In the case of the seeming egalitarianism and beneficence of the voice from the cloud that says âYou Are Not Your User,â what I hear in that voice is the ringing of a cash register, and the creaking of the crank on the side of a box that software development efforts disappear into, and that money comes out of.
A mechanism that would seize up instantly if some still small voice were to propose the opposite of what the thunder says: that you and your user are one.
See, observe, learn how data are collected at moment and place of measurement. "You never learn more about a process than when you directly observe how data are actually measured," said Cuthbert Daniel, a superb applied statistician. See with fresh eyes. Walk around what you want to learn about. Talk to those who do measurements. See how numbers came to be.
Do those measuring know the desired answer? Are those measuring skilled, alert, honest, biased, incompetent, sloppy, tired and emotional?...Artifacts and errors in measurements measured? How are outliers adjudicated?
In a column entitled "March of the Engineers," the humorist and social critic Russell Baker lamented the complexity and sophistication of his office's new telephone system...Baker closed his column by defining the new telephone system as "another bleak example of the horrors created when engineers refuse to leave well enough alone."
In The Design of Everyday Things, Donald Norman wrote that "new telephone systems have proven to be another excellent example of incomprehensible design."
There is an apparent reluctance among consumers to accept designs that are too radically different from what they claim to supersede, for when, for when familiar things are redesigned too dramatically the function they perform can be less than obvious and thus possibly suspect. Loewy summarized the phenomenon by using the acronym MAYA, standing for "most advanced yet acceptable."
A leaflet printed in March, 1906, tacitly confessed to many difficulties. The instructions for applying the fastener were wordy and complicated. The sponsors of C-curity betrayed their own lack of security by stating: "Customers will confer a favor on us by reporting any difficulty in applying fastener, in which case we will send more detailed instructions." The "instructions for using" were not merely wordy but worried.
When you hire someone to generate UI, you wonât get new, innovative solutions. Youâll get more UI, not better UX.
This is UI:
Navigation, sub navigation, menus, drop-downs, buttons, links, windows, rounded corners, shadowing, error messages, alerts, updates, checkboxes, password fields, text inputs, radio selections, text areas, hover states, selection states, pressed states, tooltips, banner ads, embedded videos, swipe animations, scrolling, clicking, iconography, colors, lists, slideshows, alt text, badges, notifications, gradients, pop-ups, carousels, OK.cancel, etc. etc. etc.
This is UX:
People, happiness, solving problems, understanding needs, love, efficiency, entertainment, pleasure, delight, smiles, soul, warmth, personality, joy, satisfaction, gratification, elation, exhilaration, bliss, euphoria, convenience, enchantment, magic, productivity, effectiveness, etc. etc. etc.
Post-occupancy evaluation (POE) is a practice in the building industry where an architect would visit the building after its occupancy and interview its residents. It sounds like a great opportunity for collecting feedback and learning from mistakes, but itâs rarely practiced. Why?
Many awe-inspiring, prize-winning architectures are half building, half sculpture. Often made of specially molded concrete and steel, they are extremely expensive to alter, let alone any alteration would also attack the architectâs prestige and pride. So whatever usability issues the POE identifies will remain as issues, unless the architect wants to accept the public criticism and shame that comes with the remodeling.
In fear of criticism, an architect would turn down the opportunity for POE, and continue to design the same roof that would leak water in future projects.
In fear of criticism, a developer would use customer service representatives as a shield against user complaints, while focusing on the âtechnicalâ aspect of things.
In fear of criticism, a designer would close the contract as soon as the client accepts the design, even though none of the real users are represented by the client.
Customers have trouble distinguishing between essential features and those that are just "nice to have." Examples of the latter class: those arbitrarily overlapping windows suggested by the uncritically but widely adopted desktop metaphor; and fancy icons decorating the screen display, such as antique mailboxes and garbage cans that are further enhanced by the visible movement of selected items toward their ultimate destination. These details are cute but not essential, and they have a hidden cost.
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Increased complexity results in large part from our recent penchant for friendly user interaction. I've already mentioned windows and icons; color, gray-scales, shadows, pop-ups, pictures, and all kinds of gadgets can easily be added.
Lou Kahn said that a house is only good if it's good for "the next man."
He knew that the likelihood of its spaces and places continuing to be loved after "the first man" has come and gone requires the kinds of attention to detail you'd have to be paying if the next man and the next-next man were embraced as stakeholders from the onset.
Sometimes the problem is to discover what the problem is.
Third, youâve got to do this with love. Youâll need to take a radically different approach to supporting and partnering with customers to help them adjust to new and better ways of working.
There is an underlying assumption that the best thermal environment never needs to be noticed, and that once an objectively "comfortable" thermal environment has been provided, all of our thermal needs will have been met. The use of all of our extremely sophisticated environmental control systems is directed to this one endâto produce standard comfort zone conditions.
The traditional process of delivering design, vs. delivering design just in time.
Designers are often working at least one sprint ahead of engineers. While one sprint might not seem like much of a lag, a typical product team learns a lot after the design hand-off. ...Instead of working ahead, we should finish designing as close to the end of a sprint as possible: just-in-time design.
People are afraid to let design have time to actually figure out the right thing to make, because "whatever will the engineers do?" â 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!
It is not enough for administrators in most fields to understand specific services and techniques. They must understand, and understand thoroughly, specific places.
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 buildingâs form. Place the load bearing elementsâthe columns and the walls and floorsâaccording to the social space of the building; never modify the social spaces to conform to the engineering structure of the building.
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 doesnât occur to the writer that her readers donât know what she knows - that they havenât mastered the patois of her guild, canât 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 doesnât bother to explain the jargon, or spell out the logic, or supply the necessary detail.
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.
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.
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.
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.
Learning to design is, first of all, learning to see. Designers see more, and more precisely. This is a blessing and a curseâonce 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 âcommonâ 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 canât expect to sell what you canât 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.
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.
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.
Design doesnât need to be delightful for it to work, but thatâs like saying food doesnât need to be tasty to keep us alive. The pedigree of great design isnât solely based on aesthetics or utility, but also the sensation it creates when it is seen or used. Itâs 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. Itâs the same for design, in that the source of a delightful experience comes from the designâs use.
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 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 knowledgeâpeople 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.
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.
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.
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.
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.
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 âcan I contribute?â No gimmicks needed.
What if you donât 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 didnât 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 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.
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 â a proverbial fly in the spider's web. In the guise of user-centered design, we're building an increasingly user-hostile web.
- What the client wants.
- What the client thinks it wants.
- What the client needs.
- What the client can afford.
- What the planet can afford.
Visionary 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.
We are quietly replacing an open web that connects and empowers with one that restricts and commoditizes people. We need to stop it.
Too many product managers and product designers want to spend all their time in problem discovery, and not get their hands dirty in solution discovery â the whole nonsense of âproduct managers are responsible for the what and not the how.â
- Design educators and industry leaders have never reached a consensus about what comprises a âgood enoughâ 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.
- Weâve 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 â both in design education and in practice.
Design 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.
âŠif 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 wouldnât need IDEO. Their idea to save their business from a slump hypothetically cannibalizes their businessâŠUnless they knew that it wouldnât.
Design means something even broader now. Sometime around World War II, it came to mean making things that âsolve problems.â With the influence of mid-century global social movements and the rise of digital technology, it began to mean making things that are âhuman-centered.â And as of recently, design doesnât 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 thinkingâthe idea of âdesign thinkingââmay end up being the most influentialâŠAt Stanfordâs d.school, as cofounder Robert Sutton has said, âdesign thinkingâ is often treated âmore like a religion than a set of practices for sparking creativity.â
No 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 likeâall those weird buttons, variables, inaccessible form inputsâbut that right there is your design system.
...being honest about this is the first step to fixing it.
Software 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.
The âcase study?â column was the whole point of the spreadsheet â identifying which projects I still needed to write up for my portfolio â but at this point I looked at the sheet, and thought âThis is honestly a better overview of the work I do than any âportfolioâ Iâve seenâ.
So I tweeted a screenshot, joking/trolling that it WAS my portfolio (I didnât include any winks or notes that I was still planning a ârealâ portfolio), but people didnât respond with the lulz I expected â they got the idea, or took it at face value and said they were going to do their portfolio this way too!
We 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?
Visualised aggregations of click activity are a low effort, low signal waste of time and best avoided in favour of actual research.
I 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.
Iâve noticed a recent trend on the web â or at least, on the parts of it Iâve visited. Maybe youâve noticed it too.
Hereâs what happens: youâre on a website, and one of these little prompts pops up...[to] let you know that thereâs an app, and that the website youâre on...well, itâs not quite the app, is it?
...Sometimes, the website wants me to install the appâââno, it needs me to install the app. Itâs like a paywall, but for apps. An appwall.
In recent years, these prompts have gotten more prominent, and occasionally impassable. And I think that trendâs interesting. Why would a company promote a native app over their perfectly usable website?
It feels like a glimpse into that companyâs design priorities. And itâs possibly providing us with insight into the business value they place on the open webâââa medium thatâs meant to be accessible everywhere, on any screen, on any device.
And it really does feel like these glimpses are becoming more common.
I 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 didnât anticipate. If youâre 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.
We are truly living in an era of user-hostile software, and when I say âuser-hostileâ I mean it as âsoftware that doesnât really care about the needs of the user but rather about the needs of the developer.â
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 itâs important to better âunderstand the customerâ and âmaximize marketing reachâ through some weekly âHey, we have a new keyboard!â newsletter.
Thinking [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 doesnât mean there arenât 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. Weâre 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.
Users 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 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 donât require knowledge about a particular situation. Theyâre 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 itâs 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. Itâs part of learning to be a good designer, programmer, marketer, salesperson etc.
"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."
Thereâs 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 âreset passwordâ. 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.
People mix the terms UI and UX together. UX is tricky because it doesnât refer to any one thing. Interface design, visual styling, code performance, uptime, and feature set all contribute to the userâs âexperience.â 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.
Thatâs why I avoid teaching the term âUX.â 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.
- 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 appâs codebase does more to increase its quality than adding features.
- A good manager will debate you, and thatâs awesome.
- The term âprojectâ is a poor metaphor for the horticultural activity that is software development.
Many have become so focused on the process and methodologies that theyâve forgotten the fundamentals of why we started focusing on the user and what we hope to achieve with that focus.
As weâve been researching what design teams need to do to create great user experiences, weâve stumbled across an interesting finding. Itâs the closest thing weâve 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 teamâs designs or the teamâs competitorâs designs. There is a direct correlation between this exposure and the improvements we see in the designs that team produces.
Once 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."
The product/market fit definitions I had found were vivid and compelling, but they were lagging indicators â 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 âhow would you feel if you could no longer use the product?â and measure the percent who answer âvery disappointed.â
A worst-practice UI experiment.
Too 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. Itâs 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.
There is a disconnect between product design and product engineering.
- Nothing
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Even with all the features and plugins, Canvas presumes certain ways of organizing classes that might not be universal, just typical. And if (like me) youâre 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 itâs 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 â and any technology deployed on the scale of Canvas will inevitably do that. It will turn every teacher into an obedient Canvas-user. I donât want to be an obedient Canvas-user.
The 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.
Design 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 engineerâs work encapsulates the systems, workflows, and technology that empower designers and engineers to collaborate most effectively to optimise product development and innovation.
â Natalya Shelburne
In no objective sense were things better for UX [in 2010]. Most companies didnât 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.
Whatâs 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 Iâm on, âitâs furniture.â And the challenges and frustrations people are expressing are largely due to this maturation.
Weâre moving from âthe dream of UXâ to âthe reality of UX.â
Increasingly, 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."
The 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 is a website dedicated to preserving and showcasing Graphical User Interfaces, as well as various materials related to them.
Say youâre trying to test whether people like pizza. If you serve them burnt pizza, youâre not getting feedback on whether they like pizza. You only know that they donât like burnt pizza. Similarly, when youâre 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. 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.
Iâm 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 thatâs only good for âgeek talkâ. 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 isnât fundamental to the design of a product or experience â itâs all just âgeek talkâ â then there is a reduced incentive to care about it on the part of the maker of the product.
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
Metrics come up when weâre 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 clichĂ©). But while metrics are very useful for measuring designâs benefit to the business, theyâre not really cut out for measuring user experience.
Users 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.
How 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.
I 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 thatâs speedy usually means itâs focused. Like a good tool, it often means that itâs simple, but thatâs 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 â makes you smile without necessarily knowing why.
Henrik Kniberg:
The top scenario (delivering a front tire) sucks because we keep delivering stuff that the customer canât use at all. If you know what youâre doing â your product has very little complexity and risk, perhaps youâve built that type of thing hundreds of times before â then go ahead and just do big bang. Build the thing and deliver it when done.
The design industry is an ecosystem. External design teams provide critical functions beyond augmenting internal design resources. Thought leadership â pushing the fieldâs boundaries â is indeed one of them.
Many practices and tools we take for granted â journey maps, personas, conceptual frameworks â were pioneered and/or popularized by âouties.â Most of the fieldâs foundational books and blogs are by people outside âclientâ organizations.
This isnât because internal designers arenât as clever or dedicated as their external colleagues. (Many âinniesâ are former âouties.â) Itâs because internal design roles are structurally misaligned with public thought leadership.
The 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.)
Itâs 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 usersâ satisfaction with the investment we make.
A/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 âbestâ against random criteria.
If drug testing was actually implemented like most A/B tests, youâd give 2 drugs to 2 groups of people and pick the âwinnerâ by whichever group had fewer deaths.
After 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 â which define and voice and tone unique to the web â are soon joined by traditional publishers. By the mid to late 90âs, 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.
What I sense is a real tension between the web as we know it, and the web as it would be. Itâs the tension between an existing medium, the printed page, and its child, the web. And itâs time to really understand the relationship between the parent and the child, and to let the child go its own way in the world.
Jakob Nielsen says that Flash is â99% bad.â 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 doesnât 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 everyoneâs 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 youâd 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.
When 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.
In todayâs software, live video feeds are stuck inside static rectangles that canât 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.
The 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 youâre collecting coins in Super Mario, it doesnât stop the game and pop up an alert dialogue and say, âYou have just collected ten points, OK, Cancelâ, 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 youâve just gained. When you collect an item that gives you more points, the number of points youâve gained appears where the item was âŠand then drifts upwards as it disappears. Itâs unobtrusive enough that it wonât distract you from the gameplay youâre concentrating on but it gives you the reassurance that, yes, you have just gained points.
I 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. Thatâs the world WE ALL are living in now. Welcome.
Not 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 youâre using).
Doing it right requires a different pace of working and a much broader thought process than âok, letâs get this thing out the door.â 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.
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?
Iâm concerned with how I witness the work of user experience practitioners getting treated: like itâs just a set of motions toward a productâs 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.
To design a system means to orchestrate the interplay of its elements.
Such a system is considered âinteractiveâ 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.
- Good design principles are memorable.
- Good design principles help you say no.
- Good design principles aren't truisms.
- Good design principles are applicable.
Two studs wide and angled at 45°, the ubiquitous â2x2 decorated slopeâ is a LEGO minifigureâs interface to the world. These iconic, low-resolution designs are the perfect tool to learn the basics of physical interface design.
A 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.
Weathering steel, often referred to by the genericised trademark COR-TEN steel and sometimes written without the hyphen as corten steel, is a group of steel alloys which were developed to eliminate the need for painting, and form a stable rust-like appearance after several years' exposure to weather. The name COR-TEN refers to the two distinguishing properties of this type of steel: corrosion resistance and tensile strength.