User Experience
Observe data collection at the moment of measurement
When engineers refuse to leave well enough alone
Most advanced yet acceptable
Customers will confer a favor on us
This is UX
Post-occupancy evaluation
Essential vs. nice to have
Good for the next man
What the problem is
You've got to do this with love
The notion of a thermal optimum persists
Finish designing as close to the end of a sprint as possible
I'm sorry, I love engineers
People are afraid to let design have time to actually figure out the right thing to make, because "whatever will the engineers do?" – fuck you, there's plenty for the engineers to do. Go fix some technical debt. Go fix those 700 bugs that you de-prioritized or marked as won't fix because you're an asshole.
I'm sorry, I love engineers. I don't know why I'm yelling at them. But you know, there's plenty for the engineers to do. There's all sorts of cleanup. They can work on dev-ops stuff! They can work on their build process! Make it faster! I'm not worried about keeping the engineers busy. If you think that the only thing that engineers can do is build yet another stupid feature that nobody is going to use, then you're a garbage designer and you should quit.
...Happy 2020 everybody!
Places, services, techniques
It is not enough for administrators in most fields to understand specific services and techniques. They must understand, and understand thoroughly, specific places.
205. Structure Follows Social Spaces
Problem
No building ever feels right to the people in it unless the physical spaces (defined by columns, walls, and ceilings) are congruent with the social spaces (defined by activities and human groups).
Solution
A first principle of construction: on no account allow the engineering to dictate the building’s form. Place the load bearing elements—the columns and the walls and floors—according to the social space of the building; never modify the social spaces to conform to the engineering structure of the building.
The curse of knowledge
The better you know something, the less you remember about how hard it was to learn.
The curse of knowledge is the single best explanation I know of why good people write bad prose. It simply doesn’t occur to the writer that her readers don’t know what she knows - that they haven’t mastered the patois of her guild, can’t divine the missing steps that seem too obvious to mention, have no way to visualize a scene that to her is as clear as day. And so she doesn’t bother to explain the jargon, or spell out the logic, or supply the necessary detail.
The quality of the day
It is something to be able to paint a particular picture, or to carve a statue, and so to make a few objects beautiful; but it is far more glorious to carve and paint the very atmosphere and medium through which we look, which morally we can do. To affect the quality of the day, that is the highest of arts.
Feature factories
We use the term feature factory as a pejorative to designate companies addicted to adding features, while accumulating incalculable so-called technical debt. This situation is driven by management for the convenience of marketing, and I am skeptical that a more faithful application of Agile principles will correct it. Indeed, I suspect Agile processes are constitutionally vulnerable to this kind of compromise.
The presence of a feature can only indicate to a user if a goal is possible, behavior will determine how painful it will be to achieve it.
Architectural sequences
Noted designer and architectural theorist Bernard Tschumi would call the predictable repetition of events inside an architectural space a sequence: a linear series of actions and behaviors that are at least partially determined by the design of the space itself.
The observer effect
In biology, when researchers want to observe animals in their natural habitat, it is paramount that they find a way to do so without disturbing those animals. Otherwise, the behavior they see is unlikely to be natural, because most animals (including humans) change their behavior when they are being observed.
Seeing and feeling
Learning to design is, first of all, learning to see. Designers see more, and more precisely. This is a blessing and a curse—once we have learned to see design, both good and bad, we cannot un-see. The downside is that the more you learn to see, the more you lose your “common” eye, the eye you design for. This can be frustrating for us designers when we work for a customer with a bad eye and strong opinions. But this is no justification for designer arrogance or eye-rolling. Part of our job is to make the invisible visible, to clearly express what we see, feel and do. You can’t expect to sell what you can’t explain.
This is why excellent designers do not just develop a sharper eye. They try to keep their ability to see things as a customer would. You need a design eye to design, and a non-designer eye to feel what you designed.
Anthropological rapport
Accurately capturing how people spend their time is contingent not only on systematic data collection, but also on participants moving in a relaxed and normal manner through their daily activities. Just as primatologists habituate their subjects to their presence, anthropologists first must develop rapport and trust with the communities in which they live.
What is unspoken
Ethnographic studies are distinct from ethological research in other species because we can speak with our subjects and ask them questions. This has tremendous value, but much of what humans do is not spoken, and we also observe, count, and measure.
The source of delight
Design doesn’t need to be delightful for it to work, but that’s like saying food doesn’t need to be tasty to keep us alive. The pedigree of great design isn’t solely based on aesthetics or utility, but also the sensation it creates when it is seen or used. It’s a bit like food: plating a dish adds beauty to the experience, but the testament to the quality of the cooking is in its taste. It’s the same for design, in that the source of a delightful experience comes from the design’s use.
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.
The limits of language
The question of human limits was posed to Diderot the moment he, as it were, rose from his armchair. His method for finding out how people worked was, like a modern anthropologist, to ask them:
We addressed ourselves to the most skilled workers in Paris and the kingdom at large. We took the trouble to visit their workshops, to interrogate them, to write under dictation from them, to follow out their ideas, to define, to identify the terms peculiar to their profession.
The research soon ran into difficulty, because much of the knowledge craftsmen possess is tacit knowledge—people know how to do something but they cannot put what they know into words. Diderot remarked of his investigations: "Among a thousand one will be lucky to find a dozen who are capable of explaining the tools or machinery they use, and the things they produce with any clarity."
What we can say in words may be more limited than what we can do with things. Language is not an adequate 'mirror-tool' for the physical movements of the human body.
Equidistance
Once, in the Rijksmuseum, I brought in new speakers for my phonograph. What the directions told me to do was make certain that the two speakers were equidistant from each other.
One certainly had to wonder what the person who wrote the instructions could have believed he meant by that.The most seamless and wonderful way
I believe our job as designers is to give you what you need as quickly and elegantly as we can. Our job as designers is to take you away from technology. Our job as designers is to make you smile. To make a profit by providing you something that enhances your life in the most seamless and wonderful way possible.
Speaking people
Surely those who oversee and guide municipal transportation systems ought to use public transit during their work days. Why not put a clause to that effect in their job description or contract?
Requiring those whose work has a major impact on people's lives to experience some of the impact is really not too much ask. It means that they speak "people" rather than French, Cree, or Spanish.
Hopes and dreams
The very first thing we did was spend two weeks just talking to different teachers and students, to get a feeling for their hopes and dreams. These talks were one-on-one and often lasted about an hour, for any one interview, during which we asked questions, talked, probed, explored dreams of an ideal campus, and tried to understand each person's deepest visions as a teacher, or as a student. We asked people about their longings, and their practical needs. We asked them to close their eyes and imagine themselves walking about in the most wonderful campus they could imagine.
Eggs, Easter and poached
When a site is done with care and excitement you can tell. You feel it as you visit, the hum of intention. The craft, the cohesiveness, the attention to detail is obvious. And in turn, you meet them halfway. These are the sites with the low bounce rates, the best engagement metrics, the ones where they get questions like “can I contribute?” No gimmicks needed.
What if you don’t have the time? Of course, we all have to get things over the line. Perhaps a challenge: what small thing can you incorporate that someone might notice? Can you start with a single detail? I didn’t start with a poached egg in my breakfast, one day I made a goofy scrambled one. It went on from there. Can you challenge yourself to learn one small new technique? Can you outsource one graphic? Can you introduce a tiny easter egg? Say something just a little differently from the typical corporate lingo?
It can also be art
It is worth remembering a website does not have to be a product; it can also be art. The web is also a creative and cultural space that need not confine itself to the conventions defined by commercial product design and marketing.
A fly in the spider's web
We're very good at talking about immersive experiences, personalized content, growth hacking, responsive strategy, user centered design, social media activation, retargeting, CMS and user experience. But behind all this jargon lurks the uncomfortable idea that we might be accomplices in the destruction of a platform that was meant to empower and bring people together; the possibility that we are instead building a machine that surveils, subverts, manipulates, overwhelms and exploits people.
It all comes down a simple but very dangerous shift: the major websites of today's web are not built for the visitor, but as means of using her. Our visitor has become a data point, a customer profile, a potential lead — a proverbial fly in the spider's web. In the guise of user-centered design, we're building an increasingly user-hostile web.
Want, need, afford
- What the client wants.
- What the client thinks it wants.
- What the client needs.
- What the client can afford.
- What the planet can afford.
The Design of Everyday Things
A Book by Don NormanThe vanishing designer
An Article by Chuánqí SunVisionary designers have lost their conceptual integrity to an industrial complex optimized for consensus, predictability, and short-term business gain. The rise of customer-obsession mantra and data-driven culture cultivated a generation of designers who only take risk-free and success-guaranteed steps towards the inevitable local maxima of design monotony.
Against an Increasingly User-Hostile Web
An Article by Parimal SatyalWe are quietly replacing an open web that connects and empowers with one that restricts and commoditizes people. We need to stop it.
The Nature of Product
An Article by Marty CaganToo many product managers and product designers want to spend all their time in problem discovery, and not get their hands dirty in solution discovery – the whole nonsense of “product managers are responsible for the what and not the how.”
Undoing the Toxic Dogmatism of Digital Design
An Essay by Lisa Angela- Design educators and industry leaders have never reached a consensus about what comprises a “good enough” foundational education for digital design.
- We do not properly retire methods (or ways of conducting them) that have been shown to be ineffective.
- Design team seniority levels are meaningless.
- We’ve collectively lost the safety (and subsequently the desire) to explore and fail.
- We afford well-known design leaders too much power to dictate how design is discussed and conducted.
- We have no ethical standards.
- Inclusive design and accessibility are afterthoughts — both in design education and in practice.
Was Design Thinking Designed Not to Work?
An Article by Debbie LevittDesign thinking sells a fantasy. It sells you the fantasy that with some guidelines, templates, and sticky notes, you can do what IDEO does just like how they do it.
…if it were true that design thinking lets you do what the best designers do, IDEO could put themselves out of business. If they were really selling you the absolute guide on how they solve problems, innovate, and design, you wouldn’t need IDEO. Their idea to save their business from a slump hypothetically cannibalizes their business…Unless they knew that it wouldn’t.
On Design Thinking
An Essay by Maggie GramDesign means something even broader now. Sometime around World War II, it came to mean making things that “solve problems.” With the influence of mid-century global social movements and the rise of digital technology, it began to mean making things that are “human-centered.” And as of recently, design doesn’t have to involve making things at all. It can just mean a way of thinking.
Of all these developments, the idea of design as a broadly applicable way of thinking—the idea of “design thinking”—may end up being the most influential…At Stanford’s d.school, as cofounder Robert Sutton has said, “design thinking” is often treated “more like a religion than a set of practices for sparking creativity.”
An incoherent rant about design systems
An Article by Robin RendleNo matter how fancy your Figma file is or how beautiful and lovingly well organized that Storybook documentation is; the front-end is always your source of truth. You can hate it as much as you like—all those weird buttons, variables, inaccessible form inputs—but that right there is your design system.
...being honest about this is the first step to fixing it.
Spatial 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.
Spreadsheet Portfolios for UX Designers
An Article by Erica HeinzThe “case study?” column was the whole point of the spreadsheet — identifying which projects I still needed to write up for my portfolio — but at this point I looked at the sheet, and thought “This is honestly a better overview of the work I do than any ‘portfolio’ I’ve seen”.
So I tweeted a screenshot, joking/trolling that it WAS my portfolio (I didn’t include any winks or notes that I was still planning a “real” portfolio), but people didn’t respond with the lulz I expected — they got the idea, or took it at face value and said they were going to do their portfolio this way too!
When users never use the features they asked for
An Article by Austin Z. HenleyWe deployed our tool. Almost no one used it.
The handful that did use it, used it once or twice and barely interacted with it. After a few days, zero people were using it.
Why did they tell me they wanted these features?
The case against heatmaps
An Article by Oliver PalmerVisualised aggregations of click activity are a low effort, low signal waste of time and best avoided in favour of actual research.
Two kinds of usability
An Article by Ryan SingerI divide usability problems into two kinds:
- Perceptual: "They couldn't figure out what to do next", "they couldn't find the feature", "they didn't know they could click that button..." etc.
- Domain-specific: "We need a way to jump back here because in their workflow this happens..."
In general, usability testing only catches type 1 perceptual problems. Because in those tests you take people out of the real world and assign them tasks. Usability testing doesn't catch domain-specific problems because they only come up in real life use.
How I experience the web today
A WebsiteLocus. (Appwalls)
An Article by Ethan MarcotteI’ve noticed a recent trend on the web — or at least, on the parts of it I’ve visited. Maybe you’ve noticed it too.
Here’s what happens: you’re on a website, and one of these little prompts pops up...[to] let you know that there’s an app, and that the website you’re on...well, it’s not quite the app, is it?
...Sometimes, the website wants me to install the app — no, it needs me to install the app. It’s like a paywall, but for apps. An appwall.
In recent years, these prompts have gotten more prominent, and occasionally impassable. And I think that trend’s interesting. Why would a company promote a native app over their perfectly usable website?
It feels like a glimpse into that company’s design priorities. And it’s possibly providing us with insight into the business value they place on the open web — a medium that’s meant to be accessible everywhere, on any screen, on any device.
And it really does feel like these glimpses are becoming more common.
In ways you didn't anticipate
A Quote by Patrick HebronI always have a hard time wrapping my mind around some of the classic user questions: What is this thing for, is it for novices or professionals, etc? I do my best to avoid these questions, because the best thing you can possibly accomplish as the maker of a tool is to build something that gets used in ways you didn’t anticipate. If you’re building a tool that gets used in exactly the ways that you wrote out on paper, you shot very low. You did something literal and obvious.
The Rise Of User-Hostile Software
An Essay by Den DelimarskyWe are truly living in an era of user-hostile software, and when I say “user-hostile” I mean it as “software that doesn’t really care about the needs of the user but rather about the needs of the developer.”
I personally do not know anyone who asked for an online account requirement before they can use a keyboard; however, some product lead somewhere decided that it’s important to better “understand the customer” and “maximize marketing reach” through some weekly “Hey, we have a new keyboard!” newsletter.
When Customer Journeys Don’t Work: Arcs, Loops, & Terrain
An Article by Stephen P. AndersonThinking [in terms of loops and arcs] allows us to let go of a specific journey or sequence, and imagine dozens of scenarios and possible sequences in which these skills can be learned. This doesn’t mean there aren’t more fundamental skills that other skills build upon, but we can let go the tyranny of how, precisely, a person will move through a system. We’re free to zoom in and obsess on these loops, which does two things for us:
- Approach the design of a system as the design of these as small but significant moments of learning.
- Consider the many ways these loops might be sequenced, with the exact order being less important.
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.
Domain-specific vs. Domain-independent UX
An Article by Ryan SingerDomain specific UX means understanding how the supply should fit the demand considering a specific situation and use case.
On the other hand, many aspects of UX don’t require knowledge about a particular situation. They‘re based on the common constraints of human sense faculties, memory and cognition or the net of ergonomic factors around the device and the setting where it’s used. These domain independent elements of the UX are important too.
Domain independent UX should absolutely pervade the organization. It belongs to the general skill and knowledge of each supplier at their link in the chain. It’s part of learning to be a good designer, programmer, marketer, salesperson etc.
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.
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.
136 things every web developer should know before they burn out and turn to landscape painting or nude modelling
An Article by Baldur Bjarnason- The best way to improve software UX is regular direct observation, by everybody on the team, of the work done.
- Have some personality.
- Minimalism is garbage.
- Metaphors are fantastic.
- Naming things is fantastic.
- Try to write HTML that would make sense and be usable without the CSS.
- The buyer is quite often wrong. That fact never changes their mind.
- Working on a functioning app’s codebase does more to increase its quality than adding features.
- A good manager will debate you, and that’s awesome.
- The term ‘project’ is a poor metaphor for the horticultural activity that is software development.
Why we need to stop over-complicating UX
An Article by Hugo FroesMany have become so focused on the process and methodologies that they’ve forgotten the fundamentals of why we started focusing on the user and what we hope to achieve with that focus.
Fast Path to a Great UX – Increased Exposure Hours
An Article by Jared SpoolAs we’ve been researching what design teams need to do to create great user experiences, we’ve stumbled across an interesting finding. It’s the closest thing we’ve found to a silver bullet when it comes to reliably improving the designs teams produce.
The solution? Exposure hours. The number of hours each team member is exposed directly to real users interacting with the team’s designs or the team’s competitor’s designs. There is a direct correlation between this exposure and the improvements we see in the designs that team produces.
Metrics have a strange hold on the imagination
A Fragment by Shawn WangOnce in place, metrics have a strange hold on the imagination: I've seriously had a CTO carelessly reject my genuine idea out of hand because "it doesn't help OKRs", the same OKRs we previously agreed should not describe all that we do.
I agree with Amir Shevat that we should "do the right things over the easy to measure things."
How would you feel if you could no longer use the product?
An ArticleThe product/market fit definitions I had found were vivid and compelling, but they were lagging indicators — by the time investment bankers are staking out your house, you already have product/market fit. Instead, Ellis had found a leading indicator: just ask users “how would you feel if you could no longer use the product?” and measure the percent who answer “very disappointed.”
User Inyerface
A WebsiteA worst-practice UI experiment.
Apps Getting Worse
An Article by Tim BrayToo often, a popular consumer app unexpectedly gets worse: Some combination of harder to use, missing features, and slower. At a time in history where software is significantly eating the world, this is nonsensical. It’s also damaging to the lives of the people who depend on these products.
...Maybe we ought to start promoting PMs who are willing to stand pat for an occasional release or three. Maybe we ought to fire all the consumer-product PMs. Maybe we ought to start including realistic customer-retraining-cost estimates in our product planning process.
We need to stop breaking the software people use. Everyone deserves better.
Just-in-time Design
An Article by Matthew StrömThere is a disconnect between product design and product engineering.
The Nine States of Design
An Article by Vince Speelman- Nothing
- Loading
- None
- One
- Some
- Too Many
- Incorrect
- Correct
- Done
Against Canvas
An Article by Alan JacobsEven with all the features and plugins, Canvas presumes certain ways of organizing classes that might not be universal, just typical. And if (like me) you’re an atypical user, you have to choose between constantly fighting with the system or gradually doing more and more things the way Canvas wants you to do them. This, by the way, is why it’s never true to say that technologies are neutral and what matters is how you use them: every technology without exception has affordances, certain actions that it makes easy, and other actions that it makes difficult or impossible. A technology whose affordances run contrary to your convictions can rob you of your independence — and any technology deployed on the scale of Canvas will inevitably do that. It will turn every teacher into an obedient Canvas-user. I don’t want to be an obedient Canvas-user.
In Praise of Small Menus
An Article by Rachel SugarThe best way to experience a restaurant, I have always felt, is by eating exactly what it wants to feed you. I do not want choices. I want the best thing. A restaurant might have five or ten best things, but it cannot have 45. There are many infuriating things about the world, but one of the more fixable is the sensation of acute regret from having ordered wrong. Why are there possibly wrong orders? Recently, I was at a fancy restaurant with great pastas and bad pizzas. So cut the pizzas!
A kitchen that focuses on its strengths turns out consistently excellent things, even if that results in fewer total things.
On Design Engineering: I think I might be a design engineer...
An Article by Trys MudfordDesign engineering is the name for the discipline that finesses the overlap between design and engineering to speed delivery and idea validation. From prototyping to production-ready code, this function fast-tracks design decisions, mitigates risk, and establishes UI code quality. The design engineer’s work encapsulates the systems, workflows, and technology that empower designers and engineers to collaborate most effectively to optimise product development and innovation.
— Natalya ShelburneWaking up from the dream of UX
An Article by Peter MerholzIn no objective sense were things better for UX [in 2010]. Most companies didn’t know it existed. Most who did, drastically underinvested in it. Those who were willing to invest in it were savvy enough to listen to thought leaders, but that was a paltry percentage of the real work to be done.
What’s happened by 2021 is that UX is not interesting in and of itself anymore. UX is a given. As Joe Lamantia said in a mailing list I’m on, “it’s furniture.” And the challenges and frustrations people are expressing are largely due to this maturation.
We’re moving from “the dream of UX” to “the reality of UX.”
Why I'm losing faith in UX
An Article by Mark HurstIncreasingly, I think UX doesn't live up to its original meaning of "user experience." Instead, much of the discipline today, as it's practiced in Big Tech firms, is better described by a new name.
UX is now "user exploitation."
PM and UX Have Markedly Different Views of Their Job Responsibilities
A Research Paper by Kara Pernice & Raluca BudiuThe graph shows 3 research-related tasks and the percentage of PMs and UXers who agreed on whether PM or UX should be responsible for each.
A survey of people in user experience and product management shows that these professionals disagree on who should be responsible for many key tasks, like doing discoveries and early design.
Guidebook: 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.
Don't Serve Burnt Pizza
A Fragment by Jiaona ZhangSay you’re trying to test whether people like pizza. If you serve them burnt pizza, you’re not getting feedback on whether they like pizza. You only know that they don’t like burnt pizza. Similarly, when you’re only relying on the MVP, the fastest and cheapest functional prototype, you risk not actually testing your product, but rather a poor or flawed version of it.
Site performance is potentially the most important metric
A Fragment by Kealan ParrSite performance is potentially the most important metric. The better the performance, the better chance that users stay on a page, read content, make purchases, or just about whatever they need to do. A 2017 study by Akamai says as much when it found that even a 100ms delay in page load can decrease conversions by 7% and lose 1% of their sales for every 100ms it takes for their site to load which, at the time of the study, was equivalent to $1.6 billion if the site slowed down by just one second.
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.
A Mindful Mobile OS
An Article by Clo S.I read and loved Potential's "iOS 15, Humane" proposition. Published earlier in June by co-founders Welf and Oliver, it tackles how iOS could help us better protect our attention.
As a designer who cares about and writes about digital wellness, I'm profoundly aligned with their suggestions.
- Persuasive design
- Disclosure requirement
- From infinite feeds to pages
- Was this time well spent?
- Regret tax
- Conditions of use
Weighing up UX
An Article by Jeremy KeithMetrics come up when we’re talking about A/B testing, growth design, and all of the practices that help designers get their seat at the table (to use the well-worn cliché). But while metrics are very useful for measuring design’s benefit to the business, they’re not really cut out for measuring user experience.
Website Response Times
An Article by Jakob NielsenUsers really care about speed in interaction design...A snappy user experience beats a glamorous one, for the simple reason that people engage more with a site when they can move freely and focus on the content instead of on their endless wait.
- 0.1 seconds gives the feeling of instantaneous response. This level of responsiveness is essential to support the feeling of direct manipulation.
- 1 second keeps the user's flow of thought seamless.
- 10 seconds keeps the user's attention. A 10-second delay will often make users leave a site immediately.
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.
Fast Software, the Best Software
An Essay by Craig ModI love fast software. That is, software speedy both in function and interface. Software with minimal to no lag between wanting to activate or manipulate something and the thing happening. Lightness.
Software that’s speedy usually means it’s focused. Like a good tool, it often means that it’s simple, but that’s not necessarily true. Speed in software is probably the most valuable, least valued asset. To me, speedy software is the difference between an application smoothly integrating into your life, and one called upon with great reluctance. Fastness in software is like great margins in a book — makes you smile without necessarily knowing why.
Making sense of MVP
An ArticleHenrik Kniberg:
The top scenario (delivering a front tire) sucks because we keep delivering stuff that the customer can’t use at all. If you know what you’re doing – your product has very little complexity and risk, perhaps you’ve built that type of thing hundreds of times before – then go ahead and just do big bang. Build the thing and deliver it when done.
Internal design teams and thought leadership
An Article by Jorge ArangoThe design industry is an ecosystem. External design teams provide critical functions beyond augmenting internal design resources. Thought leadership — pushing the field’s boundaries — is indeed one of them.
Many practices and tools we take for granted — journey maps, personas, conceptual frameworks — were pioneered and/or popularized by ‘outies.’ Most of the field’s foundational books and blogs are by people outside ‘client’ organizations.
This isn’t because internal designers aren’t as clever or dedicated as their external colleagues. (Many ‘innies’ are former ‘outies.’) It’s because internal design roles are structurally misaligned with public thought leadership.
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.
Monkeys testing random designs
A Tweet by Jared SpoolA/B testing is an effective approach to use science to design and deliver deeply-frustrating user experiences.
A/B testing without upfront research is just random monkeys testing random designs to see which of those designs do “best” against random criteria.
If drug testing was actually implemented like most A/B tests, you’d give 2 drugs to 2 groups of people and pick the “winner” by whichever group had fewer deaths.
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.
A Dao of Web Design
An Essay by John AllsoppWhat I sense is a real tension between the web as we know it, and the web as it would be. It’s the tension between an existing medium, the printed page, and its child, the web. And it’s time to really understand the relationship between the parent and the child, and to let the child go its own way in the world.
Usability is not the most important thing on earth
A Quote by Joel SpolskyJakob Nielsen says that Flash is “99% bad.” I have to agree. Flash always reduces usability.
On the other hand, every time I read Jakob Nielsen, I get this feeling that he really doesn’t appreciate that usability is not the most important thing on earth. Sure, usability is important (I wrote a whole book about it). But it is simply not everyone’s number one priority, nor should it be. You get the feeling that if Mr Nielsen designed a singles bar, it would be well lit, clean, with giant menus printed in Arial 14 point, and you’d never have to wait to get a drink. But nobody would go there, they would all be at Coyote Ugly Saloon pouring beer on each other.
What happens next?
An Article by Laura KleinWhen you create an interaction for a product, you have to design more than what it looks like. You even have to design more than what happens during the interaction. You have to design what happens after the initial user interaction. And then you have to keep going.
Makespace.fun
An ApplicationIn today’s software, live video feeds are stuck inside static rectangles that can’t go anywhere. MakeSpace flips all that on its head. Your cursor is your live face, and you can roam free, controlling who and what you want to be close to.
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.
People expect technology to suck because it actually sucks
An Article by Nikita ProkopovI decided to record every broken interaction I had during one day.
If I decided to invest time into thinning this list down, I could theoretically...reduce this list from 27 down to 24. At least 24 annoyances per day I have to live with. That’s the world WE ALL are living in now. Welcome.
Performance and people
An Article by Jeremy KeithNot only is web performance a user experience issue, it may well be the user experience issue. Page speed has a proven demonstrable direct effect on user experience (and revenue and customer satisfaction and whatever other metrics you’re using).
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 life and death of an internet onion
In her piece "A drop of love in the cloud" (2018), artist Fei Liu writes about the like/heart button as a flattening affordance of giving affirmation and love. The text-editor provides a much more expressive input.
But even people who can't communicate well because of language barriers can express love through actions, like cooking food. Can we create other "love inputs" that might allow us to "reach across the chasm of a seamless signal"?
What is expressing "real" love or affirmation about? Is it about effort, thoughtfulness, generosity, something else? What might a thoughtful or generous interface feel or behave like?
Skeleton, Organs, Circulation, Sinew, Skin
An Article by Dorian TaylorI’m concerned with how I witness the work of user experience practitioners getting treated: like it’s just a set of motions toward a product’s all-important implementation, and one that we try to compress, due to its ostensible superfluity. Once the implementation is finished, the UX work appears to usually get discarded.
Now I get it
An Article by Ralph AmmerTo design a system means to orchestrate the interplay of its elements.
Such a system is considered “interactive” if it is open, which means that there are ways to engage with the processes that are happening inside of it. There is of course a range of interactivities which spans from very basic reactive behaviour to highly complex conversational interactions.
What makes a good design principle?
An Article by Matthew Ström- Good design principles are memorable.
- Good design principles help you say no.
- Good design principles aren't truisms.
- Good design principles are applicable.
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.
Friction Logs
A DefinitionA friction log is a type of UX experiment where the subject journals their feelings, thoughts, struggles, joys, and any other type of emotion. The point is to surface anything that gives the user discomfort or joy so the product or feature can improve. That's what this site is all about.
Seeing Is Forgetting the Name of the Thing One Sees
- Sonorisms I
- More than just a machine that runs along
- Nobody was doing anything
- NYLA
- Aggressively Zen
Sonorisms I
the authenticity of the gesture
as if the air had taken on substance
representation and re-presentation
a first order of presence
this painterly game of pick-up sticks
Irwin's "fetish finish"
questions all of whose possible answers would never exhaust them
the art is what has happened to the viewer
an art of things not looked at
a dialogue of immanence
the information that takes place between things
your house is the last before the infinite
his "project of general peripatetic availability"
that shiver of perception perceiving itself
a desert of pure feelingMore than just a machine that runs along
"As far as I'm concerned, a folk art is when you take a utilitarian object, something you use every day, and you give it overlays of your own personality, what it is you feel and so forth. You enhance it with your life. And a folk art in the current period of time would more appropriately be in the area of something like a motorcycle. I mean, a motorcycle can be a lot more than just a machine that runs along; it can be a whole description of a personality and an aesthetic."
Nobody was doing anything
"The thing that amazed me is that they had these drawing classes, and I'd be in there drawing like a son of a bitch, and then I'd go around and look at everybody else's drawing boards to see what was going on, and there wouldn't be anything on them! They were all talking and going through these weighty things, and nobody was doing anything."
NYLA
"See, what I've always liked about Los Angeles is that it's one of the least restrictive towns in the world. You can pretty much live any way you want to here. And part of that is because the place has no tradition and no history in that sense. It doesn't have any image of itself, which is exactly its loss and gain. That's why it's such a great place to do art and to build your ideas about culture. In New York, it's like an echo chamber: its overwhelming sense of itself, of its past and its present and its mission, becomes utterly restricting."
Aggressively Zen
"He was dealing with Zen in the most aggressive way Zen has ever been dealt with." — Irving Blum
Flurry and lapse
"The process in creating that kind of canvas was like—what?—10 percent action and 90 percent ass scratching. First you prepared yourself, cleaning up and arranging your palette and tools, sweeping the floors, and then finally, when you were ready, you faced the empty white expanse of white canvas and made your first stroke."
No reason for being
"A lot of what I had been doing in those large gestural paintings seemed to me afterwards as being not very controlled, in the sense that a lot of stuff that was going on in them had no reason for being there. There were just too many things that were accidental, too much incidental, too many contradictions."
Oil
Irwin even disdained artificial products when polishing the wood frame, confining himself solely to the natural oils of his hands, his forehead, the sides of his nose, and so forth.
All the way through
"There's a consistency to physical objects that somehow reads all the way through, so that when you make a physical object, if it lacks the proper amount of weight or if it lacks a certain density...I mean, if its outside says, 'I weigh so much and I have such-and-such a density,' and when you pick it up, you discover an inconsistency there, then you can sense that, you can see it, even without picking it up. It's absolutely essential that everything be done all the way through."
Over and over again
"I found a certain strength in sustaining over a period of time my attention on a single point...Like you paint a painting, and then you paint another painting, but each time you take on a whole other mouthful, and you're only able to chew each one just so finely. So anyway, I did just the opposite."
Which is to say, over the next two years Irwin did nothing but paint the same painting over and over again.
Leaving
After a while, if you don't leave, then everything else begins to leave.
What the painting was not about
That is why for many years Irwin declined to allow his work to be photographed, because the image of the canvas was precisely what the painting was not about.
Indeed, the problem is even more complicated than that. For in a very real sense the achievement of these paintings was in their making, and the finished canvas at one level is only an incidental relic, a fossil of that original process of discovery: not only do you have to be present before these paintings in order to experience them, it may be that you have to have made them as well.
Attention over focus
"When I look at the world now, my posture is not one of focus but rather of attention."
Three or more
"One and one don't make two, but maybe five or eight or ten, depending on the number of interactions you can get going in a situation."
Finished on the inside
"Those stretcher bars were finished on the inside in ways no one will ever know; I spent days, weeks, months finishing things no one is ever going to see. But it had much more to do with the fact that I couldn't leave them unfinished. I just had this conviction that in the sense of tactile awareness, if all those things were consistent, then the sum total would be greater, even though that might not be definable in any causal, connected way."
Grace
Grace: you work and you work and you work at something that then happens of its own accord. It would not have happened without all that work, but the result cannot be accounted for as the product of the work in the sense that an effect is said to be the product of its causes. There is all that preparation—preparation for receptivity—and then there is something else beyond that, which is gratis, for free.
Object and environment
"The marriage of figure and ground—which is how they always term the cubist achievement—of necessity leads to the marriage between painting and environment; essentially they are the same thing, just taking it one step further. When I married the painting to the environment, suddenly it had to deal with the environment around it as being equal to the figure and having as much meaning."
There and not there
For what Bob was trying to capture in these efforts was the incidental, the transitory, the peripheral—that aspect of our experience that is both there and not there, the object and not the object of our sensations, perceived but seldom attended to.
A gesture
"With the lines I'd been trying to paint a painting without the means of painting, but I didn't know how to do that, so I ended up using the means of painting. They made a gesture toward where I was going, but still, finally, they were very much tied to where I was."
Ambitions for someone else's mind
"One of the first things I learned about teaching is that you have to respond to each student individually. You don't start with any idea of what they should be doing, who they're supposed to be, or what their performance level is, and you don't compare them to one another. You simply start with each one of them wherever they are and develop the process from there.
"...I would think that the most immoral thing one can do is have ambitions for someone else's mind."
Technical viruosity
"You have to develop students' confidence and prove to them in their own performance that there isn't anything they won't be able to accomplish technically, eventually, given a lot of application, before you can begin to convince them that that kind of technical virtuosity doesn't deserve the focus they have been led to believe it does by a performance-oriented culture."
Learning how to learn
"Once you learn how to make your own assignments instead of relying on someone else, then you have learned the only thing you really need to get out of school, that is, you've learned how to learn. You've become your own teacher."
Art and science
"What the artist does is essentially the same as the scientist. In other words, what you do when you start to do a painting is that you begin with a basic idea, a hypothesis of what you're setting out to do. Then it's just a million yes-no decisions. You try something in the painting, you look at it, and you say, 'N-n-no.' You sort of erase it out, and you move it around a little bit, put in a new line; you go through a million weighings. It's the same thing in science, the only difference in the character of the product."
Off to the races
"You get to the point where you're about to place your wager; the race is about to be run. You evaluate the sum total of the information, which has to do with how the money has been bet, what the horses looked like on the track, all this information—and it's like you run your hand over the race—I've had this happen so many times, it's the only way to explain it—you run your hand over the race. All the information is logically there, but there's something wrong. You don't know why something is wrong, but something is not correct. Then I have to reevaluate everything in terms of this feeling I have about the thing, which is derived from information, but which is so complex and so intricate and so subtle that there's no way you can put a tag on it."
Interlocking
"The art world is highly invested in the idea that you can take an object and set it in a room, and the internal relationships will be so strong and so meaningful that all the kinds of change that take place on the object as a result of its being in a new environment will not critically affect our perception of the object. If that is the given assumption, then the object can be moved from one environment to another without its being critically altered, which then gives rise to the illusion that it can be moved from culture to culture, that it has the ability to transcend its cultural specificity, which in turn gives rise to the ultimate illusion that the object can transcend time. Because what is being claimed is that there exist certain objects isolated and meaningful enough to be transcendent, that they have the power to go on and on, that they are, as it were, timeless.
"Well, one of the things that I was becoming involved in at that point in playing artist was the growing suspicion that this breaking down of the edge, the idea of the painting's moving into its environment, was putting the whole heightened rationale of the art object into doubt. There is simply no real separation line, only an intellectual one, between the object and its time environment. They are completely interlocking: nothing can exist in the world independent of all the other things in the world."
Overlays
The awkwardness of the room itself forced Irwin toward the next phase of his endeavor: each installation from there on would have to arise out of the unique configurations of each new site. As Irwin put it, "Instead of my overlaying my ideas onto that space, that space overlaid itself on me."
Pointing
"Originally I marked these places, quite literally. I laid a small concrete block flush to the ground at the place where I was standing and stretched a stainless steel piano wire out toward the horizon. It might go off a mile; it simply pointed in a direction. And that was the piece."
Don't mistake my finger for the moon
Many people mistook the string itself for the work of art ("When I point my finger at the moon, don't mistake my finger for the moon" is a Zen aphorism that Irwin is fond of citing). By mid-1976 Irwin himself was prepared to Jettison—along with figure, line, focus, permanence, and signature—the very requirement of any overt activity of making as a necessary prerequisite for artistic viability.
The core assertion
Sitting there in the Whitney's coffee shop, Irwin pointed through the glass wall up at the play of shadows on a building facade across the street. "That the light strikes a certain wall at a particular time of day in a particular way and it's beautiful," he commented, "that, as far as I'm concerned, now fits all my criteria for art."
At the terminus of Irwin's trajectory, when all the nonessentials had been stripped away, came the core assertion that aesthetic perception itself was the pure subject of art. Art existed not in objects but in a way of seeing.
Waiting there to be experienced
"Paintings are like what you can barely make out through a keyhole compared with the richness of perception that's just waiting there in the world to be experienced all the time. It's strange. With food, for instance, people seem able to understand what's involved: you savor the taste rather than just feed the body. But people have a hard time understanding that it should be the same way with visual experience."
It passes by the river
"Artists need to be in there from the start, making the argument for quality. The key to this thing is, for example, if you give an engineer a set of criteria which does not include a quality quotient, as it were—that is, if this sense of the quality, the character of the place, is not a part of his original motivation—he will then basically put the road straight down the middle. He has no reason to curve it. But if I can convince him that quality is absolutely a worthwhile thing and we can work out a way in which the road can be efficient and also wander down by the river, then we essentially have both: he provides his sort of expertise in that the road works, I provide quality in that it passes by the river. In that way, art gets built into the criteria from the beginning rather than being added on afterward."
Rapport
"Bob's rapport with the workers is extraordinary. Reminds me of something Noguchi once pointed out about Bernini during the days he was building St. Peter's in Rome: how what made him so special, aside from his own obvious gifts, was his ability to extend himself through the work of others, to get them on his side and working in his direction."
Ever, Never
EVER PRESENT, NEVER TWICE THE SAME EVER CHANGING, NEVER LESS THAN WHOLE
The palette of nature
"What nature does with its colors is invariably—the palette of nature is twice as complicated, at least twice as sophisticated, as anything any artist can ever come up with. On a couple levels.
To start with, there are these amazing combinations of colors, filled with surprises and almost never wrong. I don't know how Nature ever conceived to put, say, those together. But, boy, are they right on the money!"
Screening out the world
"The point is to get people to peel those visors off their faces, to remove the goggles, to abandon the screens. Those screens whose very purpose is to screen the actual world out. Who cares about virtuality when there's all this reality—this incredible, inexhaustible, insatiable, astonishing reality—present all around!"
The human reality of perception
"The great misinterpretation of twentieth-century art is the claim advanced that many people, especially critics, that cubism of necessity led to abstraction. But on the contrary, cubism was about the real world. It was an attempt to reclaim a territory for figuration, for depiction. Faced with the claim that photography had made figurative painting obsolete, the cubists performed an exquisite critique of photography; they showed that there were certain aspects of looking—basically the human reality of perception—that photography couldn't convey, and that you still needed the painter's hand and eye to convey them." — David Hockney