claiming to be new.

And more from their full CI Manual (which I found here, 2007 version):

The pay-off line "Vuka Sizwe!" ("Nation Arise!") drives the SABC as a Public Service Broadcaster. This verbal expression informs all SABC decisions - it says: Rise South Africa! Let's build a winning nation together.

Designed by Switch Design.

Sharks Rugby

Cape Town's roads are ruled by two brands. What I mean by that is: with the exception of a few surf brands and English footy teams, you're more than likely to spot a car proudly adorned with one of two stickers. One is an apple (sometimes upside down, but always identifiable). The other is black and white, and belongs to The Sharks.

This is all the more impressive when you consider that Cape Town is home to the Stormers, whose supporters are nowhere near as passionate when it comes to showing off their team's "S" wrapped around a lightning bolt (ooohh, so intimidating).

This mascot is what sets the Sharks miles apart from their competition:

The Sharks are a South African rugby union team competing in the Super 14. They are based in Durban and centred around the Natal Sharks union, also based in Durban and drawing players from all of KwaZulu-Natal Province.

In late 1995, after being informally called the Banana Boys for a substantial amount of time, the Natal Rugby Union adopted the Shark as their official mascot and namesake for the team. The Sharks mascot was launched in 1995 but the rebranding went into full swing in 1996.

Via Sharks (rugby club) on NationMaster:

The Sharks branding was the brain child of Terry Kukle, the owner of Tag International. After assessing international marketing trends, Kukle presented this strategy to the council of the Natal Rugby Union. After many meetings a decision was finally made to go ahead with the new branding.

The local press at first were very hesitant to accept the new name and branding and fans were polarised by the radical proposed change that flew in the face of rugby tradition and convention. After much controversy in the media (which very rapidly brought the proposed brand to everyone's attention) and a very successful season supported by great products and promotions the Sharks were embraced by all.

The Sharks' marketing has been widely acknowledged in marketing and rugby circles as best practice and included as a successful case study in many marketing text books.

More reading: The Sharks Brand at sharksrugby.co.za, and The Sharks Brand at Wikipedia.

(The Sharks are one of two sports teams that I'll be featuring, try and guess the other!)

University of Johannesburg

I've featured this one on my blog previously, if you missed that post then here it is again:

Established in December 2005, the University of Johannesburg is the result of a merge between two of Gauteng's premier academic institutions - Rand Afrikaans University (RAU) and Technikon Witwatersrand (TMR) - and some Vista University campuses. With over 40 000 full-time students and 2 700 permanent employees, it's one of the largest residential universities in South Africa.

In a joint venture, Interbrand Sampson and Zanusi Brand Solutions were appointed to develop the brand. Code collaborated to design the logo as well as separate sports brands and just under 100 applications on everything from letterhead to signage and sports wear.

If you're curious you can read Interbrand Sampson's press release which goes into extreme detail regarding the design process and outcome, view more designs at Code's website, or read more on UJ's website.

My favourite part of the logo is the book. Via the press release:

In the centre of the logo, through the creative use of space, the illusion of an open book is created, representative of the book of knowledge. It is up to the beholder of the logo to notice that the space between the birds takes the shape of a book, thereby experiencing that learning and knowledge generation imply an interactive process.

The birds are unmistakably the colourful African Hoopoe, which is depicted more strongly in their Sports Bureau logo, visible in action at www.uj.ac.za/ujsport.

The typeface is Avenir.

Continued: Part 2

View full photoset

Creative Cape Town is a social, economic and spatial strategy to promote an active, vibrant and diverse Central City by using culture to accelerate urban regeneration.

It aims to support the more than 700 creative and cultural practitioners based in the city centre. These include individuals and companies involved in architecture, advertising and communication, media, jewellery, fashion, crafts, visual arts and photography, the heritage, music, performance and film sectors.

Join the Creative Clusters Network

The Independent Electoral Commission will spend R3 million to fix its broken website as complaints mount.

Wow!

Allow me to first provide an overview of the events leading up to this latest development of absurdity in the IEC website saga, before I add my own thoughts.

In late August, Alistair Otter published an article on Tectonic (a popular open source-related technology site) about how the South African Independent Electoral Commission (IEC)'s website was denying access to visitors not using the Internet Explorer web browser on a Microsoft Windows platform. That in itself was nothing new: in January 2006 I blogged about their site, listed among others, pointing out that exact shortcoming - see State of South African political websites. Ian Gilfillan commented, bringing to my attention that South Africa's political web wasn't any better in 2004 either. However, the focus of that post shifted to the DA in particular, because I successfully compromised the security of their CMS. ;)

To date, over two months later, the IEC have made no discernible effort to correct this flaw. Visitors to http://www.iec.org.za ("www" subdomain required - WHY!?) using any browser other than Internet Explorer will receive this message:

Our server detected that you are using a browser or operating system (e.g. Netscape, Mozilla Firefox, Google Chrome etc.) which is currently incompatible with our website. The current website is only compatible with Microsoft Internet Explorer V4 (and upward) on the Windows operating system.

In the days that followed Alistair's Tectonic post, Aslam Raffee (chairman of the South African Government OSS working group), Daniel Mashao (the CTO of SITA) and Helen King (Principal Advisor of The Shuttleworth Foundation) laid a complaint with the Human Rights Commission (HRC) against the IEC for excluding non-Internet Explorer users from its website. Aslam has made the full complaint available on this blog.

The latest developments that made headlines today, in response to the HRC complaint, is that the IEC will be spending R3 million to fix their broken website. And when they say broken, they're referring to the fact that it was designed and developed (way back in 1998) using Microsoft's proprietary technologies - so in effect they will be redesigning and redeveloping it to support all their visitors. My response to this news echos what everyone else has said.

On top of that, Karl Fischer - a well-known open source advocate - launched the No Firefox! No Vote! campaign today:

...urging Internet users to email or fax IEC chief information officer Libisi Maphanga, to demand that the organisation make its website available to all users.

LYW Karl. Visit Stop Digital Apartheid to get in on the act.

Raoul Snyman, a fellow web developer, has published An Open Letter to Mr Maphanga, CIO of the IEC.

So where am I going with all of this?

Well, regular readers of this blog will know that in the past, I had a tendency to name and shame the big brand national websites that failed acceptable support for web standards (to the point that I even maintained an "Evangelism list" for a while), in an effort to get them to realise and admit their shortcomings, and as a result make the appropriate changes for the benefit of their users. I doubt it made any difference, but if anything I hope it provided some insight for those who stumbled upon it.

Six years on, with a wide variety of modern web browsers and technologies fighting a new browser war, there sadly still exists an ignorant mindset that internet user's best interests should be disregarded in favour of designing and developing for a specific browser, platform or device. This has got to change.

The IEC have become the new posterchild for the return of the evangelism list.

My resolution is this: a public wiki or blog that shames (in a constructive manner) the local websites that fail an acceptable level of support for W3C web standards (ie. they're browser/platform/device incompatible), accessibility guidelines, and potentially also best practices in web design and development.

Alongside this list, links to local designers and developers who are accredited with providing the relevant services that meet this demand - and are willing to do it for a budget well within R3 million.

And for good measure, a list of sites that showcase the multitude of benefits associated with a standards-compliant, accessible and usable approach to modern web design.

If you like this idea and think it has the potential for good, lets hear your thoughts in the comments below, or you can contact me directly. Thanks.