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  • Netflix’s Black Rabbit Is More Stressful Than Uncut Gems

    Netflix’s Black Rabbit Is More Stressful Than Uncut Gems

    This essay contains significant Black Rabbit clues. Behavioric addictions are interesting and intriguing. We frequently understand why people can’t stop using a substance because their bodies and minds depend on particular chemicals, but [ ] watching someone continue to accumulate the same emotions, physical, and spiritual debt over and over again [ …] […

    The first article on Den of Geek was titled Netflix’s Black Rabbit Is More Difficult Than Uncut Gems.

    What if your father had a mind that you could trust him? Paul Thomas Anderson &#8216, his newest fizzer One Battle After Another courage asks. If that sounds glib, One Battle After Another is in line with it, which is both interesting and revolutionary, as well as serious, and has a film about a stoner father who, despite everything, will fight for his daughter wherever she goes. We asked Leonardo DiCaprio about his own father, the underground artist George DiCaprio, and how his reputation as an actor shaped his performance as a actor when we sat down with him. DiCaprio plays an ex-revolutionary dad figure on an amazing quest for his daughter. &nbsp,

    The prize winner’s enthusiasm for the creative, and acting in particular, was influenced by his own father’s unconventional career path, as did his father.

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

    ” Absolutely, and he continues to do so, DiCaprio firmly during our sit down at the One Battle After Another hit junket.” My dad, he’s kind of the best source of wisdom for me, and not just his intellect, but also his understanding and his capacity to see a particular subject matter through various lens. Because he has such a unique perspective, I frequently ask him to publish his scripts and ask him what he thinks. &#8221, &nbsp,

    The Oscar-winning artist claims that their relationship has shaped their whole career. He actually was a wonderful incentive for me when I was a young artist, and DiCaprio keeps on going. When I was 10 or 11 or 12, I started looking for an adviser. I had a bad haircut, and I was a bust dance, and all the officials turned me down. And he reinforced the statement,” You&#8217, are going to have your day.”

    Dicaprio also mentions that there was” a direction of this is what true filmmaking is.” describing how his father would “take me to actors and movies and say,” This is what the art form is all about. They are excellent players, too. Enjoy this information. So I can&#8217, t say enough about how many he&#8217, s influenced what I&#8217, ll done”.

    When it came to Benicio del Toro, his co-star, his legal education had carved his profession out of his younger years.

    Del Toro tells us that “my father was a fugitive solicitor.” ” My mother as well. You have to persuade people that they were stars in some way,” he said.

    However, when it comes to their biggest effect, it &#8217, one of Del Toro’s key skills that he praised his father for. Del Toro says,” I had to do a lot of driving.” You know, my father had these large boat cars, so I may walk out and take the car, and you better not put a sketch on that vehicle. &#8221, &nbsp,

    Del Toro’s accomplishment made him proud to joke to his co-star that he” is park an American major vessel.” I you park a vehicle, &#8221, he smiles”. That&#8217, s my claim to fame. But you’re aware that my father taught me something thanks to his excellent driving. My father was actually park an 18-wheeler it, right?

    One Battle After Another, a gloomy humor on the other side of the coin, is a tale about motherhood, having a child, and what it means to live as a Black lady in America. For multi-hyphenate Teyana Taylor, who is already generating buzz around awards for her extraordinary achievement as Perfidia Beverly Hills, a revolutionary and family who must make a difficult choice after being exposed by Sean Penn&#8217’s aggressive Col. Steven J. Lockjaw. &nbsp,

    Taylor claims that she embraced the action-packed and personal part while preparing for it. What I did was delve into the issues that I may relate to. I’ve previously been there, knowing that” I’m all I got,” and that was Perfidia, and I’ve seen her life in survival mode.

    Another aspect of the figure that soon caught the actress ‘ eye was its exploration of postpartum depression. I love that he shed light on that and that he actually gave me the freedom to play in it, and Taylor stocks that as a mother of two who has experienced that—not the same exact thing, because every family experiences something different. So it was really wonderful to prepare for this because I saw so much of myself in parts of her that I didn’t agree with and also pieces that I didn’t understand, and I was able to have joy for her and compassion for her because those points start with not feeling seen and not feeling heard. &#8221, &nbsp, &nbsp,

    Willa, who is raised by Bob after her family vanishes from a witness protection program, is Perfidia and Bob&#8217’s on daughter Baby Sharleen develops into her. It’s a hard first film role for newcomer Chase Infiniti, who succeeds admirably by making Willa a compelling and convincing heroine. However, how do you get ready to play a motherless figure? Separation, which echoed the pair’s storyline in the tense scene, was the beginning. &nbsp,

    I didn’t join Teyana until much later in the shoot, and even before we started shooting. But when I began to really create Willa’s figure, I started to hear about her from people like Paul [ Thomas Anderson] and Leo.

    The Infiniti story continues. Even though I’m a little annoyed that I didn’t get to meet Teyana for a while, it actually helped hone in on the figure. Because I didn’t know her, I was able to absorb all the great things about her and the other characters ‘ tales that actually helped me get into that moment. &#8221, &nbsp,

    Regina Hall, a comedy legend, plays Perfidia’s near friend Deandra in one of the most amazing roles in the film. Hall is already in awards discussions, just like her on-screen murderer, so anyone who has seen Support the Girls shouldn’t be surprised if she portrays the person who connects the disjointed mother and daughter. &nbsp,

    &#8220, Deandra does like Perfidia, &#8221, Hall explains. They engaged in intense combat, and they both held the same beliefs, and perhaps she knows that there she left off. Lifestyle is a journey. And she is aware of why she did what she did. But there is this child&#8230, &#8221,

    In a scene that ended up on the cutting ground that she thought depicts the proximity of the two people and what Willa’s relationship means, Hall recalls that she really called me and said, in code terms, take care of those baby boots for me. And then it cuts from that image to Deandra packing the home like you gotta get and says,” #8216, I promise, #8217.” When she returns to get Willa, you know, it’s a complete circle for their companionship and their shared passion.

    Leonardo DiCaprio’s article” I Also Learn Code with Him” discusses his father’s control, first published on Den of Geek.

  • Silent Hill f Is a Radical and Needed Reinvention of the Horror Franchise

    Silent Hill f Is a Radical and Needed Reinvention of the Horror Franchise

    Silent Hill f actually breaks new ground for the video game industry this year, breaking new ground for Konami’s classic horror company last year’s Silent Hill 2 remake fully revitalized the traditional Konami franchise. Silence Hill f, a line developed by NeoBards Entertainment, is the line ‘ first major title since 2012’s Silent Hill: Downpour, with no storylines or usable teaser included. This ranges from [ …] to […]

    The second article on Den of Geek was Silent Hill f Is a Radical and Needed Reinvention of the Horror Franchise.

    What if your father had a mind that you could trust him? Paul Thomas Anderson &#8216, his newest humdinger One Battle After Another courage asks. If that sounds glib, it fits into One Battle After Another, which is both as interesting as it is revolutionary, as crazy as it is significant, and has a film about a stoner father who, despite everything, will sacrifice everything to provide for his daughter. We then sat down with Leonardo DiCaprio, who plays an ex-revolutionary parents determine on an amazing search for his daughter, to find his own daughter. We also inquired about his own father, the undercover artist George DiCaprio, and how his career as a entertainer influenced his decision to pursue a career in art. &nbsp,

    The prize winner also had a passion for speaking, which his own father had an influence on, as did his own father’s unconventional career path.

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

    ” Absolutely, and he continues to do so, DiCaprio firmly during our sit down at the One Battle After Another hit junket.” My dad, he’s kind of the best source of wisdom for me, and not just his brains, but also his understanding and his capacity to see a particular subject matter through various lens. Because he has quite a unique perspective, I frequently also read code with him and ask him what he thinks. &#8221, &nbsp,

    The Oscar-winning artist claims his whole career has been shaped by their relationship, which is #8217. He actually helped me when I was a young actor, and he continued to inspire me. When I was 10 or 11 or 12, I started looking for an adviser. All the brokers turned down my split dancer because of how bad my haircut was. And he reinforced the statement,” You&#8217, are going to have your day.”

    There was also, according to Dicaprio,” A direction of this is what true filmmaking is.” describing how his father would “take me to actors and movies and say,” This is what the art form is all about. They are excellent players, too. Enjoy this information. So I can&#8217, t state enough about how many he&#8217, s influenced what I&#8217, have done”.

    When it came to Benicio del Toro, his co-star, his legal education had carved his profession out of his younger years.

    Del Toro tells us that “my father was a fugitive lawyer.” ” My mother as well,” she said. I believe they were stars in some ways; you have to persuade them.”

    However, when it comes to their biggest impact, it &#8217, one of Del Toro’s key skills that he praised his father for. Del Toro says,” I had to do a lot of driving.” You know, because my father had these large boat cars, so I would walk out and take the car, and you better no damage that car. &#8221, &nbsp,

    Del Toro’s accomplishment made him proud to joke to his co-star that he” can park an American big boat.” I can park a car, &#8221, he smiles”. That&#8217, s my claim to fame. But you’re aware that my dad taught me something because he was a great driver. My father could probably park an 18-wheeler there, really.

    One Battle After Another, a dark comedy on the other side of the coin, is a tale about motherhood, having a daughter, and what it means to live as a Black woman in America. For multi-hyphenate Teyana Taylor, who is already generating awards discussion for her incredible performance as Perfidia Beverly Hills, a revolutionary and mother who must make an impossible choice after being exposed by Sean Penn&#8217, his abusive Col. Steven J. Lockjaw. &nbsp,

    Preparing for the emotional and action-packed role was a journey, but one that Taylor claims she embraced. What I did was to delve deeper into the issues that I can relate to. I’ve seen this woman living in survival mode, and I’ve already done it before, knowing that Perfidia was all I had to give you.

    The actress was immediately struck by the actress’s exploration of postpartum depression. I love that he clarified that, and he really gave me the freedom to play in it, &#8221, Taylor shares. As a mother of two who has experienced that, which is not the same exact thing, because every mother experiences something different. ” It was really amazing preparing for this because I saw so much of myself in parts of her that I didn’t agree with and even those parts that I didn’t understand, and I was able to have grace for her and compassion for her because those things start with not feeling seen and not heard.” &#8221, &nbsp, &nbsp,

    After her mother vanishes from a witness protection program, Perfidia and Bob’s on-screen daughter, Baby Sharleen, are raised by Bob. For newcomer Chase Infiniti, who successfully transforms Willa into a believable teen and compelling heroine, it &#8217 is a challenging first film role. However, how do you get ready to play a character who has never met her mother? It began with separation, which echoed the pair’s narrative in the tense scene. &nbsp,

    I didn’t meet Teyana until much later in the shoot, and even before we started shooting. So when I began to actually create Willa’s character, I started to hear about her from people like Paul [ Thomas Anderson] and Leo.

    The Infiniti story continues. It really helped me develop the character, even though I’m a little upset that I didn’t get to meet Teyana for a while. Because I didn’t know her, but I’d heard so many wonderful things about her and so many different people’s accounts that really helped me get to know her. &#8221, &nbsp,

    Regina Hall, a comedy legend, plays Perfidia’s close friend Deandra in one of the most intriguing roles in the film. Hall is already in awards discussions, just like her on-screen conspirator, and anyone who has seen Support the Girls shouldn’t be surprised by her heartbreaking performance as the woman who connects the disparate mother and daughter. &nbsp,

    &#8220, Deandra does love Perfidia, &#8221, Hall explains. They engaged in a protracted battle together, and they both held the same beliefs, and perhaps she knows that somewhere she left. Life is a journey. And she is aware of why she did what she did. But there is this child&#8230, &#8221,

    In a scene that ended up on the cutting floor that she thought depicts the closeness of the two women and what Willa’s relationship means, Hall recalls that she actually called me and said, in code words, take care of those baby socks for me. And then I say,” I promise, I’ll do it,” and then it cuts to Deandra packing the house like you gotta leave. When she returns to get Willa, you know, it’s full circle for their friendship and the love of the child.” It’s time to go,” she said.

    Leonardo DiCaprio opened up about his father &#8217 ;s influence:” I Still Read Scripts with Him” first appeared on Den of Geek.

  • Peacemaker May Have Just Revealed the Map to the New DCU Multiverse

    Peacemaker May Have Just Revealed the Map to the New DCU Multiverse

    Spoilers appear in this article for Peacemaker period 2 season 5. James Gunn has made it clear that their software in the show’s second time has much greater value for the rest of the novel DC Universe despite the fact that Quantum Folding Chambers made an appearance in both the second year of Peacemaker and Superman. So far, the chamber]…]…]…]…]…]] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ]

    The first article on Den of Geek was Peacemaker may have just revealed the location of the new DCU universe.

    What if your father had a heart of stone? Paul Thomas Anderson‘s newest humdinger One Battle After Another courage asks. If that sounds glib, One Battle After Another is in line with it, which is both humorous and revolutionary, as well as serious, and has a film about a stoner father who, despite everything, will fight for his daughter wherever she goes. We then spoke with Leonardo DiCaprio about his own dad, the underground artist George DiCaprio, and how his career as a performer has influenced his decision-making. DiCaprio plays an ex-revolutionary parents figure on an amazing quest for his daughter. &nbsp,

    The prize winner also had a passion for speaking, which his own father had an influence on, as did his own father’s unconventional career path.

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

    During our one-on-one hit trip, DiCaprio remark,” Positively, and he continues to do so, and he continues to do so.” My father, who has a variety of perspectives on a particular subject matter, is kind of the master of my knowledge, and that includes both his intellect and his perception. Because he has such a unique perspective, I frequently ask him to publish his scripts and ask him what he thinks. &#8221, &nbsp,

    The Oscar-winning artist claims his whole career has been shaped by their relationship, which is #8217. He actually helped me when I was a younger actor, and he continues to inspire me. When I was 10 or 11 or 12, I started looking for an adviser. All the brokers turned down my crack performer because of how bad my haircut was. And he gave me that proof that “you&#8217, re going to have your day.”

    Dicaprio also mentions that there was” a direction of this is what true filmmaking is.” describing how his father would “take me to actors and movies and say,” This is what the art form is all about. They are excellent players, too. See this information. So I can&#8217, t say enough about how many he&#8217, s influenced what I&#8217, ll done”.

    When it came to Benicio del Toro, his co-star, his legal education had carved his profession out of his younger years.

    Del Toro tells us that “my father was a fugitive attorney.” ” My mother as well. I believe they were stars in some ways; you have to persuade them.”

    However, it &#8217 is one of Del Toro’s key qualities that he praises his father for when it comes to their biggest impact. Del Toro says,” I had to do a lot of driving.” You see, my father used to have these large boat cars, but I would walk out and take the car, and you better not damage it. &#8221, &nbsp,

    Del Toro’s accomplishment made him proud to joke to his co-star that he” is park an American major vessel.” I can garden a vehicle, &#8221, he smiles”. That&#8217, s my claim to fame. But you are aware that I learned from my father because he was a wonderful vehicle. My father was probably park an 18-wheeler there, actually.

    One Battle After Another, a black funny on the other hand, is a tale about motherhood, having a child, and what it means to live as a Black lady in America. For multi-hyphenate Teyana Taylor, who is already generating buzz around awards for her extraordinary achievement as Perfidia Beverly Hills, a revolutionary and family who must make a difficult choice after being exposed by Sean Penn&#8217’s aggressive Col. Steven J. Lockjaw. &nbsp,

    It was a trip, but Taylor claims she embraced it as it was preparing for the emotionally charged and action-packed position. What I did was to delve deeper into the issues that I may relate to. I’ve previously been there, knowing that” I’m all I got,” and that was Perfidia, and I’ve seen her life in survival mode.

    The artist was immediately struck by the artist ‘ inquiry of postpartum depression. I love that he clarified that, and that he really gave me the freedom to play in it, Taylor stocks. As a mother of two who has experienced that, which is not the same exact item. So it was really wonderful to prepare for this because I saw so much of myself in parts of her that I didn’t agree with and even those that I didn’t, and I was able to have joy and kindness for her because those things come from not feeling seen and not feeling heard. &#8221, &nbsp, &nbsp,

    Willa, who is raised by Bob after her family vanishes from a witness protection program, is Perfidia and Bob&#8217’s on daughter Baby Sharleen develops into her. It’s a hard first film role for newcomer Chase Infiniti, who succeeds admirably by making Willa a compelling and convincing heroine. However, how do you get ready to play a motherless personality? Separation, which echoed the pair’s tale in the tense scene, was the beginning. &nbsp,

    I didn’t join Teyana until farther down the line while we were shooting, and even before we started shooting. But when I began to develop Willa’s character, I began to hear about her from people like Paul [ Thomas Anderson] and Leo.

    Infiniti continues. Even though I’m upset that I didn’t get to meet Teyana for a while, it actually helped me develop the character. Because I didn’t know her, I had heard so many wonderful things about her and heard so many incredible tales from people I was interacting with on set, which definitely helped me get into that moment. &#8221, &nbsp,

    Regina Hall, a comedy legend, plays Perfidia’s near friend Deandra in one of the most amazing roles in the film. Hall is already in awards discussions, just like her on-screen murderer, so anyone who has seen Support the Girls shouldn’t be surprised if she portrays the person who connects the disjointed mother and daughter. &nbsp,

    &#8220, Deandra does like Perfidia, &#8221, Hall explains. They engaged in intense discussion, and she may be aware that she had a slight quit after they split up. Living happens. And she is aware of why she chose to do what. But there is this child&#8230, &#8221,

    In a scene that ended up on the cutting ground that she felt depicts the closeness of the two people and what their relation in relation to Willa, Hall says,” There’s a scene that’s not in the video where she calls me and says, in password terms, take care of those baby boots for me. And then I say,” I promise, I’ll do it,” and then it cuts to Deandra packing the house like you gotta leave. When she returns to get Willa, you know, it’s full circle for their friendship and the love of the child.” It’s time to go,” she said.

    Leonardo DiCaprio’s post” I Still Read Scripts with Him” discusses his father’s influence, first published on Den of Geek.

  • Haunted Hotel Review: Netflix Series Continues Paranormal Hospitality Comedy Trend

    Haunted Hotel Review: Netflix Series Continues Paranormal Hospitality Comedy Trend

    Supernatural dread comedies set in establishments are all the rage these days. Next month, Ghosts, a live-action CBS television program, will begin its second season. Therefore, later this year, the family-friendly Hotel Transylvania movies will make their first Netflix series called Motel Transylvania. Matt Roller, the author of Rick and Morty, then sides the child.

    The first article on Den of Geek was titled” Haunted Hotel Review: Netflix Series Continues Paranormal Hospitality Comedy Trend.”

    What if your father had a heart of stone? Paul Thomas Anderson‘s newest barnstormer, One Battle After Another, proudly asks. If that sounds glib, One Battle After Another is in line with it, which is both interesting and revolutionary, as well as serious, and has a film about a stoner father who, despite everything, will fight for his daughter wherever she goes. We then sat down with Leonardo DiCaprio, who plays an ex-revolutionary parents determine on an amazing search for his daughter, to find his own daughter. We also inquired about his own father, the undercover artist George DiCaprio, and how his career as a entertainer influenced his decision to pursue a career in art. &nbsp,

    The prize winner’s love for the creative, and acting in particular, was influenced by his own father’s unconventional career path, as did his father.

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

    ” Absolutely, and he continues to do so, DiCaprio firmly during our sit down at the One Battle After Another hit trip.” My dad, he’s kind of the best source of wisdom for me, and not just his brains, but also his understanding and his capacity to see a particular subject matter through various lens. Because he has such a unique perspective, I frequently ask him to publish his scripts and ask him what he thinks. &#8221, &nbsp,

    The Oscar-winning artist claims his whole career has been shaped by their relationship, which is #8217. He actually was a great incentive for me when I was a younger actor, and DiCaprio keeps on going. When I was ten, eleven, or twelve years old, I first started looking for an adviser. I had a bad haircut, and I was a bust dance, and all the officials turned me down. And he reinforced the statement,” You&#8217, are going to have your day.”

    Dicaprio also mentions that there was” a direction of this is what real film is.” describing how his father would “take me to actors and movies and say,” This is what the art form is all about. And those are excellent players. See this information. So I can&#8217, t state enough about how many he&#8217, s influenced what I&#8217, have done”.

    When it came to Benicio del Toro, his co-star, his legal education had carved his profession out of his younger years.

    Del Toro tells us that “my father was a fugitive solicitor.” ” My mother as well. You have to persuade people that they were stars in some way,” he said.

    However, when it comes to their biggest effect, it &#8217, one of Del Toro’s key skills that he praised his father for. Del Toro says,” I had to do a lot of driving.” You see, my father used to have these large boat cars, but I would walk out and take the car, and you better not damage it. &#8221, &nbsp,

    Del Toro’s accomplishment made him proud to joke to his co-star that he” is park an American major vessel.” I can gardens a vehicle, &#8221, he smiles”. That&#8217, s my claim to fame. But you’re aware that my father taught me something because he was a fantastic vehicle. My father was probably park an 18-wheeler there, actually.

    One Battle After Another, a black humor, is a tale about mother, having a child, and what it means to live as a Black person in America. For multi-hyphenate Teyana Taylor, who is already generating buzz at awards for her extraordinary achievement as Perfidia Beverly Hills, a revolutionary and family who must make a difficult choice after being exposed by Sean Penn&#8217’s aggressive Col. Steven J. Lockjaw. &nbsp,

    Taylor claims that she embraced the action-packed and mental position while preparing for it. What I did was to delve deeper into the issues that I may relate to. I’ve previously been there, knowing that” I’m all I got,” and that was Perfidia, and I’ve seen her life in survival mode.

    Another aspect of the figure that soon caught the actress ‘ eye was its exploration of postpartum depression. I love that he shed light on that and that he actually gave me the freedom to play in it, and Taylor stock that as a mother of two who has experienced that—not the same exact thing, because every family experiences something different. So it was really wonderful to prepare for this because I saw so much of myself in parts of her that I didn’t agree with and even those that I didn’t, and I was able to have joy and kindness for her because those things come from not feeling seen and not feeling heard. &#8221, &nbsp, &nbsp,

    Baby Sharleen, Perfidia and Bob&#8217’s on-screen girl, develops into Willa, who is raised by Bob after her family vanishes from a witness security system. For newcomer Chase Infiniti, who successfully transforms Willa into a credible teen and powerful heroine, it &#8217 is a difficult first film role. However, how do you get ready to play a motherless figure? It began with detachment, which echoed the pair’s tale in the tense scene. &nbsp,

    I didn’t join Teyana until much later in the shoot, and even before we started shooting. But when I began to really create Willa’s figure, I started to hear about her from people like Paul [ Thomas Anderson] and Leo.

    Infiniti continues. Even though I’m upset that I didn’t get to meet Teyana for a while, it actually helped me develop the figure. Because I didn’t hear her, but I’d heard so many great things about her and so many different people’s accounts that actually helped me get to know her. &#8221, &nbsp,

    Regina Hall, a comedy legend, plays Perfidia’s near friend Deandra in one of the most amazing roles in the film. Hall is already in awards discussions, just like her on murderer, and anyone who has seen Support the Girls shouldn’t be surprised by her heartbreaking performance as the woman who connects the divergent mother and daughter. &nbsp,

    &#8220, Deandra does like Perfidia, &#8221, Hall explains. They engaged in a protracted battle up, and they both held the same beliefs, and perhaps she knows that there she left. Lifestyle is a journey. And she is aware of why she chose to do what. But there is this child&#8230, &#8221,

    In a scene that ended up on the cutting ground that she thought depicts the closeness of the two people and what Willa’s relationship means, Hall recalls that she really called me and said, in code terms, take care of those girl socks for me. Then it cuts from that image to Deandra packing the house like you gotta get and I say,” #8216, I promise, #8217.” When she returns to get Willa, you know, it’s a complete circle for their companionship and their shared passion.

    Leonardo DiCaprio opened up about his father &#8217 ;s influence:” I Still Read Scripts with Him” first appeared on Den of Geek.

  • What Swiped Fails to Say About Modern Dating Culture

    What Swiped Fails to Say About Modern Dating Culture

    This article contains scenes from the movie Swiped. A film called Swiped is stuck in the 2010s. The situations depicted in the film include Whitney Wolfe Herd’s involvement in Tinder, his resignation from the business, and the founding of Bumble. [ Not just the democratic tone of the movie]]

    What Swiped Attempts to Modern Dating Culture appeared first on Den of Geek.

    What if your father had a mind that you could trust him? Paul Thomas Anderson &#8216, his newest humdinger One Battle After Another courage asks. If that sounds glib, One Battle After Another is in line with it, which is both interesting and revolutionary, as well as serious, and has a film about a stoner father who, despite everything, will fight for his daughter wherever she goes. We asked Leonardo DiCaprio about his own father, the underground artist George DiCaprio, and how his reputation as an actor shaped his performance as a actor when we sat down with him. DiCaprio plays an ex-revolutionary dad figure on an amazing quest for his daughter. &nbsp,

    The prize winner’s love for the creative, and acting in particular, was influenced by his own father’s unconventional career path, as did his father.

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

    ” Absolutely, and he continues to do so, DiCaprio firmly during our sit down at the One Battle After Another hit junket.” My father, who is kind of the most important source of wisdom for me, is characterized by his knowledge, as well as his ability to see a particular subject matter through a variety of glasses. Because he has such a unique perspective, I frequently ask him to publish his scripts and ask him what he thinks. &#8221, &nbsp,

    The Oscar-winning artist claims that their relationship has shaped their whole career. He actually helped me when I was a young actor, and he continues to inspire me. When I was 10 or 11 or 12, I began looking for an adviser. All the brokers turned down my split performer because of how bad my haircut was. And he gave me that proof that “you&#8217, re going to have your moment.”

    Dicaprio also mentions that there was” a direction of this is what true film is.” describing how his father would “take me to actors and movies and say,” This is what the art form is all about. And those are excellent players. See this information. So I can&#8217, t say enough about how many he&#8217, s influenced what I&#8217, have done”.

    When it came to Benicio del Toro, his co-star, his legal education had carved his profession out of his younger years.

    Del Toro tells us that “my father was a fugitive attorney.” ” My mother as well. I believe they were players in some ways; you have to persuade them.”

    However, Del Toro praises his parents for one of his key skills, which is where they have the most impact. Del Toro says,” I had to do a lot of driving.” You see, my father used to have these large boat cars, but I would walk out and take the car, and you better not damage it. &#8221, &nbsp,

    Del Toro’s accomplishment made him proud to joke to his co-star that he” is park an American major vessel.” I you park a vehicle, &#8221, he smiles”. That&#8217, s my claim to fame. But you’re aware that my father taught me something thanks to his excellent driving. My father was actually park an 18-wheeler that, right?

    One Battle After Another, a gloomy humor on the other side of the coin, is a tale about motherhood, having a child, and what it means to live as a Black lady in America. For multi-hyphenate Teyana Taylor, who is already generating buzz around awards for her extraordinary achievement as Perfidia Beverly Hills, a revolutionary and family who must make a difficult choice after being exposed by Sean Penn&#8217’s aggressive Col. Steven J. Lockjaw. &nbsp,

    Taylor claims that she embraced the action-packed and personal part while preparing for it. What I did was delve into the issues that I may relate to. I’ve previously been there, knowing that” I’m all I got,” and that was Perfidia, and I’ve seen her life in survival mode.

    The artist was immediately struck by the actress’s inquiry of maternal depression. I love that he clarified that, and that he really gave me the freedom to play in it, Taylor stocks. As a mother of two who has experienced that, which is not the same exact item. ” It was really remarkable preparing for this because I saw so much of myself in parts of her that I didn’t agree with and even those parts that I didn’t understand, and I was able to have joy for her and compassion for her because those things start with not feeling seen and not heard.” &#8221, &nbsp, &nbsp,

    After her mom vanishes from a witness protection software, Perfidia and Bob’s on-screen girl, Baby Sharleen, are raised by Bob. It’s a hard first film role for newcomer Chase Infiniti, who succeeds admirably by making Willa a compelling and convincing heroine. However, how do you get ready to play a persona who has never met her mother? It began with detachment, which echoed the dangerous plot of the pair’s relationship. &nbsp,

    I didn’t join Teyana until much later in the shoot, and even before we started shooting. But when I began to really create Willa’s character, I started to hear about her from people like Paul [ Thomas Anderson] and Leo.

    The Infiniti story continues. Even though I’m a little annoyed that I didn’t get to meet Teyana for a while, it actually helped hone in on the figure. Because I didn’t know her, I was able to absorb all the great things about her and the other characters ‘ tales that actually helped me get into that moment. &#8221, &nbsp,

    Regina Hall, a comedy legend, plays Perfidia’s near friend Deandra in one of the most amazing roles in the film. Hall is already in awards discussions, just like her on-screen murderer, so anyone who has seen Support the Girls shouldn’t be surprised if she portrays the person who connects the disjointed mother and daughter. &nbsp,

    &#8220, Deandra does like Perfidia, &#8221, Hall explains. They engaged in intense combat, and they both held the same beliefs, and perhaps she knows that there she left off. Lifestyle is a journey. And she is aware of why she did what she did. But there is this child&#8230, &#8221,

    In a scene that ended up on the cutting ground that she thought depicts the closeness of the two people and what Willa’s relationship means, Hall recalls that she really called me and said, in code terms, take care of those girl socks for me. And then it cuts from that image to Deandra packing the house like you gotta get and says,” #8216, I promise, #8217.” When she returns to get Willa, you know, it’s a complete circle for their companionship and their shared passion.

    Leonardo DiCaprio’s post” I However Read Codes with Him”:” I Nevertheless Read Code with Him” first appeared on Den of Geek.

  • Leonardo DiCaprio Opens Up About His Father’s Influence: ‘I Still Read Scripts with Him’

    Leonardo DiCaprio Opens Up About His Father’s Influence: ‘I Still Read Scripts with Him’

    What if your father had a passion for you, as Paul Thomas Anderson’s newest humdinger One Battle After Another courage asks? If that sounds glib, it fits into One Battle After Another, which is both humorous and revolutionary, as ridiculous as it is serious, and has a heart of […]…

    Leonardo DiCaprio opened up about his father’s influence in” I Also Learn Code with Him” and first appeared on Den of Geek.

    What if your father had a mind that you could trust him? Paul Thomas Anderson &#8216, his newest humdinger One Battle After Another courage asks. If that sounds glib, One Battle After Another is in line with it, which is both interesting and revolutionary, as well as serious, and has a film about a stoner father who, despite everything, will fight for his daughter wherever she goes. We then sat down with Leonardo DiCaprio, who plays an ex-revolutionary parents determine on an amazing search for his daughter, to find his own daughter. We also inquired about his own father, the undercover artist George DiCaprio, and how his career as a entertainer influenced his decision to pursue a career in art. &nbsp,

    The prize winner’s love for the creative, and acting in particular, was influenced by his own father’s unconventional career path, as did his father.

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    ” Absolutely, and he continues to do so, DiCaprio firmly during our sit down at the One Battle After Another hit junket.” My dad, he’s kind of the best source of wisdom for me, and not just his intellect, but also his understanding and his capability to see a particular subject matter through various lens. Because he has quite a unique perspective, I frequently also read code with him and ask him what he thinks. &#8221, &nbsp,

    The Oscar-winning professional claims his whole career has been shaped by their relationship, which is #8217. He actually helped me when I was a younger actor, and he continues to inspire me. When I was 10 or 11 or 12, I started looking for an adviser. I had a bad haircut, and I was a bust dance, and all the officials turned me down. And he reinforced the statement,” You&#8217, are going to have your moment.”

    There was also, according to Dicaprio,” A direction of this is what true filmmaking is.” describing how his father would “take me to actors and movies and say,” This is what the art form is all about. And those players are excellent. See this information. So I can&#8217, t state enough about how many he&#8217, s influenced what I&#8217, have done”.

    When it came to Benicio del Toro, his co-star, his legal education had carved his profession out of his younger years.

    Del Toro tells us that “my father was a fugitive lawyer.” ” My mother as well. You have to persuade people that they were players in some way,” he said.

    However, when it comes to their biggest effect, it &#8217, one of Del Toro’s key skills that he praised his father for. Del Toro says,” I had to do a lot of driving.” You know, my father had these large boat cars, so I may walk out and take the car, and you better not put a sketch on that vehicle. &#8221, &nbsp,

    Del Toro’s accomplishment made him proud to joke to his co-star that he” is park an American major vessel.” I you park a vehicle, &#8221, he smiles”. That&#8217, s my claim to fame. But you’re aware that my father taught me something because he was a fantastic vehicle. My father was actually park an 18-wheeler it, right?

    One Battle After Another, a black humor, is a tale about mother, having a child, and what it means to live as a Black person in America. For multi-hyphenate Teyana Taylor, who is already generating buzz around awards for her extraordinary achievement as Perfidia Beverly Hills, a revolutionary and family who must make a difficult choice after being exposed by Sean Penn&#8217’s aggressive Col. Steven J. Lockjaw. &nbsp,

    Preparing for the personal and action-packed part was a trip, but one that Taylor claims she embraced. What I did was delve into the issues that I may relate to. I’ve seen this woman living in preservation style, and I’ve already done it before, knowing that Perfidia was all I had to give you.

    The artist was immediately struck by the actress’s investigation of maternal depression. I love that he clarified that, and that he really gave me the freedom to play in it, Taylor stocks. As a mother of two who has experienced that, which is not the same exact item. So it was really wonderful to prepare for this because I saw so much of myself in parts of her that I didn’t agree with and even those that I didn’t, and I was able to have joy and kindness for her because those things come from not feeling seen and not feeling heard. &#8221, &nbsp, &nbsp,

    Baby Sharleen, Perfidia and Bob&#8217’s on-screen girl, develops into Willa, who is raised by Bob after her family vanishes from a witness security system. It&#8217 is a hard second film role for stranger Chase Infiniti, who successfully tackles it by making Willa a compelling and convincing lady. However, how do you get ready to play a persona who has never met her mother? Separation, which echoed the pair’s storyline in the tense scene, was the beginning. &nbsp,

    I didn’t join Teyana until much later in the shoot, and even before we started shooting. So when I began to really develop Willa’s character, I began to hear about her from people like Paul [ Thomas Anderson] and Leo.

    Infiniti continues. Even though I’m a little annoyed that I didn’t get to meet Teyana for a while, it actually helped hone in on the figure. Because I didn’t know her, I was able to absorb all the great things about her and the other characters ‘ tales that actually helped me get into that moment. &#8221, &nbsp,

    Regina Hall, a comedy legend, plays Perfidia’s near friend Deandra in one of the most amazing roles in the film. Hall is already in awards discussions, just like her on-screen murderer, and anyone who has seen Support the Girls shouldn’t be surprised by her heartbreaking performance as the woman who connects the diverse mother and daughter. &nbsp,

    &#8220, Deandra does like Perfidia, &#8221, Hall explains. They engaged in intense combat, and they both held the exact beliefs, and perhaps she knows that there she left off. Lifestyle is a journey. And she is aware of why she chose to do what. But there is this child&#8230, &#8221,

    In a scene that ended up on the cutting ground that she thought depicts the closeness of the two people and what Willa’s relationship means, Hall recalls that she really called me and said, in code terms, take care of those girl socks for me. Then it cuts from that image to Deandra packing the house like you gotta get and I say,” #8216, I promise, #8217.” When she returns to obtain Willa, you know, it’s entire circle for their companionship and the love of the child.” It’s time to go,” she said.

    Leonardo DiCaprio’s post” I Nevertheless Read Code with Him”:” I Nevertheless Read Code with Him” first appeared on Den of Geek.

  • Asynchronous Design Critique: Giving Feedback

    Asynchronous Design Critique: Giving Feedback

    One of the most successful soft skills we have at our disposal is feedback, in whatever form it takes, and whatever it may be called. It helps us collaborate to improve our designs while developing our own abilities and perspectives.

    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 input be adjusted for isolated and distributed function settings?

    We can find a long history of sequential comments on the web: 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 concepts with comments, but it also has some differences.

    The material

    The content of the feedback serves as the foundation for every effective analysis, so we need to start there. There are many designs that you can use to form your content. The one that I personally like best—because it’s obvious and actionable—is this one from Lara Hogan.

    Although this formula is typically used to provide feedback to individuals, it likewise fits really well in a style criticism because it finally addresses some 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 something that needs to be improved. If you keep the three elements of the equation in mind, you’ll have a mental model that can help you be more precise and effective.

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

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

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

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

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

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

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

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

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

    Or, for the request approach:

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

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

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

    Choosing the question approach or the request approach can also at times be a matter of personal preference. I 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. Quite unexpected, my next round of criticism from one particular 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 person in this other team who had always preferred specific guidance. So I adapted my feedback for them to include requests.

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

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

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

    Therefore, the above equation serves as a mnemonic to reflect and enhance the practice rather than a strict template for feedback. 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 tone

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

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

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

    The time when feedback occurs is known as timing. To-the-point feedback doesn’t have much hope of being well received if it’s given at the wrong time. If a new feature’s entire high-level information architecture is about to go live when it’s about to be released, it might still be relevant if that 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 later? Polishing work in progress? Each of these has unique needs. 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. Before writing, it’s important to make sure the person we’re writing will actually benefit them and improve the overall project. 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, and that’s okay. Acknowledging and owning that can help you make up for that: how would I write if I really cared about them? How can I avoid being passive aggressive? How can I encourage constructive behavior?

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

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

    Something to highlight because it’s quite frequent—especially in teams that have a strong group spirit—is that people tend to beat around the bush. It’s important to keep in mind that having a positive attitude doesn’t necessarily mean passing judgment on the feedback; rather, it simply means that even when you give difficult, or difficult feedback, you do so in a way that’s respectful and constructive. 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. The best, most insightful moments for me came when I shared a comment and asked a trusted person how it sounds, how can I do it better, or even” How would you have written it”? I discovered that by seeing the two versions side by side, I’ve learned a lot.

    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. Let’s try to think about some factors that might be helpful to consider, as there are many ways to accomplish this, and context is of course a factor.

    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 time seeing it? Are you coming from a high-level perspective, or are you figuring out the details? Are there regressions? Which user’s point of view are you addressing when offering feedback? Is the design iteration at a point where it would be okay to ship this, or are there major things that need to be addressed first?

    Even if you’re giving feedback to a team that already has some project information, 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 all the things that could be improved. 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”. This can be changed in your writing very quickly by reviewing it just before sending.

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

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

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

    • 🔶 Navigation—When I see these two buttons, I anticipate one to go forward and the other to go back. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Let’s make sure that all screens have the same two forward and back buttons so that users don’t get confused.
    • � � Overall— I think the page is solid, and this is good enough to be our release candidate for a version 1.0.
    • � � Metrics—Good improvement in the buttons on the metrics area, the improved contrast and new focus style make them more accessible.
    • Button Style: Using the green accent in this context, which conveys that it is a positive action because green is typically seen as a confirmation color. Do we need to explore a different color?
    • Considering 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 they can be very useful in the right context. Just make sure that each of the comments is separate so that it’s easier to match each discussion to a single task, similar to the idea of splitting mentioned above.

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

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

    Starting the process of receiving feedback with a question may seem counterintuitive, but it makes sense if we consider that receiving feedback can be seen as a form of pattern research. 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 review what we got up, get to the base of its perspectives, and take activity. Problem, generation, and analysis. This look at each of those.

    The query

    Being available to input is important, but we need to be specific about what we’re looking for. Any comments,” What do you think,” or” I’d love to hear your opinion” at the conclusion of a presentation are likely to generate a lot of divergent ideas, or worse, to make people 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 theme 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 components. 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’s even a form of acceptance because it specifies what kind of comments you’d like to receive and how you’re open to them. It puts people in the right emotional position, especially in situations when they weren’t expecting to give opinions.

    There isn’t a second best method to request suggestions. It simply needs to be certain, and precision may take several shapes. The concept of stage over level is a design for design criticism that I’ve found to be particularly helpful in my coaching.

    Stage” refers to each of the steps of the process—in our event, the design process. The type of input changes as the customer research moves forward to the final design. But within a single stage, one might also examine whether some assumptions are correct and whether there’s been a suitable language of the amassed input into updated designs as the project 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? navigation planning 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: On this page, we have two competing pieces of information. Is the structure effective in communicating them both?
    • User interface design: What do you think about the error counter at the top of the page, which makes sure you see the next error even if it 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?

    How much of a presentation’s depth would be on the other axis of specificity. 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 when switching between iterations because it’s crucial to highlight the changes made.

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

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

    Sometimes we actually do want broad feedback. Although that’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 falling into rabbit holes like those that could lead to further refinement but aren’t what’s important right now.

    Asking specific questions can completely change the quality of the feedback that you receive. People with less refined criticism will now be able to provide more actionable feedback, and even expert designers will appreciate the clarity and effectiveness gained from concentrating solely on what’s needed. 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. I’m going to use the term iteration post for this. It refers to a write-up or presentation of the design iteration followed by a discussion thread of some kind. This can be used on any platform that can accommodate this structure. By the way, when I refer to a “write-up or presentation“, I’m including video recordings or other media too: as long as it’s asynchronous, it works.

    There are many benefits to using iteration posts:

    • It creates a rhythm in the design work so that the designer can review feedback from each iteration and prepare for the next.
    • Decisions are always available, and conversations are also made accessible for future review.
    • 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. From there, there can be additional feedback techniques ( such as live critique, pair designing, or inline comments ).

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

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

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

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

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

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

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

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

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

    I want to highlight that even if these iteration posts are written and conceived as checkpoints, by no means do they need to be exhaustive. A post might be a draft, just a concept to start a discussion, or it might be a cumulative list of all the features that have been added 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 areas that still need improvement and, in turn, require more iterations, such as” with i8 we reached RC” or “i12 is an RC” to indicate when it is finished.

    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, it is more effective to adopt a different strategy: 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.

    Asynchronous feedback is particularly effective around these friction points because of this shift’s significant benefits:

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

    The first friction point is having to press yourself to respond to each and every comment. Sometimes we write the iteration post, and we get replies from our team. It’s simple, straightforward, and doesn’t cause any issues. But other times, some solutions might require more in-depth discussions, and the amount of replies can quickly increase, which can create a tension between trying to be a good team player by replying to everyone and doing the next design iteration. This might be especially true if the respondent is a stakeholder or a person who is directly involved in the project and whom we feel we need to speak with. We need to accept that this pressure is absolutely normal, and it’s human nature to try to accommodate people who we care about. When responding to all comments, it 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 quickly summarize the comments before moving on. Depending on your workflow, this can be particularly useful as it can provide a simplified checklist that you can then use for the next iteration.

    The swoop-by comment, which is the kind of feedback that comes from a member of the project or team who might not be aware of the context, restrictions, decisions, or requirements —or of the discussions from earlier iterations. 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, a brief response with a link to the previous discussion for additional information is typically sufficient if responding to a previously litigated point might be helpful. Remember, alignment comes from repetition, so it’s okay to repeat things sometimes!

    Swoop-by commenting 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 relation to the design could be the third friction point, which might cause us to feel defensive if the review turned out to be more of a discussion. Treating feedback as user research helps us create a healthy distance between the people giving us feedback and our ego ( because yes, even if we don’t want to admit it, it’s there ). And 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 has the most background and knowledge to make the best 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 function on products that have not yet been created?

    Flash, Photoshop, and flexible style

    When I first started designing sites, my go-to technology was Photoshop. I created a design for a 960px paint that I would eventually add willing to. The growth phase was about attaining pixel-perfect precision using set widths, fixed levels, and absolute setting.

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

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

    A new way to style

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

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

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

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

    Media questions

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

    Media questions 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 little- 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 more with recyclable 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 questions 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 elements are meant to replace responsive layouts.

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

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

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

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

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

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

    CSS is changing

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

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

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

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

    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. Subgrid is only supported by Firefox at the time of writing, but the above code can be implemented behind an @supports feature query.

    Intrinsic layouts

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

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

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

    —Jen Simmons,” Designing Intrinsic Layouts”

    Intrinsic layouts can also make use of a mix of fixed and flexible units, letting the content choose how much space it occupies.

    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 the requirement of 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 without relying on container queries using an intrinsic approach.

    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 design agency position I held in 2010. In my agency days, every new project was a clean slate, a chance to try something new. Nowadays, projects use existing tools and frameworks and are often improvements to existing websites with an existing codebase.

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

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

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

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

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

    And then there are design tools. We probably all used Photoshop templates for desktop, tablet, and mobile devices to drop designs into and show how the site would appear throughout our careers at some point.

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

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

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

    First, the content

    Content is not constant. After all, to design for the unanticipated or unexpected, we must take into account changes in content, 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 set 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 properties.

    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”?

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

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

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

    Responsible design is important.

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

    I Used the Web for a Day on a 50 MB Budget.”

    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, 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 returning.

    Media questions 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 at 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 questions 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 the same way we do for this constantly changing landscape. By putting content first and allowing that content to adapt to whatever space surrounds it, we can create more robust, flexible designs that increase the longevity of our products.

    A lot of the CSS discussed here is about moving away from layouts and putting content at the heart of design. There are still many more things we can do to adopt a more intrinsic approach, from responsive to fluid and fixed. 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 usable when people need them, whenever and wherever that may be. 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.

  • Voice Content and Usability

    Voice Content and Usability

    We’ve been conversing for a long time. Whether to present information, perform transactions, or just to check in on one another, people have yammered aside, chattering and gesticulating, through spoken discussion for many generations. Only recently had conversations started to be written, and only recently have we outsourced them to the system, a system that exhibits a significantly higher affinity for written communications than for the vernacular rigors of spoken language.

    Laptops have trouble because between spoken and written speech, talk is more primitive. Machines must wrestle with the complexity of human statement, including the disfluencies and pauses, the gestures and body speech, and the variations in expression choice and spoken dialect, which may impede even the most skillfully crafted human-computer interaction. In the human-to-human situation, spoken language also has the opportunity of face-to-face call, where we can easily interpret visual interpersonal cues.

    In contrast, written language develops its own fossil record of dated terms and phrases as we report it and retain utilization long after they are no longer relevant in spoken communication ( for example, the welcome” To whom it may concern” ). Because it tends to be more consistent, smooth, and proper, written word is necessarily far easier for machines to interpret and know.

    This luxury is not available in spoken language. Besides the nonverbal cues that decorate conversations with emphasis and emotional context, there are also verbal cues and vocal behaviors that modulate conversation in nuanced ways: how something is said, not what. Our spoken language conveys much more than the written word can ever contain, whether it’s rapid-fire, low-pitched, high-decibel, sarcastic, stilted, or sighing. So when it comes to voice interfaces—the machines we conduct spoken conversations with—we face exciting challenges as designers and content strategists.

    Voice-to-voice interactions

    We interact with voice interfaces for a variety of reasons, but according to Michael McTear, Zoraida Callejas, and David Griol in The Conversational Interface, those motivations by and large mirror the reasons we initiate conversations with other people, too ( ). We typically strike up a discussion by:

    • we need something done ( such as a transaction ),
    • we want to know something, some kind of information, or
    • we are social beings and want someone to talk to ( conversation for conversation’s sake ).

    These three categories, which I refer to as transactional, informational, and prosocial, also apply to essentially every voice interaction: a single conversation that starts with the voice interface’s first greeting and ends with the user leaving the interface. Note here that a conversation in our human sense—a chat between people that leads to some result and lasts an arbitrary length of time—could encompass multiple transactional, informational, and prosocial voice interactions in succession. In other words, a voice interaction is a conversation, but it is not always just one voice interaction.

    Purely prosocial conversations are more gimmicky than captivating in most voice interfaces, because machines don’t yet have the capacity to really want to know how we’re doing and to do the sort of glad-handing humans crave. Additionally, there is ongoing debate about whether users actually prefer the type of organic human conversation that starts with a prosocial voice and progresses seamlessly into new ones. In fact, in Voice User Interface Design, Michael Cohen, James Giangola, and Jennifer Balogh recommend sticking to users ‘ expectations by mimicking how they interact with other voice interfaces rather than trying too hard to be human—potentially alienating them in the process ( ).

    That leaves two different types of conversations we can have with one another that a voice interface can also have easily, including one that is transactional and one that is informational, teaching us something new ( “discuss a musical” ).

    Transactional voice interactions

    When you order a Hawaiian pizza with extra pineapple, you’re typically having a conversation and a voice interaction when you’re tapping buttons on a food delivery app. Even when we walk up to the counter and place an order, the conversation quickly pivots from an initial smattering of neighborly small talk to the real mission at hand: ordering a pizza ( generously topped with pineapple, as it should be ).

    Alison: Hey, how are things going?

    Burhan: Hi, welcome to Crust Deluxe! It’s chilly outside. How can I help you?

    Can I get a Hawaiian pizza with extra pineapple, Alison?

    Burhan: Sure, what size?

    Alison: Big.

    Burhan: Anything else?

    Alison: No thanks, that’s it.

    Burhan: Something to drink?

    Alison: I’ll have a bottle of Coke.

    Burhan: You got it. That will cost$ 13.55 and take about fifteen minutes.

    Each progressive disclosure in this transactional conversation reveals more and more of the desired outcome of the transaction: a service rendered or a product delivered. Conversations that are transactional have certain characteristics: they are direct, precise, and cost-effective. They quickly dispense with pleasantries.

    Informational voice interactions

    Meanwhile, some conversations are primarily about obtaining information. Alison might visit Crust Deluxe with the sole intention of placing an order, but she might not want to leave with a pizza at all. She might be just as interested in whether they serve halal or kosher dishes, gluten-free options, or something else. Even though we have a prosocial mini-conversation once more at the beginning to practice politeness, we are after much more.

    Alison: Hey, how are things going?

    Burhan: Hi, welcome to Crust Deluxe! It’s chilly outside. How can I help you?

    Alison: Can I ask a few questions?

    Burhan: Of course! Go right ahead.

    Do you have any halal options on the menu, Alison?

    Burhan: Absolutely! On request, we can make any pie halal. We also have lots of vegetarian, ovo-lacto, and vegan options. Do you have any other dietary restrictions in mind?

    Alison: What about gluten-free pizzas?

    Burhan: For both our deep-dish and thin-crust pizzas, we can definitely make a gluten-free crust for you. Anything else I can answer for you?

    Alison: That’s it for now. Good to know. Thank you!

    Burhan: Anytime, come back soon!

    This dialogue is entirely different. Here, the goal is to get a certain set of facts. Informational conversations are research expeditions to gather data, news, or facts, or they are investigative quests for the truth. Voice interactions that are informational might be more long-winded than transactional conversations by necessity. Responses are typically longer, more in-depth, and carefully communicated to ensure that the customer understands the main ideas.

    Voice Interfaces

    Voice-based user interfaces use speech at the core to assist users in accomplishing their objectives. But simply because an interface has a voice component doesn’t mean that every user interaction with it is mediated through voice. We’re most concerned in this book with pure voice interfaces because multimodal voice interfaces can lean on visual components like screens as crutches, which are completely dependent on spoken conversation and lack any visual component, making them much more nuanced and challenging to deal with.

    Though voice interfaces have long been integral to the imagined future of humanity in science fiction, only recently have those lofty visions become fully realized in genuine voice interfaces.

    IVR ( interactive voice response ) systems

    Though written conversational interfaces have been fixtures of computing for many decades, voice interfaces first emerged in the early 1990s with text-to-speech ( TTS ) dictation programs that recited written text aloud, as well as speech-enabled in-car systems that gave directions to a user-provided address. We became familiar with the first real voice interfaces that engaged in authentic conversation with the advent of interactive voice response ( IVR ) systems, which were created as an alternative to overburdened customer service representatives.

    IVR systems allowed organizations to reduce their reliance on call centers but soon became notorious for their clunkiness. These systems, which are commonplace in the corporate world, were primarily intended as metaphorical switchboards to direct customers to real phone agents (” Say Reservations to book a flight or check an itinerary” ), and it is likely that when you call an airline or hotel conglomerate, you will have the opportunity to have a conversation with one. Despite their functional issues and users ‘ frustration with their inability to speak to an actual human right away, IVR systems proliferated in the early 1990s across a variety of industries (, PDF).

    IVR systems have a reputation for having less scintillating conversations than we’re used to in real life ( or even in science fiction ), despite being extremely repetitive and monotonous.

    Screen readers

    The invention of the screen reader, a tool that converts visual content into synthesized speech, was a development of IVR systems in parallel. For Blind or visually impaired website users, it’s the predominant method of interacting with text, multimedia, or form elements. The most recent version of a voice-over-text format of content delivery is probably the one that is closest to it.

    Among the first screen readers known by that moniker was the Screen Reader for the BBC Micro and NEEC Portable developed by the Research Centre for the Education of the Visually Handicapped (RCEVH) at the University of Birmingham in 1986 ( ). The first IBM Screen Reader for text-based computers was created by Jim Thatcher in the same year, which was later recreated for computers with graphical user interfaces ( GUIs ) ( ).

    With the rapid growth of the web in the 1990s, the demand for accessible tools for websites exploded. Screen readers started facilitating quick interactions with web pages that ostensibly allow disabled users to traverse the page as an aural and temporal space rather than a visual and physical one with the introduction of semantic HTML and especially ARIA roles in 2008, enabling speedy interactions with the pages. In other words, screen readers for the web “provide mechanisms that translate visual design constructs—proximity, proportion, etc. in A List Apart, writes Aaron Gustafson, “into useful information.” ” At least they do when documents are authored thoughtfully” ( ).

    There is a big draw for screen readers: they’re challenging to use and relentlessly verbose, despite being incredibly instructive for voice interface designers. The visual structures of websites and web navigation don’t translate well to screen readers, sometimes resulting in unwieldy pronouncements that name every manipulable HTML element and announce every formatting change. Working with web-based interfaces is a cognitive burden for many screen reader users.

    In Wired, accessibility advocate and voice engineer Chris Maury considers why the screen reader experience is ill-suited to users relying on voice:

    I hated the way Screen Readers operated from the beginning. Why are they designed the way they are? It makes no sense to present information visually before converting it to audio only after that. All of the time and energy that goes into creating the perfect user experience for an app is wasted, or even worse, adversely impacting the experience for blind users. ( )

    In many cases, well-designed voice interfaces can speed users to their destination better than long-winded screen reader monologues. After all, users of the visual interface have the advantage of freely scurrying around the viewport to find information without getting too close to it. Blind users, meanwhile, are obligated to listen to every utterance synthesized into speech and therefore prize brevity and efficiency. Users with disabilities who have long had no choice but to use clumsy screen readers might find that voice interfaces, especially more contemporary voice assistants, provide a more streamlined experience.

    Voice assistants

    Many of us immediately associate voice assistants with the popular subset of voice interfaces found in living rooms, smart homes, and offices with the film Star Trek or with Majel Barrett’s voice as the omniscient computer. Voice assistants are akin to personal concierges that can answer questions, schedule appointments, conduct searches, and perform other common day-to-day tasks. And they’re quickly gaining more attention from accessibility advocates for their assistive potential.

    Before the earliest IVR systems found success in the enterprise, Apple published a demonstration video in 1987 depicting the Knowledge Navigator, a voice assistant that could transcribe spoken words and recognize human speech to a great degree of accuracy. Then, in 2001, Tim Berners-Lee and others created their vision for a” semantic web agent” that would carry out routine tasks like” checking calendars, making appointments, and finding locations” ( hinter paywall ). It wasn’t until 2011 that Apple’s Siri finally entered the picture, making voice assistants a tangible reality for consumers.

    There are a lot of variations in the programmability and customization of some voice assistants compared to others ( Fig. 1 ). As a result of the breadth of voice assistants available today ( Fig. 1 ). At one extreme, everything except vendor-provided features is locked down, for example, at the time of their release, the core functionality of Apple’s Siri and Microsoft’s Cortana couldn’t be extended beyond their existing capabilities. There are no other means of developers communicating with Siri at a low level, aside from predefined categories of tasks like messaging, hailing rideshares, making restaurant reservations, and other things, which are still possible today.

    At the opposite end of the spectrum, voice assistants like Amazon Alexa and Google Home offer a core foundation on which developers can build custom voice interfaces. For this reason, developers who feel stifled by the limitations of Siri and Cortana are increasingly using programmable voice assistants that are capable of customization and extensibility. Amazon offers the Alexa Skills Kit, a developer framework for building custom voice interfaces for Amazon Alexa, while Google Home offers the ability to program arbitrary Google Assistant skills. Users of the Amazon Alexa and Google Assistant ecosystems can choose from among the thousands of custom-built skills available today.

    As businesses like Amazon, Apple, Microsoft, and Google continue to dominate their markets, they are also selling and open-sourcing an unmatched range of tools and frameworks for designers and developers, aiming to make creating voice interfaces as simple as possible, even without the use of any code.

    Often by necessity, voice assistants like Amazon Alexa tend to be monochannel—they’re tightly coupled to a device and can’t be accessed on a computer or smartphone instead. In contrast, many development platforms, such as Google’s Dialogflow, have omnichannel capabilities that allow users to create a single conversational interface that then manifests as a voice interface, textual chatbot, and IVR system upon deployment. I don’t prescribe any specific implementation approaches in this design-focused book, but in Chapter 4 we’ll get into some of the implications these variables might have on the way you build out your design artifacts.

    Voice Content

    Simply put, voice content is content delivered through voice. Voice content must be free-flowing and organic, contextless and concise in order to preserve what makes human conversation so compelling in the first place. Everything written content is not.

    Our world is replete with voice content in various forms: screen readers reciting website content, voice assistants rattling off a weather forecast, and automated phone hotline responses governed by IVR systems. We’re most concerned with the audiobook content being delivered as a requirement rather than an option.

    For many of us, our first foray into informational voice interfaces will be to deliver content to users. One issue is that any content we already have isn’t in any way suitable for this new environment. So how do we make the content trapped on our websites more conversational? And how do we create fresh copy that works with voice movements?

    Lately, we’ve begun slicing and dicing our content in unprecedented ways. Websites are, in many ways, massive vaults of what I call macrocontent: lengthy prose that can last for miles in a browser window while extending like microfilm viewers of newspaper archives. Back in 2002, well before the present-day ubiquity of voice assistants, technologist Anil Dash defined microcontent as permalinked pieces of content that stay legible regardless of environment, such as email or text messages:

    An example of microcontent can be a day’s weather forecast [sic], an airplane flight’s arrival and departure times, an abstract from a lengthy publication, or a single instant message. ( )

    I would update Dash’s definition of microcontent to include all instances of bite-sized content that transcends written communiqués. After all, today we encounter microcontent in interfaces where a small snippet of copy is displayed alone, unmoored from the browser, like a textbot confirmation of a restaurant reservation. The best way to learn how to stretch your content to the limits of its potential is through microcontent, which will inform both established and new delivery methods.

    As microcontent, voice content is unique because it’s an example of how content is experienced in time rather than in space. We can instantly look at a digital sign for an instant and be informed when the next train is coming, but voice interfaces keep our attention captive for so long that we can’t quickly evade or skip, a feature that screen reader users are all too familiar with.

    Because microcontent is fundamentally made up of isolated blobs with no relation to the channels where they’ll eventually end up, we need to ensure that our microcontent truly performs well as voice content—and that means focusing on the two most important traits of robust voice content: voice content legibility and voice content discoverability.

    Our voice content’s legibility and discoverability in general both depend on how it manifests in terms of perceived space and time.