Product Features & Requirements
Measured by the number of its features
A grossly obese set of requirements
Requirements proliferation
Features and complexity
It's not the features that matter
I'm sorry, I love engineers
Content as value
Intramural brownie points
We optimize what we measure
Chesterton’s Fence
When users never use the features they asked for
Minimum Awesome Product
An Article by Carlos BeneytoUsers are accustomed to a minimum of quality, and they expect that of all new products.
If our product does not [meet basic expectations of quality], people will automatically believe that it is a bad product and they will not take it seriously. It is not what they expect.
Hence my suggestion that the MVP has died and the MAP: Minimum Awesome Product was born.
Time-based analytics
An Article by Ryan SingerAnalytics apps don't tell you much about usage behavior. You might be able to see how many users performed an event, or how many times they did it. But none of the analytics packages out there are good at showing you how often people do things. Are they using to-dos once a week? Every day? Only signing into the app once a month but happily paying for years?
Time matters. You can't understand usage without time.
What happens to user experience in a minimum viable product?
An Article by Ryan Singer"Feature complexity is like surface area and quality of execution is like height. I want a base level of quality execution across all features. Whenever I commit to building or expanding a feature, I'm committing to a baseline of effort on the user experience."
There’s a distinction to make: The set of features you choose to build is one thing. The level you choose to execute at is another. You can decide whether or not to include a feature like ‘reset password’. But if you decide to do it, you should live up to a basic standard of execution on the experience side.
Features can be different sizes with more or less complexity, but quality of experience should be constant across all features. That constant quality of experience is what gives your customers trust. It demonstrates to them that whatever you build, you build well.
August short No. 2: Glass
An Article by Riccardo MoriGlass looks and feels perfectly tailored to my photo sharing needs and expectations. For me it’s even better than pre-Facebook Instagram in the sense that it pushes me to select and share what I think are good photos (same as it happens with Flickr), rather than making me obsess with getting ‘the Instagram shot’ at all costs every day or multiple times in a day. It doesn’t cheapen photography like Instagram has done for years.
That’s why I hope Glass’s founders/developers will resist feature creep. Resist user objections like: I don’t think Glass is offering that much for the subscription price they’re asking. There are a lot of people who will gladly pay for having a cleaner, simpler, focused experience.
Feature parity
An ArticleWhilst Feature Parity often sounds like a reasonable proposition, we have learnt the hard way that people greatly underestimate the effort required, and thus misjudge the choice between this and the other alternatives. For example even just defining the 'as is' scope can be a huge effort, especially for legacy systems that have become core to the business.
Most legacy systems have 'bloated' over time, with many features unused by users (50% according to a 2014 Standish Group report) as new features have been added without the old ones being removed. Workarounds for past bugs and limitations have become 'must have' requirements for current business processes, with the way users work defined as much by the limitations of legacy as anything else. Rebuilding these features is not only waste it also represents a missed opportunity to build what is actually needed today. These systems were often defined 10 or 20 years ago within the constraints of previous generations of technology, it very rarely makes sense to replicate them 'as is'.
Software that nobody wants
An Article by Gandalf HudlowFinding value is the result of enabling individual and group-level discovery attempts. It's not the result of everyone following one leader's gut.
What just happened is a new software product/feature was created that no customer wanted. This happens way too often. In fact, most hyper important software projects that must be done by date certain or else, have deep flaws that cause some variation of this phenomenon, flaws that include:
- Not wanted - Company specified a solution to a problem that customers don't actually have
- No Rarity - Company is pursuing an iKnockoff of existing products. The market already has two scaled competitors with working solutions, customers naturally spend budget on products that are already successful to avoid risk
- Incorrect Packaging - Customers need a website, but the company created an iOS app instead
- Incorrect Pricing - Customers need SaaS pricing, but the company created a shrink wrapped, on-premise solution with CapEx and maintenance agreements instead
Adding is favoured over subtracting in problem solving
A Research PaperHow would you change this structure so that you could put a masonry brick on top of it without crushing the figurine, bearing in mind that each block added costs 10 cents? If you are like most participants in a study reported by Adams et al. in Nature, you would add pillars to better support the roof. But a simpler (and cheaper) solution would be to remove the existing pillar, and let the roof simply rest on the base.
A series of problem-solving experiments reveal that people are more likely to consider solutions that add features than solutions that remove them, even when removing features is more efficient.
Not Just a New Feature; a New Compact
A Fragment by Jorge ArangoMy sense is that Slack’s teams think of themselves as adding ‘features’ to a ‘product,’ instead of as stewards of a place where people work.
Understanding the Kano Model
An Article by Jared SpoolThe horizontal axis represents the investment the organization makes. As investment increases, the organization spends more resources on improving the quality (remember, Noriaka was a quality guy at heart) or adding new capabilities.
The vertical dimension represents the satisfaction of the user, moving from an extreme negative of frustration to an extreme positive of delight. (Neutral satisfaction being neither frustrated nor delighted is in the middle of the axis.)
It’s against the backdrop of these two axes that we see how the Kano Model works. It shows us there are three forces at work, which we can use to predict our users’ satisfaction with the investment we make.
Doing It Right
An Article by Brad FrostDoing it right requires a different pace of working and a much broader thought process than “ok, let’s get this thing out the door.” Which is super tough because most workplaces place a huge emphasis on getting things out the door, and fast. Little agile tickets that are expected to be completed in micro sprints to me seem to be antithetical to doing it right.
The Web is Industrialized and I Helped Industrialize It
An Article by Dave RupertIn our cultural obsession with billionaire entrepreneurs we laud new features more than the maintenance and incrementalism work of making old features better and more accessible. Maintenance looks like red minus signs in the spreadsheet. New features look like green plus signs. New features look better on our LinkedIn profiles. New features have that pizzazz, baby.
When gardening, the building of planters and initial planting is a very short process. The majority of your time is spent nurturing and monitoring growth. I personally feel the struggle between maintainer work and new shiny feature work. I enjoy that new feature smell but I know that my day-to-day is more like a janitor on a boat mopping up someone else’s barf. In terms of metaphors, the gardening metaphor is certainly better, and it acknowledges that design and development still tend to be more creative endeavors.
Yagni
A Definition by Martin FowlerYagni originally is an acronym that stands for "You Aren't Gonna Need It". It is a mantra from Extreme Programming that's often used generally in agile software teams. It's a statement that some capability we presume our software needs in the future should not be built now because "you aren't gonna need it".
Product vs. Feature Teams
An Article by Marty CaganThis article is certain to upset many people.
Interaction of Color
The deception of color
In order to use color effectively it is necessary to recognize
that color deceives continually.What counts here – first and last – is not so-called knowledge
of so-called facts, but vision – seeing.Practice before theory
Instead of mechanically applying or merely implying laws and rules
of color harmony, distinct color effects are produced
– through recognition of the interaction of color –
by making, for instance,
2 very different colors look alike, or nearly alike.The aim of such study is to develop – through experience
– by trial and error – an eye for color.
This means, specifically, seeing color action
as well as feeling color relatedness.As a general training it means development of observation and articulation.
This book, therefore, does not follow an academic conception
of “theory and practice.”
It reverses this order and places practice before theory,
which, after all, is the conclusion of practice.50 reds
If one says “Red” (the name of a color)
and there are 50 people listening,
it can be expected that there will be 50 reds in their minds.
And one can be sure that all these reds will be very different.Not the what but the how
Our concern is the interaction of color; that is, seeing
what happens between colors.We are able to hear a single tone.
But we almost never (that is, without special devices) see a single color
unconnected and unrelated to other colors.
Colors present themselves in continuous flux, constantly related to
changing neighbors and changing conditions.As a consequence, this proves for the reading of color
what Kandinsky often demanded for the reading of art:
what counts is not the what but the how.Scotopic seeing
The sensitivity
and consequently the registration of the retina of an eye is different
from the sensitivity and registration of a photographic film.Normally, black-and-white photography registers all lights lighter
and all darks darker than the more adjustable eye perceives them.
The eye also distinguishes better the so-called middle grays,
which in photography are often flattened if not lost.This shows what a higher key in light can lose in photography.
The greatest advantage the eye has over photography
is its scotopic seeing in addition to its photopic seeing.
The former means, briefly, the retinal adjustment to lower light conditions.Disliked colors
We try to recognize our preferences and our aversions –
what colors dominate in our work; what colors, on the other hand,
are rejected, disliked, or of no appeal. Usually a special effort
in using disliked colors ends with our falling in love with them.Color intervals
The tune of “Good morning to you” consists of 4 tones. It can be sung
in a high soprano, a low basso, and in all in-between voices, as well as
on many levels and in many keys. It can be played on innumerable instruments.In all possible ways of performance, this melody will keep its character
and it will be recognized instantly.Why? The intervals of the 4 tones, that is, their acoustical
constellation (again comparable with a topographical relationship),
remains the same.Although it is not common practice, one can also speak of intervals
between colors.
Colors and hues are defined, as are tones in music, by wavelength.Any color (shade or tint) always has 2 decisive characteristics:
color intensity (brightness) and light intensity (lightness).
Therefore, color intervals also have this double-sidedness, this duality.Time and space
Tones appear placed and directed predominantly in time from before to now to later.
Their juxtaposition in a musical composition is perceived
within a prescribed sequence only.
Horizontally, the tones follow each other,
perhaps not in a straight line, but of necessity in a prescribed order
and only in 1 direction – forward.
Tones heard earlier fade, and those farther back disappear, vanish.
We do not hear them backward.Colors appear connected predominantly in space. Therefore,
as constellations they can be seen in any direction and
at any speed. And as they remain, we can return to them repeatedly
and in many ways.
This remaining and not remaining, or vanishing and not vanishing,
shows only 1 essential difference between the fields of tone
and color.The accuracy of perception in one field is matched
by the durability of retention in the other, demonstrating
a curious reversal in visual and auditory memory.A cook with taste
Observe the interior and exterior, the furniture and textile decoration
following such color schemes, as well as commercialized color “suggestions”
for innumerable do-it-yourselves.Our conclusion: we may forget for a while those rules of thumb
of complementaries, whether complete or “split”, and of triads and
tetrads as well.
They are worn out.Second, no mechanical color system is flexible enough
to precalculate the manifold changing factors, as named before,
in a single prescribed recipe.Good painting, good coloring, is comparable to good cooking.
Even a good cooking recipe demands tasting and repeated tasting
while it is being followed.
And the best tasting still depends on a cook with taste.Flexible imagination
By giving up preference for harmony,
we accept dissonance to be as desirable as consonance.Besides a balance through color harmony, which is comparable
to symmetry, there is equilibrium possible between
color tensions, related to a more dynamic asymmetry.Again: knowledge and its application is not our aim;
instead, it is flexible imagination, discovery, invention – taste.Does it have color?
Whether something “has color” or not is as hard to define verbally as are
such questions as “what is music” or “what is musical."The Weber-Fechner law
Exponential increases in physical stimuli produce linear perceptual increases.
Thinking in situations
Naturally, practice is not preceded but followed by theory.
Such study promotes a more lasting teaching and learning
through experience. Its aim is development of creativeness
realized in discovery and invention – the criteria of creativity,
or flexibility, being imagination and fantasy. Altogether
it promotes “thinking in situations,” a new educational concept
unfortunately little known and less cultivated, so far.Not of method but of heart
In the end, teaching is a matter not of method but of heart.
The teacher actually is right and always will gain confidence
when he admits that he does not know, that he cannot decide, and,
as it often is with color, that he is unable to make a choice
or to give advice.Besides, good teaching is more a giving of right questions
than a giving of right answers.Results of a search
This book presents results of a search, not of what is academically called research.
In addition to the dedication of this book, I should like to state that my students in color have taught me more color than have books about color.
Simple forms
The concept that “the simpler the form of a letter the simpler its reading” was an obsession of beginning constructivism. It became something like a dogma, and is still followed by “modernistic” typographers.
This notion has proved to be wrong, because in reading we do not read letters but words, words as a whole, as a “word picture.” Ophthalmology has disclosed that the more the letters are differentiated from each other, the easier is the reading.
Without going into comparisons and the details, it should be realized that words consisting of only capital letters present the most difficult reading—because of their equal height, equal volume, and, with most, their equal width. When comparing serif letters with sans-serif, the latter provide an uneasy reading. The fashionable preference for sans-serif in text shows neither historical nor practical competence.