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Thursday, October 1, 2020

There’s a good reason why experienced devs say “it depends” so often

I feel like Jerod Santo really understood what I was trying to say in Weaved Webs, when I was trying to cover the emerging WordPress (“versus”) Jamstack conversation.

If you asked El Duderino if you should go Jamstack he’d probably tell you, “It’s a complicated case. Lotta ins. Lotta outs. Lotta what-have-yous. Lotta strands to keep in my head, man.”

This conversation is very much not over. Look at what I get to do:

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VTEX raises $225M at a $1.7B valuation for e-commerce solutions aimed at retailers and brands

Retailers and consumer brands are focused more than ever in their histories on using e-commerce channels to connect with customers: the global health pandemic has disrupted much of their traditional business in places like physical stores, event venues and restaurants, and vending machines, and accelerated the hunt for newer ways to sell goods and services. Today, a startup that’s been helping them build those bridges, specifically to expand into newer markets, is announcing a huge round of funding, underscoring the demand.

VTEX, which builds e-commerce solutions and strategies for retailers like Walmart and huge consumer names like AB InBev, Motorola, Stanley Black & Decker, Sony, Walmart, Whirlpool, Coca-Cola and Nestlé, has raised $225 million in new funding, valuing the company at $1.7 billion post-money.

The funding is being co-led by two investors, Tiger Global and Lone Pine Capital, with Constellation, Endeavour Catalyst and SoftBank also participating. It’s a mix of investors, with two leads, that offers a “signal” of what might come next for the startup, said Amit Shah, the company’s chief strategy officer and general manager for North America.

“We’ve seen them invest in big rounds right before companies go public,” he said. “Now, that’s not necessarily happening here right now, but it’s a signal.” The company has been profitable and plans to continue to be, Shah said (making it one example of a SoftBank investment that hasn’t gone sour). Revenues this year are up 114% with $8 billion in gross merchandise volume (GMV) processed over platforms it’s built.

Given that VTEX last raised money less than a year ago — a $140 million round led by SoftBank’s Latin American Innovation Fund — the valuation jump for the startup is huge. Shah confirmed to us that it represents a 4x increase on its previous valuation (which would have been $425 million).

The interest back in November from SoftBank’s Latin American fund stemmed from VTEX’s beginnings.

The company got its start building e-commerce storefronts and strategies for businesses that were hoping to break into Brazil — the B of the world’s biggest emerging “BRIC” markets — and the rest of Latin America. It made its name building Walmart in the region, and has continued to help run and develop that operation even after Walmart divested the asset, and it’s working with Walmart now in other regions outside the US, too, he added.

But since then, while the Latin American arm of the business has continued to thrive, the company has capitalized both on the funding it had picked up, and the current global climate for e-commerce solutions, to expand its business into more markets, specifically North America, EMEA and most recently Asia.

“We are today even more impressed by the quality and energy of the VTEX team than we were when we invested in the previous round,” said Marcello Silva at Constellation. “The best is yet to come. VTEX’s team is stronger than ever, VTEX’s product is stronger than ever, and we are still in the early stages of ecommerce penetration. We could not miss the opportunity to increase our exposure.”

Revenues were growing at a rate of 50% a year before the pandemic ahead of it’s more recent growth this year of 114%, Shah said. “Of course, we would prefer Covid-19 not to be here, but it has had a good effect on our business. The arc of e-commerce has grown has impacted revenues and created that additional level of investor interest.”

VTEX’s success has hinged not just on catering to companies that have up to now not prioritized their online channels, but in doing so in a way that is more unified.

Consumer packaged goods have been in a multi-faceted bind because of the fragmented way in which they have grown. A drinks brand will not only manufacture on a local level (and sometimes, as in the case of, say, Coca-Cola, use different ingredient formulations), but they will often have products that are only sold in select markets, and because the audiences are different, they’ve devise marketing and distribution strategies on a local level, too.

On top of all that, products like these have long relied on channels like retailers, restaurants, vending machines and more to get their products into the hands of consumers.

These days, of course, all of that has been disrupted: all the traditional channels they would have used to sell things are now either closed or seeing greatly reduced custom. And as for marketing: the rise of social networks has led to a globalization in messaging, where something can go viral all over the world and marketing therefore knows no regional boundaries.

So, all of this means that brands have to rethink everything around how they sell their products, and that’s where a company like VTEX steps in, building strategies and solutions that can be used in multiple regions. Among typical deals, it’s been working with AB InBev to develop a global commerce platform covering 50 countries (replacing multiple products from other vendors, typically competitors to VTEX include SAP, Shopify and Magento, and giving brands and others a viable route to market that doesn’t cut in the likes of Amazon).

“CPG companies are seeking to standardize and make their businesses and lives a little easier,” Shah said. Typical work that it does includes building marketplaces for retailers, or new e-commerce interfaces so that brands can better supply online and offline retailers, or sell directly to customers — for example, with new ways of ordering products to get delivered by others. Shah said that some 200 marketplaces have now been built by VTEX for its customers.

(Shah himself, it’s worth pointing out, has a pedigree in startups and in e-commerce. He founded an e-commerce analytics company called Jirafe, which was acquired by SAP, where he then became the chief revenue officer of SAP Hybris.)

“We are excited to grow quickly in new and existing markets, and offer even more brands a platform that embraces the future of commerce, which is about being collaborative, leveraging marketplaces, and delivering customer experiences that are second-to-none,” said Mariano Gomide de Faria, VTEX co-founder and co-CEO, in a statement. “This injection of funding will undoubtedly support us in achieving our mission to accelerate digital commerce transformation around the world.”



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Some Industry Podcasts

Clearleft made a 6-episode Season One

It’s called The Clearleft Podcast if you can believe that. It gets into new (at least to me) concepts like Design Ops and Design Sprints, which are loaded terms and need nuanced discussion. It’s really well-edited, pulling in clips from relevant talks and such. A cut above the hit-record-hit-stop ‘n’ polish podcasts that I typically do.

If you like Jeremy’s soothing radio voice, he also narrated our Web History series.

Syntax on CSS

The fellas (Wes and Scott) do a good job of covering the landscape of CSS in 2020. I particularly like the pragmatism here, as they poo-poo on nothing, but rather attempt to pair many of the approaches the discuss to particular development situations.

They also had Adam Argyle on the show to talk about how things end up in CSS.

Netlify has a podcast now

It’s called Remotely Interesting. You’d think it would be the all-Jamstack-all-the-time show (which I’d totally listen to) but the gang over there tackles broad topics, talking about stuff like blogging, passion, and communication (in addition to Jamstack-y stuff, of course).

Igalia Chats: Web Ecosystem Health

An episode with a very tough discussion about what is good for the web and what isn’t.

Igalia’s Brian Kardell sits down with Jeremy Keith and Stuart Langridge to chat about rendering engine diversity, history and the health of the web browser ecosystem.

Solving Solved Problems

That’s the name of a blog post by Ahmad Nassri that was discussed in an episode of JS Party. It was sweet to hear the backstory of Amal and Ahmad and all the mutual respect there. It’s also valuable to bask in the classic build vs. buy conversations that all software companies need to take seriously.

Mine

Dave and I have been extremely consistent, publishing new episodes of ShopTalk Show every Monday. And Marie publishes new CodePen Radio episodes every week as well.


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Twitch launches a rights-cleared music catalog for streamers, Soundtrack by Twitch

Twitch today is introducing a new tool, Soundtrack by Twitch, that will allows it creators to add licensed music within their streams. The feature, which has been in development over the past year, is meant to not only make it easier to find rights-cleared music, but also to address the ongoing issues creators face with having their archives muted.

At launch, Soundtrack by Twitch is working with a variety of label and distribution partners, but doesn’t have agreements with the majors themselves. Instead, the initial lineup of supported partners includes Soundcloud, Monstercat, Distrokid, cdbaby, Empire, Westwood Recordings, United Masters, Alpha Pup, Popgang, Text Me Records, Dim Mak, Create Music Group, Chillhop Music, Anjunabeats, Soundstripe, LabelWork, mxmtoon, future classic, Nuclear Blast, Season of Mist, Chilled Cow, Pure Noise Records, Symphonic, Blkbox, and Songtradr.

Twitch says this lineup will give creators access to a range of music, including artists like Above & Beyond, mxmtoon, Porter Robinson, RAC, SwuM, and others. In total, over a million tracks will be available for free use by creators.

Twitch declined to share details about the deal terms with partners, however.

Image Credits: Twitch

Some of Twitch’s music partners had already been catering to creators by publishing their free-to-use music as Spotify playlists, for example. Others had previous agreements with Twitch, like dance music label Anjunabeats which had cleared 350 tracks last year for use in Twitch streams. Soundcloud, meanwhile, had more recently launched its own channel on Twitch to help connect with viewers interested in discovering new music. Other details about this new upcoming Twitch integration were pre-announced by some participants.

Before today, Twitch’s audio recognition system would automatically flag any audio where users didn’t have the necessary rights to play it during the stream. Many creators mistakenly believed if they had bought the bought or paid for a streaming subscription service that would allow them to feature the music while streaming. This wasn’t true.

In reality, the only music creators were able to legally play largely fell under a few, narrow categories: music they themselves owned or music that was licensed to them. (Vocal performances captured during Twitch Sings gameplay were also permitted.)

That meant a wide variety of music-related content on Twitch simply wasn’t allowed, including radio-style listening shows, DJ sets, karaoke and lip syncing, cover songs where creators used any sort of musical accompaniment besides themselves, or even the display of lyrics.

The company has been working with Audible Magic to scan past VODs for rights violations. And when music was flagged, creators could find their VODs (video on demand) muted.

Image Credits: Twitch

Twitch in the past had tried to address music rights issues with the launch of the Twitch Music Library in 2015, but this was shut down last year without explanation.

With the launch of Soundtrack by Twitch, music will be separated into its own audio channel so creators can play the tracks without being worried about muting or receiving strikes against their channel. Creators will be able to choose music from a set of stations and playlists curated by Twitch staff, by theme or genre — like “just chilling” or “Lofi Hip Hop/Beats” or “Rap,” for example.

The launch of Soundtrack comes at a time when music has become a larger part of the Twitch experience, thanks to the live-streaming platform’s adoption by artists during the COVID-19 pandemic.

The company hosted a benefit in partnership with Amazon Music, called Stream Aid, which featured a number of artists, like Diplo, Barry Gibb, Ryan Tedder, Lauv, Charlie Puth, Die Antwoord and others. It since has hosted a flood of other musicians’ live stream, leading the “Music & Performing Arts” category to surge by 387% year-over-year as of this July.

Twitch also hired Spotify’s Tracy Chan as its new head of Product & Engineering for Music, partnered with Bandsintown, and rolled out several ways for artists to fast-track their way to Twitch Affiliate status. This month, Twitch livestreams were also integrated with Amazon Music’s app.

The early version of Soundtrack by Twitch is launching today and will be compatible with OBS on PC, Twitch Studio, and Streamlabs OBS (soon), the company says.



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Europe eyeing limits on how big tech can use data and bundle apps — reports

European lawmakers are considering new rules for Internet giants that could include forcing them to share data with smaller rivals and/or put narrow limits on how they can use data in a bid to level the digital playing field.

Other ideas in the mix are a ban on dominant platforms favoring their own services or forcing users to sign up to a bundle of services, according to draft regulatory proposals leaked to the press.

The FT and Reuters both report seeing drafts of the forthcoming Digital Services Act (DSA) — which EU lawmakers are expected to introduce before the end of the year.

Their reports suggest there could be major restrictions on key digital infrastructure such as Apple’s iOS App Store and the Android Google Play store, as well as potentially limits on how ecommerce behemoth Amazon could use the data of merchants selling on its platform — something the Commission is already investigating.

A Commission spokesperson declined to confirm or deny anything in the two reports, saying it does not comment on leaks or comments by others.

“We remain committed to presenting the DSA still this year,” he added.

Per the Financial Times, the leaked draft states: “Gatekeepers shall not use data received from business users for advertising services for any other purpose other than advertising service.”

Its report suggests tech giants will be shocked by the scale of regulations coming down the pipe — noting 30 paragraphs of prohibitions or obligations — with the caveat that the proposal remains at an early stage, meaning big tech lobbyists still have everything to play for.

On bundling, lawmakers are eyeing rules that would mean dominant platforms must let users uninstall any pre-loaded apps — as well as looking at barring them from harming rivals by giving preferential treatment to their own services, according to the reports.

“Gatekeepers shall not pre-install exclusively their own applications nor require from any third party operating system developers or hardware manufacturers to pre-install exclusively gatekeepers’ own application,” per Reuters, quoting the draft it’s seen.

The Commission’s experience of antitrust complaints against Google seems likely to be a factor informing these elements — given a string of EU enforcements against the likes of Google Shopping and Android in recent years have generated headlines but failed to move the competitive needle nor satisfy complainants, even as fresh complaints about Google keep coming.

Per Reuters the draft rules would also subject gatekeeper platforms to annual audits of their advertising metrics and reporting practices.

Platforms’ self-serving transparency remains a much complained about facet of how these giants currently operate — making efforts to hold them accountable over things like content take-down performance doomed to fuzzy failure.

The Commission’s public consultation on the DSA was launched in June — and closed on September 8.

In a lengthy response earlier this month, Google lobbied against ex ante rules for platform giants, urging regulators to instead modernise existing frameworks where any gaps are found rather than imposing tougher requirements on tech giants.

Should there be ex ante rules the adtech giant pushed lawmakers not to single out any particular business models — while also urging against an “overly simplistic” definition of ‘gatekeeper’ platforms.

Facebook has also been ploughing effort into lobbying commissioners ahead of the DSA proposal — seeking to frame the discussion in key risk areas for its business model, such as around privacy and data portability.

In May, CEO Mark Zuckerberg made time for a livestreamed debate run by a big tech-backed policy ‘think tank’ CERRE — appearing alongside Thierry Breton, the Commission VP for the internal market. The Facebook CEO warned about ‘Cambridge Analytica-style’ privacy risks if too much data portability is enforced, while the commissioner warned Facebook to pay its taxes or expect to be regulated.

More recently, Facebook’s head of global policy has sought to link European SMEs’ post-COVID-19 economic recovery prospects to Facebook’s continued exploitation of people’s data via its ad platform — tacitly warning EU lawmakers against closing down its privacy-hostile business model.

Such lobbying may be falling on deaf ears, though. Earlier this month Breton, told the FT the feeling among Brussels’ lawmakers is that platforms have got ‘too big to care’ — hence the conviction that new rules are needed to enforce higher standards.

Breton said then that lawmakers are considering a rating system to allow the public and stakeholders to assess companies’ behaviour in areas such as tax compliance and how quickly they take down illegal content.

He suggested a blacklist of activities could be applied to dominant platforms with a sliding scale of penalties for non-compliance — up to and including the separation of some operations, according to the FT’s report.

He also committed to not removing the current limited liability platforms have around content published on their platforms, saying: “The safe harbour of the liability exemption will stay. That’s something that’s accepted by everyone.”

In another signal of looming intent earlier this month, the Commission said it’s time to move beyond self-regulatory approaches to tackling problem content like disinformation — though it’s yet to flesh out its policy plan in that area. In June it also suggested it’s eyeing binding transparency requirements related to online hate speech, saying platforms’ own reporting is still too patchy.



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IonQ claims it has built the most powerful quantum computer yet

Trapped-ion quantum computing startup IonQ today announced the launch of its latest quantum computer, which features what IonQ calls “32 perfect qubits with low gate errors.”

Using IBM’s preferred quantum benchmark, IonQ expects to hit a quantum volume of 4,000,000. That’s a massive increase over the double-digit quantum volume numbers that IBM itself recently announced and it’s a pretty extraordinary claim on IonQ’s side as this would make its system the most powerful quantum computer yet.

The (well-funded) company has never used this metric before. Through a spokesperson, IonQ also noted that it doesn’t necessarily think quantum volume is the best metric, but since the rest of the industry is using it, it decided to release this number. The company argues that its ability to achieve 99.9% fidelity between qubits has allowed it to achieve this breakthrough.

“In a single generation of hardware, we went from 11 to 32 qubits, and more importantly, improved the fidelity required to use all 32 qubits,” said IonQ CEO and president Peter Chapman. “Depending on the application, customers will need somewhere between 80 and 150 very high fidelity qubits and logic gates to see quantum advantage. Our goal is to double or more the number of qubits each year. With two new generations of hardware already in the works, companies not working with quantum now are at risk of falling behind.”

the ion trap at the heart of IonQ's next-generation system

Image Credits: Kai Hudek, IonQ

It’s worth noting that IonQ’s trapped-ion approach is quite different from IBM’s (or D-Wave’s for that matter) which uses a very different technique. That makes it hard to compare raw qubit counts between different vendors. The quantum volume metric is meant to make it easier to compare these systems, however.

“The new system we’re deploying today is able to do things no other quantum computer has been able to achieve, and even more importantly, we know how to continue making these systems much more powerful moving forward,” said IonQ Co-Founder & Chief Scientist Chris Monroe. “With our new IonQ system, we expect to be able to encode multiple qubits to tolerate errors, the holy grail for scaling quantum computers in the long haul.”

Using new error correction techniques, IonQ believes that it will only need 13 qubits to create a “near-perfect” logical qubit.

For now, IonQ’s new system will be available as a private beta and it’ll be interesting to see if its early users will back up the company’s claims (unsurprisingly, given the magnitude of IonQ’s claims, there’s a bit of skepticism within the quantum computing community). Later, the company will make it available through partners like Amazon with its Braket service and the Microsoft Azure Quantum Cloud.

IonQ Enclosure — the outer enclosure for IonQ's next-generation system. It doesn't just look cool, it also creates a highly stable environment (acoustics, temperature, humidity) for the system.

Image Credits: Kai Hudek, IonQ



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The Paper Prototype Rule

I’ve been lucky to have worked with some of the best designers in the industry, including Zhenya Rynzhuk, Louis Paquet, Maria de la Paz Vargas, and of course, dozens of the amazing designers at MediaMonks. Many of the projects we’ve worked on require custom animation and guidelines that enable developers to be fully creative and push the limits of what we think is possible with CSS and JavaScript.

Then there are other projects that lack resources. These are the ones that end up becoming an opportunity for us as developers to take the lead on how certain UI elements animate and whether the guidelines we create add up to a great user experience. Those are generally the projects in which a simple trick can help us determine if we’re on the right track.

I just so happen to have a simple trick that has helped me quickly test if my animations hit the mark. I’d like to share it with you now. I call it The Paper Prototype Rule.

The print mindset

Web design (perhaps unconsciously) inherits many things from print design. If you think about it, some of the most basic interactive web patterns, such as accordions or tabs, are just a digital representation of how we physically have stored information in the past.

I suspect the youngest developers in my team have never had to deal with a paper file cabinet in their lives.

Even though the industry has taken a more digital-first mindset and gone beyond the print paradigm in the past decade, we often struggle to get out of that print mentality. As developers, it can feel as though we’ve been wired to animate UI elements in a boring standard way that doesn’t go beyond the reference of moving pieces of paper.

The Paper Prototype Rule

I’ve picked up some tips and best practices in my years working with other folk and have developed them into some simple rules for working with animation. Although I consider the rules more as guidelines or a personal reference, I’ve recently unlocked more value by starting to pass them on to my team.

And it’s thanks to The Paper Prototype Rule which states:

If you can use a paper prototype to recreate the animation, then you probably need to spend more time on it.

The intent is not to overly complicate animations, but embrace the advantages of creating a digital experience that graduates from print concepts. And the principle is pretty simple. Can the animation be prototyped with paper? If yes, we can do better. If no, then we’re on to something.

The Paper Prototype Rule in practice

Don’t get me wrong, paper prototyping has proven to be a great tool for user testing. But we can use the simplicity of its nature to determine when our interactions are just too simple.

Let’s try an example.

Almost every standard website has some sort of navigation. So let’s assume we inherit a design  comp that provides direction for both active and inactive navigation states. Sure, we can do that. It’s not that hard.

Can we replicate this experience with print? Sure can. All it takes is stacking one piece of paper on top of the other. We can do better.

Assuming the comps we received lack any direction for the transition between those the open and closed menu states, we can make the animation a smidge better with the transform property. That alone improves the experience significantly:

Simply sliding the menu’s active state from left-to-right helps the user understand the transition and provides some context for where they are. There is no doubt that the menu is an overlay that covers the page content. That wasn’t apparent before we added the transform. We could say that, with a simple line of CSS, we’re now getting the job done.

So let’s ask ourselves the question: could this interaction be represented in a paper prototype? My immediate response is: yes. This means there’s plenty of room for improvement.

We can use our digital mindset to create something that doesn’t just get the job done, but enhances the experience. We can play around with techniques like fading, masking, parallax, staggering, or simply splitting the menu into different pieces that animate independently. This is the chance to get creative and use our front-end chops to create a uniquely digital experience.

In the spirit of keeping things simple, let’s see how it would look after applying some basic techniques:

There we go! Now we’re starting to veer away from the paper mentality. Can paper slide from left to right? Yes. But can it fade content in and out with an offset animation? Not that I’ve seen!

And, as I said before, there’s much more we can do here. But I think you get the point. You could spend more time playing with the animations to find the “perfect” interaction but that will largely depend on the project. The goal of this rule is to push ourselves away from the print design mindset and embrace the possibilities we have for creating uniquely digital experiences.


Once you start putting the The Paper Prototype Rule into practice as part of your development process, you’ll likely find yourself striving to find the tools to continue to improve your craft. I always recommend reading up on basic animation principles and always being on the look for fresh inspiration from other websites.

So, the next time you’re working on a carousel, modal, or any other interactive component, take a moment to check your animation approach. Does it pass The Paper Prototype Test? 

Header image by J.J. Ying via Unsplash.


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What Can We Actually Do With corner-shape?

When I first started messing around with code, rounded corners required five background images or an image sprite likely created in Photosh...