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John Jantsch’s book, Choosing the Right Marketing Practice Growth Program: A Clear Guide to Types, Fit, and Charges is available online.

Table of Contents 1TL, DR: What’s the Best Selling Program for You? 2 What Are the Benefits of a Marketing Leadership Program? ( And Do You Really Need One? ) 3Types of Marketing Programs for Consultants &amp, AgenciesTactical Skills Courses for Marketing Consultants: Entry-Level” Business Foundations” Programs: Workshops that last for more than a day are aggressive.: License-Based Certification Applications: Partner/Reseller Courses ( Software Ecosystems ): Masterminds &amp, Agency Accelerators: 4Choose the Right Marketing Program Based on Your Business ]… ]

John Jantsch’s book, Choosing the Right Marketing Practice Growth Program: A Clear Guide to Types, Fit, and Charges is available online.

Gunsmoke is one of the leading 10 most-watched acquired set across all measured streaming services, according to the most recent Nielsen streaming record. Well, the 70-year-old American TV show, which was adapted from a television show about the Dodge City, Kansas people, just surpassed favorite television shows like Family Guy and The White.

The first article on Den of Geek was Gunsmoke Has Become The Most Likely Streaming Hit 70 Years After.

Episode 7 of Daredevil: Born Suddenly has clues in this article.

Hector Ayala’s White Tiger has been a delightful, if simple addition to the ever-expanding cannon that is the Marvel Cinematic Universe, giving the street-level champions of Daredevil: Born Again various kinds of vigilante perspectives.

At the Daredevil trip prior to the series debut, Marvel Studios Head of Streaming, Television, and Animation Brad Winderbaum told Den of Geek that the present deals with the themes of killing and taking fairness into your own hands in an oppressive planet.” White Tiger exists kind of carry out that argument,” Winderbaum said.

Hector Ayala has been shot by an unidentified assailant, which we can only presume was a corrupt police officer, after the activities of season three. However, his daughter Angela Del Toro, who might be our next White Tiger, seems to carry on his attentive soul and a yearning for justice. However, we must first be aware of the identity of the White Tiger and what his existence might mean for the MCU, including the possible return of the most despised Defender. Give us permission to explain ( along with Winderbaum and Daredevil: Born Again showrunner Dario Scardapane ).

White Tiger’s account has been enhanced by rich tale options, and there are also world-wide repercussions that can only be derived from the existence of his source of power, the” White Tiger Amulet,” which increases the wearer’s speed, agility, strength, emotions, strength, treatment, and other spiritual qualities when the need arises. &nbsp,

The mystic city known as K’un-Lun is where the tiger amulet comes from. A group of three fighters from their master, who was killed by an enemy attack, received one of the three pieces of a tiger god statue that was passed around until it was hidden in a dojo. Following this, they adopted the moniker” Sons of the Tiger” and had a small amount of adventure, as described in Deadly Hands of Kung Fu Vol. until they broke up and left the amulets in an alley, where they would later find their way into Hector Ayala’s possession.

Now, if the name K’un-Lun sounds familiar to you, it should. Danny Rand, aka the Iron Fist, was born and raised in the city as The Iron Fist: Protector of K’un-Lun. And with Finn Jones, a former Iron Fist actor, recently expressing his desire to reprise the role, it definitely opens up discussion about the MCU’s mystic side getting further explored. We’ve already seen hints of mysticism in films like Agatha All Along and Werewolf by Night, and even a passing mention of The Black Knight in Eternals, as well as Kamala Khan’s Ms. Marvel, which features her mythical ancestral bangles of other-worldly power. This inclination to diversify their comics line-up and include some much-loved variety in the MCU’s currently mostly sci-fi and espionage-inspired world that is currently.

And Ms. Marvel appears to be leading this trend as well, with her position at the forefront of Marvel&#8217’s push for their young heroes in both film and television. As seen in the post-credits scene of The Marvels and episode 5 of Daredevil: Born Again, which reveal Kamala Khan’s current West Coast whereabouts, where she presumably is further recruiting young heroes, she offers her upfront team recruitment offer to Kate Bishop.

With Kamala Khan’s Ms. Marvel’s One and Only Champion firmly established in the universe and revealing the majority of the potential young Avengers in recent releases, it appears as though the MCU might be trying to put together a Young Avengers and Champions amalgamation squad. We see this in Young Avengers appearances like Wiccan and Speed’s Agatha All Along, Kate Bishop’s co-star in the Hawkeye series, and the portal-hopping powerhouse America Chavez as the co-star of Doctor Strange in the Multiverse of Madness, as well as Isaiah Bradley’s nephew Elijah Bradley’s nephew (yet not having a suited appearance as Patriot but still having laid the groundwork for it ). Angela Del Toro, a.k .a.” the new face” to this roster. White Tiger, who is well-known in her prominent role in the Avengers Academy, has her own experience with young teams based out of the West Coast.

It is obvious that executive producer Brad Winderbaum and Daredevil: Born Again showrunner Dario Scardapane are aware of the potential of these characters in the MCU.

You know there are people you want to see together, right? Scardapane asserts. &nbsp,

” Every choice is going to be based on the story we’re telling, the characters, and what’s driving them, and the challenges they face,” Winderbaum goes on to say. They indeed live and breathe the same world as these other characters, and collisions can occur, but we are not trying to do anything wrong. When it’s the right reason to do it, we’re going to bring people in.

If this is any indication of the direction, characters, and storylines of the MCU’s approach, we are in for a treat these upcoming junctures.

Tuesdays at 9 p.m. ET on Disney+, new episodes of Daredevil: Born Again air, with the season finale on April 15.

The first post on Den of Geek was Daredevil’s White Tiger: A Marvel Character’s Journey Back to the MCU.

A Minecraft drama has finally come out of growth hell, only to be met with an odd reaction. Despite the majority of detractors disapproving of it, the video game version quietly and confidently set new records for box office success. The entire situation has even sparked debates about who gets to condemn kids ‘ entertainment and how some […]

On Den of Geek, the second article “90s Video Game Movies Deserve More Appreciate” appeared.

This article contains spoilers for season 7 of Daredevil: Born Once.

Hector Ayala’s White Tiger has been a delightful, if simple, addition to the ever-expanding cannon that is the Marvel Cinematic Universe, offering different kinds of vigilante ideas to the street-level champions of Daredevil: Born Repeatedly.

At the Daredevil trip prior to the series debut, Marvel Studios Head of Streaming, Television, and Animation Brad Winderbaum told Den of Geek that the present deals with the themes of killing and taking fairness into your own hands in an oppressive planet.” White Tiger exists kind of carry out that argument,” Winderbaum said.

Hector Ayala is dead following the events of season three, which we can only suppose was a corrupt authorities agent. However, his daughter Angela Del Toro, who might be our next White Tiger, seems to carry on his attentive soul and a yearning for justice. However, we must first learn who the White Tiger is and what the writer’s presence might mean for the MCU’s future, including the possible return of the most despised Defender. Give us permission to explain ( along with Winderbaum and Daredevil: Born Again showrunner Dario Scardapane ).

White Tiger’s history has expanded thanks to the presence of his source of power, the” White Tiger Amulet,” which gives the wearer increased speed, agility, strength, senses, strength, treatment, and other spiritual properties when the need arises. Not only have these abundant narrative choices enhanced his story, White Tiger, but there are also world-expanding implications that may come from his source of power, the” White Tiger Amulet,” when the wearer has more speed, agility, strength, strength, &nbsp,

The mysterious cat amulet’s origins begin in the mythical area known as K’un-Lun. A group of three soldiers from their king, who was killed by an army attack, received one of the three sections of a lion god statue that was passed around until it was hidden in a dojo. Following this, they adopted the moniker” Sons of the Tiger” and had a small amount of adventure there, as described in Deadly Hands of Kung Fu Vol. until they disintegrated and left the amulets in an alley, where they would later be able to obtain Hector Ayala#8217.

Now, if the name K’un-Lun sounds familiar to you, it should. Danny Rand, aka the Iron Fist, is based in the city where he received his abilities and title The Iron Fist: Protector of K’un-Lun. And with Finn Jones, a former Iron Fist actor, recently expressing his desire to reprise the role, it definitely opens up discussion about the MCU’s mystic side getting further explored. We’ve already seen hints of mysticism in films like Agatha All Along and Werewolf by Night, and even a passing mention of The Black Knight in Eternals, as well as Kamala Khan’s Ms. Marvel, which features her mythical ancestral bangles of other-worldly power. This inclination to diversify their comics lineup, which also includes some much-loved variety in the MCU’s currently largely sci-fi and espionage-inspired world.

And Ms. Marvel appears to be leading this trend with her being at the forefront of Marvel&#8217’s push toward their young heroes in both film and television. As seen in the post-credits scene of The Marvels and episode 5 of Daredevil: Born Again revealing Kamala Khan’s current West Coast whereabouts, where she presumably is further recruiting young heroes, as she does in the team recruitment offer to Kate Bishop in the post-credits scene of The Marvels.

It appears as though the MCU might be aiming to create a group of Young Avengers and Champions after their one and only Champion is firmly established in Kamala Khan’s Ms. Marvel, and revealing the majority of the potential young Avengers in recent films. We see this in Young Avengers appearances like Wiccan and Speed’s Agatha All Along, Kate Bishop’s co-star in the Hawkeye series, and America Chavez, the portal-hopping powerhouse in the Multiverse of Madness, as the co-star of Doctor Strange in the Multiverse of Madness, as well as Isaiah Bradley’s nephew Elijah Bradley’s nephew (yet not having a suited appearance as Patriot but still having laid the groundwork for it ), and Angela Del Toro, a.k .a. a potential addition to this roster. White Tiger, who is well-known in her prominent role in the Avengers Academy, has her own experience with young teams based out of the West Coast.

It is obvious that executive producer Brad Winderbaum and Daredevil: Born Again showrunner Dario Scardapane are aware of the potential of these characters in the MCU.

You know there are people you want to see together, right? Says Scardapane. &nbsp,

” Every choice is going to be based on the story we’re telling, the characters, and what’s driving them, and the challenges they face,” Winderbaum goes on to say. They indeed live and breathe the same world as these other characters, and collisions can occur, but we don’t want to do anything wrong. When it’s the right reason to do it, we’re going to bring people in.

We are in for a treat these upcoming phases if this provides any insight into the direction the MCU’s approach will take the characters, plots, and future holds.

On Disney+, new Daredevil: Born Again episodes air on Tuesdays at 9 p.m. ET, with the series finale on April 15.

The first post On Den of Geek: Daredevil’s White Tiger Could Be One Marvel Character’s Ticket Back Into the MCU appeared first.

We agree: the computer-generated heads could be a great fit for personas—but not for the purpose you might think. Ironically, the website highlights the core issue of this very common design method: the person ( a ) does not exist. Personas are deliberately created, just like in the photos. Data is taken out of natural environment and recombined into an isolated preview that’s detached from reality.

However, oddly enough, people are personalities to serve as a source of inspiration for architecture in the real world.

Personas: A action up

Most manufacturers have created, used, or come across personalities at least once in their profession. The Interaction Design Foundation defines profile as “fictional characters, which you create based upon your research in order to represent the various consumer types that might use your company, product, page, or brand” in their article” Personas- A Simple Introduction.” In their most complete expression, personas typically consist of a name, profile picture, quotes, demographics, goals, needs, behavior in relation to a certain service/product, emotions, and motivations ( for example, see Creative Companion’s Persona Core Poster ). According to design firm Designit, the goal of personas is to “make the research relateable, ]and ] easy to communicate, digest, reference, and apply to product and service development.”

The decontextualization of personalities

Personas are common because they make “dry” research information more realistic, more people. However, this approach places a cap on the study’s ability to analyze the data in a way that excludes the subjects from their particular contexts. As a result, personalities don’t describe important factors that make you realize their decision-making method or allow you to connect to users ‘ thoughts and behavior, they lack stories. You are aware of the persona’s actions, but you lack the knowledge to know why. You end up with images of people that are really less people.

This “decontextualization” we see in identities happens in four way, which we’ll discuss below.

People are assumed to be dynamic, according to people.

Although many companies still try to box in their employees and customers with outdated personality tests ( referring to you, Myers-Briggs ), here’s a painfully obvious truth: people are not a fixed set of features. Depending on how you feel, how you act, think, and think, what you do and do. You appear distinct to different people, you may act helpful to some, tough to others. And you change your mind all the time about selections you’ve taken.

Current psychologists concur that while individuals typically act in accordance with specific patterns, how people act and make decisions is ultimately influenced by a combination of history and culture. The context—the atmosphere, the effect of other people, your feelings, the whole story that led up to a situation—determines the kind of person you are in each particular time.

Personas do not account for this variation in their attempt to improve reality; instead, they present a consumer as a set of features. Like character testing, personas seize people away from real life. Even worse, individuals are reduced to a brand and categorized as” that kind of guy” with no means to practice their inherent flexibility. This behavior discredits variety, perpetuates stereotypes, and doesn’t reveal reality.

Personas rely on people, not the environment

You’re designing for a environment, not an individual, in the real world. Each individual lives in a community, a group, an habitat, where there are environmental, social, and cultural factors you need to consider. A pattern is not meant for a single customer. Instead, you create a product that is intended to be used by a certain number of people. Personas, but, show the customer alone rather than explain how the consumer relates to the environment.

Would you choose the exact course of action over and over again? Maybe you’re a dedicated vegan but also decide to buy some meats when your family are coming across. As they depend on various situations and characteristics, your decisions—and behavior, thoughts, and comments —are no absolute but extremely contextual. Because it doesn’t explain the grounds of your decisions, the persona that “represents” you doesn’t take into account this interdependence. It doesn’t provide a rationale of why you act the way you do. People practice the well-known attribution error, which states that they too often attribute others ‘ behavior to their personalities and not to the circumstances.

As mentioned by the Interaction Design Foundation, identities are often placed in a situation that’s a” specific environment with a problem they want to or have to solve “—does that mean environment actually is considered? Unfortunately, what often happens is that you take a fictional character and based on that fiction determine how this character might deal with a certain situation. How could you possibly comprehend how someone you want to represent behave in new circumstances given that you haven’t even fully investigated and understood the current context of the people you want to represent?

Personas are meaningless averages

A persona is depicted as a specific person but is not a real person, as stated in Shlomo Goltz’s introduction article on Smashing Magazine; rather, it is made up of observations from numerous people. A well-known critique to this aspect of personas is that the average person does not exist, as per the famous example of the USA Air Force designing planes based on the average of 140 of their pilots ‘ physical dimensions and not a single pilot actually fitting within that average seat.

The same limitation applies to mental aspects of people. Have you ever heard a famous person say something was taken out of context? They used my words, but I didn’t mean it like that”. The reporter didn’t explain the context of the celebrity’s statement or explain the non-verbal expressions, but the celebrity’s statement was literally reported. As a result, the intended meaning was lost. You do the same when you create personas: you collect somebody’s statement ( or goal, or need, or emotion ), of which the meaning can only be understood if you provide its own specific context, yet report it as an isolated finding.

However, personas go one step further, combining a decontextualized finding with another decontextualized finding from another. The resulting set of findings often does not make sense: it’s unclear, or even contrasting, because it lacks the underlying reasons on why and how that finding has arisen. It lacks any significance. And the persona doesn’t give you the full background of the person ( s ) to uncover this meaning: you would need to dive into the raw data for each single persona item to find it. What, then, is the usefulness of the persona?

The validity of personas is deceiving.

To a certain extent, designers realize that a persona is a lifeless average. To combat this, designers create and add “relatable” details to personas to make them appear to be real people. Nothing captures the absurdity of this better than a sentence by the Interaction Design Foundation:” Add a few fictional personal details to make the persona a realistic character”. In other words, you add non-realism in an attempt to create more realism. You purposefully understate the fact that” John Doe” is an abstract representation of research findings, but wouldn’t it be much more responsible to emphasize that John is only an abstraction? If something is artificial, let’s present it as such.

After accepting that people’s personalities are fixed, dismissed the importance of their environment, and hidden meaning by joining isolated, non-generalizable findings, designers create new context to create ( their own ) meaning. In doing so, as with everything they create, they introduce a host of biases. As phrased by Designit, as designers we can” contextualize]the persona ] based on our reality and experience. We make connections that are well-known to us. This practice reinforces stereotypes, doesn’t reflect real-world diversity, and gets further away from people’s actual reality with every detail added.

To conduct effective design research, we must report the actual situation and make it relatable for our audience, so that everyone can use their own empathy and develop their own interpretation and emotional response.

Dynamic Selves: The alternative to personas

If we shouldn’t use personas, what should we do instead?

Designit suggests using mindsets rather than personas. Each Mindset is a” spectrum of attitudes and emotional responses that different people have within the same context or life experience”. It challenges designers to avoid becoming fixated on just one person’s way of being. Unfortunately, while being a step in the right direction, this proposal doesn’t take into account that people are part of an environment that determines their personality, their behavior, and, yes, their mindset. Therefore, Mindsets are also not absolute but change in regard to the situation. What determines a certain Mindset, is the question still unanswered.

Another alternative comes from Margaret P., author of the article” Kill Your Personas“, who has argued for replacing personas with persona spectrums that consist of a range of user abilities. For instance, a visual impairment could be permanent ( blindness ), temporary ( recovery from eye surgery ), or situational (screen glare ). Persona spectrums are highly useful for more inclusive and context-based design, as they’re based on the understanding that the context is the pattern, not the personality. Their limitation, however, is that they have a very functional take on users that misses the relatability of a real person taken from within a spectrum.

We want to change the traditional design process to be context-based by creating an alternative to personas. Contexts are generalizable and have patterns that we can identify, just like we tried to do previously with people. How can we identify these patterns, then? How do we ensure truly context-based design?

Understand real individuals in multiple contexts

Nothing can be more relatable and inspiring than reality. Therefore, we have to understand real individuals in their multi-faceted contexts, and use this understanding to fuel our design. We refer to this method as Dynamic Selves.

Let’s take a look at what the approach looks like, based on an example of how one of us applied it in a recent project that researched habits of Italians around energy consumption. We drafted a design research plan aimed at investigating people’s attitudes toward energy consumption and sustainable behavior, with a focus on smart thermostats.

1. Choose the right sample

When we contest personas, we are frequently met with the words” Where are you going to find a single person that encapsulates all the information from one of these advanced personas ]””? The answer is simple: you don’t have to. You don’t need to have information about many people for your insights to be deep and meaningful.

In qualitative research, accuracy comes from accurate sampling rather than quantity. You select the people that best represent the “population” you’re designing for. If you select the right sample and have a deep understanding of the sampled people, you can infer how the rest of the population thinks and acts. There’s no need to study seven Susans and five Yuriys, one of each will do.

Similarly, you don’t need to understand Susan in fifteen different contexts. You have understood Susan’s plan of action once you have seen her in a few different settings. Not Susan as an atomic being but Susan in relation to the surrounding environment: how she might act, feel, and think in different situations.

It becomes clear why each person should be portrayed as an individual because each already represents an abstraction of a larger group of people in similar circumstances because each person is representative of a portion of the population you’re researching. You don’t want abstractions of abstractions! These selected people need to be understood and shown in their full expression, remaining in their microcosmos—and if you want to identify patterns you can focus on identifying patterns in contexts.

However, the question remains: how do you select a sample representative? First of all, you have to consider what’s the target audience of the product or service you are designing: it might be useful to look at the company’s goals and strategy, the current customer base, and/or a possible future target audience.

We were creating an application for those who already have a smart thermostat in our example project. In the future, everyone could have a smart thermostat in their house. Right now, though, only early adopters own one. We had to understand the causes behind these early adopters in order to build a significant sample. We therefore recruited by asking people why they had a smart thermostat and how they got it. There were those who had made the decision to purchase it, those who had been influenced by others to do so, and those who had located it in their homes. So we selected representatives of these three situations, from different age groups and geographical locations, with an equal balance of tech savvy and non-tech savvy participants.

2. Conduct your research

After having chosen and recruited your sample, conduct your research using ethnographic methodologies. This will give you more examples and anecdotes to enrich your qualitative data. In our example project, given COVID-19 restrictions, we converted an in-house ethnographic research effort into remote family interviews, conducted from home and accompanied by diary studies.

To gain an in-depth understanding of attitudes and decision-making trade-offs, the research focus was not limited to the interviewee alone but deliberately included the whole family. With the additions or corrections made by wives, husbands, children, or occasionally even pets, each interviewee would tell a story that would then become much more engaging and precise. We also focused on the relationships with other meaningful people ( such as colleagues or distant family ) and all the behaviors that resulted from those relationships. With this extensive investigation, we were able to create vivid images of dynamic situations involving multiple actors.

It’s essential that the scope of the research remains broad enough to be able to include all possible actors. Therefore, it normally works best to define broad research areas with macro questions. Interviews should be conducted in a semi-structured manner, with follow-up questions delve into subjects that the interviewee has blatantly mentioned. This open-minded “plan to be surprised” will yield the most insightful findings. One of our participants responded,” My wife doesn’t have the thermostat’s app installed; she uses WhatsApp instead,” when we asked how his family controlled the temperature in the house. If she wants to turn on the heater and she is not home, she will text me. I am her thermostat”.

3. Analysis: Create the Dynamic Selves

You begin to represent each individual as a series of dynamic selves during the research analysis, each” Self” representing a particular context. The core of each Dynamic Self is a quote, which comes supported by a photo and a few relevant demographics that illustrate the wider context. The research findings themselves will show which demographics are relevant to show. In our case, the important demographics were family type, number and type of houses owned, economic status, and technological maturity because our research focused on families and their way of life to understand their needs for thermal regulation. ( We also included the individual’s name and age, but they’re optional—we included them to ease the stakeholders ‘ transition from personas and be able to connect multiple actions and contexts to the same person ).

Interviews and notes must be recorded verbatim as much as possible in order to capture precise quotes. This is essential to the truthfulness of the several Selves of each participant. In the case of real-life ethnographic research, photos of the context and anonymized actors are essential to build realistic Selves. These photos should be taken directly from field research, but an evocative and representative image will do as well as that, as long as it’s accurate and depicts meaningful actions that you associate with your participants. For example, one of our interviewees told us about his mountain home where he used to spend every weekend with his family. Therefore, we depicted him taking a hike with his young daughter.

At the end of the research analysis, we displayed all of the Selves ‘” cards” on a single canvas, categorized by activities. Each card displayed a situation, represented by a quote and a unique photo. Each participant had several cards about themselves.

4. Identify potential designs

Once you have collected all main quotes from the interview transcripts and diaries, and laid them all down as Self cards, you will see patterns emerge. These patterns will highlight the opportunity areas for new product creation, new functionalities, and new services—for new design.

A particularly intriguing finding was made in our example project regarding the concept of humidity. We realized that people don’t know what humidity is and why it is important to monitor it for health: an environment that’s too dry or too wet can cause respiratory problems or worsen existing ones. This highlighted a significant opportunity for our client to train users about the concept and work as a health advisor.

Benefits of Dynamic Selves

When you use the Dynamic Selves approach in your research, you start to notice unique social relations, peculiar situations real people face and the actions that follow, and that people are surrounded by changing environments. One of the participants in our thermostat project, Davide, is described as a boyfriend, dog lover, and tech nut.

Davide is an individual we might have once reduced to a persona called “tech enthusiast”. However, there are also those who are wealthy or poor who are tech enthusiasts, whether they are single or have families. Their motivations and priorities when deciding to purchase a new thermostat can be opposite according to these different frames.

Once you have understood Davide in multiple situations, and for each situation have understood in sufficient depth the underlying reasons for his behavior, you’re able to generalize how he would act in another situation. You can use your understanding of him to predict what he would think and act in the situations ( or scenarios ) you create.

The Dynamic Selves approach aims to dismiss the conflicted dual purpose of personas—to summarize and empathize at the same time—by separating your research summary from the people you’re seeking to empathize with. This is crucial because scale affects how we feel empathy for people and how difficult it is to do so with other people. We feel the strongest empathy for individuals we can personally relate to.

If you take a real person as inspiration for your design, you no longer need to create an artificial character. No more developing plot devices to “realize” the character, and no more need for additional bias. It’s simply how this person is in real life. In fact, as we all know, personas quickly turn into nothing more than a name in our priority guides and prototype screens because we all know these characters don’t really exist.

Another powerful benefit of the Dynamic Selves approach is that it raises the stakes of your work: if you mess up your design, someone real, a person you and the team know and have met, is going to feel the consequences. It might stop you from taking shortcuts and will remind you to conduct daily checks on your designs.

Finally, real people in their specific contexts provide a better foundation for anecdotal storytelling and are thus more effective at persuasion. Documentation of real research is essential in achieving this result. It reinforces your design arguments with more urgency and weight:” When I met Alessandra, the conditions of her workplace struck me. Noise, bad ergonomics, lack of light, you name it. If we go for this functionality, I’m afraid we’re going to add complexity to her life”.

Conclusion

In their article on Mindsets, Designit mentioned that “design thinking tools provide a shortcut to deal with reality’s complexities, but this process of simplification can occasionally flatten out people’s lives into a few general characteristics.” Unfortunately, personas have been culprits in a crime of oversimplification. They fail to account for the complexity of the decision-making processes of our users and don’t take into account the contexts that humans are immersed in.

Design needs simplification but not generalization. You have to look at the research elements that stand out: the sentences that captured your attention, the images that struck you, the sounds that linger. Use those as metaphors for the person in all of their contexts. Both insights and people come with a context, they cannot be cut from that context because it would remove meaning.

It’s high time for design to break away from fiction and use reality as our guide and inspiration, in its messy, surprising, and unquantifiable beauty.

But what on earth is a zealous stress?

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

This girl seems to need self-care because she has too much going on. But no, she doesn’t have occasion for that. She begins to feel as though she’s dropping balloons. Never accomplishing much. There’s not enough of her to be here and there, she is trying to divide her head in two all the time, all time, every time. She begins to question herself. And as those thoughts creep in more and more, her domestic tale becomes more and more important.

She instantly KNOWS what she must do! She really Would MORE.

This is a difficult and dangerous period. Know the reasons? Because when she doesn’t end that new purpose, that storyline will get worse. She immediately starts failing. She isn’t doing much. SHE is not enough. She does fail, she might refuse her family, but she’ll discover more to do. She doesn’t nap as much, proceed because much, all in the attempts to do more. Not succeeds in any objective target despite constantly trying to prove herself to herself. Not feeling “enough”.

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

I am the one who had

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

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

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

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

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

The dangerous invisibility of zealous burnout

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

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

Women and burnout

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

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

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

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

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

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

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

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

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

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

Do you have a plan to stop feeling this way? If something has an exit route with a pause button if it is only temporary and you have to push through it.
defined end.

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

So now what?

Although what I just described is a different path to burnout, it is still burnout. There are well-established approaches to working through burnout:

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

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

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

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

Cook an elaborate meal for someone!

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

Vent like a sniveling jerk.

Be careful with this one!

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

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

Pick up a book!

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

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

Or, another method I enjoy using is to read or listen to a book that is NOTHING to do with my work-life balance. I’ve read the following books and found they helped balance me out because my mind was pondering their interesting topics instead of running in circles:

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

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

Give yourself a break.

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

This last one is the most important: allow yourself permission to NOT do it all. You never promised to be everything to everyone at all times. We are stronger than the anxieties that motivate us.

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

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

Look, I get that none of these ideas will “fix it”, and that’s not their purpose. Only how we react to the things around us is what we control. These suggestions are to help stop the spiral effect so that you are empowered to address the underlying issues and choose your response. They are things that most of the time work for me. Maybe they’ll work for you.

Does this sound familiar?

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

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

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

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

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

Feedback is also one of the most underestimated equipment, and generally by assuming that we’re already good at it, we settle, forgetting that it’s a talent that can be trained, grown, and improved. Bad opinions can lead to conflict on projects, lower morale, and long-term, undermine trust and teamwork. Quality opinions can be a revolutionary force.

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

The information

The content of the feedback is the bedrock of every effective criticism, so where do we need to begin? There are many versions that you can use to design your information. 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 anything that needs to be improved. If you keep the three components of the equation in mind, you’ll have a mental unit that can help you become more precise and effective.

A comment that appears to be fair at first glance could be included in some feedback, as it only appears to partially fulfill the requirements. But does it?

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

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

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

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

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

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

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

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

Or, for the request approach:

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

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

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

Choosing the question approach or the request approach can also at times be a matter of personal preference. I spent a while working on improving my feedback, conducting anonymous feedback reviews and sharing feedback with others. After a few rounds of this work and a year later, I got a positive response: my feedback came across as effective and grounded. Until I changed teams. Surprise surprise, one particular person gave me a lot of negative feedback. The reason is that I had previously tried not to be prescriptive in my advice—because the people who I was previously working with preferred the open-ended question format over the request style of suggestions. However, there was a member of this other team who preferred specific guidance. So I adapted my feedback for them to include requests.

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

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

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

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

The atmosphere

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

Since our goal is to be understood and to have a positive working environment, tone is essential to work on. I’ve tried to summarize the necessary soft skills over the years using a formula that resembles 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. When a new feature’s entire high-level information architecture is about to go live, it might still be relevant if the questioning raises a significant blocker that no one saw, but those concerns are much more likely to have to wait for a later revision. So in general, attune your feedback to the stage of the project. Early iteration? Iteration later? Polishing work in progress? Each of these needs a different one. The right timing will make it more likely that your feedback will be well received.

Attitude is the equivalent of intent, and in the context of person-to-person feedback, it can be referred to as radical candor. That entails checking whether what we have in mind will actually help the person and improve the overall project before writing. This might be a hard reflection at times because maybe we don’t want to admit that we don’t really appreciate that person. Hopefully that’s not the case, but it can happen, 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? What can I do to 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’s not what I meant to say! I felt really bad, and I just realized that I provided feedback to them for months, and every time I might have made them feel stupid. I was horrified … but also thankful. I quickly changed the way I typed “oh” into my list of replaced words (your choice between aText, TextExpander, or others ), so that it was instantly deleted when I typed “oh.”

Something to highlight because it’s quite frequent—especially in teams that have a strong group spirit—is that people tend to beat around the bush. 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 you give it constructive and respectful feedback, whether it be difficult or positive. 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: we can devote more time to making sure that the suggestions ‘ clarity of communication and actionability fulfill 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 encounter with it? Are you coming from a high-level perspective, or are you figuring out the details? Are there regressions? Which user’s point of view are you addressing when offering feedback? Is the design iteration at a point where it would be okay to ship this, or are there major things that need to be addressed first?

Even if you’re giving feedback to a team that already has some 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 remember that design has a number of possible solutions to each problem. So pointing out that the design solution that was chosen is good and explaining why it’s good has two major benefits: it confirms that the approach taken was solid, and it helps to ground your negative feedback. In the longer term, sharing positive feedback can help prevent regressions on things that are going well because those things will have been highlighted as important. Positive feedback can also help to lessen impostor syndrome as an added bonus.

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

Another way that you can improve your feedback is to depersonalize the feedback: the comments should always be about the work, never about the person who made it. It’s” This button isn’t well aligned” versus” You haven’t aligned this button well”. Just before sending, review your writing to make changes to this.

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

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

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

• 🔶 Navigation—I anticipate one to go forward and the other to go back when I see these two buttons. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Let’s make sure that all screens have the same two forward and back buttons so that users don’t get confused.
• � � Overall— I think the page is solid, and this is good enough to be our release candidate for a version 1.0.
• � � Metrics—Good improvement in the buttons on the metrics area, the improved contrast and new focus style make them more accessible.
• Button Style: Using the green accent in this context gives the impression that it’s a positive action because green is typically seen as a confirmation color. Do we need to explore a different color?
• 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 behind using that?

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

One final note: say the obvious. Sometimes we might feel 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.

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

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

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

“Any comment?” is probably one of the worst ways to ask for feedback. It’s vague and open ended, and it doesn’t provide any indication of what we’re looking for. Getting good feedback starts earlier than we might expect: it starts with the request. 

It might seem counterintuitive to start the process of receiving feedback with a question, but that makes sense if we realize that getting feedback can be thought of as a form of design research. In the same way that we wouldn’t do any research without the right questions to get the insights that we need, the best way to ask for feedback is also to craft sharp questions.

Design critique is not a one-shot process. Sure, any good feedback workflow continues until the project is finished, but this is particularly true for design because design work continues iteration after iteration, from a high level to the finest details. Each level needs its own set of questions.

And finally, as with any good research, we need to review what we got back, get to the core of its insights, and take action. Question, iteration, and review. Let’s look at each of those.

The question

Being open to feedback is essential, but we need to be precise about what we’re looking for. Just saying “Any comment?”, “What do you think?”, or “I’d love to get your opinion” at the end of a presentation—whether it’s in person, over video, or through a written post—is likely to get a number of varied opinions or, even worse, get everyone to follow the direction of the first person who speaks up. And then… we get frustrated because vague questions like those can turn a high-level flows review into people instead commenting on the borders of buttons. Which might be a hearty topic, so it might be hard at that point to redirect the team to the subject that you had wanted to focus on.

But how do we get into this situation? It’s a mix of factors. One is that we don’t usually consider asking as a part of the feedback process. Another is how natural it is to just leave the question implied, expecting the others to be on the same page. Another is that in nonprofessional discussions, there’s often no need to be that precise. In short, we tend to underestimate the importance of the questions, so we don’t work on improving them.

The act of asking good questions guides and focuses the critique. It’s also a form of consent: it makes it clear that you’re open to comments and what kind of comments you’d like to get. It puts people in the right mental state, especially in situations when they weren’t expecting to give feedback.

There isn’t a single best way to ask for feedback. It just needs to be specific, and specificity can take many shapes. A model for design critique that I’ve found particularly useful in my coaching is the one of stage versus depth.

“Stage” refers to each of the steps of the process—in our case, the design process. In progressing from user research to the final design, the kind of feedback evolves. But within a single step, one might still review whether some assumptions are correct and whether there’s been a proper translation of the amassed feedback into updated designs as the project has evolved. A starting point for potential questions could derive from the layers of user experience. What do you want to know: Project objectives? User needs? Functionality? Content? Interaction design? Information architecture? UI design? Navigation design? Visual design? Branding?

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

• Functionality: Is automating account creation desirable?
• 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: We have two competing bits of information on this page. Is the structure effective in communicating them both?
• UI design: What are your thoughts on the error counter at the top of the page that makes sure that you see the next error, even if the error is out of the viewport? 
• Navigation design: From research, we identified these second-level navigation items, but once you’re on the page, the list feels too long and hard to navigate. Are there any suggestions to address this?
• Visual design: Are the sticky notifications in the bottom-right corner visible enough?

The other axis of specificity is about how deep you’d like to go on what’s being presented. 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 useful from one iteration to the next where it’s important to highlight the parts that have changed.

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

A simple trick is to remove generic qualifiers from your questions like “good,” “well,” “nice,” “bad,” “okay,” and “cool.” For example, asking, “When the block opens and the buttons appear, is this interaction good?” might look specific, but you can spot the “good” qualifier, and convert it to an even better question: “When the block opens and the buttons appear, is it clear what the next action is?”

Sometimes we actually do want broad feedback. That’s rare, but it can happen. 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 maybe 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 expansive, and some areas may have already been explored in detail. In these situations, it might be useful to explicitly say that some parts are already locked in and aren’t open to feedback. It’s not something that I’d recommend in general, but I’ve found it useful to avoid falling again into rabbit holes of the sort that might lead to further refinement but aren’t what’s most important right now.

Asking specific questions can completely change the quality of the feedback that you receive. People with less refined critique skills will now be able to offer more actionable feedback, and even expert designers will welcome the clarity and efficiency that comes from focusing only 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. Yet a lot of design tools with inline commenting tend to show changes as a single fluid stream in the same file, and those types of design tools make conversations disappear once they’re resolved, update shared UI components automatically, and compel designs to always show the latest version—unless these would-be helpful features were to be manually turned off. The implied goal that these design tools seem to have is to arrive at just one final copy with all discussions closed, probably because they inherited patterns from how written documents are collaboratively edited. That’s probably not the best way to approach design critiques, but even if I don’t want to be too prescriptive here: that could work for some teams.

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. Any platform that can accommodate this structure can use this. By the way, when I refer to a “write-up or presentation,” I’m including video recordings or other media too: as long as it’s asynchronous, it works.

Using iteration posts has many advantages:

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

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

I don’t think there’s a standard format for iteration posts. But there are a few high-level elements that make sense to include as a baseline:

1. The goal
2. The design
3. The list of changes
4. The questions

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. So this is something that I’d repeat 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. If I want to know about the latest design, the latest iteration post will have all that I need.

This copy-and-paste part introduces another relevant concept: alignment comes from repetition. So having posts that repeat information is actually very effective toward making sure 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. In short, it’s any design artifact. 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 can also be useful to label the artifacts with clear titles because that can make it easier to refer to them. Write the post in a way that helps people understand the work. It’s not too different from organizing a good 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.

And finally, as noted earlier, it’s essential that you include a list of the questions to drive the design critique in the direction you want. Doing this as a numbered list can also help make it easier to refer to each question by its number.

Not all iterations are 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 start settling on a solution and refining it until the design process reaches its end and the feature ships.

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 get a conversation going—or it could be a cumulative list of each feature that was added over the course of each iteration until the full picture is done.

Over time, I also started using specific labels for incremental iterations: i1, i2, i3, and so on. This might look like a minor labelling tip, but it can help in multiple ways:

• Unique—It’s a clear unique marker. Within each project, one can easily say, “This was discussed in i4,” and everyone knows where they can 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. Iterations must be able to be exploratory, incomplete, partial.
• Future proof—It resolves the “final” naming problem that you can run into with versions. No more files named “final final complete no-really-its-done.” Within each project, the largest number always represents the latest iteration.

To mark when a design is complete enough to be worked on, even if there might be some bits still in need of attention and in turn more iterations needed, the wording release candidate (RC) could be used to describe it: “with i8, we reached RC” or “i12 is an RC.”

The review

What usually happens during a design critique is an open discussion, with a back and forth between people that can be very productive. This approach is particularly effective during live, synchronous feedback. But when we work asynchronously, it’s more effective to use a different approach: we can shift to a user-research mindset. Written feedback from teammates, stakeholders, or others can be treated as if it were the result of user interviews and surveys, and we can analyze it accordingly.

This shift has some major benefits that make asynchronous feedback particularly effective, especially around these friction points:

1. It removes the pressure to reply to everyone.
2. It reduces the frustration from swoop-by comments.
3. It lessens our personal stake.

The first friction point is feeling a pressure to reply to every single comment. Sometimes we write the iteration post, and we get replies from our team. It’s just a few of them, it’s easy, and it doesn’t feel like a problem. 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 person who’s replying is a stakeholder or someone directly involved in the project who we feel that we need to listen to. We need to accept that this pressure is absolutely normal, and it’s human nature to try to accommodate people who we care about. Sometimes replying to all comments can be effective, but if we treat a design critique more like user research, we realize that we don’t have to reply to every comment, and in asynchronous spaces, there are alternatives:

• One is to let the next iteration speak for itself. When the design evolves and we post a follow-up iteration, that’s the reply. You might tag all the people who were involved in the previous discussion, but even that’s a choice, not a requirement. 
• Another is to briefly reply to acknowledge each comment, such as “Understood. Thank you,” “Good points—I’ll review,” or “Thanks. I’ll include these in the next 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 is to provide a quick summary of the comments before moving on. Depending on your workflow, this can be particularly useful as it can provide a simplified checklist that you can then use for the next iteration.

The second friction point is the swoop-by comment, which is the kind of feedback that comes from someone outside the project or team who might not be aware of the context, restrictions, decisions, or requirements—or of the previous iterations’ discussions. 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 often trigger the simple thought “We’ve already discussed this…”, and it can be frustrating to have to repeat the same reply over and over.

Let’s begin by acknowledging again that there’s no need to reply to every comment. If, however, replying to a previously litigated point might be useful, a short reply with a link to the previous discussion for extra details is usually enough. Remember, alignment comes from repetition, so it’s okay to repeat things sometimes!

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

The third friction point is the personal stake we could have with the design, which could make us feel defensive if the review were to feel more like 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 ultimately, treating everything in aggregated form allows us to better prioritize our work.

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 have to analyze it and make a decision that you can justify, but sometimes “no” is the right answer. 

As the designer leading the project, you’re in charge of that decision. Ultimately, everyone has their specialty, and as the designer, you’re the one who has the most knowledge and the most context to make the right decision. 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 Brie Anne Demkiw and Mike Shelton for reviewing the first draft of this article.

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

Flash, Photoshop, and flexible pattern

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

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

My first encounter with flexible style didn’t help my fear. My second project was to get an active fixed-width website and make it reactive. You can’t really put responsiveness at the end of a job, which I learned the hard way. To make smooth design, you need to prepare throughout the style stage.

A new way to style

Making flexible or smooth websites has always been about removing restrictions and creating content that can be viewed on any system. 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 flexible design is press queries. Without them, regardless of whether the content remained readable, would shrink to fit the available space. ( The exact opposite issue developed with the introduction of a mobile-first approach. )

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 washable pieces.

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

Then there’s the problem of space. Media 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 should be used 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?

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

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

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

Without 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. The above code can be implemented behind an @supports feature query even though Firefox is the only browser that supports subgrid at the time of writing.

Intrinsic layouts

I’d be remiss not to mention intrinsic layouts, a term used by Jen Simmons to describe a mix of contemporary and traditional CSS features 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 manner, but never that it should be smaller than the content inside.

—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 having the same breakpoints or the same amount of content as in the previous implementation, components and patterns can be lifted and reused.

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

Another 2010 moment?

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

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

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

Another possibility is that right now I feel more prepared for change. In 2010 I was new to design in general, the shift was frightening and required a lot of learning. Additionally, an intrinsic approach isn’t exactly 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 hindrance when creating layout templates, intrinsic design and frameworks do not work together 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? Personally, I’m a big fan of this kind of design in the browser.

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.

This is not the same as previous markup hacks 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”?

It’s a completely different design process for someone using a mobile phone and moving through a crowded street in glaring sunshine from a person 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 choice is so crucial. One size never fits all, so we need to design for multiple scenarios to create equal experiences for all our users.

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

Responsible design

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

” 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.

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

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

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

So how can we put users in control?

The media queries are now being returned.

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

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

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

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

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

Expect the unexpected

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

We can design for content, but we can’t do it 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 must make sure our goods are accessible whenever and wherever needed. We can move closer to achieving this by involving users in our design decisions, by creating choice via browsers, and by giving control to our users with user-preference-based media queries.

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

We’ve been conversing for many thousands of years. 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 have we begun to write our discussions, and only recently have we outsourced them to the system, a system that exhibits a significantly higher affection for written letter 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 phrase choice and spoken dialect, which may impede even the most skillfully crafted human-computer interaction. In the human-to-human scenario, spoken language also has the privilege of face-to-face contact, where we can readily interpret nonverbal social cues.

In contrast, written language develops its own fossil record of dated terms and phrases as we record it and keep usages long after they are no longer needed in spoken communication ( for example, the salutation” To whom it may concern” ). Because it tends to be more consistent, polished, and formal, written text is fundamentally much easier for machines to parse and understand.

Spoken language is not a luxury in this regard. 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 could ever contain, whether it be rapid-fire, low-pitched, or 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 Compositions

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 in the following ways:

• we need something done ( such as a transaction ),
• we seek knowledge of 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 virtually every voice interaction: a single conversation that begins 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?

Alison, can I get a pineapple-onion pizza in Hawaii?

Burhan: Sure, what size?

Large, Alison.

Burhan: Anything else?

Alison: No, 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, concise, 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.

Alison, do you have any menu items that are halal?

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, without a problem. 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 a lot different. Here, the goal is to get a certain set of facts. Informational conversations are research expeditions that seek the truth through information gathering. 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 so that the customer is aware of the important lessons.

Voice Interfaces

Voice interfaces essentially use speech 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 with pure voice interfaces, which are completely dependent on spoken conversation and lack any visual component, making them much more nuanced and challenging to deal with because multimodal voice interfaces can lean on visual components like screens as crutches.

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 could actually be spoken to without having to deal with overburdened customer service representatives as a result of the development of interactive voice response ( IVR ) systems.

IVR systems allowed organizations to reduce their reliance on call centers but soon became notorious for their clunkiness. Similar to the corporate world, these systems were primarily created as metaphorical switchboards to direct customers to a real phone agent (” Say Reservations to book a flight or check an itinerary” ), and chances are you’ll have a conversation with one when you call an airline or hotel conglomerate. 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. Perhaps the closest thing we have today to an out-of-the-box implementation of content delivered through voice is represented by screen readers.

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 disliked the operation of Screen Readers from the beginning. Why are they designed the way they are? It makes no sense to present information visually and then only to have that information translated into audio. 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 because of their assistive potential, they are quickly gaining more and more attention from accessibility advocates.

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” (, behind paywall ). It wasn’t until 2011 that Apple’s Siri finally entered the picture, making voice assistants a tangible reality for consumers.

There is a significant variation in how programmable and customizable some voice assistants are compared to others due to the sheer number 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 by which developers can interact with Siri at a low level, aside from predefined categories of tasks like sending messages, hailing rideshares, making restaurant reservations, and other things, which are still unavoidable 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 can choose from among the thousands of custom-built skills available today in the Google Assistant and Amazon Alexa ecosystems.

As businesses like Amazon, Apple, Microsoft, and Google continue to occupy their positions, they are also selling and open-sourcing an unheard array of tools and frameworks for designers and developers, aiming to make creating voice interfaces as simple as possible, even without 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—everything written content isn’t enough to preserve what makes human conversation so compelling in the first place.

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 being viewed in microfilm format in 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 goes beyond 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. Informing delivery channels both established and novel, Microcontent provides the best opportunity to find out how your content can be stretched to the limits of its potential.

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 see when the next train is coming from a digital sign underground, but voice interfaces keep our attention occupied for so long that screen reader users are all too familiar.

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.

In the 1950s, some members of the wealthy running group had come to accept the idea that it was impossible to run a hour in less than four hours. Riders had been attempting it since the later 19th century and were beginning to draw the conclusion that the human body just wasn’t built for the job.

But Roger Bannister surprised all on May 6, 1956. It was a cold, damp morning in Oxford, England—conditions no one expected to give themselves to record-setting—and but Bannister did really that, running a mile in 3: 59.4 and becoming the first people in the history books to run a mile in under four hours.

The world then knew that the four-minute hour was possible thanks to this change in the standard. Bannister’s history lasted just forty-six days, when it was snatched aside by American sprinter John Landy. Therefore, in the same race, three athletes all managed to cross the four-minute challenge. Since therefore, over 1, 400 walkers have actually run a mile in under four days, the current document is 3: 43.13, held by Moroccan performer Hicham El Guerrouj.

We do a lot more when we think something is possible, and we only think it can be done when we see someone else doing it once more. As for man running speed, we also think there are strict guidelines for how a website should do.

Establishing requirements for a green website

The essential environmental performance indicators for the majority of major industries are pretty well established, such as power per square metre for homes and miles per gallon for cars. The tools and methods for calculating those measures are standardized as well, which keeps everyone on the same site when doing economic evaluations. But, we are not required to follow any specific environmental standards in the world of websites and apps, and we have only recently developed the tools and methods to do so.

The main objective in green web layout is to reduce carbon emissions. However, it’s nearly impossible to accurately assess the amount of CO₂ that a website item produces. We didn’t measure the pollutants coming out of the exhaust valves on our laptops. The pollution coming from power plants that burn coal and oil are far apart, out of sight, and out of mind. We have no way to track the particles from a website or app up to the power station where the light is being generated and really know the exact amount of house oil produced. What then do we do?

If we can‘t measure the actual carbon pollution, therefore we need to get what we can measure. The following are the main elements that could be used as measures of coal pollutants:

1. Transfer of data
2. Coal content of light

Let’s take a look at how we can use these indicators to calculate the energy use, and in turn the carbon footprint, of the sites and web applications we create.

Transfer of data

Most researchers use kilowatt-hours per gigabyte (k Wh/GB ) as a metric of energy efficiency when measuring the amount of data transferred over the internet when a website or application is used. This serves as a wonderful example of how much energy is consumed and how much carbon is released. As a rule of thumb, the more files transferred, the more electricity used in the data center, telecoms systems, and end users products.

The most accurate way to calculate data transfer for a single visit for web pages is to measure the page weight, which is the first time a user visits the page in kilobytes. It’s fairly easy to measure using the developer tools in any modern web browser. Frequently, any web application’s overall data transfer statistics will be included in your web hosting account ( Fig. 2.1 ).

The nice thing about page weight as a metric is that it allows us to compare the efficiency of web pages on a level playing field without confusing the issue with constantly changing traffic volumes.

A large scope is necessary to reduce page weight. By early 2020, the median page weight was 1.97 MB for setups the HTTP Archive classifies as “desktop” and 1.77 MB for “mobile”, with desktop increasing 36 percent since January 2016 and mobile page weights nearly doubling in the same period ( Fig 2.2 ). Image files account for roughly half of this data transfer, making them the single biggest contributor to carbon emissions on the typical website.

History clearly shows us that our web pages can be smaller, if only we set our minds to it. While the majority of technologies, including the underlying technology of the web like data centers and transmission networks, become more and more energy efficient, websites themselves become less effective as time goes on.

You may be aware of the idea of performance budgeting as a method for directing a project team to deliver faster user experiences. For example, we might specify that the website must load in a maximum of one second on a broadband connection and three seconds on a 3G connection. Performance budgets are upper limits rather than vague suggestions, much like speed limits while driving, so the goal should always be to come in within budget.

Designing for fast performance does often lead to reduced data transfer and emissions, but it isn’t always the case. Page weight and transfer size are more objective and reliable benchmarks for sustainable web design, but web performance is frequently more about the subjective perception of load times than it is about the underlying system’s true efficiency.

We can set a page weight budget in reference to a benchmark of industry averages, using data from sources like HTTP Archive. We can also use competitor page weights and the website’s current layout to compare it to. For example, we might set a maximum page weight budget as equal to our most efficient competitor, or we could set the benchmark lower to guarantee we are best in class.

We could start looking at the transferability of our web pages for repeat visitors if we want to take it one step further. Although page weight for the first time someone visits is the easiest thing to measure, and easy to compare on a like-for-like basis, we can learn even more if we start looking at transfer size in other scenarios too. For instance, visitors who load the same page more frequently will likely have a high percentage of the files cached in their browser, which means they won’t need to move all the files on subsequent visits. Likewise, a visitor who navigates to new pages on the same website will likely not need to load the full page each time, as some global assets from areas like the header and footer may already be cached in their browser. We can learn even more about how to optimize efficiency for users who regularly visit our pages by measuring transfer size at this next level of detail, which will also enable us to establish page weight budgets for situations that extend beyond the initial visit.

Page weight budgets are easy to track throughout a design and development process. Although they don’t directly disclose their data on energy consumption and carbon emissions, they do provide a clear indicator of efficiency in comparison to other websites. And as transfer size is an effective analog for energy consumption, we can actually use it to estimate energy consumption too.

In summary, less data transfer leads to more energy efficiency, which is a crucial component of lowering web product carbon emissions. The more efficient our products, the less electricity they use, and the less fossil fuels need to be burned to produce the electricity to power them. However, as we’ll see next, it’s important to take into account the source of that electricity because all web products require some.

Coal content of light

Regardless of energy efficiency, the level of pollution caused by digital products depends on the carbon intensity of the energy being used to power them. The term” carbon intensity” (gCO₂/k Wh ) is used to describe how much carbon dioxide is produced for each kilowatt-hour of electricity ). This varies widely, with renewable energy sources and nuclear having an extremely low carbon intensity of less than 10 gCO₂/k Wh ( even when factoring in their construction ), whereas fossil fuels have very high carbon intensity of approximately ₂00–400 gCO₂/k Wh.

The majority of electricity is produced by national or state grids, where different levels of carbon intensity are combined with energy from a variety of sources. The distributed nature of the internet means that a single user of a website or app might be using energy from multiple different grids simultaneously, a website user in Paris uses electricity from the French national grid to power their home internet and devices, but the website’s data center could be in Dallas, USA, pulling electricity from the Texas grid, while the telecoms networks use energy from everywhere between Dallas and Paris.

Although we don’t have complete control over the energy supply of web services, we do have some control over where our projects are hosted. With a data center using a significant proportion of the energy of any website, locating the data center in an area with low carbon energy will tangibly reduce its carbon emissions. Danish startup Tomorrow reports and maps the user-provided data, and a look at their map demonstrates how, for instance, choosing a data center in France will have significantly lower carbon emissions than choosing a data center in the Netherlands ( Fig. 2.3 ).

However, we don’t want to move our servers too far away from our users because it requires a lot of energy to transmit data through the telecom’s networks, and the more energy is used, the further the data travels. Just like food miles, we can think of the distance from the data center to the website’s core user base as “megabyte miles” —and we want it to be as small as possible.

We can use website analytics to determine the country, state, or even city where our core user group is located and measure the distance from that location to the data center used by our hosting company by using the distance itself as a benchmark. This will be a somewhat fuzzy metric as we don’t know the precise center of mass of our users or the exact location of a data center, but we can at least get a rough idea.

For instance, if a website is hosted in London but the main audience is on the United States ‘ West Coast, we could look up the travel distance between London and San Francisco, which is 5,300 miles. That’s a long way! We can see how hosting it somewhere in North America, ideally on the West Coast, would significantly lessen the distance and the amount of energy required to transmit the data. In addition, locating our servers closer to our visitors helps reduce latency and delivers better user experience, so it’s a win-win.

Reverting it to carbon emissions

If we combine carbon intensity with a calculation for energy consumption, we can calculate the carbon emissions of our websites and apps. The method my team developed converts the amount of electricity transferred when loading a web page into a CO₂ figure ( Fig. ₂.4), and then converts that data into a figure for the tool. It also factors in whether or not the web hosting is powered by renewable energy.

The Energy and Emissions Worksheet that comes with this book teaches you how to improve it and tailor the data more appropriately to your project’s unique features.

We could even expand our page weight budget by establishing carbon budgets as well with the ability to calculate carbon emissions for our projects. CO₂ is not a metric commonly used in web projects, we’re more familiar with kilobytes and megabytes, and can fairly easily look at design options and files to assess how big they are. Although translating that into carbon adds a layer of abstraction that isn’t as intuitive, carbon budgets do focus our minds on the main thing we’re trying to reduce, and this is in line with the main goal of sustainable web design: reducing carbon emissions.

Browser Energy

Transfer of data might be the simplest and most complete analog for energy consumption in our digital projects, but by giving us one number to represent the energy used in the data center, the telecoms networks, and the end user’s devices, it can’t offer us insights into the efficiency in any specific part of the system.

One part of the system we can look at in more detail is the energy used by end users ‘ devices. The computational burden is increasingly shifting from the data center to the users ‘ devices, whether they are smart TVs, tablets, laptops, phones, tablets, laptops, or other front-end web technologies. Modern web browsers allow us to implement more complex styling and animation on the fly using CSS and JavaScript. Additionally, JavaScript libraries like Angular and React allow us to create applications where the” thinking” process is performed either partially or completely in the browser.

All of these advances are exciting and open up new possibilities for what the web can do to serve society and create positive experiences. However, more data is processed in a web browser, which means more energy is used by the user’s devices. This has implications not just environmentally, but also for user experience and inclusivity. Applications that put a lot of processing power on a user’s device unintentionally exclude users with older, slower devices and make the batteries on phones and laptops drain more quickly. Furthermore, if we build web applications that require the user to have up-to-date, powerful devices, people throw away old devices much more frequently. The poorest members of society are also under disproportionate financial burdens due to this, which is not just bad for the environment.

In part because the tools are limited, and partly because there are so many different models of devices, it’s difficult to measure website energy consumption on end users ‘ devices. The Energy Impact monitor inside the Safari browser’s developer console ( Fig. 2.5 ) is one of the tools we currently use.

You are aware of the moment your computer’s cooling fans start spinning so frantically that you mistakenly believe it might take off when you load a website? That’s essentially what this tool is measuring.

It uses these figures to create an energy impact rating and shows the percentage of CPU used and how long the CPU used when loading the web page last. It doesn’t give us precise data for the amount of electricity used in kilowatts, but the information it does provide can be used to benchmark how efficiently your websites use energy and set targets for improvement.