Blog

  • From Beta to Bedrock: Build Products that Stick.

    From Beta to Bedrock: Build Products that Stick.

    I’ve lost count of the times I’ve watched promising thoughts go from zero to warrior in a few days before failing to deliver within weeks as a product developer for very long.

    Financial items, which is the industry in which I work, are no exception. It’s tempting to put as many features at the ceiling as possible and hope someone sticks because people’s true, hard-earned money is on the line, user expectations are high, and a crammed market. However, this strategy is a formula for disaster. Why? How’s why:

    The perils of feature-first creation

    It’s easy to get swept up in the enthusiasm of developing innovative features when you start developing a financial product from scratch or are migrating existing client journeys from papers or telephony channels to online bank or mobile applications. They may believe,” If I may only add one more thing that solves this particular person problem, they’ll enjoy me”! But what happens if you eventually encounter a roadblock as a result of your security team’s negligence? don’t like it, right? When a battle-tested film isn’t as well-known as you anticipated, or when it fails due to unforeseen difficulty?

    The concept of Minimum Viable Product ( MVP ) is applied to this. Even if Jason Fried doesn’t usually refer to this concept, his book Getting Real and his audio Rework frequently discuss it. An MVP is a product that offers only enough significance to your users to keep them interested without becoming too hard or frustrating to use. Although the idea seems simple, it requires a razor-sharp eye, a brutal edge, and the courage to stand up for your position because” the Columbo Effect” makes it easy to fall for something when one always says” just one more thing …” to add.

    The issue with most fund apps is that they frequently turn out to be reflections of the company’s internal politics rather than an knowledge created specifically for the customer. Instead of offering a distinct value statement that is focused on what people in the real world want, the focus should be on delivering as some features and functionalities as possible to satisfy the needs and wants of competing inside sections. As a result, these products can very quickly became a mixed bag of misleading, related, and finally unhappy customer experiences—a feature salad, you might say.

    The significance of the foundation

    What’s a better course of action then? How can we create products that are reliable, user-friendly, and most importantly, stick?

    The concept of “bedrock” comes into play here. The mainstay of your product is really important to users, and Bedrock is that. It’s the fundamental building block that creates value and maintains relevance over time.

    The bedrock has got to be in and around the regular servicing journeys in the world of retail banking, which is where I work. People only look at their current account once every blue moon, but they do so every day. They purchase a credit card every year or two, but they at least once a month check their balance and pay their bills.

    The key is in identifying the core tasks that people want to complete and then relentlessly striving to make them simple, reliable, and trustworthy.

    How can you reach the foundation, though? By focusing on the” MVP” approach, giving simplicity the top priority, and working toward a clear value proposition. This means avoiding unnecessary features and putting your users first, and adding real value.

    It also requires having some guts, as your coworkers might not always agree with you immediately. And in some cases, it might even mean making it clear to customers that you won’t be coming over to their house to prepare their meal. Sometimes you need to use the sporadic “opinionated user interface design” ( i .e. clunky workaround for edge cases ) to test a concept or to give yourself some more time to work on something more crucial.

    Practical methods for creating stick-like financial products

    What are the main learnings I’ve made from my own research and experience, then?

    1. What problem are you trying to solve first and foremost with a clear “why”? Whom? Before beginning any project, make sure your mission is completely clear. Make sure it also complies with the goals of your business.
    2. Avoid putting too many features on the list at once; instead, focus on getting that right first. Choose one that actually adds value, and work from there.
    3. When it comes to financial products, simplicity is often over complexity. Eliminate unnecessary details and concentrate solely on what matters most.
    4. Accept continuous iteration as Bedrock is a dynamic process rather than a fixed destination. Continuously collect user feedback, make product improvements, and advance in that direction.
    5. Stop, look, and listen: You must test your product frequently in the field rather than just as part of the delivery process. Use it for yourself. Run the A/B tests. User feedback on Gear. Talk to the users of it and make adjustments accordingly.

    The “bedrock paradox”

    This is an intriguing paradox: sacrificing some of the potential for short-term growth in favor of long-term stability. But the payoff is worthwhile: products built with a focus on bedrock will outlive and outperform their rivals over time and provide users with long-term value.

    How do you begin your quest for bedrock, then? Take it slowly. Start by identifying the underlying factors that your users actually care about. Focus on developing and improving a single, potent feature that delivers real value. And most importantly, make an obsessive effort because, in the words of Abraham Lincoln, Alan Kay, or Peter Drucker ( whew! The best way to foretell the future is to create it, he said.

  • Slow Horses Series 5 Release Date and Nick Mohammed Guest Role Confirmed

    Slow Horses Series 5 Release Date and Nick Mohammed Guest Role Confirmed

    The delay for Slow Horses line five to be over by the time the series four song aired has become endless. How long does it take to trim it into six sections, insert that Mick Jagger music on the funds, and online remove any growth microphones?[ ]

    On Den of Geek, the second article Slow Horses Series 5 Release Date and Nick Mohammed Guest Role Confirmed.

    The wait for the line five finale aired felt endless because Slow Horses knew it was already in order. How long does it take to chop it into six pieces, insert that Mick Jagger music on the credits, and online remove any growth microphones from the picture? a year

    As a result of Apple TV +’s confirmation that set five did begin streaming on September 24, 2025, just over a year is the solution. The first two shows of the series will begin that evening, and the fourth and final four will be broadcast on Wednesday until October 22.

    cnx. powershell. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    The Thick of It‘s Will Smith and co.’s second book, the second in his eight-person-and-a-half set of detective thrillers about the MI5 rejects festering in Slough House, a kind of holding battery for disgruntled and disgraced agents, is adapted from Mick Herron’s London Rules, the second book in his eight-strong-and-counting series of spy thrillers. The already-commissioned series six, which will combine books six and seven into a single series, will follow.

    The official synopsis for the new episodes is as follows:

    Everyone is suspicious when Roddy Ho, a resident tech ner, has a glitzy new girlfriend. The Slow Horses must determine how everything is connected when a number of increasingly bizarre events take place in the city. After all, Lamb is aware that the London Rules — cover your back — always apply in the world of espionage.

    Gary Oldman will once again lead the cast as Jackson Lamb (aka the best character on TV ), along with James Callis as the oleaginous and pointless First Desk Claude Whelan, Saskia Reeves as the office manager Catherine Standish, Rosalind Eleazar as the kickass spy/people idiot Roddy Ho, Aimee-Ffion Edwards as the recovering addict Shirley, Ruth Bradley as the recovering addict Shirley, Tom Brooke as the mysterious, damaged JK Coe Additionally, Jonathan Pryce will play River’s grandfather.

    The first teaser trailer for the new series, which came to an end of the excellent fourth series finale, reveals the majority of that. See Shirley hitting someone with a block of wood, Jackson calling Ho a rude name, and Lady Di reluctantly admit to Lamb&#8217’s genius here:

    Ted Lasso and Taskmaster star Nick Mohammed, who is rumored to be playing the role of ambitious Midlands mayoral candidate” Zaf” Jaffrey, are joining the regular cast for series five. We are in a rush.

    On Apple TV+, you can stream the first to fourth episodes of Slow Horses right away. On Wednesday the 24th of September, the fifth of the series begins.

    On Den of Geek, the second article Slow Horses Series 5 Release Date and Nick Mohammed Guest Role Confirmed.

  • Doctor Who: Farewell to the Fifteenth Doctor

    Doctor Who: Farewell to the Fifteenth Doctor

    Warning: clues for every episode of Season Two of Doctor Who. The Fifteenth Doctor, from every member of Doctor Who’s period, was open to all of his thoughts. The Giggle, a third 60th anniversary special starring Ncuti Gatwa’s doctor, was the first to be shown in 2023, which established that time [ …]]

    On Den of Geek, a new episode of Doctor Who: Farewell to the Fifteenth Doctor second appeared.

    The anticipation for Slow Horses line five to be finished was already in the can by the time the series four song aired, which has made the wait seem endless. How long does it take to chop it into six parts, keep that Mick Jagger music on the credits, and online remove any growth microphones that are left in the picture? A month?

    As a result of Apple TV +’s confirmation that set five did begin streaming on September 24, 2025, just over a year is the solution. The first two episodes of the series will begin that evening, and the fourth and final four will be broadcast on Wednesday until October 22.

    cnx. command. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    The Thick of It‘s Will Smith and co.’s second book, the second in his eight-person-and-a-half set of detective thrillers about the MI5 rejects festering in Slough House, a kind of holding battery for disgruntled and disgraced agents, is adapted from Mick Herron’s London Rules, the second book in his eight-strong-and-counting collection of spy thrillers. The already-commissioned set six, which will combine books six and seven into a single line, will follow.

    The official synopsis for the new episodes is as follows:

    Everyone is suspicious when Roddy Ho, a resident tech ner, has a glitzy new girlfriend. The Slow Horses must determine how everything is connected when a number of increasingly bizarre events take place in the city. After all, Lamb is aware that the London Rules — cover your back — always apply in the world of espionage.

    Gary Oldman will once again lead the cast as Jackson Lamb (aka the best character on TV ), along with James Callis as the oleaginous and pointless First Desk Claude Whelan, Kristin Scott Thomas as the formidable spook boss Diana Taverner, Jack Lowden as the nepo-spy River Cartwright, Saskia Reeves as office manager Catherine Standish, Rosalind Eleazar as kickass spy Louisa, Christopher Chung as tech genius/people idiot Roddy River’s grandfather will also be portrayed by Jonathan Pryce.

    The first teaser trailer for the new series, which came to an end of the excellent fourth series finale, reveals the majority of that. See Shirley hitting someone with a block of wood, Jackson calling Ho a rude name, and Lady Di reluctantly admit to Lamb’s genius:

    Ted Lasso and Taskmaster star Nick Mohammed, who is rumored to be playing the role of ambitious Midlands mayoral candidate” Zaf” Jaffrey, are joining the regular cast for series five. We must wait.

    On Apple TV+, you can stream the first to fourth episodes of Slow Horses right away. On Wednesday the 24th of September, the fifth of the series begins.

    The first post Slow Horses Series 5 Release Date and Nick Mohammed Guest Role Confirmed appeared on Den of Geek.

  • Summer Game Fest 2025 Preview: Game Predictions and Rumors

    Summer Game Fest 2025 Preview: Game Predictions and Rumors

    The most recent June Game Fest is just around the corner, with SGF 2025 beginning on Friday, June 6 and developers and journalists participating in hands-on Play Time through Monday, June 9. The event features a wide range of]…] and is the largest video games occurrence in North America.

    The second article Game Predictions and Rumors for Summer Game Fest 2025 appeared initially on Den of Geek.

    Knowing that the wait for Slow Horses set five was already on hold by the time the collection four finale aired has made the anticipation feel endless. How long does it take to chop it into six parts, keep that Mick Jagger music on the credits, and online remove any growth microphones that are left in the picture? a year

    As Apple TV + has confirmed that set five did begin streaming on Wednesday, September 24th, 2025, just over a year is the solution. The first two shows of the series will begin that evening, and the fourth and final four will be broadcast on Wednesday until October 22.

    cnx. command. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    The Thick of It‘s Will Smith and co. have adapted set five from Mick Herron’s London Rules, the second book in his eight-person-and-a-half set of detective novels about the MI5 rejects festering in Slough House, a kind of holding battery for disgruntled and disgraced agencies. The already-commissioned line six, which may combine books six and seven into a single collection, will follow.

    The standard description for the fresh shows is as follows:

    When citizen tech ner Roddy Ho gets a beautiful new girlfriend, everyone is suspicious. It is up to the Slower Horses to determine how everything is connected when a number of exceedingly bizarre events take place throughout the city. After all, Lamb is aware that the London Rules — support your back — usually use in the world of spying.

    Gary Oldman will once again lead the cast as Jackson Lamb (aka the best character on TV ), along with James Callis as the malodorous and pointless First Desk Claude Whelan, Kristin Scott Thomas as the formidable scare director Diana Taverner, Jack Lowden as the nepo-spy River Cartwright, Saskia Reeves as department manager Catherine Standish, Rosalind Eleazar as terrific spy Louisa, Christopher Chung as technology genius/people imbecile Roddy Additionally, Jonathan Pryce may play River’s father.

    The second teaser trailer for the new line, which came close to the excellent third line finale, largely reveals that. Notice Shirley hitting one with a block of wood, Jackson calling Ho a harsh name, and Lady Di reluctantly admit to Lamb’s genius:

    Ted Lasso and Taskmaster star Nick Mohammed, who is rumored to be playing the role of ambitious Midlands mayoral candidate” Zaf” Jaffrey, are joining the regular cast for series five. We are in a rush.

    On Apple TV+, you can now stream the first to fourth episodes of Gradual Animals. On Wednesday the 24th of September, the fifth of the set begins.

    The second article Slow Horses Series 5 Release Date and Nick Mohammed Guest Role Confirmed appeared on Den of Geek.

  • Link Tank: New Wave of Biker Mice From Mars Toys and France’s Oscar Dark Horse

    Link Tank: New Wave of Biker Mice From Mars Toys and France’s Oscar Dark Horse

    A fresh wave of Biker Mice from Mars 1/12 level characters from Nacelle is available, then featuring well-known criminals and new heroes, as announced in Nacelle’s latest release. Charley, Carbine, Lawrence Limburger, Doctor Karbunkle ( with Fred the Mutant ), and Greasepit are included in the lineup. [ ] ] Each action figure will be.

    Den of Geek initially published Link Tank: New Wave of Biker Mice From Mars Toys and France’s Oscar Dark Horse.

    The wait for the line five finale aired felt endless because Slow Horses knew it was already in order. How long does it take to chop it into six parts, keep that Mick Jagger music on the credits, and online remove any growth microphones that are left in the picture? a fortnight

    As Apple TV + has confirmed that set five did begin streaming on Wednesday, September 24th, 2025, just over a year is the solution. It’ll begin with two shows on the day of the broadcast, and therefore it’ll air the final four on Wednesday until October 22nd.

    cnx. powershell. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    The Thick of It‘s Will Smith and co. have adapted set five from Mick Herron’s London Rules, the second book in his eight-person-and-a-half set of detective novels about the MI5 rejects festering in Slough House, a kind of holding battery for disgruntled and disgraced agencies. The already-commissioned line six, which may combine books six and seven into a single collection, will follow.

    Here is the standard description for the fresh shows:

    Everyone is wary when Roddy Ho, a native tech ner, discovers a gorgeous new girlfriend. The Delayed Horses must determine how everything is connected when a number of exceedingly ridiculous events take place in the city. After all, Lamb is aware that the London Rules,” support your up,” usually use in the spy world.

    Gary Oldman will once again lead the cast as Jackson Lamb (aka the best character on TV ), along with James Callis as the malodorous and pointless First Desk Claude Whelan, Kristin Scott Thomas as the formidable scare director Diana Taverner, Jack Lowden as the nepo-spy River Cartwright, Saskia Reeves as department manager Catherine Standish, Rosalind Eleazar as terrific spy Louisa, Christopher Chung as technology genius/people idiot, Shirley Additionally, Jonathan Pryce will play River’s grandfather.

    The first teaser trailer for the new series, which came to an end of the excellent fourth series finale, reveals the majority of that. See Shirley hitting someone with a block of wood, Jackson calling Ho a rude name, and Lady Di reluctantly admit to Lamb’s genius:

    Ted Lasso and Taskmaster star Nick Mohammed, who is rumored to be playing the role of ambitious Midlands mayoral candidate” Zaf” Jaffrey, are joining the regular cast for series five. We must wait.

    On Apple TV+, you can stream the first to fourth episodes of Slow Horses right away. On Wednesday, September 24th, the fifth season of the series begins.

    On Den of Geek, the first post Slow Horses Series 5 Release Date and Nick Mohammed Guest Role Confirmed.

  • Ballerina Review: Ana de Armas Vehicle Doesn’t Hold A Candle To the John Wick Movies

    Ballerina Review: Ana de Armas Vehicle Doesn’t Hold A Candle To the John Wick Movies

    What happens when a theater wants to extend a company but has no other choice but to do so financially. This action drama, which is subtitled From the World of John Wick, contains too much activity and a lot of priceless delights. Ballerina, which was ( perhaps ) directed by Len Wiseman of Underworld, is set in […]

    The initial assessment of the John Wick films Ballerina Review: Ana de Armas Vehicle appeared initially on Den of Geek.

    Knowing that the wait for Slow Horses set five was already on hold by the time the collection four finale aired has made the anticipation feel endless. How long does it take to chop it into six parts, keep that Mick Jagger music on the credits, and online remove any growth microphones that are left in the picture? A month?

    As Apple TV + has confirmed that set five did begin streaming on Wednesday, September 24th, 2025, just over a year is the solution. It’ll begin with two shows on the day of the broadcast, and therefore it’ll air the final four on Wednesday until October 22nd.

    cnx. powershell. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    The Thick of It‘s Will Smith and co. have adapted set five from Mick Herron’s London Rules, the second book in his eight-person-and-a-half set of detective novels about the MI5 rejects festering in Slough House, a kind of holding battery for disgruntled and disgraced agencies. The already-commissioned set six, which may combine books six and seven into a single collection, will follow.

    The standard description for the fresh shows is as follows:

    When citizen tech ner Roddy Ho gets a beautiful fresh girlfriend, everyone is suspicious. It is up to the Slower Horses to determine how everything is connected when a number of exceedingly bizarre events take place throughout the city. After all, Lamb is aware that the London Rules — support your back — usually use in the world of spying.

    Gary Oldman will once again lead the cast as Jackson Lamb (aka the best character on TV ), along with James Callis as the malodorous and pointless First Desk Claude Whelan, Kristin Scott Thomas as the formidable scare director Diana Taverner, Jack Lowden as the nepo-spy River Cartwright, Saskia Reeves as department manager Catherine Standish, Rosalind Eleazar as terrific spy Louisa, Christopher Chung as technology genius/people imbecile Roddy Additionally, Jonathan Pryce will play River’s grandfather.

    The first teaser trailer for the new series, which came to an end of the excellent fourth series finale, reveals the majority of that. See Shirley hitting someone with a block of wood, Jackson calling Ho a rude name, and Lady Di reluctantly admit to Lamb&#8217’s genius here:

    Ted Lasso and Taskmaster star Nick Mohammed, who is rumored to be playing the role of ambitious Midlands mayoral candidate” Zaf” Jaffrey, are joining the regular cast for series five. We are in a rush.

    On Apple TV+, you can now stream the first to four episodes of Slow Horses. On Wednesday the 24th of September, the fifth of the series begins.

    The first post Slow Horses Series 5 Release Date and Nick Mohammed Guest Role Confirmed appeared on Den of Geek.

  • That’s Not My Burnout

    That’s Not My Burnout

    Do you like to read about people who are dying as they experience exhaustion and are unable to connect to me? Do you feel like your feelings are invisible to the earth because you’re experiencing burnout different? Our main comes through more when stress starts to press down on us. Beautiful, quiet souls get softer and dissipate into that remote and distracted fatigue we’ve all read about. But some of us, those with fires constantly burning on the sides of our key, getting hotter. I am a fire in my brain. When I face fatigue I twice over, triple down, burning hotter and hotter to try to best the problem. I don’t fade; I’m suffocated by a passionate stress.

    But what on earth is a zealous stress?

    Imagine a person determined to do it all. She is homeschooling two wonderful children while her husband, who is also working mildly, is likewise homeschooling. She has a demanding customer fill at work—all of whom she loves. She wakes up early to get some movement in ( or frequently catch up on work ), prepares dinner while the kids are having breakfast, and works while positioning herself near the end of her “fourth grade” to watch as she balances clients, tasks, and budgets. Sound like a bit? Yet with a supportive group both at home and at work, it is.

    Sounds like this person needs self-care because she has too much on her disk. But no, she doesn’t have occasion for that. She begins to feel as though she’s dropping pellets. No accomplishing much. There’s not enough of her to be here and there, she is trying to divide her head in two all the time, all time, every time. She begins to question herself. And as those thoughts creep in more and more, her domestic tale becomes more and more important.

    She immediately KNOWS what she needs to accomplish! She really Would MORE.

    This is a painful and dangerous period. Know the reasons? Because when she doesn’t end that new purpose, that storyline will get worse. She instantly starts failing. She isn’t doing much. SHE is not enough. She’ll discover more she may do because she might neglect, or perhaps her home. She doesn’t nap as much, proceed because much, all in the attempts to do more. Trying to prove herself to herself, but always succeeding in any endeavor. Always feeling “enough”.

    But, yeah, that’s what zealous burnout looks like for me. It doesn’t develop over in some grand gesture, but it does rather develop gradually over the course of several weeks and months. My burning out process looks like speeding up, hardly a man losing focus. I move up and up and up, and therefore I simply quit.

    I am the one who had

    It’s interesting the things that shape us. Through the camera of my youth, I witnessed the battles, sacrifices, and fears of a person who had to make it all work without having much. I was happy that my mom was so competent and my dad sympathetic, I never went without and also got an extra here or there.

    Growing up, I didn’t feel shame when my mom gave me food postcards; in fact, I would have likely sparked debates about the subject, orally eviscerating anyone who dared to criticize the disabled person who was attempting to ensure all of our needs were met with so little. As a child, I watched the way the worry of not making those ends meet impacted persons I love. As the non-disabled people in my home, I did take on many of the real things because I was” the one who was” make our lives a little easier. I soon realized that I had to put more of myself into it because I am the one who does. I learned first that when something frightens me, I may double down and work harder to make it better. I am capable of taking on the problem. When individuals have seen this in me as an adult, I’ve been told I seem courageous, but make no mistake, I’m not. If I seem courageous, it’s because this behavior was forged from another people’s worries.

    And here I am, more than 30 years later, also feeling the urge to aimlessly force myself forward when faced with daunting tasks in front of me, assuming that I am the one who is and consequently does. I find myself driven to prove that I can make things happen if I work longer hours, take on more responsibility, and do more.

    I don’t see people who struggle financially as failures because I have seen how strong that tide can be; it pulls you along the way. I truly get that I have been privileged to be able to avoid many of the challenges that were present in my youth. That said, I am still” the one who can” who feels she should, so if I were faced with not having enough to make ends meet for my own family, I would see myself as having failed. Despite my best efforts and education, the majority of this is due to good fortune. I will, however, allow myself the arrogance of saying I have been careful with my choices to have encouraged that luck. I believe I am” the one who can,” so I feel compelled to do the most because of this. I can choose to stop, and with some quite literal cold water splashed in my face, I’ve made the choice to before. But that choosing to stop is not my go-to, I move forward, driven by a fear that is so a part of me that I barely notice it’s there until I’m feeling utterly worn away.

    So why all the history? You see, burnout is a fickle thing. Over the years, I’ve read and heard a lot about burnout. Burnout is real. Especially now, with COVID, many of us are balancing more than we ever have before—all at once! It’s difficult, and the avoidance, shutting down, and procrastination have an impact on so many amazing professionals. There are important articles that relate to what I imagine must be the majority of people out there, but not me. Not at the time of my burnout, though.

    The dangerous invisibility of zealous burnout

    A lot of work environments see the extra hours, extra effort, and overall focused commitment as an asset ( and sometimes that’s all it is ). They see a person attempting to overcome obstacles, not a person trapped in fear. Many well-meaning organizations have safeguards in place to protect their teams from burnout. However, in situations like this, alarms don’t always ring, and some organization members are surprised and depressed when the inevitable stop occurs. And sometimes maybe even betrayed.

    Parents—more so mothers, statistically speaking—are praised as being so on top of it all when they can work, be involved in the after-school activities, practice self-care in the form of diet and exercise, and still meet friends for coffee or wine. Many of us watched endless streaming COVID episodes to see how challenging the female protagonist is, but she is strong, funny, and capable of doing it. It’s a “very special episode” when she breaks down, cries in the bathroom, woefully admits she needs help, and just stops for a bit. Truth be told, countless people are avoiding tears or doomscrolling to flee. We know that the media is a lie to amuse us, but often the perception that it’s what we should strive for has penetrated much of society.

    Women and burnout

    I cherish men. And though I don’t love every man ( heads up, I don’t love every woman or nonbinary person either ), I think there is a beautiful spectrum of individuals who represent that particular binary gender.

    Despite this, women are still more frequently at risk of burnout than their male counterparts, especially in these COVID stressed out times. Mothers in the workplace feel the pressure to do all the “mom” things while giving 110 %. Mothers not in the workplace feel they need to do more to” justify” their lack of traditional employment. Women who are not mothers frequently feel the need to work even more because they aren’t under that much pressure at home. It’s vicious and systemic and so a part of our culture that we’re often not even aware of the enormity of the pressures we put on ourselves and each other.

    And there are costs that go beyond happiness. Harvard Health Publishing released a study a decade ago that “uncovered strong links between women’s job stress and cardiovascular disease”. The CDC noted,” Heart disease is the leading cause of death for women in the United States, killing 299, 578 women in 2017—or about 1 in every 5 female deaths”.

    According to what I’ve read, this connection between work stress and health is more dangerous for women than it is for their non-female counterparts.

    But what if your burnout isn’t like that either?

    That might not be you either. After all, each of us is so different and how we respond to stressors is too. It’s part of what makes us human. Don’t put too much emphasis on how burnout manifests; rather, learn to recognize it in yourself. Here are a few questions I sometimes ask friends if I am concerned about them.

    How are you feeling? This simple question should be the first thing you ask yourself. Chances are, even if you’re burning out doing all the things you love, as you approach burnout you’ll just stop taking as much joy from it all.

    Do you feel like you have the authority to decline? I have observed in myself and others that when someone is burning out, they no longer feel they can say no to things. Even those who don’t” speed up” feel pressured to say “yes” and not let the people around them be disappointed.

    What are three things you’ve done for yourself? Another observance is that we all tend to stop doing things for ourselves. anything from avoiding conversations with friends to skipping showers and eating poorly. These can be red flags.

    Are you using justifications? Many of us try to disregard feelings of burnout. Over and over I have heard,” It’s just crunch time”,” As soon as I do this one thing, it will all be better”, and” Well I should be able to handle this, so I’ll figure it out”. And it might actually be crunch time, a single objective, or a set of skills you need to master. That happens—life happens. Be open to yourself if this continues to happen. If you’ve worked more 50-hour weeks since January than not, maybe it’s not crunch time—maybe it’s a bad situation that you’re burning out from.

    Do you have a plan to stop feeling this way? If something is only temporary and you have to push through, it has an exit route and a reward system.
    defined end.

    Take the time to listen to your friend in the same way. Be honest, allow yourself to be uncomfortable, and break the thought cycles that prevent you from healing.

    So now what?

    What I just described is a different path to burnout, but it’s still burnout. There are well-established approaches to working through burnout:

    • Get enough sleep.
    • Eat healthy.
    • Work out.
    • Go outside.
    • Take a break.
    • Practice self-care in general.

    Those are hard for me because they feel like more tasks. If I’m in the burnout cycle, doing any of the above for me feels like a waste. Why would I take care of myself when I’m dropping all those other balls if I’m already failing, as the narrative suggests? People need me, right?

    Your inner voice might already be pretty bad if you’re deeply in the cycle. If you need to, tell yourself you need to take care of the person your people depend on. If your roles are pushing you toward burnout, use them to help make healing easier by justifying the time spent working on you.

    I have come up with a few things that I do when I start to feel like I’m going into a zealous burnout to help remind myself of the airline attendant advice to put the mask on yourself first.

    Cook an elaborate meal for someone!

    Okay, since I’m a “food-focused” person, I’ve always been a fan of cooking for people. There are countless tales in my home of someone walking into the kitchen and turning right around and walking out when they noticed I was” chopping angrily”. But it’s more than that, and you should give it a try. Seriously. It’s the perfect go-to if you don’t feel worthy of taking time for yourself—do it for someone else. Because the majority of us work in a digital world, cooking can pique your interest and make you feel present in the moment in all your ways. It can break you out of your head and help you gain a better perspective. In my house, I’ve been known to pick a place on the map and cook food that comes from wherever that is ( thank you, Pinterest ). I enjoy making Indian food because the smells are warm, the bread needs just enough kneading to keep my hands engaged, and the process requires real attention for me because it’s not what I was raised making. And in the end, we all win!

    Vent like a sniveling jerk.

    Be careful with this one!

    I have been making an effort to practice more gratitude over the past few years, and I recognize the true benefits of that. Having said that, sometimes you just need to let it all out, even the ugly ones. Hell, I’m a big fan of not sugarcoating our lives, and that sometimes means that to get past the big pile of poop, you’re gonna wanna complain about it a bit.

    When that is required, approach a trusted friend and express your concerns verbally. You need to trust this friend not to judge, to see your pain, and, most importantly, to tell you to remove your cranium from your own rectal cavity. Seriously, it’s about getting a reality check here! One of the things that I admire most about my husband is how he can simplify things down to the simplest of terms, even though sometimes after the fact. ” We’re spending our lives together, of course you’re going to disappoint me from time to time, so get over it” has been his way of speaking his dedication, love, and acceptance of me—and I could not be more grateful. Of course, it also required that I take my head out of that rectal cavity. So, again, usually those moments are appreciated in hindsight.

    Pick up a book!

    There are many books out there that are more like you sharing their stories and how they’ve come to find greater balance than they are self-help. Maybe you’ll find something that speaks to you. Among the titles that have stood out to me are:

    • Thrive by Arianna Huffington
    • Tools of Titans by Tim Ferriss
    • Girl, Stop Apologizing by Rachel Hollis
    • Dare to Lead by Brené Brown

    Or, a tactic I enjoy using is to read or listen to a book that is NOT related to my work-life balance. I’ve read the following books and found they helped balance me out because my mind was pondering their interesting topics instead of running in circles:

    • The Drunken Botanist by Amy Stewart
    • Darin Olien’s Superlife
    • A Brief History of Everyone Who Ever Lived by Adam Rutherford
    • Toby Hemenway’s Gaia’s Garden

    If you’re not into reading, pick up a topic on YouTube or choose a podcast to subscribe to. I’ve watched countless permaculture and gardening topics in addition to how to raise chickens and ducks. For the record, I don’t currently have a particularly large food garden or raise any kind of livestock. I just find the topic interesting, and it has nothing to do with any aspect of my life that needs anything from me.

    Give yourself a break.

    You are never going to be perfect—hell, it would be boring if you were. It’s OK to be broken and flawed. Being tired, depressed, and worried is human nature. It’s OK to not do it all. You can’t be brave without being imperfect, which is scary, but you can’t be brave without being imperfect.

    This last one is the most important: allow yourself permission to NOT do it all. You never promised to be everything to everyone at all times. We have greater power than the repressed fears that motivate us.

    This is hard. It’s challenging for me. It’s what’s driven me to write this—that it’s OK to stop. It’s OK that your unhealthy habit that might even benefit those around you needs to end. You can continue to succeed in life.

    I recently read that we are all writing our eulogy in how we live. What will your professional accomplishments say, knowing that yours won’t be mentioned in that speech? What do you want it to say?

    Look, I get that none of these ideas will “fix it”, and that’s not their purpose. None of us has complete control over what happens in our environment, but only how we react to it. These suggestions are to help stop the spiral effect so that you are empowered to address the underlying issues and choose your response. They are the things that largely work for me. Maybe they’ll work for you.

    Does this sound familiar?

    If something sounds familiar, you are not alone. Don’t let your negative self-talk tell you that you “even burn out wrong”. It’s not improper. Even if rooted in fear like my own drivers, I believe that this need to do more comes from a place of love, determination, motivation, and other wonderful attributes that make you the amazing person you are. We’re going to be OK, ya know. The lives that come before us might never have the same meaning as the one we’re striving for, which is acceptable because the only way to judge is in the mirror when we stop and look around.

    Do you remember that Winnie the Pooh sketch that had Pooh eat so much at Rabbit’s house that his buttocks couldn’t fit through the door? It came as no surprise when Rabbit abruptly declared that this was unacceptable because I already associate a lot with him. But do you recall what happened next? He put a shelf across poor Pooh’s ankles and decorations on his back, and made the best of the big butt in his kitchen.

    We are resourceful and aware that we can push ourselves when we are needed, even when we are exhausted to the core or have a ton of clutter in our room. None of us has to be afraid, as we can manage any obstacle put in front of us. And maybe that means we will need to redefine success to make room for comfortable human space, but that doesn’t really sound that bad either.

    So, wherever you are right now, please breathe. Do what you need to do to get out of your head. Give thanks and be considerate.

  • Asynchronous Design Critique: Giving Feedback

    Asynchronous Design Critique: Giving Feedback

    One of the most successful soft knowledge we have at our disposal is the ability to work together to improve our patterns while developing our own abilities and opinions, in whatever form it takes, and whatever it may be called.

    Feedback is also one of the most underestimated equipment, and generally by assuming that we’re already good at it, we settle, forgetting that it’s a talent that can be trained, grown, and improved. Bad feedback can cause conflict in jobs, lower motivation, and negatively impact faith and teamwork over the long term. Quality comments can be a revolutionary force.

    Practicing our knowledge is absolutely a good way to enhance, but the learning gets yet faster when it’s paired with a good base that programs and focuses the exercise. What are some fundamental components of providing effective opinions? And how can comments be adjusted for isolated and distributed job settings?

    On the web, we may find a long history of sequential suggestions: code was written and discussed on mailing lists since the beginning of open source. Currently, engineers engage on pull calls, developers post in their favourite design tools, project managers and sprint masters exchange ideas on tickets, and so on.

    Design analysis is often the label used for a type of input that’s provided to make our job better, jointly. It generally shares many of the concepts with suggestions, but it also has some differences.

    The material

    The material of the feedback serves as the foundation for all effective critiques, so we need to begin there. There are many versions that you can use to design your content. The one that I personally like best—because it’s obvious and actionable—is this one from Lara Hogan.

    This equation, which is typically used to provide feedback to users, even fits really well in a design critique because it finally addresses one of the main issues that we address: What? Where? Why? How? Imagine that you’re giving some comments about some pattern function that spans several screens, like an onboard movement: there are some pages shown, a stream blueprint, and an outline of the decisions made. You notice something that needs to be improved. If you keep the three elements of the equation in mind, you’ll have a mental model that can help you be more precise and effective.

    Here is a comment that could be included in some feedback, and it might appear reasonable at first glance because it appears to merely fit the equation. But does it?

    Not sure about the buttons ‘ styles and hierarchy—it feels off. Can you alter them?

    Observation for design feedback doesn’t just mean pointing out which part of the interface your feedback refers to, but it also refers to offering a perspective that’s as specific as possible. Do you offer the user’s viewpoint? Your expert perspective? A business perspective? From the perspective of the project manager? A first-time user’s perspective?

    When I see these two buttons, I anticipate one to go forward and the other to go back.

    Impact is about the why. Just pointing out a UI element might sometimes be enough if the issue may be obvious, but more often than not, you should add an explanation of what you’re pointing out.

    When I see these two buttons, I anticipate one to go forward and the other to go back. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow.

    The question approach is meant to provide open guidance by eliciting the critical thinking in the designer receiving the feedback. Notably, in Lara’s equation she provides a second approach: request, which instead provides guidance toward a specific solution. While that’s generally a viable option for feedback, I’ve found that going back to the question approach typically leads to the best solutions for design critiques because designers are generally more open to experiment in a space.

    The difference between the two can be exemplified with, for the question approach:

    When I see these two buttons, I anticipate one to go forward and the other to go back. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Would it make sense to unify them?

    Or, for the request approach:

    When I see these two buttons, I anticipate one to go forward and the other to go back. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Let’s make sure that all screens have the same pair of forward and back buttons.

    At this point in some situations, it might be useful to integrate with an extra why: why you consider the given suggestion to be better.

    When I see these two buttons, I anticipate one to go forward and the other to go back. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Let’s make sure that all screens have the same two forward and back buttons so that users don’t get confused.

    Choosing the question approach or the request approach can also at times be a matter of personal preference. I did rounds of anonymous feedback and reviewed feedback with other people before putting a lot of effort into improving it a while ago. After a few rounds of this work and a year later, I got a positive response: my feedback came across as effective and grounded. Until I changed teams. Surprise surprise, my next round of criticism from a specific person wasn’t very positive. The reason is that I had previously tried not to be prescriptive in my advice—because the people who I was previously working with preferred the open-ended question format over the request style of suggestions. However, there was a member of this other team who preferred specific guidance. So I adapted my feedback for them to include requests.

    One comment that I heard come up a few times is that this kind of feedback is quite long, and it doesn’t seem very efficient. Yes, but also no. Let’s explore both sides.

    No, this kind of feedback is effective because the length is a byproduct of clarity, and giving this kind of feedback can provide precisely enough information for a sound fix. Also if we zoom out, it can reduce future back-and-forth conversations and misunderstandings, improving the overall efficiency and effectiveness of collaboration beyond the single comment. Imagine that in the example above the feedback were instead just,” Let’s make sure that all screens have the same two forward and back buttons”. Since the designer receiving this feedback wouldn’t have much to go by, they might just implement the change. In later iterations, the interface might change or they might introduce new features—and maybe that change might not make sense anymore. Without explaining the why, the designer might assume that the change is one of consistency, but what if it wasn’t? So there could now be an underlying concern that changing the buttons would be perceived as a regression.

    Yes, this style of feedback is not always efficient because the points in some comments don’t always need to be exhaustive, sometimes because certain changes may be obvious (” The font used doesn’t follow our guidelines” ) and sometimes because the team may have a lot of internal knowledge such that some of the whys may be implied.

    The equation above is not intended to provide a predetermined template for feedback, but rather a mnemonic to reflect and enhance the practice. Even after years of active work on my critiques, I still from time to time go back to this formula and reflect on whether what I just wrote is effective.

    The atmosphere

    Well-grounded content is the foundation of feedback, but that’s not really enough. The soft skills of the person who’s providing the critique can multiply the likelihood that the feedback will be well received and understood. It has been demonstrated that only positive feedback can lead to lasting change in people, and tone alone can determine whether content is rejected or welcomed.

    Since our goal is to be understood and to have a positive working environment, tone is essential to work on. I’ve tried to summarize the necessary soft skills over the years using a formula that resembles that of the content receptivity equation.

    Respectful feedback comes across as grounded, solid, and constructive. It’s the kind of feedback that, whether it’s positive or negative, is perceived as useful and fair.

    The time when feedback occurs is known as timing. To-the-point feedback doesn’t have much hope of being well received if it’s given at the wrong time. When a new feature’s entire high-level information architecture is about to go live, it might still be relevant if the questioning raises a significant blocker that no one saw, but those concerns are much more likely to have to wait for a later revision. So in general, attune your feedback to the stage of the project. Early iteration? Iteration that was later? Polishing work in progress? Each of these needs varies. The right timing will make it more likely that your feedback will be well received.

    Attitude is the equivalent of intent, and in the context of person-to-person feedback, it can be referred to as radical candor. That entails checking whether what we have in mind will actually help the person and improve the overall project before writing. This might be a hard reflection at times because maybe we don’t want to admit that we don’t really appreciate that person. Hopefully that’s not the case, but it can happen, which is fine. Acknowledging and owning that can help you make up for that: how would I write if I really cared about them? How can I avoid being passive aggressive? How can I encourage constructive behavior?

    Form is relevant especially in a diverse and cross-cultural work environments because having great content, perfect timing, and the right attitude might not come across if the way that we write creates misunderstandings. There could be many reasons for this, including the fact that occasionally certain words may cause specific reactions, that non-native speakers may not be able to comprehend all thenuances of some sentences, that our brains may be different, and that we may perceive the world differently. Neurodiversity is a requirement. Whatever the reason, it’s important to review not just what we write but how.

    A few years back, I was asking for some feedback on how I give feedback. I was given some sound advice, but I also got a surprise comment. They pointed out that when I wrote” Oh, ]… ]”, I made them feel stupid. That wasn’t my intention at all! I felt really bad, and I just realized that I provided feedback to them for months, and every time I might have made them feel stupid. I was horrified … but also thankful. I quickly changed my situation by adding “oh” to my list of replaced words (your choice between aText, TextExpander, or others ) so that when I typed “oh,” it was immediately deleted.

    Something to highlight because it’s quite frequent—especially in teams that have a strong group spirit—is that people tend to beat around the bush. A positive attitude doesn’t necessarily mean giving in to criticism; it just means that you give it in a respectful and constructive manner, whether it be in the form of criticism or criticism. The nicest thing that you can do for someone is to help them grow.

    We have a great advantage in giving feedback in written form: it can be reviewed by another person who isn’t directly involved, which can help to reduce or remove any bias that might be there. When I shared a comment with someone I knew,” How does this sound,”” How can I do it better,” or even” How would you have written it,” I discovered that the two versions had different meanings.

    The format

    Asynchronous feedback also has a significant inherent benefit: it allows us to spend more time making sure that the suggestions ‘ clarity and actionability meet two main objectives.

    Let’s imagine that someone shared a design iteration for a project. You are reviewing it and leaving a comment. There are many ways to accomplish this, and context is of course important, but let’s try to think about some things that might be worthwhile to take into account.

    In terms of clarity, start by grounding the critique that you’re about to give by providing context. This includes specifically describing where you’re coming from: do you have a thorough understanding of the project, or is this your first encounter with it? Are you coming from a high-level perspective, or are you figuring out the details? Are there regressions? Which user’s point of view are you addressing when offering feedback? Is the design iteration at a point where it would be okay to ship this, or are there major things that need to be addressed first?

    Even if you’re giving feedback to a team that already has some background information on the project, providing context is helpful. And context is absolutely essential when giving cross-team feedback. If I were to review a design that might be indirectly related to my work, and if I had no knowledge about how the project arrived at that point, I would say so, highlighting my take as external.

    We frequently concentrate on the negatives and attempt to list every improvement that could be made. That’s of course important, but it’s just as important—if not more—to focus on the positives, especially if you saw progress from the previous iteration. Although this may seem superfluous, it’s important to keep in mind that design is a field with hundreds of possible solutions to each problem. So pointing out that the design solution that was chosen is good and explaining why it’s good has two major benefits: it confirms that the approach taken was solid, and it helps to ground your negative feedback. In the longer term, sharing positive feedback can help prevent regressions on things that are going well because those things will have been highlighted as important. Positive feedback can also help, as an added bonus, prevent impostor syndrome.

    There’s one powerful approach that combines both context and a focus on the positives: frame how the design is better than the status quo ( compared to a previous iteration, competitors, or benchmarks ) and why, and then on that foundation, you can add what could be improved. This is powerful because there is a big difference between a critique of a design that is already in good shape and one that is critiqued for a design that isn’t quite there yet.

    Another way that you can improve your feedback is to depersonalize the feedback: the comments should always be about the work, never about the person who made it. It’s” This button isn’t well aligned” versus” You haven’t aligned this button well”. This can be changed in your writing very quickly by reviewing it just before sending.

    In terms of actionability, one of the best approaches to help the designer who’s reading through your feedback is to split it into bullet points or paragraphs, which are easier to review and analyze one by one. You might also think about breaking up the feedback into sections or even across multiple comments if it is longer. Of course, adding screenshots or signifying markers of the specific part of the interface you’re referring to can also be especially useful.

    One approach that I’ve personally used effectively in some contexts is to enhance the bullet points with four markers using emojis. A red square indicates that it is something I consider blocking, a yellow diamond indicates that it should be changed, and a green circle indicates that it is fully confirmed. I also use a blue spiral � � for either something that I’m not sure about, an exploration, an open alternative, or just a note. However, I’d only use this strategy on teams where I’ve already established a high level of trust because the impact could be quite demoralizing if I had to deliver a lot of red squares, and I’d change how I’d communicate that a little.

    Let’s see how this would work by reusing the example that we used earlier as the first bullet point in this list:

    • 🔶 Navigation—When I see these two buttons, I anticipate one to go forward and the other to go back. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Let’s make sure that all screens have the same two forward and back buttons so that users don’t get confused.
    • � � Overall— I think the page is solid, and this is good enough to be our release candidate for a version 1.0.
    • � � Metrics—Good improvement in the buttons on the metrics area, the improved contrast and new focus style make them more accessible.
    • Button Style: Using the green accent in this context, which conveys that it is a positive action because green is typically seen as a confirmation color. Do we need to explore a different color?
    • Tiles—It seems to me that the tiles should use the Subtitle 2 style rather than the Subtitle 1 style given the number of items on the page and the overall page hierarchy. This will keep the visual hierarchy more consistent.
    • � � Background—Using a light texture works well, but I wonder whether it adds too much noise in this kind of page. What is the purpose of using that?

    What about giving feedback directly in Figma or another design tool that allows in-place feedback? These are generally difficult to use because they conceal discussions and are harder to follow, but in the right setting, they can be very effective. Just make sure that each of the comments is separate so that it’s easier to match each discussion to a single task, similar to the idea of splitting mentioned above.

    One final note: say the obvious. Sometimes we might feel good or bad about something, so we don’t say it. Or sometimes we might have a doubt that we don’t express because the question might sound stupid. Say it, that’s fine. You might have to reword it a little bit to make the reader feel more comfortable, but don’t hold it back. Good feedback is transparent, even when it may be obvious.

    Another benefit of asynchronous feedback is that written feedback automatically monitors decisions. Especially in large projects,” Why did we do this”? There’s nothing better than open, transparent discussions that can be reviewed at any time, and this could be a question that arises from time to time. For this reason, I recommend using software that saves these discussions, without hiding them once they are resolved.

    Content, tone, and format. Although each of these subjects offers a useful model, improving eight of the subjects ‘ observation, impact, question, timing, attitude, form, clarity, and actionability is a lot of work to put in all at once. One effective approach is to take them one by one: first identify the area that you lack the most (either from your perspective or from feedback from others ) and start there. Then the second, followed by the third, and so on. At first you’ll have to put in extra time for every piece of feedback that you give, but after a while, it’ll become second nature, and your impact on the work will multiply.

    Thanks to Brie Anne Demkiw and Mike Shelton for reviewing the first draft of this article.

  • Asynchronous Design Critique: Getting Feedback

    Asynchronous Design Critique: Getting Feedback

    ” Any post” you might have? is perhaps one of the worst ways to ask for suggestions. It’s obscure and unfocused, and it doesn’t give a clear picture of what we’re looking for. Getting good opinions starts sooner than we might hope: it starts with the demand.

    When we realize that receiving input can be seen as a form of pattern analysis, it might seem counterintuitive to begin the process with a question. In the same way that we wouldn’t perform any studies without the correct questions to get the insight that we need, the best way to ask for feedback is also to build strong issues.

    Design criticism is never a one-time procedure. Sure, any great comments process continues until the project is finished, but this is especially true for layout because architecture work continues iteration after iteration, from a high level to the finest details. Each stage requires its unique set of questions.

    And suddenly, as with any great research, we need to examine what we got up, get to the base of its perspectives, and take action. Topic, generation, and analysis. This look at each of those.

    The query

    Being available to input is important, but we need to be specific about what we’re looking for. Any comments,” What do you think,” or” I’d love to hear your view” at the conclusion of a presentation are likely to generate a lot of divergent thoughts, or worse, to make people follow the lead of the first speaker. And next… we get frustrated because vague issues like those can change a high-level moves review into folks rather commenting on the borders of buttons. Which theme may be important, so it might be difficult to get the team to pay attention to it.

    But how do we get into this scenario? A number of elements are involved. One is that we don’t often consider asking as a part of the input method. Another is how healthy it is to assume that everyone else will agree with the problem and leave it alone. Another is that in nonprofessional debate, there’s usually no need to be that exact. In summary, we tend to undervalue the value of the concerns, so we don’t work to make them better.

    The work of asking good questions guidelines and focuses the criticism. It’s even a form of acceptance because it specifies what kind of comments you’d like to receive and how you’re open to them. It puts people in the right emotional state, especially in situations when they weren’t expecting to give opinions.

    There isn’t a second best method to request comments. It simply needs to be certain, and sensitivity can take several shapes. The level than depth model for design critique has been a particularly helpful tool for my coaching.

    Stage” refers to each of the actions of the process—in our event, the design process. The type of input changes as the customer research moves forward to the final design. But within a single stage, one might also examine whether some assumptions are correct and whether there’s been a suitable language of the amassed comments into updated designs as the job has evolved. The layers of user experience could serve as a starting point for potential questions. What do you want to know: Project objectives? User requirements? Functionality? the content Interaction design? Information architecture UI design? design of navigation Visual design? branding?

    Here’re a few example questions that are precise and to the point that refer to different layers:

    • Functionality: Is it desirable to automate account creation?
    • Interaction design: Take a look through the updated flow and let me know whether you see any steps or error states that I might’ve missed.
    • Information architecture: This page contains two competing pieces of information. Is the structure effective in communicating them both?
    • User interface design: What do you think about the top-most error counter, which ensures that you can see the next error even when the error is outside the viewport?
    • Navigation design: From research, we identified these second-level navigation items, but once you’re on the page, the list feels too long and hard to navigate. Are there any ways to deal with this?
    • Visual design: Are the sticky notifications in the bottom-right corner visible enough?

    The other axis of specificity is determined by how far you would like to go with the presentation. For example, we might have introduced a new end-to-end flow, but there was a specific view that you found particularly challenging and you’d like a detailed review of that. This can be especially helpful from one iteration to the next when it’s crucial to highlight the areas that have changed.

    There are other things that we can consider when we want to achieve more specific—and more effective—questions.

    A quick fix is to get rid of the generic qualifiers from questions like “good,” “well,” “nice,” “bad,” “okay,” and” cool.” For example, asking,” When the block opens and the buttons appear, is this interaction good”? is it possible to look specific, but you can identify the “good” qualifier and make the question” When the block opens and the buttons appear, is it clear what the next action is” look like?

    Sometimes we actually do want broad feedback. Although that is uncommon, it is possible. In that sense, you might still make it explicit that you’re looking for a wide range of opinions, whether at a high level or with details. Or perhaps you should just say,” At first glance, what do you think”? so that it’s clear that what you’re asking is open ended but focused on someone’s impression after their first five seconds of looking at it.

    Sometimes the project is particularly broad, and some areas may have already been thoroughly explored. In these situations, it might be useful to explicitly say that some parts are already locked in and aren’t open to feedback. Although it’s not something I’d recommend in general, I’ve found it helpful in avoiding getting back into rabbit holes like those that could lead to further refinement but aren’t currently what matters most.

    Asking specific questions can completely change the quality of the feedback that you receive. Even experienced designers will appreciate the clarity and efficiency gained from concentrating solely on what is required, and those with less refined critique skills will now be able to offer more actionable feedback. It can save a lot of time and frustration.

    The iteration

    Design iterations are probably the most visible part of the design work, and they provide a natural checkpoint for feedback. Many design tools have inline commenting, but many of those methods typically display changes as a single fluid stream in the same file. These methods cause conversations to vanish once they’re resolved, update shared UI components automatically, and require designs to always display the most recent version unless these would-be useful features were manually turned off. The implied goal that these design tools seem to have is to arrive at just one final copy with all discussions closed, probably because they inherited patterns from how written documents are collaboratively edited. That’s probably not the most effective way to go about designing critiques, but even if I don’t want to be too prescriptive, it might work for some teams.

    The asynchronous design-critique approach that I find most effective is to create explicit checkpoints for discussion. For this, I’m going to use the term iteration post. It refers to a write-up or presentation of the design iteration followed by a discussion thread of some kind. This can be used on any platform that can accommodate this structure. By the way, when I refer to a “write-up or presentation“, I’m including video recordings or other media too: as long as it’s asynchronous, it works.

    There are many benefits to using iteration posts:

    • It creates a rhythm in the design work so that the designer can review feedback from each iteration and prepare for the next.
    • It makes decisions accessible for upcoming review, and conversed conversations are also always available.
    • It creates a record of how the design changed over time.
    • Depending on the tool, it might also make it simpler to collect and act on feedback.

    These posts of course don’t mean that no other feedback approach should be used, just that iteration posts could be the primary rhythm for a remote design team to use. And from there, there can develop additional feedback techniques ( such as live critique, pair designing, or inline comments ).

    I don’t think there’s a standard format for iteration posts. However, there are a few high-level components that make sense as a baseline:

    1. The goal
    2. The layout
    3. The list of changes
    4. The querys

    Each project is likely to have a goal, and hopefully it’s something that’s already been summarized in a single sentence somewhere else, such as the client brief, the product manager’s outline, or the project owner’s request. Therefore, I would repeat this in every iteration post, literally copy and pasting it. The idea is to provide context and to repeat what’s essential to make each iteration post complete so that there’s no need to find information spread across multiple posts. The most recent iteration post will have everything I need if I want to know about the most recent design.

    This copy-and-paste part introduces another relevant concept: alignment comes from repetition. Therefore, repeating information in posts is actually very effective at ensuring that everyone is on the same page.

    The design is then the actual series of information-architecture outlines, diagrams, flows, maps, wireframes, screens, visuals, and any other kind of design work that’s been done. It’s any design object, to put it briefly. For the final stages of work, I prefer the term blueprint to emphasize that I’ll be showing full flows instead of individual screens to make it easier to understand the bigger picture.

    It might also be helpful to have clear names on the artifacts so that it is easier to refer to them. Write the post in a way that helps people understand the work. It’s not much different from creating a strong live presentation.

    For an efficient discussion, you should also include a bullet list of the changes from the previous iteration to let people focus on what’s new, which can be especially useful for larger pieces of work where keeping track, iteration after iteration, could become a challenge.

    Finally, as mentioned earlier, a list of the questions must be included in order to help you guide the design critique. Doing this as a numbered list can also help make it easier to refer to each question by its number.

    Not every iteration is the same. Earlier iterations don’t need to be as tightly focused—they can be more exploratory and experimental, maybe even breaking some of the design-language guidelines to see what’s possible. Then, later, the iterations begin coming to a decision and improving it until the design process is complete and the feature is ready.

    I want to highlight that even if these iteration posts are written and conceived as checkpoints, by no means do they need to be exhaustive. A post might be just a concept to start a conversation, or it might be a cumulative list of all the features that have been added gradually over the course of each iteration until the full picture is achieved.

    Over time, I also started using specific labels for incremental iterations: i1, i2, i3, and so on. Although this may seem like a minor labeling tip, it can be useful in many ways:

    • Unique—It’s a clear unique marker. Everyone knows where to go to review things, and it’s simple to say” This was discussed in i4″ with each project.
    • Unassuming—It works like versions ( such as v1, v2, and v3 ) but in contrast, versions create the impression of something that’s big, exhaustive, and complete. Exploratory, incomplete, or partial should be the definition of an argument.
    • Future proof—It resolves the “final” naming problem that you can run into with versions. No more files with the title “final final complete no-really-its-done” Within each project, the largest number always represents the latest iteration.

    The wording release candidate (RC ) could be used to describe a design as complete enough to be worked on, even if there might be some bits that still need more attention and in turn, more iterations would be required, such as” with i8 we reached RC” or “i12 is an RC” to indicate when it is finished.

    The review

    A back-and-forth between two people that can be very productive typically occurs during a design critique. This approach is particularly effective during live, synchronous feedback. However, when we work asynchronously, using a different approach is more effective: we can adopt a user-research mindset. Written feedback from teammates, stakeholders, or others can be treated as if it were the result of user interviews and surveys, and we can analyze it accordingly.

    This shift has some significant advantages, making asynchronous feedback particularly effective, especially around these friction points:

    1. It removes the pressure to reply to everyone.
    2. It lessens the annoyance of snoop-by comments.
    3. It lessens our personal stake.

    The first friction point is having to press yourself to respond to each and every comment. Sometimes we write the iteration post, and we get replies from our team. It’s just a few of them, it’s simple, and there isn’t much to worry about. But other times, some solutions might require more in-depth discussions, and the amount of replies can quickly increase, which can create a tension between trying to be a good team player by replying to everyone and doing the next design iteration. This might be especially true if the respondent is a stakeholder or a person who is directly involved in the project and whom we feel we need to speak with. We need to accept that this pressure is absolutely normal, and it’s human nature to try to accommodate people who we care about. When we treat a design critique more like user research, we realize that we don’t need to respond to every comment, and there are alternatives: In asynchronous spaces, responding to all comments can be effective.

      One is to let the next iteration speak for itself. When the design changes and we publish a follow-up iteration, that’s the response. You might tag all the people who were involved in the previous discussion, but even that’s a choice, not a requirement.
    • Another tactic is to formally acknowledge each comment in a brief response, such as” Understood. Thank you”,” Good points— I’ll review”, or” Thanks. These will be included in the upcoming iteration. In some cases, this could also be just a single top-level comment along the lines of” Thanks for all the feedback everyone—the next iteration is coming soon”!
    • Another option is to quickly summarize the comments before moving on. Depending on your workflow, this can be particularly useful as it can provide a simplified checklist that you can then use for the next iteration.

    The swoop-by comment, which is the kind of feedback that comes from a member of a team or non-project who might not be aware of the context, restrictions, decisions, or requirements, or of the discussions from earlier iterations, is the second friction point. On their side, there’s something that one can hope that they might learn: they could start to acknowledge that they’re doing this and they could be more conscious in outlining where they’re coming from. It can be annoying to have to repeat the same response repeatedly in swoop-by comments.

    Let’s begin by acknowledging again that there’s no need to reply to every comment. However, a brief response with a link to the previous discussion for additional information is typically sufficient if responding to a previously litigated point might be helpful. Remember, alignment comes from repetition, so it’s okay to repeat things sometimes!

    Swoop-by commenting can still be useful for two reasons: first, they might point out something that isn’t clear, and second, they might have the power to represent a user’s first impression of the design. Sure, you’ll still be frustrated, but that might at least help in dealing with it.

    The personal stake we might have in relation to the design could be the third friction point, which might cause us to feel defensive if the review turned out to be more of a discussion. Treating feedback as user research helps us create a healthy distance between the people giving us feedback and our ego ( because yes, even if we don’t want to admit it, it’s there ). In the end, putting everything in aggregate form helps us to prioritize our work more.

    Always remember that while you need to listen to stakeholders, project owners, and specific advice, you don’t have to accept every piece of feedback. You must examine it and come to a decision that can be justified, but sometimes “no” is the best choice.

    As the designer leading the project, you’re in charge of that decision. In the end, everyone has their area of specialization, and the designer is the one with the most background and knowledge to make the right choice. And by listening to the feedback that you’ve received, you’re making sure that it’s also the best and most balanced decision.

    Thanks to Mike Shelton and Brie Anne Demkiw for their contributions to the initial draft of this article.

  • Designing for the Unexpected

    Designing for the Unexpected

    Although I’m not sure when I first heard this statement, it has stuck with me over the centuries. How do you generate solutions for scenarios you can’t think? Or create products that function on products that have not yet been created?

    Flash, Photoshop, and flexible pattern

    When I first started designing sites, my go-to technology was Photoshop. I set about making a layout that I would eventually drop content into a 960px cloth. The growth phase was about attaining pixel-perfect precision using set widths, fixed levels, and absolute setting.

    All of this was altered by Ethan Marcotte’s 2010 post in A List Off entitled” Responsive Web Design.” I was sold on reactive style as soon as I heard about it, but I was even terrified. The pixel-perfect models full of special figures that I had formerly prided myself on producing were no longer good enough.

    My first encounter with reactive style didn’t help my fear. My second project was to get an active fixed-width website and make it reactive. I quickly realized that you didn’t just put responsiveness at the end of a job. To make smooth design, you need to prepare throughout the style stage.

    A new way to style

    Making articles accessible to all devices a priority when designing responsive or liquid websites has always been the goal. It relies on the use of percentage-based design, which I immediately achieved with local CSS and power groups:

    .column-span-6 { width: 49%; float: left; margin-right: 0.5%; margin-left: 0.5%;}.column-span-4 { width: 32%; float: left; margin-right: 0.5%; margin-left: 0.5%;}.column-span-3 { width: 24%; float: left; margin-right: 0.5%; margin-left: 0.5%;}

    Therefore with Sass but that I could use @includes to re-use repeated blocks of code and transition to more semantic html:

    .logo { @include colSpan(6);}.search { @include colSpan(3);}.social-share { @include colSpan(3);}

    Media answers

    The next ingredient for flexible design is press queries. Without them, regardless of whether the information was still readable, may reduce to fit the available space.

    Media answers prevented this by allowing us to add breakpoints where the design could adapt. Like most people, I started out with three breakpoints: one for desktop, one for tablets, and one for mobile. Over the years, I added more and more for phablets, wide screens, and so on. 

    For years, I happily worked this way and improved both my design and front-end skills in the process. The only problem I encountered was making changes to content, since with our Sass grid system in place, there was no way for the site owners to add content without amending the markup—something a small business owner might struggle with. This is because each row in the grid was defined using a div as a container. Adding content meant creating new row markup, which requires a level of HTML knowledge.

    String premium was a mainstay of early flexible design, present in all the frequently used systems like Bootstrap and Skeleton.

    1 of 7
    2 of 7
    3 of 7
    4 of 7
    5 of 7
    6 of 7
    7 of 7

    Another difficulty arose as I moved from a design firm building websites for tiny- to medium-sized companies, to larger in-house teams where I worked across a collection of related sites. In those capacities, I began to work many more with washable pieces.

    Our rely on multimedia queries resulted in parts that were tied to frequent screen sizes. If the goal of part libraries is modify, then this is a real problem because you can just use these components if the devices you’re designing for correspond to the viewport sizes used in the pattern library—in the process never really hitting that “devices that don’t already occur” goal.

    Then there’s the problem of space. Media answers allow components to adapt based on the viewport size, but what if I put a component into a sidebar, like in the figure below?

    Container queries: our savior or a false dawn?

    Container queries have long been touted as an improvement upon media queries, but at the time of writing are unsupported in most browsers. Although there are JavaScript workarounds, they can lead to dependability and compatibility issues. The basic theory underlying container queries is that elements should change based on the size of their parent container and not the viewport width, as seen in the following illustrations.

    One of the biggest arguments in favor of container queries is that they help us create components or design patterns that are truly reusable because they can be picked up and placed anywhere in a layout. This is an important step in moving toward a form of component-based design that works at any size on any device.

    In other words, responsive layouts are to be replaced by responsive components.

    Container queries will help us move from designing pages that respond to the browser or device size to designing components that can be placed in a sidebar or in the main content, and respond accordingly.

    My issue is that layout is still used to determine when a design needs to adapt. This approach will always be restrictive, as we will still need pre-defined breakpoints. For this reason, my main question with container queries is, How would we decide when to change the CSS used by a component?

    A component library that is disconnected from context and real content is probably not the best place to make that choice.

    As the diagrams below illustrate, we can use container queries to create designs for specific container widths, but what if I want to change the design based on the image size or ratio?

    In this example, the dimensions of the container are not what should dictate the design, rather, the image is.

    Without reliable cross-browser support for them, it’s difficult to say for certain whether container queries will be successful. Responsive component libraries would definitely evolve how we design and would improve the possibilities for reuse and design at scale. However, we might always need to modify these elements to fit our content.

    CSS is changing

    Whilst the container query debate rumbles on, there have been numerous advances in CSS that change the way we think about design. The days of fixed-width elements measured in pixels and floated div elements used to cobble layouts together are long gone, consigned to history along with table layouts. Flexbox and CSS Grid have revolutionized layouts for the web. We can now create elements that wrap onto new rows when they run out of space, not when the device changes.

    .wrapper { display: grid; grid-template-columns: repeat(auto-fit, 450px); gap: 10px;}

    The repeat() function paired with auto-fit or auto-fill allows us to specify how much space each column should use while leaving it up to the browser to decide when to spill the columns onto a new line. Similar things can be achieved with Flexbox, as elements can wrap over multiple rows and “flex” to fill available space. 

    .wrapper { display: flex; flex-wrap: wrap; justify-content: space-between;}.child { flex-basis: 32%; margin-bottom: 20px;}

    The biggest benefit of all of this is that you don’t need to wrap any containers in rows. Without rows, content isn’t tied to page markup in quite the same way, allowing for removals or additions of content without additional development.

    This is a big step forward when it comes to creating designs that allow for evolving content, but the real game changer for flexible designs is CSS Subgrid.

    Remember the days of crafting perfectly aligned interfaces, only for the customer to add an unbelievably long header almost as soon as they’re given CMS access, like the illustration below?

    Subgrid allows elements to respond to adjustments in their own content and in the content of sibling elements, helping us create designs more resilient to change.

    .wrapper { display: grid; grid-template-columns: repeat(auto-fit, minmax(150px, 1fr)); grid-template-rows: auto 1fr auto; gap: 10px;}.sub-grid { display: grid; grid-row: span 3; grid-template-rows: subgrid; /* sets rows to parent grid */}

    CSS Grid allows us to separate layout and content, thereby enabling flexible designs. Meanwhile, Subgrid allows us to create designs that can adapt in order to suit morphing content. Subgrid is only supported by Firefox at the time of writing, but the above code can be implemented behind an @supports feature query.

    Intrinsic layouts

    I’d be remiss not to mention intrinsic layouts, a term used by Jen Simmons to describe a mix of contemporary and traditional CSS features used to create layouts that respond to available space.

    Responsive layouts have flexible columns using percentages. Intrinsic layouts, on the other hand, use the fr unit to create flexible columns that won’t ever shrink so much that they render the content illegible.

    frunits is a statement that says,” I want you to distribute the extra space in this way, but… don’t ever make it smaller than the content that is inside of it.”

    —Jen Simmons,” Designing Intrinsic Layouts”

    Additionally, intrinsic layouts can mix and match both fixed and flexible units, letting the content choose how much space is taken up.

    What makes intrinsic design stand out is that it not only creates designs that can withstand future devices but also helps scale design without losing flexibility. Without having to have the same breakpoints or content as in the previous implementation, components and patterns can be removed and reused.

    We can now create designs that adapt to the space they have, the content within them, and the content around them. We can create responsive components using an intrinsic approach without relying on container queries.

    Another 2010 moment?

    This intrinsic approach should in my view be every bit as groundbreaking as responsive web design was ten years ago. It’s another instance of “everything changed,” in my opinion.

    But it doesn’t seem to be moving quite as fast, I haven’t yet had that same career-changing moment I had with responsive design, despite the widely shared and brilliant talk that brought it to my attention.

    One possible explanation for that might be that I now work for a sizable company, which is significantly different from the role I held as a design agency in 2010: In my agency days, every new project was a clean slate, a chance to try something new. Nowadays, projects use existing tools and frameworks and are often improvements to existing websites with an existing codebase.

    Another possibility is that I now feel more prepared for change. In 2010 I was new to design in general, the shift was frightening and required a lot of learning. Additionally, an intrinsic approach isn’t exactly all-new; it’s about applying existing skills and CSS knowledge in a unique way.

    You can’t framework your way out of a content problem

    Another reason for the slightly slower adoption of intrinsic design could be the lack of quick-fix framework solutions available to kick-start the change.

    Ten years ago, responsive grid systems were everywhere. With a framework like Bootstrap or Skeleton, you had a responsive design template at your fingertips.

    Because having a selection of units is a benefit when creating layout templates, intrinsic design and frameworks do not go hand in hand quite as well. The beauty of intrinsic design is combining different units and experimenting with techniques to get the best for your content.

    And then there are design tools. We probably all used Photoshop templates for desktop, tablet, and mobile devices at some point in our careers to drop designs in and demonstrate how the site would look at each of the three stages.

    How do you do that now, with each component responding to content and layouts flexing as and when they need to? This kind of design must take place in the browser, which is something I’m very fond of.

    The debate about “whether designers should code” is another that has rumbled on for years. When designing a digital product, we should, at the very least, design for a best- and worst-case scenario when it comes to content. It’s not ideal to do this in a graphics-based software package. In code, we can add longer sentences, more radio buttons, and extra tabs, and watch in real time as the design adapts. Does it continue to function? Is the design too reliant on the current content?

    Personally, I look forward to the day intrinsic design is the standard for design, when a design component can be truly flexible and adapt to both its space and content with no reliance on device or container dimensions.

    First, the content

    Content is not constant. After all, to design for the unanticipated or unexpected, we must take into account changes in content, like in our earlier Subgrid card illustration, which allowed the cards to modify both their own content and that of their sibling components.

    Thankfully, there’s more to CSS than layout, and plenty of properties and values can help us put content first. Subgrid and pseudo-elements like ::first-line and ::first-letter help to separate design from markup so we can create designs that allow for changes.

    Instead of dated markup tricks like this —

    First line of text with different styling...

    —we can target content based on where it appears.

    .element::first-line { font-size: 1.4em;}.element::first-letter { color: red;}

    Much bigger additions to CSS include logical properties, which change the way we construct designs using logical dimensions (start and end) instead of physical ones (left and right), something CSS Grid also does with functions like min(), max(), and clamp().

    This flexibility allows for directional changes according to content, a common requirement when we need to present content in multiple languages. In the past, this was often achieved with Sass mixins but was often limited to switching from left-to-right to right-to-left orientation.

    Directional variables must be specified in the Sass version.

    $direction: rtl;$opposite-direction: ltr;$start-direction: right;$end-direction: left;

    These variables can be used as values—

    body { direction: $direction; text-align: $start-direction;}

    —or as real estate.

    margin-#{$end-direction}: 10px;padding-#{$start-direction}: 10px;

    However, now we have native logical properties, removing the reliance on both Sass ( or a similar tool ) and pre-planning that necessitated using variables throughout a codebase. These properties also start to break apart the tight coupling between a design and strict physical dimensions, creating more flexibility for changes in language and in direction.

    margin-block-end: 10px;padding-block-start: 10px;

    There are also native start and end values for properties like text-align, which means we can replace text-align: right with text-align: start.

    Like the earlier examples, these properties help to build out designs that aren’t constrained to one language, the design will reflect the content’s needs.

    Fluid and fixed

    We briefly covered the power of combining fixed widths with fluid widths with intrinsic layouts. The min() and max() functions are a similar concept, allowing you to specify a fixed value with a flexible alternative. 

    For min() this means setting a fluid minimum value and a maximum fixed value.

    .element { width: min(50%, 300px);}

    The element in the figure above will be 50 % of its container as long as the element’s width doesn’t exceed 300px.

    For max() we can set a flexible max value and a minimum fixed value.

    .element { width: max(50%, 300px);}

    Now the element will be 50 % of its container as long as the element’s width is at least 300px. This means we can set limits but allow content to react to the available space.

    The clamp() function builds on this by allowing us to set a preferred value with a third parameter. Now we can allow the element to shrink or grow if it needs to without getting to a point where it becomes unusable.

    .element { width: clamp(300px, 50%, 600px);}

    This time, the element’s width will be 50 % of its container’s preferred value, with no exceptions for 300px and 600px.

    With these techniques, we have a content-first approach to responsive design. We can separate content from markup, meaning the changes users make will not affect the design. By making plans for unanticipated changes in language or direction, we can begin to future-proof designs. And we can increase flexibility by setting desired dimensions alongside flexible alternatives, allowing for more or less content to be displayed correctly.

    First, the situation

    Thanks to what we’ve discussed so far, we can cover device flexibility by changing our approach, designing around content and space instead of catering to devices. But what about that last bit of Jeffrey Zeldman’s quote,”… situations you haven’t imagined”?

    It’s a lot different to design for someone using a mobile phone and walking through a crowded street in glaring sunshine than it is for someone using a desktop computer. Situations and environments are hard to plan for or predict because they change as people react to their own unique challenges and tasks.

    This is why making a decision is so crucial. One size never fits all, so we need to design for multiple scenarios to create equal experiences for all our users.

    Thankfully, there is a lot we can do to provide choice.

    Responsible design

    ” There are parts of the world where mobile data is prohibitively expensive, and where there is little or no broadband infrastructure”.

    On a 50 MB budget, I spent a day surfing the web.

    Chris Ashton

    One of the biggest assumptions we make is that people interacting with our designs have a good wifi connection and a wide screen monitor. However, in the real world, our users may be commuters using smaller mobile devices that may experience drops in connectivity while traveling on trains or other modes of transportation. There is nothing more frustrating than a web page that won’t load, but there are ways we can help users use less data or deal with sporadic connectivity.

    The srcset attribute allows the browser to decide which image to serve. This means we can create smaller ‘cropped’ images to display on mobile devices in turn using less bandwidth and less data.

    Image alt text

    The preload attribute can also help us to think about how and when media is downloaded. It can be used to tell a browser about any critical assets that need to be downloaded with high priority, improving perceived performance and the user experience. 

      

    There’s also native lazy loading, which indicates assets that should only be downloaded when they are needed.

    …

    With srcset, preload, and lazy loading, we can start to tailor a user’s experience based on the situation they find themselves in. What none of this does, however, is allow the user themselves to decide what they want downloaded, as the decision is usually the browser’s to make. 

    So how can we put users in control?

    The return of media inquiries

    Media answers have always been about much more than device sizes. They allow content to adapt to different situations, with screen size being just one of them.

    We’ve long been able to check for media types like print and speech and features such as hover, resolution, and color. These checks allow us to provide options that suit more than one scenario, it’s less about one-size-fits-all and more about serving adaptable content.

    The Level 5 spec for Media Queries is still being developed as of this writing. It introduces some really exciting queries that in the future will help us design for multiple other unexpected situations.

    For instance, a light-level option lets you alter a user’s style when they are in the dark or in the sun. Paired with custom properties, these features allow us to quickly create designs or themes for specific environments.

    @media (light-level: normal) { --background-color: #fff; --text-color: #0b0c0c; }@media (light-level: dim) { --background-color: #efd226; --text-color: #0b0c0c;}

    Another key feature of the Level 5 spec is personalization. Instead of creating designs that are the same for everyone, users can choose what works for them. This is achieved by using features like prefers-reduced-data, prefers-color-scheme, and prefers-reduced-motion, the latter two of which already enjoy broad browser support. These features tap into preferences set via the operating system or browser so people don’t have to spend time making each site they visit more usable. 

    Media answers like this go beyond choices made by a browser to grant more control to the user.

    Expect the unexpected

    In the end, the one thing we should always anticipate is that things will change. Devices in particular change faster than we can keep up, with foldable screens already on the market.

    We can design for content, but we can’t do it the same way we do for this constantly changing landscape. By putting content first and allowing that content to adapt to whatever space surrounds it, we can create more robust, flexible designs that increase the longevity of our products.

    A lot of the CSS discussed here is about moving away from layouts and putting content at the heart of design. There is a lot more we can do to adopt a more intrinsic approach, from responsive components to fixed and fluid units. Even better, we can test these techniques during the design phase by designing in-browser and watching how our designs adapt in real-time.

    When it comes to unexpected circumstances, we need to make sure our goods are accessible whenever and wherever needed. We can move closer to achieving this by involving users in our design decisions, by creating choice via browsers, and by giving control to our users with user-preference-based media queries.

    Good design for the unexpected should allow for change, provide choice, and give control to those we serve: our users themselves.