Blog

  • Opportunities for AI in Accessibility

    Opportunities for AI in Accessibility

    I was completely moved by Joe Dolson’s subsequent article on the crossroads of AI and availability because I found it to be both skeptical about how widespread use of AI is. In fact, I’m very skeptical of AI myself, despite my role at Microsoft as an accessibility technology strategist who helps manage the AI for Accessibility award program. AI can be used in quite productive, equitable, and accessible ways, as well as harmful, exclusive, and harmful ways, just like with any tool. And there are a lot of uses for the poor center as well.

    I’d like you to consider this a “yes … and” piece to complement Joe’s post. I’m just trying to reject what he’s saying, but I’m just trying to give some context to initiatives and opportunities where AI can make a difference for people with disabilities. I want to take some time to talk about what’s possible in hope that we’ll get there one day. I’m no saying that there aren’t real challenges or pressing problems with AI that need to be addressed; there are.

    Other words

    Joe’s article spends a lot of time addressing computer-vision types ‘ ability to create alternative words. He raises a lot of valid points about the state of the world right now. And while computer-vision concepts continue to improve in the quality and complexity of information in their information, their benefits aren’t wonderful. He argues to be accurate that the state of image research is currently very poor, especially for some image types, in large part due to the absence of contextual contexts in which to look at images ( as a result of having separate “foundation” models for words analysis and image analysis ). Today’s models aren’t trained to distinguish between images that are contextually relevant ( which should probably have descriptions ) and those that are purely decorative ( which might not even need a description ) either. Nonetheless, I still think there’s possible in this area.

    As Joe points out, alt text editing via human-in-the-loop should be a given. And if AI can intervene to provide a starting place for alt text, even if the swift might say What is this BS? That’s not correct at all … Let me try to offer a starting point— I think that’s a gain.

    If we can specifically station a design to examine image usage in context, it might help us more quickly determine which images are likely to be elegant and which ones are likely to need a description. That will help clarify which situations require image descriptions, and it will increase authors ‘ effectiveness in making their sites more visible.

    While complex images—like graphs and charts—are challenging to describe in any sort of succinct way ( even for humans ), the image example shared in the GPT4 announcement points to an interesting opportunity as well. Let’s say you came across a map that merely stated the chart’s name and the type of representation it was:” Pie chart comparing smartphone use to have phone usage in US households making under$ 30, 000 annually.” ( That would be a pretty bad alt text for a chart because it would frequently leave many unanswered questions about the data, but let’s just assume that that was the description in place. ) If your browser knew that that image was a pie chart ( because an onboard model concluded this ), imagine a world where users could ask questions like these about the graphic:

    • Do more people use smartphones or other types of smartphones?
    • How many more?
    • Is there a group of people that don’t fall into either of these buckets?
    • What number is that?

    For a moment, the chance to learn more about images and data in this way could be revolutionary for people with low vision and blindness as well as for those with various forms of color blindness, cognitive disabilities, and other issues. It could also be useful in educational contexts to help people who can see these charts, as is, to understand the data in the charts.

    What if you could ask your browser to make a complicated chart simpler? What if you asked it to separate a single line from a line graph? What if you could ask your browser to transpose the colors of the different lines to work better for form of color blindness you have? What if you asked it to switch colors in favor of patterns? That seems like a possibility given the chat-based interfaces and our current ability to manipulate images in modern AI tools.

    Now imagine a purpose-built model that could extract the information from that chart and convert it to another format. Perhaps it could convert that pie chart (or, better yet, a series of pie charts ) into more usable ( and useful ) formats, like spreadsheets, for instance. That would be incredible!

    Matching algorithms

    When Safiya Umoja Noble chose to write her book Algorithms of Oppression, she hit the nail on the head. Although her book focused on the ways that search engines can foster racism, I believe it to be equally accurate to say that all computer models have the potential to amplify conflict, bias, and intolerance. Whether it’s Twitter always showing you the latest tweet from a bored billionaire, YouTube sending us into a Q-hole, or Instagram warping our ideas of what natural bodies look like, we know that poorly authored and maintained algorithms are incredibly harmful. A large portion of this is attributable to the lack of diversity in those who create and shape them. However, when these platforms are built with inclusive features in mind, there is real potential for algorithm development to help people with disabilities.

    Take Mentra, for example. They serve as a network of people with disabilities. Based on more than 75 data points, they match job seekers with potential employers using an algorithm. On the job-seeker side of things, it considers each candidate’s strengths, their necessary and preferred workplace accommodations, environmental sensitivities, and so on. It takes into account the workplace, the communication environment, and other factors. Mentra made the decision to change the script when it came to typical employment websites because it was run by neurodivergent people. They use their algorithm to propose available candidates to companies, who can then connect with job seekers that they are interested in, reducing the emotional and physical labor on the job-seeker side of things.

    When more people with disabilities are involved in the development of algorithms, this can lower the likelihood that these algorithms will harm their communities. That’s why diverse teams are so crucial.

    Imagine that a social media company’s recommendation engine was tuned to analyze who you’re following and if it was tuned to prioritize follow recommendations for people who talked about similar things but who were different in some key ways from your existing sphere of influence. For instance, if you follow a group of white men who are not white or aren’t white and who also discuss AI, it might be wise to follow those who are also disabled or who are not white. If you followed its advice, you might be able to understand what is happening in the AI field more fully and nuancedly. These same systems should also use their understanding of biases about particular communities—including, for instance, the disability community—to make sure that they aren’t recommending any of their users follow accounts that perpetuate biases against (or, worse, spewing hate toward ) those groups.

    Other ways that AI can assist people with disabilities

    If I weren’t attempting to combine this with other tasks, I’m sure I could go on and on, giving various examples of how AI could be used to assist people with disabilities, but I’m going to make this last section into a bit of a lightning round. In no particular order:

      Voice preservation You may be aware of the voice-prescribing options from Microsoft, Acapela, or others, or you may have seen the announcement for VALL-E or Apple’s Global Accessibility Awareness Day. It’s possible to train an AI model to replicate your voice, which can be a tremendous boon for people who have ALS ( Lou Gehrig’s disease ) or motor-neuron disease or other medical conditions that can lead to an inability to talk. We need to approach this tech responsibly because it has the potential to have a truly transformative impact, which is why it can also be used to create audio deepfakes.
    • Voice recognition. Researchers like those in the Speech Accessibility Project are paying people with disabilities for their help in collecting recordings of people with atypical speech. As I type, they are actively seeking out people who have Parkinson’s and related conditions, and they intend to expand this list as the project develops. More people with disabilities will be able to use voice assistants, dictation software, and voice-response services as a result of this research, which will result in more inclusive data sets that will enable them to use their computers and other devices more easily and with just their voices.
    • Text transformation. LLMs of the current generation are quite capable of changing text without creating hallucinations. This is incredibly empowering for those who have cognitive disabilities and who may benefit from text summaries, simplified versions, or even text that has been prepared for Bionic Reading.

    The importance of diverse teams and data

    We must acknowledge that our differences matter. The intersections of the identities we live in have an impact on our lived experiences. These lived experiences—with all their complexities ( and joys and pain ) —are valuable inputs to the software, services, and societies that we shape. Our differences must be reflected in the data we use to develop new models, and those who provide it need to be compensated for doing so. Stronger models can be created using inclusive data sets, which lead to more equitable outcomes.

    Want a model that doesn’t demean or patronize or objectify people with disabilities? Make sure that you include information about disabilities that has been written by people with a variety of disabilities in the training data.

    Want a non-binary language model? You may be able to use existing data sets to build a filter that can intercept and remediate ableist language before it reaches readers. Despite this, AI models won’t soon replace human copy editors when it comes to sensitivity reading.

    Want a copilot for coding that provides recommendations that are accessible after the jump? Train it on code that you know to be accessible.


    I have no doubts about how dangerous AI can and will be for people today, tomorrow, and for the rest of the world. However, I also think that we can acknowledge this and make thoughtful, thoughtful, and intentional changes in our approaches to AI that will reduce harm over time as well. Today, tomorrow, and well into the future.


    Many thanks to Kartik Sawhney for supporting the development of this article, Ashley Bischoff for providing me with invaluable editorial support, and of course, Joe Dolson for the prompt.

  • The Wax and the Wane of the Web

    The Wax and the Wane of the Web

    When you begin to believe you have everything figured out, everyone does change, in my experience. Simply as you start to get the hang of injections, diapers, and ordinary sleep, it’s time for solid foods, potty training, and nighttime sleep. When those are determined, school and occasional naps are in order. The cycle goes on and on.

    The same holds true for those of us who are currently employed in design and development. Having worked on the web for about three years at this point, I’ve seen the typical wax and wane of concepts, strategies, and systems. Every day we as developers and designers re-enter a routine music, a brand-new concept or technology emerges to shake things up and completely alter our world.

    How we got below

    I built my first website in the mid-’90s. Design and development on the web back then was a free-for-all, with few established norms. For any layout aside from a single column, we used table elements, often with empty cells containing a single pixel spacer GIF to add empty space. We styled text with numerous font tags, nesting the tags every time we wanted to vary the font style. And we had only three or four typefaces to choose from: Arial, Courier, or Times New Roman. When Verdana and Georgia came out in 1996, we rejoiced because our options had nearly doubled. The only safe colors to choose from were the 216 “web safe” colors known to work across platforms. The few interactive elements (like contact forms, guest books, and counters) were mostly powered by CGI scripts (predominantly written in Perl at the time). Achieving any kind of unique look involved a pile of hacks all the way down. Interaction was often limited to specific pages in a site.

    online requirements were born.

    At the turn of the century, a new cycle started. Crufty code littered with table layouts and font tags waned, and a push for web standards waxed. Newer technologies like CSS got more widespread adoption by browsers makers, developers, and designers. This shift toward standards didn’t happen accidentally or overnight. It took active engagement between the W3C and browser vendors and heavy evangelism from folks like the Web Standards Project to build standards. A List Apart and books like Designing with Web Standards by Jeffrey Zeldman played key roles in teaching developers and designers why standards are important, how to implement them, and how to sell them to their organizations. And approaches like progressive enhancement introduced the idea that content should be available for all browsers—with additional enhancements available for more advanced browsers. Meanwhile, sites like the CSS Zen Garden showcased just how powerful and versatile CSS can be when combined with a solid semantic HTML structure.

    Server-side language like PHP, Java, and.NET took Perl as the primary back-end computers, and the cgi-bin was tossed in the garbage bin. With these improved server-side equipment, the first period of internet programs started with content-management methods (especially those used in blogs like Blogger, Grey Matter, Movable Type, and WordPress ) In the mid-2000s, AJAX opened gates for sequential interaction between the front end and back close. Pages had now revise their content without having to reload. A crop of Script frameworks like Prototype, YUI, and ruby arose to aid developers develop more credible client-side interaction across browsers that had wildly varying levels of standards support. Techniques like image replacement enable skilled designers and developers to use fonts of their choosing. And technologies like Flash made it possible to add animations, games, and even more interactivity.

    These new methods, standards, and technologies greatly reenergized the sector. Web design flourished as designers and developers explored more diverse styles and layouts. However, we still relied heavily on numerous hacks. Early CSS was a huge improvement over table-based layouts when it came to basic layout and text styling, but its limitations at the time meant that designers and developers still relied heavily on images for complex shapes ( such as rounded or angled corners ) and tiled backgrounds for the appearance of full-length columns (among other hacks ). All kinds of nested floats or absolute positioning ( or both ) were necessary for complicated layouts. Flash and image replacement for custom fonts was a great start toward varying the typefaces from the big five, but both hacks introduced accessibility and performance problems. And JavaScript libraries made it simple for anyone to add a dash of interaction to pages, even at the expense of double, even quadrupling, the download size of basic websites.

    The web as software platform

    The balance between the front end and the back end continued to improve, leading to the development of the current web application era. Between expanded server-side programming languages ( which kept growing to include Ruby, Python, Go, and others ) and newer front-end tools like React, Vue, and Angular, we could build fully capable software on the web. Along with these tools, there were additional options, such as shared package libraries, build automation, and collaborative version control. What was once primarily an environment for linked documents became a realm of infinite possibilities.

    Mobile devices increased in their capabilities as well, and they gave us access to the internet while we were traveling. Mobile apps and responsive design opened up opportunities for new interactions anywhere and any time.

    This fusion of potent mobile devices and potent development tools contributed to the growth of social media and other centralized tools for user interaction and consumption. As it became easier and more common to connect with others directly on Twitter, Facebook, and even Slack, the desire for hosted personal sites waned. Social media provided connections on a global scale, with both the positive and negative effects.

    Want a much more extensive history of how we got here, with some other takes on ways that we can improve? ” Of Time and the Web” was written by Jeremy Keith. Or check out the” Web Design History Timeline” at the Web Design Museum. Additionally, Neal Agarwal takes a fascinating tour of” Internet Artifacts.”

    Where we are now

    It seems like we’ve reached yet another significant turning point in the last couple of years. As social-media platforms fracture and wane, there’s been a growing interest in owning our own content again. From the tried-and-true classic of hosting plain HTML files to static site generators and content management systems of all kinds, there are many different ways to create websites. The fracturing of social media also comes with a cost: we lose crucial infrastructure for discovery and connection. Webmentions, RSS, ActivityPub, and other IndieWeb tools can be useful in this regard, but they’re still largely underdeveloped and difficult to use for the less geeky. We can build amazing personal websites and add to them regularly, but without discovery and connection, it can sometimes feel like we may as well be shouting into the void.

    Browser support for CSS, JavaScript, and other web components has increased, particularly with initiatives like Interop. New technologies gain support across the board in a fraction of the time that they used to. I frequently find out about a new feature and check its browser support only to discover that its coverage has already exceeded 80 %. Nowadays, the barrier to using newer techniques often isn’t browser support but simply the limits of how quickly designers and developers can learn what’s available and how to adopt it.

    We can now prototype almost any idea with just a few commands and a few lines of code. All the tools that we now have available make it easier than ever to start something new. However, as we upgrade and maintain these frameworks, we eventually pay the upfront costs that these frameworks may initially save in terms of our technical debt.

    If we rely on third-party frameworks, adopting new standards can sometimes take longer since we may have to wait for those frameworks to adopt those standards. These frameworks, which previously made it easier to adopt new techniques sooner, have since evolved into obstacles. These same frameworks often come with performance costs too, forcing users to wait for scripts to load before they can read or interact with pages. And frequently, when scripts fail ( whether due to poor code, network problems, or other environmental factors ), users are left with blank or broken pages.

    Where do we go from here?

    Hacks of today help to shape standards for tomorrow. And there’s nothing inherently wrong with embracing hacks —for now—to move the present forward. Problems only arise when we refuse to acknowledge that they are hacks or when we choose not to replace them. So what can we do to create the future we want for the web?

    Build for the long haul. Optimize for performance, for accessibility, and for the user. weigh the price of those user-friendly tools. They may make your job a little easier today, but how do they affect everything else? What is the cost to the users? To future developers? To adoption of standards? Sometimes the convenience may be worth it. Sometimes it’s just a hack that you’ve gotten used to. And sometimes it’s holding you back from even better options.

    Start with the basics. Standards continue to evolve over time, but browsers have done a remarkably good job of continuing to support older standards. The same holds true for third-party frameworks, though. Sites built with even the hackiest of HTML from the’ 90s still work just fine today. The same can’t be said about websites created with frameworks even after a few years.

    Design with care. Consider the effects of each choice, whether your craft is code, pixels, or processes. The convenience of many a modern tool comes at the cost of not always understanding the underlying decisions that have led to its design and not always considering the impact that those decisions can have. Use the time saved by modern tools to think more carefully and make decisions with care rather than rushing to “move fast and break things”

    Always be learning. If you’re constantly learning, you’re also developing. Sometimes it may be hard to pinpoint what’s worth learning and what’s just today’s hack. Even if you were to concentrate solely on learning standards, you might end up focusing on something that won’t matter next year. ( Remember XHTML? ) However, ongoing learning opens up new neural connections, and the techniques you learn in one day may be useful for guiding future experiments.

    Play, experiment, and be weird! This website we created is the most incredible experiment. It’s the single largest human endeavor in history, and yet each of us can create our own pocket within it. Be brave and make new friends. Build a playground for ideas. Create absurd experiments in your own crazy science lab. Start your own small business. There is no better place for being more creative, risk-taking, and expressing our creativity.

    Share and amplify. Share what you think has worked for you as you experiment, play, and learn. Write on your own website, post on whichever social media site you prefer, or shout it from a TikTok. Write something for A List Apart! But take the time to amplify others too: find new voices, learn from them, and share what they’ve taught you.

    Make a move and make it happen.

    As designers and developers for the web ( and beyond ), we’re responsible for building the future every day, whether that may take the shape of personal websites, social media tools used by billions, or anything in between. Let’s incorporate our values into the products we produce, and let’s improve the world for everyone. Create that thing that only you are uniquely qualified to make. Then share it, improve it, re-use it, or create something new. Learn. Make. Share. grow. Rinse and repeat. Everything will change whenever you believe you’ve mastered the web.

  • To Ignite a Personalization Practice, Run this Prepersonalization Workshop

    To Ignite a Personalization Practice, Run this Prepersonalization Workshop

    Picture this. You’ve joined a squad at your company that’s designing new product features with an emphasis on automation or AI. Or your company has just implemented a personalization engine. Either way, you’re designing with data. Now what? When it comes to designing for personalization, there are many cautionary tales, no overnight successes, and few guides for the perplexed. 

    Between the fantasy of getting it right and the fear of it going wrong—like when we encounter “persofails” in the vein of a company repeatedly imploring everyday consumers to buy additional toilet seats—the personalization gap is real. It’s an especially confounding place to be a digital professional without a map, a compass, or a plan.

    For those of you venturing into personalization, there’s no Lonely Planet and few tour guides because effective personalization is so specific to each organization’s talent, technology, and market position. 

    But you can ensure that your team has packed its bags sensibly.

    There’s a DIY formula to increase your chances for success. At minimum, you’ll defuse your boss’s irrational exuberance. Before the party you’ll need to effectively prepare.

    We call it prepersonalization.

    Behind the music

    Consider Spotify’s DJ feature, which debuted this past year.

    We’re used to seeing the polished final result of a personalization feature. Before the year-end award, the making-of backstory, or the behind-the-scenes victory lap, a personalized feature had to be conceived, budgeted, and prioritized. Before any personalization feature goes live in your product or service, it lives amid a backlog of worthy ideas for expressing customer experiences more dynamically.

    So how do you know where to place your personalization bets? How do you design consistent interactions that won’t trip up users or—worse—breed mistrust? We’ve found that for many budgeted programs to justify their ongoing investments, they first needed one or more workshops to convene key stakeholders and internal customers of the technology. Make yours count.

    ​From Big Tech to fledgling startups, we’ve seen the same evolution up close with our clients. In our experiences with working on small and large personalization efforts, a program’s ultimate track record—and its ability to weather tough questions, work steadily toward shared answers, and organize its design and technology efforts—turns on how effectively these prepersonalization activities play out.

    Time and again, we’ve seen effective workshops separate future success stories from unsuccessful efforts, saving countless time, resources, and collective well-being in the process.

    A personalization practice involves a multiyear effort of testing and feature development. It’s not a switch-flip moment in your tech stack. It’s best managed as a backlog that often evolves through three steps: 

    1. customer experience optimization (CXO, also known as A/B testing or experimentation)
    2. always-on automations (whether rules-based or machine-generated)
    3. mature features or standalone product development (such as Spotify’s DJ experience)

    This is why we created our progressive personalization framework and why we’re field-testing an accompanying deck of cards: we believe that there’s a base grammar, a set of “nouns and verbs” that your organization can use to design experiences that are customized, personalized, or automated. You won’t need these cards. But we strongly recommend that you create something similar, whether that might be digital or physical.

    Set your kitchen timer

    How long does it take to cook up a prepersonalization workshop? The surrounding assessment activities that we recommend including can (and often do) span weeks. For the core workshop, we recommend aiming for two to three days. Here’s a summary of our broader approach along with details on the essential first-day activities.

    The full arc of the wider workshop is threefold:

    1. Kickstart: This sets the terms of engagement as you focus on the opportunity as well as the readiness and drive of your team and your leadership. .
    2. Plan your work: This is the heart of the card-based workshop activities where you specify a plan of attack and the scope of work.
    3. Work your plan: This phase is all about creating a competitive environment for team participants to individually pitch their own pilots that each contain a proof-of-concept project, its business case, and its operating model.

    Give yourself at least a day, split into two large time blocks, to power through a concentrated version of those first two phases.

    Kickstart: Whet your appetite

    We call the first lesson the “landscape of connected experience.” It explores the personalization possibilities in your organization. A connected experience, in our parlance, is any UX requiring the orchestration of multiple systems of record on the backend. This could be a content-management system combined with a marketing-automation platform. It could be a digital-asset manager combined with a customer-data platform.

    Spark conversation by naming consumer examples and business-to-business examples of connected experience interactions that you admire, find familiar, or even dislike. This should cover a representative range of personalization patterns, including automated app-based interactions (such as onboarding sequences or wizards), notifications, and recommenders. We have a catalog of these in the cards. Here’s a list of 142 different interactions to jog your thinking.

    This is all about setting the table. What are the possible paths for the practice in your organization? If you want a broader view, here’s a long-form primer and a strategic framework.

    Assess each example that you discuss for its complexity and the level of effort that you estimate that it would take for your team to deliver that feature (or something similar). In our cards, we divide connected experiences into five levels: functions, features, experiences, complete products, and portfolios. Size your own build here. This will help to focus the conversation on the merits of ongoing investment as well as the gap between what you deliver today and what you want to deliver in the future.

    Next, have your team plot each idea on the following 2×2 grid, which lays out the four enduring arguments for a personalized experience. This is critical because it emphasizes how personalization can not only help your external customers but also affect your own ways of working. It’s also a reminder (which is why we used the word argument earlier) of the broader effort beyond these tactical interventions.

    Each team member should vote on where they see your product or service putting its emphasis. Naturally, you can’t prioritize all of them. The intention here is to flesh out how different departments may view their own upsides to the effort, which can vary from one to the next. Documenting your desired outcomes lets you know how the team internally aligns across representatives from different departments or functional areas.

    The third and final kickstart activity is about naming your personalization gap. Is your customer journey well documented? Will data and privacy compliance be too big of a challenge? Do you have content metadata needs that you have to address? (We’re pretty sure that you do: it’s just a matter of recognizing the relative size of that need and its remedy.) In our cards, we’ve noted a number of program risks, including common team dispositions. Our Detractor card, for example, lists six stakeholder behaviors that hinder progress.

    Effectively collaborating and managing expectations is critical to your success. Consider the potential barriers to your future progress. Press the participants to name specific steps to overcome or mitigate those barriers in your organization. As studies have shown, personalization efforts face many common barriers.

    At this point, you’ve hopefully discussed sample interactions, emphasized a key area of benefit, and flagged key gaps? Good—you’re ready to continue.

    Hit that test kitchen

    Next, let’s look at what you’ll need to bring your personalization recipes to life. Personalization engines, which are robust software suites for automating and expressing dynamic content, can intimidate new customers. Their capabilities are sweeping and powerful, and they present broad options for how your organization can conduct its activities. This presents the question: Where do you begin when you’re configuring a connected experience?

    What’s important here is to avoid treating the installed software like it were a dream kitchen from some fantasy remodeling project (as one of our client executives memorably put it). These software engines are more like test kitchens where your team can begin devising, tasting, and refining the snacks and meals that will become a part of your personalization program’s regularly evolving menu.

    The ultimate menu of the prioritized backlog will come together over the course of the workshop. And creating “dishes” is the way that you’ll have individual team stakeholders construct personalized interactions that serve their needs or the needs of others.

    The dishes will come from recipes, and those recipes have set ingredients.

    Verify your ingredients

    Like a good product manager, you’ll make sure—andyou’ll validate with the right stakeholders present—that you have all the ingredients on hand to cook up your desired interaction (or that you can work out what needs to be added to your pantry). These ingredients include the audience that you’re targeting, content and design elements, the context for the interaction, and your measure for how it’ll come together. 

    This isn’t just about discovering requirements. Documenting your personalizations as a series of if-then statements lets the team: 

    1. compare findings toward a unified approach for developing features, not unlike when artists paint with the same palette; 
    2. specify a consistent set of interactions that users find uniform or familiar; 
    3. and develop parity across performance measurements and key performance indicators too. 

    This helps you streamline your designs and your technical efforts while you deliver a shared palette of core motifs of your personalized or automated experience.

    Compose your recipe

    What ingredients are important to you? Think of a who-what-when-why construct

    • Who are your key audience segments or groups?
    • What kind of content will you give them, in what design elements, and under what circumstances?
    • And for which business and user benefits?

    We first developed these cards and card categories five years ago. We regularly play-test their fit with conference audiences and clients. And we still encounter new possibilities. But they all follow an underlying who-what-when-why logic.

    Here are three examples for a subscription-based reading app, which you can generally follow along with right to left in the cards in the accompanying photo below. 

    1. Nurture personalization: When a guest or an unknown visitor interacts with  a product title, a banner or alert bar appears that makes it easier for them to encounter a related title they may want to read, saving them time.
    2. Welcome automation: When there’s a newly registered user, an email is generated to call out the breadth of the content catalog and to make them a happier subscriber.
    3. Winback automation: Before their subscription lapses or after a recent failed renewal, a user is sent an email that gives them a promotional offer to suggest that they reconsider renewing or to remind them to renew.

    A useful preworkshop activity may be to think through a first draft of what these cards might be for your organization, although we’ve also found that this process sometimes flows best through cocreating the recipes themselves. Start with a set of blank cards, and begin labeling and grouping them through the design process, eventually distilling them to a refined subset of highly useful candidate cards.

    You can think of the later stages of the workshop as moving from recipes toward a cookbook in focus—like a more nuanced customer-journey mapping. Individual “cooks” will pitch their recipes to the team, using a common jobs-to-be-done format so that measurability and results are baked in, and from there, the resulting collection will be prioritized for finished design and delivery to production.

    Better kitchens require better architecture

    Simplifying a customer experience is a complicated effort for those who are inside delivering it. Beware anyone who says otherwise. With that being said,  “Complicated problems can be hard to solve, but they are addressable with rules and recipes.”

    When personalization becomes a laugh line, it’s because a team is overfitting: they aren’t designing with their best data. Like a sparse pantry, every organization has metadata debt to go along with its technical debt, and this creates a drag on personalization effectiveness. Your AI’s output quality, for example, is indeed limited by your IA. Spotify’s poster-child prowess today was unfathomable before they acquired a seemingly modest metadata startup that now powers its underlying information architecture.

    You can definitely stand the heat…

    Personalization technology opens a doorway into a confounding ocean of possible designs. Only a disciplined and highly collaborative approach will bring about the necessary focus and intention to succeed. So banish the dream kitchen. Instead, hit the test kitchen to save time, preserve job satisfaction and security, and safely dispense with the fanciful ideas that originate upstairs of the doers in your organization. There are meals to serve and mouths to feed.

    This workshop framework gives you a fighting shot at lasting success as well as sound beginnings. Wiring up your information layer isn’t an overnight affair. But if you use the same cookbook and shared recipes, you’ll have solid footing for success. We designed these activities to make your organization’s needs concrete and clear, long before the hazards pile up.

    While there are associated costs toward investing in this kind of technology and product design, your ability to size up and confront your unique situation and your digital capabilities is time well spent. Don’t squander it. The proof, as they say, is in the pudding.

  • User Research Is Storytelling

    User Research Is Storytelling

    Ever since I was a boy, I’ve been fascinated with movies. I loved the characters and the excitement—but most of all the stories. I wanted to be an actor. And I believed that I’d get to do the things that Indiana Jones did and go on exciting adventures. I even dreamed up ideas for movies that my friends and I could make and star in. But they never went any further. I did, however, end up working in user experience (UX). Now, I realize that there’s an element of theater to UX—I hadn’t really considered it before, but user research is storytelling. And to get the most out of user research, you need to tell a good story where you bring stakeholders—the product team and decision makers—along and get them interested in learning more.

    Think of your favorite movie. More than likely it follows a three-act structure that’s commonly seen in storytelling: the setup, the conflict, and the resolution. The first act shows what exists today, and it helps you get to know the characters and the challenges and problems that they face. Act two introduces the conflict, where the action is. Here, problems grow or get worse. And the third and final act is the resolution. This is where the issues are resolved and the characters learn and change. I believe that this structure is also a great way to think about user research, and I think that it can be especially helpful in explaining user research to others.

    Use storytelling as a structure to do research

    It’s sad to say, but many have come to see research as being expendable. If budgets or timelines are tight, research tends to be one of the first things to go. Instead of investing in research, some product managers rely on designers or—worse—their own opinion to make the “right” choices for users based on their experience or accepted best practices. That may get teams some of the way, but that approach can so easily miss out on solving users’ real problems. To remain user-centered, this is something we should avoid. User research elevates design. It keeps it on track, pointing to problems and opportunities. Being aware of the issues with your product and reacting to them can help you stay ahead of your competitors.

    In the three-act structure, each act corresponds to a part of the process, and each part is critical to telling the whole story. Let’s look at the different acts and how they align with user research.

    Act one: setup

    The setup is all about understanding the background, and that’s where foundational research comes in. Foundational research (also called generative, discovery, or initial research) helps you understand users and identify their problems. You’re learning about what exists today, the challenges users have, and how the challenges affect them—just like in the movies. To do foundational research, you can conduct contextual inquiries or diary studies (or both!), which can help you start to identify problems as well as opportunities. It doesn’t need to be a huge investment in time or money.

    Erika Hall writes about minimum viable ethnography, which can be as simple as spending 15 minutes with a user and asking them one thing: “‘Walk me through your day yesterday.’ That’s it. Present that one request. Shut up and listen to them for 15 minutes. Do your damndest to keep yourself and your interests out of it. Bam, you’re doing ethnography.” According to Hall, [This] will probably prove quite illuminating. In the highly unlikely case that you didn’t learn anything new or useful, carry on with enhanced confidence in your direction.”  

    This makes total sense to me. And I love that this makes user research so accessible. You don’t need to prepare a lot of documentation; you can just recruit participants and do it! This can yield a wealth of information about your users, and it’ll help you better understand them and what’s going on in their lives. That’s really what act one is all about: understanding where users are coming from. 

    Jared Spool talks about the importance of foundational research and how it should form the bulk of your research. If you can draw from any additional user data that you can get your hands on, such as surveys or analytics, that can supplement what you’ve heard in the foundational studies or even point to areas that need further investigation. Together, all this data paints a clearer picture of the state of things and all its shortcomings. And that’s the beginning of a compelling story. It’s the point in the plot where you realize that the main characters—or the users in this case—are facing challenges that they need to overcome. Like in the movies, this is where you start to build empathy for the characters and root for them to succeed. And hopefully stakeholders are now doing the same. Their sympathy may be with their business, which could be losing money because users can’t complete certain tasks. Or maybe they do empathize with users’ struggles. Either way, act one is your initial hook to get the stakeholders interested and invested.

    Once stakeholders begin to understand the value of foundational research, that can open doors to more opportunities that involve users in the decision-making process. And that can guide product teams toward being more user-centered. This benefits everyone—users, the product, and stakeholders. It’s like winning an Oscar in movie terms—it often leads to your product being well received and successful. And this can be an incentive for stakeholders to repeat this process with other products. Storytelling is the key to this process, and knowing how to tell a good story is the only way to get stakeholders to really care about doing more research. 

    This brings us to act two, where you iteratively evaluate a design or concept to see whether it addresses the issues.

    Act two: conflict

    Act two is all about digging deeper into the problems that you identified in act one. This usually involves directional research, such as usability tests, where you assess a potential solution (such as a design) to see whether it addresses the issues that you found. The issues could include unmet needs or problems with a flow or process that’s tripping users up. Like act two in a movie, more issues will crop up along the way. It’s here that you learn more about the characters as they grow and develop through this act. 

    Usability tests should typically include around five participants according to Jakob Nielsen, who found that that number of users can usually identify most of the problems: “As you add more and more users, you learn less and less because you will keep seeing the same things again and again… After the fifth user, you are wasting your time by observing the same findings repeatedly but not learning much new.” 

    There are parallels with storytelling here too; if you try to tell a story with too many characters, the plot may get lost. Having fewer participants means that each user’s struggles will be more memorable and easier to relay to other stakeholders when talking about the research. This can help convey the issues that need to be addressed while also highlighting the value of doing the research in the first place.

    Researchers have run usability tests in person for decades, but you can also conduct usability tests remotely using tools like Microsoft Teams, Zoom, or other teleconferencing software. This approach has become increasingly popular since the beginning of the pandemic, and it works well. You can think of in-person usability tests like going to a play and remote sessions as more like watching a movie. There are advantages and disadvantages to each. In-person usability research is a much richer experience. Stakeholders can experience the sessions with other stakeholders. You also get real-time reactions—including surprise, agreement, disagreement, and discussions about what they’re seeing. Much like going to a play, where audiences get to take in the stage, the costumes, the lighting, and the actors’ interactions, in-person research lets you see users up close, including their body language, how they interact with the moderator, and how the scene is set up.

    If in-person usability testing is like watching a play—staged and controlled—then conducting usability testing in the field is like immersive theater where any two sessions might be very different from one another. You can take usability testing into the field by creating a replica of the space where users interact with the product and then conduct your research there. Or you can go out to meet users at their location to do your research. With either option, you get to see how things work in context, things come up that wouldn’t have in a lab environment—and conversion can shift in entirely different directions. As researchers, you have less control over how these sessions go, but this can sometimes help you understand users even better. Meeting users where they are can provide clues to the external forces that could be affecting how they use your product. In-person usability tests provide another level of detail that’s often missing from remote usability tests. 

    That’s not to say that the “movies”—remote sessions—aren’t a good option. Remote sessions can reach a wider audience. They allow a lot more stakeholders to be involved in the research and to see what’s going on. And they open the doors to a much wider geographical pool of users. But with any remote session there is the potential of time wasted if participants can’t log in or get their microphone working. 

    The benefit of usability testing, whether remote or in person, is that you get to see real users interact with the designs in real time, and you can ask them questions to understand their thought processes and grasp of the solution. This can help you not only identify problems but also glean why they’re problems in the first place. Furthermore, you can test hypotheses and gauge whether your thinking is correct. By the end of the sessions, you’ll have a much clearer picture of how usable the designs are and whether they work for their intended purposes. Act two is the heart of the story—where the excitement is—but there can be surprises too. This is equally true of usability tests. Often, participants will say unexpected things, which change the way that you look at things—and these twists in the story can move things in new directions. 

    Unfortunately, user research is sometimes seen as expendable. And too often usability testing is the only research process that some stakeholders think that they ever need. In fact, if the designs that you’re evaluating in the usability test aren’t grounded in a solid understanding of your users (foundational research), there’s not much to be gained by doing usability testing in the first place. That’s because you’re narrowing the focus of what you’re getting feedback on, without understanding the users’ needs. As a result, there’s no way of knowing whether the designs might solve a problem that users have. It’s only feedback on a particular design in the context of a usability test.  

    On the other hand, if you only do foundational research, while you might have set out to solve the right problem, you won’t know whether the thing that you’re building will actually solve that. This illustrates the importance of doing both foundational and directional research. 

    In act two, stakeholders will—hopefully—get to watch the story unfold in the user sessions, which creates the conflict and tension in the current design by surfacing their highs and lows. And in turn, this can help motivate stakeholders to address the issues that come up.

    Act three: resolution

    While the first two acts are about understanding the background and the tensions that can propel stakeholders into action, the third part is about resolving the problems from the first two acts. While it’s important to have an audience for the first two acts, it’s crucial that they stick around for the final act. That means the whole product team, including developers, UX practitioners, business analysts, delivery managers, product managers, and any other stakeholders that have a say in the next steps. It allows the whole team to hear users’ feedback together, ask questions, and discuss what’s possible within the project’s constraints. And it lets the UX research and design teams clarify, suggest alternatives, or give more context behind their decisions. So you can get everyone on the same page and get agreement on the way forward.

    This act is mostly told in voiceover with some audience participation. The researcher is the narrator, who paints a picture of the issues and what the future of the product could look like given the things that the team has learned. They give the stakeholders their recommendations and their guidance on creating this vision.

    Nancy Duarte in the Harvard Business Review offers an approach to structuring presentations that follow a persuasive story. “The most effective presenters use the same techniques as great storytellers: By reminding people of the status quo and then revealing the path to a better way, they set up a conflict that needs to be resolved,” writes Duarte. “That tension helps them persuade the audience to adopt a new mindset or behave differently.”

    This type of structure aligns well with research results, and particularly results from usability tests. It provides evidence for “what is”—the problems that you’ve identified. And “what could be”—your recommendations on how to address them. And so on and so forth.

    You can reinforce your recommendations with examples of things that competitors are doing that could address these issues or with examples where competitors are gaining an edge. Or they can be visual, like quick mockups of how a new design could look that solves a problem. These can help generate conversation and momentum. And this continues until the end of the session when you’ve wrapped everything up in the conclusion by summarizing the main issues and suggesting a way forward. This is the part where you reiterate the main themes or problems and what they mean for the product—the denouement of the story. This stage gives stakeholders the next steps and hopefully the momentum to take those steps!

    While we are nearly at the end of this story, let’s reflect on the idea that user research is storytelling. All the elements of a good story are there in the three-act structure of user research: 

    • Act one: You meet the protagonists (the users) and the antagonists (the problems affecting users). This is the beginning of the plot. In act one, researchers might use methods including contextual inquiry, ethnography, diary studies, surveys, and analytics. The output of these methods can include personas, empathy maps, user journeys, and analytics dashboards.
    • Act two: Next, there’s character development. There’s conflict and tension as the protagonists encounter problems and challenges, which they must overcome. In act two, researchers might use methods including usability testing, competitive benchmarking, and heuristics evaluation. The output of these can include usability findings reports, UX strategy documents, usability guidelines, and best practices.
    • Act three: The protagonists triumph and you see what a better future looks like. In act three, researchers may use methods including presentation decks, storytelling, and digital media. The output of these can be: presentation decks, video clips, audio clips, and pictures. 

    The researcher has multiple roles: they’re the storyteller, the director, and the producer. The participants have a small role, but they are significant characters (in the research). And the stakeholders are the audience. But the most important thing is to get the story right and to use storytelling to tell users’ stories through research. By the end, the stakeholders should walk away with a purpose and an eagerness to resolve the product’s ills. 

    So the next time that you’re planning research with clients or you’re speaking to stakeholders about research that you’ve done, think about how you can weave in some storytelling. Ultimately, user research is a win-win for everyone, and you just need to get stakeholders interested in how the story ends.

  • From Beta to Bedrock: Build Products that Stick.

    From Beta to Bedrock: Build Products that Stick.

    I’ve lost count of the times when promising ideas go from being useless in a few months to being useless after working as a solution designer for too long to notice.

    Financial goods, 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, please:

    The fatalities of feature-first growth

    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 think,” 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 safety team’s negligence? not like it? 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 ) comes into play in this context. Even though Jason Fried doesn’t usually refer to it that way, his podcast Rework and his book Getting Real frequently address this concept. An MVP is a product that offers only enough significance to your users to keep them interested, but not so much that it becomes difficult to keep up. 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 experience created specifically for the customer. This implies that the priority is to provide as many features and functionalities as possible to satisfy the requirements and desires of competing inside sections as opposed to a distinct value statement that is focused on what people in the real world actually want. 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 is a better strategy, then? How may we create products that are user-friendly, firm, and, most importantly, stick?

    The concept of “bedrock” comes into play in this context. The main component of your item that really matters to people is Bedrock. The foundation of worth and relevance over time is built upon it.

    The core must be in and around the standard servicing journeys in the retail banking industry, which is where I work. People only look at their existing account once every five minutes, but they also look at it daily. They sign up for a credit card every year or two, but they check their stability and pay their bill at least once a quarter.

    The key is in identifying the main tasks that people want to complete and working relentlessly to render them simple, reliable, and trustworthy.

    How can you reach the foundation, though? By focusing on the” MVP” strategy, giving convenience precedence, and working iteratively toward a clear value proposition. This entails removing unneeded functions and putting the emphasis on providing genuine value to your users.

    It also requires some nerve, as your coworkers might not always agree on your eyesight right away. And in some cases, it might even mean making it clear to consumers that you won’t be coming over to their home 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.

    Functional methods for creating financially successful items

    What are the main learnings I’ve made from my own research and expertise?

    1. What trouble are you trying to solve first and foremost with a distinct “why”? Whom? Before beginning any project, make sure your goal is completely clear. Make certain it also aligns with the goals of your business.
    2. Avoid the temptation to put too many characteristics at once by focusing on one, key feature and focusing on getting that right before moving on to something else. 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 don’t just have to test your product during the delivery process; you must also test it repeatedly in the field. Use it for yourself. A/B tests are run. User feedback on Gatter. Talk to users 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 journey to bedrock, then? Take it gradually. Start by identifying the essential components that your users actually care about. Concentrate on developing and improving a single, potent feature that delivers real value. And most importantly, test constantly because, whatever you think, Abraham Lincoln, Alan Kay, or Peter Drucker are all in the same boat! The best way to foretell the future is to create it, he said.

  • Every Nintendo Console Launch Ranked from the NES to Switch

    Every Nintendo Console Launch Ranked from the NES to Switch

    Nintendo will ultimately release the Nintendo Switch 2 globally on June 5, following years of gossips and excitement. Preorders are now largely sold out with thousands of players anxiously awaiting Mario Kart World Tour and fresh on-the-go ships of Street Fighter 6 and Cyberpunk 2077. Of program, Nintendo is not a man to the electronics industry.

    The article Every Nintendo Console Launch Ranked from the NES to Switch appeared initially on Den of Geek.

    After decades of rumors and expectation, Nintendo may finally release the Nintendo Switch 2 globe on June 5. Preorders are now largely sold out with thousands of players anxiously awaiting Mario Kart World Tour and fresh on-the-go ships of Street Fighter 6 and Cyberpunk 2077. Since the release of the Nintendo Entertainment System ( NES ), the company has undoubtedly done a number of hardware-related things. And there have been many ups and downs over the last four years.

    When determining which Nintendo method had the best launch, we took into account the release date, the price, as well as the hardware’s general impressiveness. This review also considers just the North American launch of each method. In light of this, this is the comprehensive list of all Nintendo’s system and portable releases since the NES introduced a red-capped Italian plumber to the world! &nbsp,

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

    13. Virtual Son

    Nintendo hasn’t had much of a huge failure since it first entered the video game industry in the 1970s, but the Virtual Boy stands out as anything other than a huge mistake, albeit one that is optimistic. A home Multimedia system in the mid-’90s was absolutely years ahead of its time, but nothing about it was really customer friendly. The Virtual Boy was not really compact, and playing on a table at home was required despite being marketed as a Game Boy replacement. And while the black and white color display was good for the initial Game Boy, the Virtual Boy’s red and black color display was known to just cause problems.

    The release matches were aggressive, right? Mario’s Tennis is a completely capable, if barebones, rugby match. Similarly, Teleroboxer was a powerful Punch-Out, albeit not particularly powerful! son. Even though the games were good, the controller, a god-awful monster combining the worst features of the SNES and N64 devices, didn’t do these headings any favors. The release price, similar to around$ 370 USD in 2025 money, was the last nail in the Virtual Boy’s coffin, and Nintendo slowly discontinued the system a month after release.

    12. Wii U

    The Wii U is by far Nintendo’s worst selling console, and the issues were already obvious right away. The tablet controller was an interesting idea but just not as engaging or innovative as the Wii’s motion controls. Nintendo Land served as Nintendo’s next Wii Sports, which was ultimately only a case in point, showing how limited the new console actually was. Nintendo actually hoped it would be and later hoped it would be their next Wii Sports.

    And while Mario games have historically been system sellers, New Super Mario Bros. U was largely a rehash of its Wii predecessor, just with HD graphics. It’s a good platformer, but the Mario game is surprisingly unimpressive. Beyond that, the launch lineup was largely made up of third party ports, some of which had been available on other consoles for years at that point. It’s obvious why so many people were unsure whether the Wii U was a new console or an Wii upgrade, and why so many who were unsure of what it was ultimately chose to skimp on it, despite the$ 300 launch price being reasonable.

    11. Game Boy Color

    If we were looking at the entire history of Nintendo consoles, the Game Boy Color would certainly rank higher, but Nintendo just didn’t put much effort into its launch, likely because Nintendo absolutely dominated the handheld gaming market at the time. They weren’t required to put in a lot of effort to sell this thing. They knew the players would show up.

    Watch Gallery 2, a color collection of the vintage handheld games Nintendo made in the 1980s, was Game &amp’s highlight when the Game Boy Color was released in 1998. It actually was a very good showcase of the GBC’s better color graphics, but it wasn’t the type of game that had much staying power. The other launch titles, Pocket Bomberman, Centipede, and Tetris DX, a colorized remake of the original Game Boy Tetris launch title, were similarly serviceable but largely forgettable because, seriously, who was interested in playing a colorized version of Game Boy Tetris at that time? But at$ 79.95, the launch price was right, and the GBC quickly built an impressive library of exclusives.

    10. Nintendo 3DS

    When the 3D<strong>S</strong> was first unveiled in 2010, the glasses-free stereoscopic 3D model generated a lot of interest. <strong>S</strong>adly, a botched launch promptly killed a lot of that momentum. The first party offerings from Nintendo were all surprisingly unsatisfactory. Pilotwings had been a solid launch series in the past, but Pilotwings Resort lacked a lot of content compared to its predecessors. An intriguing submarine sim like <strong>S</strong>teel Diver just wasn’t quite right. And Nintendogs + Cats, well … it was more Nintendogs for whatever that’s worth. However, the launch lineup didn’t endear itself. <strong>S</strong>treet Fighter IV 3D Edition and Rayman 3D were excellent ports of console games, and Tom Clancy’s Ghost Recon: <strong>S</strong>hadow Wars remains an underrated gem of a tactics game.

    The 3DS’s price is unquestionably the biggest negative aspect, though. The handheld launched at$ 250, a price that many gamers balked at. Just a few months later, Nintendo was forced to reduce the price to$ 170. Early adopters were compensated with a collection of 20 NES and GBA games, but so many unnecessary missteps left a bad taste in the mouths of many Nintendo fans, and it seems like the 3DS never quite reached its full potential.

    9. Nintendo 64

    Before the U.S. launch, Super Mario 64 was the first game I recall playing in a Toys R Us in 1996. I can’t recall how completely blown away I was. I had never used an analog controller before that let me control how fast or slow my character on screen moved. Before that point, there were plenty of 3D platformers, but Mario’s debut 3D game truly felt like a huge leap forward in terms of gaming thanks to its silky smooth controls and creative open world gameplay.

    The problem with N64’s launch is that there just wasn’t much else to it. It only became available in the United States with the release of Super Mario 64 and Pilotwings 64, which were additional excellent examples of what the console could do, but after playing those games, new releases were sparse and expensive, a problem that would afflict the console for the rest of its life. The N64 certainly had quality games, it just could never get much quantity. It was reasonable to expect a PlayStation at the time, but it was only$ 50 less. Given that the PS1’s game library was much larger and its prices were typically less, it’s easy to see why Sony’s console outperformed Nintendo’s by a lot in the late 1990s.

    8. Nintendo DS

    Nintendo didn’t really seem to know what the DS was supposed to be at first. The DS was initially marketed as a” third pillar” system that would sit on shelves alongside the GameCube and Game Boy Advance, but it quickly elbowed the GBA out of the handheld space. It was apparently rushed to market in late 2004 to get ahead of the upcoming Sony PSP launch. &nbsp,

    However, a stellar launch lineup didn’t exactly make that happen. Super Mario 64 DS was an impressive remake of a classic, with new characters and power stars, but the lack of an analog stick hurt it. Although Feee the Magic: XY/XX was a strange and wonderful minigame that showed off the new features of the handheld, it had little appeal to the general public. And while games like Madden NFL 2005, Spider-Man 2, and Urbz: Sims in the City were all perfectly serviceable, none of them were on par with their console counterparts. However, the DS was$ 100 less expensive than the PSP, and that was easy because it became a bestseller. &nbsp,

    7. Nintendo Switch&nbsp,

    The Switch is a disputed massive success in 2025, but its 2017 debut was largely a mixed bag. First the good: the hardware, though underpowered compared to competitors, is fantastic. It’s wonderful to be able to seamlessly switch between playing games on a TV and while on the go. The Switch feels great in your hands, and the Joy-Cons still offer some of the best feedback of any controller on the market. The launch price, which was$ 300, clearly undercut both Sony and Microsoft, and it was obvious that the system had enormous potential right away.

    But the launch lineup was the definition of a one trick pony. Yes, The Legend of Zelda: The Breath of the Wild was a timeless classic that unquestionably belongs in the collection of the greatest video games ever. But beyond that, how many people even remember the Switch’s other launch games? A poor minigame collection like 1-1-2 Switch. Super Bomberman R had potential as a launch exclusive, but turned out to be a middling entry in the long running franchise. Additionally, the ports of Skylanders: Imaginators and Just Dance 2017 weren’t particularly moving systems. Still, the success of the Nintendo Switch makes a really good case that all a console needs to be successful is a great design and one killer app.

    6. Game Boy

    The Game Boy had horribly underpowered capabilities when it first launched in 1989, and it lacked color screens from rivals like the Sega Game Gear and Atari Lynx. It didn’t really matter though. Before Nintendo, less power meant longer battery life, which is still considered to be the most crucial aspect of portable gaming. More importantly, the Game Boy had a secret weapon: Tetris. &nbsp,

    The classic puzzler was a pack-in title for the Game Boy at launch, the equivalent of giving the first hit away for free to get gamers hooked. The launch bundle was a steal for$ 89.99. Along with Tetris, Super Mario Land was a quirky and unique take on the Mario series that was well worth checking out, while ports of Tennis and Baseball from the NES library kept people hooked as the Game Boy gained momentum. &nbsp,

    5. GameCube

    The GameCube launch is both better and worse than you remember it. The console’s lack of truly outstanding exclusives at launch was somewhat unfair, but the console’s exclusives have actually lasted a long time. This was a system where you could pick up Luigi’s Mansion, Wave Race: Blue Storm, Star Wars Rogue Squadron II: Rogue Leader, and Super Monkey Ball at launch, all fantastic titles that weren’t available anywhere else. Additionally, it was$ 100 less expensive than the original Xbox, even though it only came three days later.

    Admittedly, the third-party offerings were a bit slim, but Tony Hawk’s Pro Skater 3 was another tremendous launch title, plus, you could pick up Crazy Taxi with the all important arcade soundtrack that’d been missing from more recent releases. However, those ports also revealed the GameCube’s biggest flaw: if you already owned these versions elsewhere, there was really nothing to like about these versions. It’s not surprising then that after this generation, Nintendo started looking toward new gimmicks to sell consoles instead of just pushing graphics technology to its limits.

    4. SNES

    There wasn’t a single bad guy in the bunch, despite the fact that the SNES didn’t have a ton of games when it first launched. Of course there was Super Mario World, still arguably the best Mario game ever made. The NES’s enormous graphical upgrade quickly justified the upgrade to a new console, not only is the game’s design timeless, but it also served as a huge support for the NES’s design. Pilotwings and F-Zero, with their revolutionary use of Mode 7 further showed off the power of the system. The launch lineup was so good that the price was kind of justified despite the high launch price of$ 199 ( which is equivalent to around$ 460 today ).

    Even the two games pulling up the rear, Gradius III and an SNES-exclusive version of SimCity were excellent titles worth picking up. The SNES’s overall improvement is what’s really underappreciated, though. It was much more ergonomic than the hard rectangle shape of the NES controller, and the addition of X and Y and shoulder buttons made it clear from the get-go that this console was going to open up a lot of new gameplay styles.

    3. Game Boy Advance

    Before the DS gained notoriety, the Game Boy Advance had a brief time as Nintendo’s flagship handheld, but it quickly developed a sizable library from the beginning. The$ 100 launch price is quite possibly the best of any piece of Nintendo hardware. And the portable had a strong one, two punches right out of the gate with Super Mario Advance, a full-fledged remake of Super Mario Bros. 2, and F-Zero: Maximum Velocity, an excellent successor to the SNES title. &nbsp,

    Solid portability of the GBA version may have made it more preferable to play than its bigger brother on Dreamcast, with the 15 other titles available at launch including solid portages of games like Rayman and ChuChuRocket! But for many, the real star of the launch was Tony Hawk’s Pro Skater 2, a technically impressive port that somehow managed to squeeze all of the gameplay of the console version into an isometric view. Many people were claiming that the GBA was the closest thing to a handheld SNES before it was released. These early games showed that it could actually be even better than that.

    2. NES

    Console gaming was essentially dead by the mid-1980s in North America. Atari had killed the market, flooding it with low quality games. A formidable new console, creative marketing, and a little luck would save gaming in the home. The NES succeeded at a tough time for video games by trying not to be just another console. It was more of an “entertainment system,” sold alongside a Zapper light gun and R. O. B., a robot accessory. Gimmick? Sure, but that was just the opening salvo in Nintendo’s strategy, the Trojan horse to bring consoles back into the living room.

    Of course, the games had to be good for the NES to succeed, and Nintendo did that by releasing 17 titles, including titles like Super Mario Bros., Excitebike, Duck Hunt, and Ice Climbers, which are still revered today. Other titles like Baseball, Tennis, and Pinball were more perfunctory, but good enough to gain the public’s attention and prove that video games weren’t just a fad. Although historically comparable to many other launch prices for new consoles, the$ 200 launch price ( equivalent to nearly$ 600 in today’s dollars ) was high, it must be said, and that price point clearly didn’t do much to deter potential buyers.

    1. Wii&nbsp,

    Twenty years after the NES brought consoles back from the brink, Nintendo’s home console business found itself in a tough spot. The GameCube had just finished third in a three-way fight despite positive reviews and a respectable gaming library. Clearly, just trying to build the most powerful console wasn’t the key to success. Nintendo released a console that was slightly more powerful than its predecessor, but with the benefit of motion controls thanks to the Wii-mote, as Sony and Microsoft switched to HD gaming.

    It sounded kinda nuts. Then, Wii Sports was played, and they were instantly hooked. The game was a phenomenon. Parents, grandparents, and even seasoned gamers all expressed interest in playing it. The Wii truly brought console gaming to the masses in a way that had previously been unthinkable thanks to an innovative new controller. Oh, and for the nerdy gamers, The Legend of Zelda: Twilight Princess was the other reason to purchase a Wii. And while the other 18 games in the Wii launch lineup weren’t quite at the level of those two, a solid slate of third party ports and a couple other underrated gems like Excite Truck and Trauma Center: Second Opinion were more than enough to keep the console flying off shelves for years after release, especially because the older technology meant it could be sold substantially cheaper than either the Xbox 360 or the PS3.

    The article Every Nintendo Console Launch Ranked from the NES to Switch appeared initially on Den of Geek.

  • That’s Not My Burnout

    That’s Not My Burnout

    Are you like me when I read about people who fade away as they age and who don’t have any sense of connection? Do you feel like your feelings are invisible to the earth because you’re experiencing burnout different? Our primary 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 consumed by passionate stress.

    But what on earth is a passionate burnout?

    Imagine a person determined to do it all. She is homeschooling two wonderful children while her father, who works remotely, is furthermore working remotely. 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 as the kids are having breakfast, and works while positioning herself near “fourth grade” to listen in 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 and 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 that, she is trying to divide her head in two all the time, all day, every day. She begins to question herself. And as those thoughts creep in more and more, her domestic tale becomes more and more important.

    She KNOWS what she needs to perform right away! She really DO MORE.

    This is a difficult 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 may fail, she might refuse her family, but she’ll discover more to do. She doesn’t nap as much, proceed because much, all in the attempts to do more. Not succeeds in any objective target despite constantly trying to prove herself to herself. Not feeling “enough”.

    But, yeah, that’s what zealous burnout looks like for me. It develops gradually over the course of several weeks and months rather than immediately as a big movement. My burning out process looks like speeding up, not a man losing target. I move quickly and steadily, but I simply quit.

    I am the one who had

    It’s interesting the things that shape us. Through the camera of my own childhood, I witnessed the battles, sacrifices, and concerns of someone 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 passports; 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 begins meet impacted people 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 putting more of myself into it was linked to fears or confusion; 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 in charge of the problem. When individuals have seen this in me as an adult, I’ve been told I seem brave, but make no mistake, I’m not. If I seem courageous, it’s because this conduct was forged from other people’s worries.

    And here I am, more than 30 years afterward, despite the overwhelming pressures that come with putting my mind to work on them when I have many things to do and that I may. I find myself driven to prove that I may make things happen if I work longer hours, taking on more responsibility, and do more.

    Because I have seen how powerful a fiscally challenged person can be, I don’t think they are failures because they are pulled down by that flood. I really get that I have been privileged to be able to prevent many of the problems that were current in my children. That said, I am also” the one who can” who feels she does, but if I were faced with not having much to make ends meet for my own home, I do see myself as having failed. Despite my best efforts and education, the majority of this is due to great wealth. I will, but, permit myself the pride of saying I have been cautious with my options to have encouraged that chance. I believe I am” the one who can,” so I feel compelled to do the most because of this. I can choose to halt, and with some pretty precise warm water splashed in my experience, I’ve made the choice to previously. But that choosing to stop is not my go-to, I move forward, driven by a concern that is so a part of me that I hardly notice it’s it until I’m feeling extremely worn away.

    So why all the past? You see, stress is a volatile thing. Over the years, I have read and heard a bit about stress. Stress is true. Especially today, with COVID, many of us are balancing more than we ever have before—all at once! It’s difficult, and the evasion, shutting down, and procrastination have an impact on so many wonderful experts. There are critical posts that relate to what I imagine must be the majority of people out there, but not me. No at the time of my fatigue, though.

    The harmful visibility of passionate burnout

    A lot of labor conditions see the more time, more energy, and general focused responsibility as an asset ( and sometimes that’s all it is ). They see someone attempting to overcome obstacles, not a person who is ensnared in fear. Many well-meaning organizations have safeguards in place to protect their teams from burnout. However, in situations like this, those alarms don’t always go off, 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 likely than their male counterparts to burn out, especially in these COVID stressful 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 do even more because they don’t feel the pressure that comes with being a mother. 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 looks; instead, 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, and/or a set of skills you need to master. That happens—life happens. BE CRUD if this doesn’t stop. 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 has an exit route with a pause button if it is only temporary and you have to push through it.
    defined end.

    Take the time to listen to yourself as you would a friend. Be honest, allow yourself to be uncomfortable, and break the thought cycles that prevent you from healing.

    So now what?

    Although what I just described is a different path to burnout, it is 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, according to the narrative? 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 suggestions for me to help me remember the airline attendant’s advice to put on your face first when I feel burned out.

    Cook an elaborate meal for someone!

    Okay, since I’m a “food-focused” person, cooking for someone always comes naturally to my mind. 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 all of your senses and make you immerse in the moment in all your ways of seeing the world. 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, turn to a trusted friend and give yourself some pure verbal diarrhea by expressing all your concerns. 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 manages to simplify things down to the simplest. ” 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 required that I remove my head from 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, if I love to read or listen to a book that doesn’t have anything to do with my work-life balance, I can use another tactic. 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. It’s human to be depressed, anxious, and sad. It’s OK to not do it all. Although being imperfect is terrifying, you cannot be brave without being fearful.

    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 is 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. Only how we react to the things around us is what we control. 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 appear to be the same as the one we’re picturing, or that we’re looking for, but that’s okay because the only way to judge us 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.

    At the end of the day, we are resourceful and aware that we can push ourselves if necessary, even when we are exhausted or have a ton of stuff 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 powerful gentle abilities we have at our disposal is the ability to work together to improve our designs while developing our own abilities and perspectives, regardless of how it is used or what it might be called.

    Feedback is also one of the most underestimated equipment, and generally by assuming that we’re now great at it, we settle, forgetting that it’s a skill 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 opinions 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 comments: 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. So it generally adheres to many of the principles with comments, 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 start 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 formula is typically used to provide feedback to people, but it also fits really well in a style criticism because it finally addresses one of the main inquiries that we work on: 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 a flaw in the situation. If you keep the three components of the equation in mind, you’ll have a mental unit that can help you become more precise and effective.

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

    Not confident about the keys ‘ patterns and hierarchy—it feels off. May you alter them?

    Observation for style feedback doesn’t really mean pointing out which part of the software your input refers to, but it also refers to offering a viewpoint 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?

    I anticipate that one of these two buttons will go forward and the other will go back when I see them.

    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.

    I anticipate that one of these two buttons will go forward and the other will go back when I see them. 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 a viable option for general feedback, in my experience, going back to the question approach typically leads to the best solutions because designers are generally more at ease with having an open space to experiment with.

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

    I anticipate that one of these two buttons will go forward and the other will go back when I see them. 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:

    I anticipate that one of these two buttons will go forward and the other will go back when I see them. 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.

    I anticipate that one of these two buttons will go forward and the other will go back when I see them. 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 spent a while working on improving my feedback, conducting anonymous feedback reviews and sharing feedback with others. 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 no. Let’s explore both sides.

    No, this kind of feedback is actually 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 make the change. In later iterations, the interface might change or they might introduce new features—and maybe that change might not make sense anymore. The designer might assume that the change is about consistency without the explanation, 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 sustained 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 term “timing” describes the moment when the feedback occurs. 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 a different one. 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 be more helpful?

    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: some words might cause particular reactions, some non-native speakers might not understand all the nuances of some sentences, and other times our brains might be different and we might perceive the world differently. Neurodiversity must be taken into account. 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 helpful advice, but I also found a surprise in my 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 the way I typed “oh” into my list of replaced words (your choice between aText, TextExpander, or others ), so that it was instantly deleted when I typed “oh.”

    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 your 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 possible improvement. 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 for 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. There is a significant difference between a critique of a design that is already in good shape and one 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”. Just before sending, review your writing to make changes to this.

    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 want to break up the feedback into sections or even between several comments for longer pieces. 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 needs to be changed, and a green circle provides a thorough, positive confirmation. 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—I anticipate that one of these two buttons will go forward and the other will go back when I see them. 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 gives the impression that it’s a positive action because green is typically seen as a confirmation color. Do we need to explore a different color?
    • Given the number of items on the page and the overall page hierarchy, it seems to me that the tiles should use Subtitle 2 instead of Subtitle 1. 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. We don’t say something because we sometimes think it’s obvious that something is either good or wrong. 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.

    Asynchronous feedback also has the benefit of automatically guiding decisions, according to writing. Especially in large projects,” Why did we do this”? There’s nothing better than open, transparent discussions that can be reviewed at any time, which 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 opinion”? is perhaps one of the worst ways to ask for opinions. It’s obscure and unfocused, and it doesn’t give us a sense 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. Iteration, evaluation, and issue. 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 mind” at the conclusion of a presentation are likely to garner a lot of different ideas, or worse, to make everyone follow the lead of the first speaker. And next… we get frustrated because vague issues like those you turn a high-level moves review into folks rather commenting on the borders of buttons. Which topic may be significant, so it might be difficult to get the team to choose the one you wanted to concentrate on.

    But how do we get into this scenario? It’s a combination of various aspects. One is that we don’t often consider asking as a part of the input approach. 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 issues, and we don’t work to improve them.

    The work of asking good questions guidelines and focuses the criticism. It also serves as a form of acceptance, outlining your willingness to make comments and the types of comments you want to receive. It puts people in the right emotional position, 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 steps of the process—in our event, the design process. The kind of feedback changes as the consumer 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 input 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? Content? Interaction design? a system of 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. Exist any recommendations for resolving 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 spot 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’s uncommon, it can occur. 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 them only display changes as a single fluid stream in the same file. These types of design tools cause conversations to end after they are resolved, update shared UI components automatically, and require designers to always display the most recent version unless these would-be useful features were manually disabled. 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 approach to design critiques is probably not the best approach, but some teams might benefit from it even if I don’t want to be too prescriptive.

    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. Any platform that can accommodate this type of structure can use this. 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.

    Using iteration posts has a number of benefits:

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

    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, other feedback techniques ( such as live critique, pair designing, or inline comments ) can emerge.

    I don’t think there’s a standard format for iteration posts. However, there are a few high-level components that make sense to include 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. In every iteration post, I would copy and paste this, so I could do it again. 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 helps to ensure 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.

    Because it makes it easier to refer to the objects, it might also be helpful to have clear names on 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 in the desired direction. 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. One can quickly say,” This was discussed in i4″ with each project, and everyone knows where to go to review things.
    • 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. Attempts must be exploratory, incomplete, or partial.
    • 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 indicate when a design is finished enough to be worked on, even if there are some bits that still need work and, in turn, need more iterations:” with i8 we reached RC” or “i12 is an RC” to illustrate this.

    The review

    What typically occurs during a design critique is an open discussion, with a back and forth between parties that can be very productive. 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 is being forced to respond to 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. Responding to all comments at times can be effective, but when we consider 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:

      One is to let the next iteration speak for itself. The response is received when the design changes and a follow-up iteration is made. You might tag all the people who were involved in the previous discussion, but even that’s a choice, not a requirement.
    • Another option is to respond politely to acknowledge each comment, 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 provide a quick summary of 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. Swoop-by comments frequently prompt the simple thought,” We’ve already discussed this,” and it can be frustrating to have to keep coming back and forth.

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

    Swoop-by commenting has two benefits: first, they might point out something that isn’t clear, and second, they might serve as a reference point for someone who is first viewing 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 the design could be the third friction point, which might cause us to feel defensive if the review turned into 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, presenting everything in aggregated 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 up with a rationale for your choice, 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 certain 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 items that are functional 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 created a design for a 960px paint that I would later add willing to. The growth phase was about attaining pixel-perfect precision using set widths, fixed levels, and absolute placement.

    All of this was altered by Ethan Marcotte’s 2010 content 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 task. To make smooth design, you need to prepare throughout the style stage.

    A new way to style

    Removing restrictions and creating content that can be viewed on any device has always been the goal of designing responsive or liquid websites. 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 premium:

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

    Media concerns

    The next ingredient for reactive design is press queries. Without them, content would shrink to fit the available space, regardless of whether it remained readable ( The exact opposite issue resulted from the development of a mobile-first approach ).

    Media concerns 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 smaller- 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 parts.

    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 concerns 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. There are workarounds for JavaScript, but they can lead to dependencies 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?

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

    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 having strong cross-browser support for them, it’s difficult to say for certain whether container queries will be a success story. 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;}

    You don’t need to wrap elements in container rows, which is the biggest benefit of all of this. 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. The above code can be implemented behind an @supports feature query even though Firefox is the only browser that supports subgrid at the time of writing.

    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 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 the same breakpoints or the same amount of content as in the previous implementation, components and patterns can be lifted 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 “everything changed” moment for me.

    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 is that I now work for a sizable company, which is quite 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 right now I 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 to drop designs into and demonstrate how the site would look at all three stages at some point in our careers.

    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 implement 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. Still in use? 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, such as in our earlier Subgrid card illustration, which allowed the cards to make adjustments to both their own and sibling elements.

    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.

    Choice is so crucial because of this. 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 media queries are now being returned.

    Media concerns 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 feature allows you to alter a user’s style when they are in the sun or in the dark. 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 concerns like this go beyond choices made by a browser to grant more control to the user.

    Expect the unexpected

    In the end, we should always anticipate 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 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 so much 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.