interfaces
An open platform is essential
Web trails
gridless.design
A Website by Donnie D'Amatoget rid of the grid
Blasphemy, I need structure and order!"
The web is good at these things, just not in the ways that designers have been accustomed to working. We'll take a look at how we got here and how we might change our perspective. Let's think outside of the grid and allow other guidelines to provide a comprehensive layout.
Web Design is 95% Typography
An Article by Oliver Reichenstein95% of the information on the web is written language. It is only logical to say that a web designer should get good training in the main discipline of shaping written information, in other words: Typography.
Why Do All Websites Look the Same?
An Article by Boris MüllerOn the visual weariness of the web.
Cloudbusting
An Article by Daisy AliotoIt is fun to revisit memories this way, a digital stamp in my weather passport, where everything can be contained in a forecast and Stockholm sits between Vilnius and London by sheer chance. It has also been a way to feel close to people I love while traveling, to know whether it is raining where they are.
As with most technology, this is artistry by committee. There is no Thomas Cole waiting in the wings. But someone has to animate the stars, to decide when to streak one across the screen–to play god in our pockets.
Always Already Programming
An Article by Melanie HoffEveryone who interacts with computers has in important ways always already been programming them.
Every time you make a folder or rename a file on your computer, the actions you take through moving your mouse and clicking on buttons, translate into text-based commands or scripts which eventually translate into binary.
Why are the common conceptions of what a programmer and user is so divorced from each other? The distinction between programmer and user is reinforced and maintained by a tech industry that benefits from a population rendered computationally passive. If we accept and adopt the role of less agency, we then make it harder for ourselves to come into more agency.
The Finish Fetish Artists
An EssayFor others, perhaps especially those artists who worked with light and transparency and were involved in the birth of the Light and Space Movement, an immaculate surface is a prerequisite. Helen Pashgian explained this very clearly:
“On any of these works, if there is a scratch... that’s all you see. The point of it is not the finish at all – the point is being able to interact with the piece, whether it is inside or outside, to see into it, to see through it, to relate to it in those ways. But that’s why we need to deal with the finish, so we can deal with the piece on a much deeper level”.
The importance of a pristine surface calls for a very low tolerance to damage by the artists. The feeling is shared by Larry Bell:
“I don’t want you to see stains on the glass. I don’t want you to see fingerprints on the glass... I don’t want you to see anything except the light that’s reflected, absorbed, or transmitted”
Spatial Software
An Article by John PalmerSpatial Interfaces
An Essay by John PalmerSoftware applications can utilize spatial interfaces to afford users powerful ways of thinking and interacting. Though often associated with gaming, spatial interfaces can be useful in any kind of software, even in less obvious domains like productivity tools or work applications. We will see spatial interfaces move into all verticals, starting with game-like interfaces for all kinds of social use-cases.
Spatial Web Browsing
An Article by Maggie AppletonThere are some new apps appearing that offer alternative ways of browsing the web...This canvas-based approach adds spatial dimension to the web browsing experience; they allow us to arrange browser windows above, below, to the left, and right of other browser windows.
The same way we're able to put an open book next to a piece of paper and below a row of sticky notes in meatspace. Arranging objects in space to create groupings, indicate relationships, and build hierarchies is one of those classical human skills that never goes out of style.
How I Build
An Article by Pirijan KetheswaranIn 2014, I wrote about my belief that design and engineering are best when tightly woven together. That’s truer now than ever.
If I’m feeling confident, I’ll jump right into my text editor…From here, more functionality is added and the code is tweaked until the feature looks and feels right to me. Whether it’s something simple like this, or prototyping a new interaction like multi-connect, there’s no substitute for designing with real code.
In rare cases when I have ideas or plans that I’m less confident about, it’s time to break out the paper, pens, and markers,
Because the Kinopio interface elements and aesthetic are full-grown, I almost never use traditional design software anymore.
In search of visual texture
An Article by Rachel PruddenI’m now more inclined to attribute Looseleaf’s power to its visual texture than to some cognitive media-style abstraction. And the visual texture owes more to the beauty (yes, beauty!) of the original pdfs from the Vasulka Archive. Perhaps the demo is best understood not as a prototype generic tool, but as a specific curated experience in its own right, with form and content claiming equal importance in its overall success.
Even so, I think there are some general lessons that can be drawn from this demo:
- Content is not inert
- Visual texture lets content breathe
- Visual texture lets the eye wander without losing itself
Menus, Metaphors and Materials: Milestones of User Interface Design
An Article by Boris MüllerStudents traditionally learn art and design by studying the masters, analyzing, sketching and interpreting the grand visions of the past. In doing this, they get to understand the ideas, concepts and motivations behind the visual form.
In user interface design, this practice is curiously absent.
press.stripe.com
A WebsiteStripe partners with millions of the world’s most innovative businesses. These businesses are the result of many different inputs. Perhaps the most important ingredient is “ideas.”
Stripe Press highlights ideas that we think can be broadly useful. Some books contain entirely new material, some are collections of existing work reimagined, and others are republications of previous works that have remained relevant over time or have renewed relevance today.
Embracing Asymmetrical Design
An Article by Ben NadelHumans love symmetry. We find symmetry to be very attractive. Our brains may even be hard-wired through evolution to process symmetrical data more efficiently. So, it's no surprise that, as designers, we try to build symmetry into our product interfaces and layouts. It makes them feel very pleasant to look at.
Unfortunately, data is not symmetrical…Once you release a product into "the real world", and users start to enter "real world data" into it, you immediately see that asymmetrical data, shoe-horned into a symmetrical design, can start to look terrible.
To fix this, we need to lean into an asymmetric reality. We need to embrace the fact that data is asymmetric and we need to design user interfaces that can expand and contract to work with the asymmetry, not against it. To borrow from Bruce Lee, we need to build user interfaces that act more like water:
“You must be shapeless, formless, like water. When you pour water in a cup, it becomes the cup. When you pour water in a bottle, it becomes the bottle. When you pour water in a teapot, it becomes the teapot. Water can drip and it can crash. Become like water my friend.” — Bruce Lee
Changing Our Development Mindset
A Fragment by Michelle BarkerWe simply can no longer design and develop only for “optimal” content or browsing conditions. Instead, we must embrace the inherent flexibility and unpredictability of the web, and build resilient components. Static mockups cannot cater to every scenario, so many design decisions fall to developers at build time. Like it or not, if you’re a UI developer, you are a designer — even if you don’t consider yourself one!
...Sometimes interpreting a design means asking the designer to further elaborate on their ideas (or even re-evaluate them). Other times, it means making design decisions on the fly or making recommendations based on our knowledge and experience.
AJDVIV
A WebsiteThe Fidelity Curve
An Article by Ryan SingerHow do we choose which level of fidelity is appropriate for a project?
I think about it like this: The purpose of making sketches and mockups before coding is to gain confidence in what we plan to do. I’m trying to remove risk from the decision to build something by somehow “previewing” it in a cheaper form. There’s a trade-off here. The higher the fidelity of the mockup, the more confidence it gives me. But the longer it takes to create that mockup, the more time I’ve wasted on an intermediate step before building the real thing.
I like to look at that trade-off economically. Each method reduces risk by letting me preview the outcome at lower fidelity, at the cost of time spent on it. The cost/benefit of each type of mockup is going to vary depending on the fidelity of the simulation and the work involved in building the real thing.
What UI really is (and how UX confuses matters)
An Article by Ryan SingerPeople mix the terms UI and UX together. UX is tricky because it doesn’t refer to any one thing. Interface design, visual styling, code performance, uptime, and feature set all contribute to the user’s “experience.” Books on UX further complicate matters by including research methods and development methodologies. All of this makes the field confusing for people who want to understand the fundamentals.
That’s why I avoid teaching the term ’UX.’ It means too many things to too many different people. Instead I focus on individual skills. Once you understand the individual skills, you can assemble them into a composite system without blurring them together. For software design, the core skill among all user-facing concerns is user interface design.
User Inyerface
A WebsiteA worst-practice UI experiment.
Beyond Artboards
An Essay by Chuánqí SunThe Pursuit of Lossless Design-Development Handoffs.
Intelligent arrows
A Fragment by Chris CoyierReminds me of a little feature I like in Notion where if you type dash-arrow (like ->) it turns into → — but intelligently — like it doesn’t do that with inline code or a code block.
Safari 15 isn't bad, just misunderstood
An Article by Jeff KirvinWhat I see in Safari 15 is the first steps into a new design language for iOS, one prioritizing adaptive, contextual interfaces. Ever since the move to the new “all screen” iPhone X design, content has been king on iOS, and Apple has been removing more and more user chrome. This is the next step on that journey.
The Nine States of Design
An Article by Vince Speelman- Nothing
- Loading
- None
- One
- Some
- Too Many
- Incorrect
- Correct
- Done
State of the Windows
An ArticleHow many layers of UI inconsistencies are in Windows 10?
We’ve all heard this riddle: if you dig down deep enough in Windows 10, you’ll find elements that date from Windows 3.x days. But is it actually true? In this article we’ll discover just how many UI layers are in Windows and when they were first introduced.
narrowdesign.com
A Website by Nick JonesDesign
Prototype
CodeGuidebook: Graphical User Interface Gallery
A WebsiteGuidebook is a website dedicated to preserving and showcasing Graphical User Interfaces, as well as various materials related to them.
It's all just geek talk
A Fragment by Riccardo MoriI’m finding that many people not only have lowered their standards with regard to the user interface, but more and more often when I bring up the subject, they seem to consider it a somewhat secondary aspect, something that’s only good for ‘geek talk’. The same kind of amused reaction laymen have to wine or coffee connoisseurs when they describe flavours and characteristics using specific lingo. Something that makes sense only to wine or coffee geeks but has little to no meaning or impact for the regular person.
The problem is that if an increasing number of people start viewing user interface design as an afterthought, or something that isn’t fundamental to the design of a product or experience — it’s all just ‘geek talk’ — then there is a reduced incentive to care about it on the part of the maker of the product.
Pictures of Websites
An Article by Matthew StrömWhen I was a product designer, people would ask what I did for a living, and sometimes I’d answer “I draw pictures of websites.”
Sure, I could just say “I design websites.” That’s true. The end result of my work is (hopefully) that a website looks better, works better, or results in better outcomes.
But most of my day isn’t spent looking at the website, or working on the code of the website, or manipulating the website directly in some way. It’s spent in Figma or Sketch, drawing pictures of how I think the website should look and work.
Through some kind of alchemy, the pictures I draw have an impact on the finished website. But they’re not all the same.
The User Interface of URLs
A Research PaperURLs (Uniform Resource Locators) have rapidly become the standard method for specifying how to access information on the Internet. Although mostly used on the World Wide Web, URLs are also becoming more common for specifying locations for other distributed Internet services such as Gopher and anonymous FTP. Internet users see URLs both online and in print, and therefore URLs have visual interfaces. This paper gives an overview of many of the issues that concern the visual and user interfaces of URLs.
Web History Chapter 6: Web Design
A Chapter by Jay HoffmannAfter the first websites demonstrate the commercial and aesthetic potential of the web, the media industry floods the web with a surge of new content. Amateur webzines — which define and voice and tone unique to the web — are soon joined by traditional publishers. By the mid to late 90’s, most major companies will have a website, and the popularity of the web will begin to explore. Search engines emerge as one solution to cataloging the expanding universe of websites, but even they struggle to keep up. Brands soon begin to look for a way to stand out.
Unobtrusive feedback
An Article by Jeremy KeithThe text 'added' and 'removed' drifts upwards from the toggle button and fades away.
So we all know Super Mario, right? And if you think about when you’re collecting coins in Super Mario, it doesn’t stop the game and pop up an alert dialogue and say, “You have just collected ten points, OK, Cancel”, right? It just does it. It does it in the background, but it does provide you with a feedback mechanism.
The feedback you get in Super Mario is about the number of points you’ve just gained. When you collect an item that gives you more points, the number of points you’ve gained appears where the item was …and then drifts upwards as it disappears. It’s unobtrusive enough that it won’t distract you from the gameplay you’re concentrating on but it gives you the reassurance that, yes, you have just gained points.
The Mother of All Demos
A Lecture by Douglas EngelbartA name retroactively applied to a landmark computer demonstration, presented by Douglas Engelbart on December 9, 1968. The 90-minute presentation essentially demonstrated almost all the fundamental elements of modern personal computing:
- windows,
- hypertext,
- graphics,
- efficient navigation and command input,
- video conferencing,
- the computer mouse,
- word processing,
- dynamic file linking,
- revision control,
- and a collaborative real-time editor
The UX of Lego Interface Panels
An Article by George CaveTwo studs wide and angled at 45°, the ubiquitous “2x2 decorated slope” is a LEGO minifigure’s interface to the world. These iconic, low-resolution designs are the perfect tool to learn the basics of physical interface design.
Like, just a post complaining that screens should be better
An Article by Matt WebbIt’s been 19 years since Pixar released Monsters, Inc. with all that CGI hair. Where are my hairy icons? Ones that get all long and knotted as the notifications number goes up.
Why can’t I feel my phone? I found that paper from 2010 (when I was complaining about keyboards) about using precision electrostatics to make artificial textures on touchscreens.
I should be able to run my thumb over my phone while it’s in my pocket and feel bumps for apps that want my attention. Touching an active element should feel rough. A scrollbar should *slip. Imagine the accessibility gains. But honestly I don’t even care if it’s useful: 1.5 billion smartphone screens are manufactured every year. For that number, I expect bells. I expect whistles.
Dieter Rams: As Little Design as Possible
Beyond improvement
In so many ways Dieter Rams’s work is beyond improvement. Although new technologies have since offered new opportunities, his designs are not undermined by the limits of the technologies of their time. The concave button top, designed to stop your finger from slipping as it made the long travel necessary for earlier mechanical switches, does not point to obsolete mechanisms. Instead, it reminds us how immediately and intuitively form alone can describe what an object does and suggest how we should use it.
Cardinal sin
Indifference towards people and the reality in which they live is actually the one and only cardinal sin in design.
The duty of industrial design is first and foremost to users and the users are, generally, human beings, with all their complexities, habits, ideas and idiosyncrasies.
On display
The SK4 record player, aka 'Snow White's Coffin'.
Instead of being hidden away in a piece of furniture, the controls and the functional aspects of the device were not only on display, but they were the predominant feature of the design.
Rams suggested making a transparent lid from a new plastic that had just come on the market and was being used for advertising displays. It was an inspired thought and lent the phonograph just the lightness needed to balance the metal and wood of the base, as well as helping to define the acoustics. It also set the standard for all record players that followed - a turntable without a Perspex dust cover is now almost unthinkable.
Long-term
"Apart from his own design work, this is the second greatest achievement of Dieter Rams: establishing a design department within a company, which succeeded for decades in preserving its own individual approach and rigorously advancing it, without really being influenced by changing market interests." — Klaus Kemp
He is right; it was a remarkable feat. It takes a considerable degree of doggedness and conviction to follow the ungratifying and difficult path of insisting on a consistently long-term view in a corporate world that is constantly shifting and full of short-term decisions.
Humble servants
Our electrical appliances should be humble servants, to be seen and heard as little as possible. They should ideally stay in the background, like a valet in the old days, that one hardly noticed. — Erwin Braun
They should accompany an individual over a long period of time without hindering or disturbing through ‘extravagant forms, loud colors or flashy proportions’.
Restrained beauty
Braun design had a beauty that was more than skin deep. It would be wrong to say that because the Braun approach spurned fashion in an ongoing quest for functional and useable perfection, it ended up with this beauty by accident. There is a very strong aesthetic sense in both the proportion and materials of nearly all the products of the Rams era. They have a ‘restrained beauty’, he admits.
Braun products designed by Rams and his team have a haptic aesthetic as well: when you pick them up, handle them, and use them as the tools they are supposed to be, you become aware of the effort that has gone into making them sit comfortably in the hand, of the texture, weight and balance they possess, and of the satisfying click of the control buttons.
Camels
When you look at the consumer products generated by many other manufacturers, and even by Braun today, there seem to be an awful lot of camels around. Maybe these companies are too diffuse, have the decision-makers in the wrong places or are continually making the wrong decisions and have no one to stop them. They make products with short-term goals in mind, seducing the eye of the buyer with fashionable colors, sensational curves or exotic surfaces. They may have external designers and, perhaps most significantly, the brand identity is defined by external marketing concerns, rather than design or user-related issues.
The lesson to learn from Braun is that allowing a consistent philanthropic design approach to define a company can be extremely successful if it is executed with discipline, flexibility and good timing combined with hard work and, not least, great talent.
A timeless quality
Of all Rams’s products, the 606 Universal Shelving System is perhaps his most successful in fulfilling his own principles of good design. It is still in production today, some fifty years after its conception. The system is distinctive yet unobtrusive, and when the shelves and cabinets are filled, its slim profile allows it to fade quietly into the background.
Its ‘plainness’ lends it a timeless quality that has transcended the vagaries of fashion like no other of Rams’s designs. It was conceived in such a way as to optimize its function as simply and in as many different situations as possible, while still permitting upgrades and alterations without falling into obsolescence: all later adaptations and additions could still be integrated into the original structure and sizes.
"Fashion objects are not capable of being long-lived," said Rams in 2007. "We simply cannot afford this throw-away mentality anymore. Good design has to have built-in longevity. I believe that the secret of the longevity of my furniture lies in its simplicity and restraint. Furniture should not dominate, it should be quiet, pleasant, understandable and durable."
A certain kind of world
Perhaps more directly than with the Braun products, my furniture arose from a belief in how the world should be ‘furnished’ and how man should live in this artificial environment. In this respect, each piece of furniture is also a design for a certain kind of world and way of living, they reflect a specific vision of mankind.
Designing detail
My heart belongs to the details.
I actually always found them to be more important than the big picture.
Nothing works without details.
They are everything, the baseline of quality.Truly functional design only comes from the most careful and intense attention to detail.
Although he did not directly design all products and even had very little to do with some of them, he constantly encouraged tiny improvements that could make a good design better. This attention to detail ranged from the acuteness of angles in forms; the size, feels and distances between switches; the integration of handle fixings; the placement and nature of graphic elements on the products themselves and extended to product photography and packaging.
Designing detail is about achieving a fine balance in all aspects and areas of the product, including those external to the object.
Controlled!
Braun design is greatly reduced - stripped of all that is unnecessary. Nevertheless, there is a strong aesthetic characterized by balance, order and harmony.
Self-control is very important. Although my own taste is involved it always has to be under control. Not suppressed though! Controlled!
Chromatic mutiny
Nevertheless there were a number of colorful appliances produced by Braun, particularly from the late 1960s onwards, when plastics in bright primary colors became fashionable and available.
T3 domino lighter
KMM 2 coffee grinder
HLD 4 hairdryer
KF 145 coffee maker
HT 95 pop-up toasterWhen Rams’s team used color in such a way, it was uncompromising in its intensity: loud and demanding. The highly reduced forms of the products that it clothed, which had gently rounded edges, smooth opaque surfaces and discreet (usually black) detailing only served to increase this intensity.
"The intention was to create product alternatives for people who wished for strong color highlights in their living environments. This impulse came from marketing - not from design,” says Rams, dissociating himself from this approach. This was one instance where marketing got the upper hand in the decision-making process and the design team had to bow to contemporary fashion.
Indeed, there is a defiant aspect to these chromatic exceptions; they are not so much compromises as mutinous responses. Nevertheless, the resulting products are beautiful objects in their stand-alone way.
Color codes
When not compelled to do otherwise, the Braun design team’s use of color in products was reduced to highly specific areas such as control switches. Restricting the use of color to small points on an otherwise neutral object concentrates its effect, which is shifted away from decoration and towards function, especially when each color is assigned a signal role such as green for ‘on / off' switches, red for ‘fm’ and yellow for ‘phono’ on hi-fis or yellow for the second hand on clocks and watches.
This color coding of operating details is a primary example of the self-explanatory nature of Braun products.
Shorten the wings
The labile tastes of certain decision-makers in a company are often a great burden for designers. Too many feel themselves qualified to pass judgment. And how insensitive, how superficial these judgments often are.
Taste, believes Rams, is something that needs to be trained, since the aesthetic decisions at this level in product design are intrinsically bound to the entire form and function of the object. It would be unimaginable, for example, that the management of an aerospace company would ask the designers of a new plane to shorten the wings because they think it would make it look prettier.
The evolution of Braun design principles
1975
Three general rules govern every Braun design - a rule of order, a rule of harmony and a rule of economy.1976
The function for us is the starting point and the target of every design.
Experience with design is experience with people.
Only orderliness makes design useful to us.
Our design attempts to bring all individual elements into their proper proportions.
Good design means to us: as little design as possible.
Our design is innovative because the behavior patterns of people change.1983
Good design is innovative.
Good design renders utility to a product.
Good design is aesthetic design.
Good design makes a product easy to understand.
Good design is unobtrusive.
Good design is honest.1985
Good design is innovative.
Good design makes a product useful.
Good design is aesthetic.
Good design makes a product understandable.
Good design is honest.
Good design is unobtrusive.
Good design is long-lasting.
Good design is thorough down to the last detail.
Good design is environmentally friendly.
Good design is as little design as possible.Less, but better
There must be millions less of things, less words, less gestures, less of everything. But every word and every gesture will become more valuable. If we can put it all into perspective we will need less things as a result.