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  • Captain America 4 Review: A Brave New World With Classic ’90s Thrills

    Captain America 4 Review: A Brave New World With Classic ’90s Thrills

    Midway through Captain America: Brave New World, Sam Wilson and Joaquin Torres split into the home center of Samuel Sterns, the gamma-irradiated henchman known as the Leader. After an impressive-looking establishing killed that attributes a pair of red-hued satellite dishes, a close-up catches the soldiers charging the vault door. The pair frantically stow the door in [ …]]…]] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ]

    The first article on Den of Geek was Captain America 4 Review: A Brave New World With Classic 90s Pleasures.

    Almost 15 years ago, DreamWorks Animation&#8217, s How To Teach Your Dragon soared into venues. The movie initially appeared to be another odd concept from the animation studio that once played second fiddle to Disney, a la Bee Movie ( 2007 ) or Monsters vs. Aliens ( 2009 ). But, Hollywood quickly learned this was n&#8217, t another decent entry into the Studios library. In fact, How To Drain Your Dragon flew to new creative heights the animation studio hadn&#8217, t seen since Shrek ( 2001 ). &nbsp,

    The picture was an honest-to-goodness smash hit, spawning a series of videos, an active TV series subsidiary, and a plethora of products. There will even be a unit of Universal Studios&#8217, Epic Universe theme park starting this summer. But in fact, How To Teach Your Dragon was an obvious member to get the live-action therapy. This will be the first version of a movie from DreamWorks Animation&#8217’s collection, as well as a new chance for Universal Pictures, which adds to that finality. And at last the second full trailer for said remake has been released, giving fans a look at the history &#8217, s important events.

    Disney and DreamWorks allegedly followed suit in a concept that the Mouse House has been using for ages, despite all of the little brother allegations made against them. Although live-action remakes of Disney’s animated classics have been around for decades, they have had a long, highly criticized revival since Tim Burton’s Alice in Wonderland debut in 2010 and #8211, which ironically came out the same month as the year’s first How To Train Your Dragon.

    One of the most highly criticized aspects of Disney’s remakes is that the movies play therefore modestly that the new versions fail to support their existence because they are too similar to their active counterparts. The film emblematic of this epidemic is (ironically ) the most successful of the bunch, The Lion King ( 2019 ). With the exception of one new music amount written for superstar Beyoncé, who voiced Nala in the image, the &#8220, live-action&#8221, The Lion King is a scene-for-scene, and in many cases a shot-for-shot, repeat of the 1994 common. The movie has the feel of a remix rather than a version, as if it had a video game title and never a narrative-driven motion picture. &nbsp,

    Of program, many of the favorite scenes from the first movie must be re-released for the copy. There might have been protests at Disney World &#8217, s Hollywood Boulevard if some huge occasion had been omitted from The Lion King &#8216, s history. When Mulan ( 2020 ) decided to axe the musical sequences and Mushu the dragon, online Disney fans were in fact vocally upset.

    Perhaps for this reason the How To Teach Your Dragon remake&#8217, s advertising has leaned into familiarity, with John Powell&#8217, s broad report serving as a landscape to some of the most cherished moments from the animated image. Hiccup ( now played by Mason Thames ) timidly extends his hand toward Toothless for the first time, feeling the scaly embrace of the once-thought-provoking menace of a night fury dragon. Iconography causes bottoms in seats. However, Studios may prevent playing it very safe, or they &#8217, ill run the gambit of having another The Lion King.

    It appears that Dean DeBlois, the writer and director, is also acutely aware of this chance. He co-wrote and directed all three of the favorite animated How to Train Your Dragon shows, and he just revealed to Den of Geek how receptive he is of the numerous live-action sequels of animated movie. The director spoke with our older writer David Crow about what he might find to be the strength in some live-action sequels during a special press presentation about the new movie. But he took on the responsibility of making positive Toothless looks like how viewers remember the beloved night fury, and he changed them with much more freedom, turning them into something with more sensory heft and also threat. The one picture we get of that in the new video comes from a far more sinister and gigantic &#8220, Red Death&#8221, monster attacking the picture &#8217, s main Vikings.

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

    DeBlois&#8217, thoughts are reassuring as is his love for this world he has so deeply played a part in creating. If he can see his vision through, perhaps he could land closer to Jon Favreau&#8217, s first Disney remake, The Jungle Book ( 2016 ), which ironically released three years before his less loved The Lion King redo. The Jungle Book is usually regarded as one of Disney &#8217, s best live-action adjustments. The film hones in on pivotal moments of the 1967 original, such as &#8220, The Bare Necessities &#8221, and &#8220, I Wan&#8217, na Be Like You &#8221, musical numbers. But, the movie pivots away from the film, establishing an extended story, alternative story threads, and added sequences never found in the 1967 edition. It&#8217 is a genuine adaptation that draws inspiration from what was successful while adding urgency and energy that more appropriately fits the new medium. &nbsp,

    The footage presented at the event promises a much bigger reimagining of Hiccup and Toothless&#8217, island, as well as a grander sense of world-building for this Viking land where dragonriders are recruited from across the globe. However, the most recent How To Train Your Dragon trailer mostly relies on playing a sizzle reel of animated film highlights, this time with realistic CGI graphics. DreamWorks has so far managed to avoid the errors of Disney and the infamous &#8220, Ugly Sonic, &#8221, both of which feature overdesigned characters that detract from viewership, but it’s not clear whether they will do the same with their predecessors. &nbsp,

    Based on what we know, the movie attempts to expand the lore of the 98-minute original and explore the motivations of the supporting characters while also exploring the story’s 98-minute original, which is based on DeBlois ‘ ( Nico Parker ) and Hiccup’s ( a different ragtag group of friends being recruited from faraway lands and sailed to Berk, where the film is set ). However, it’s hoped that the 2025 remake will stand out from the 2010 version in many ways. In other words, they should be more in line with The Jungle Book than The Lion King.

    One can hope Universal and DreamWorks learned from their rival and produce something superior to any Disney remake before it, but it’s still up to them to decide whether or not to do this.

    How to Train Your Dragon premieres in theaters on June 13th.

    The post Disney &#8217, s Biggest Mistake Should Be Avoided appeared first on Den of Geek.

  • How to Train Your Dragon Live-Action Remake Needs to Avoid Disney’s Biggest Mistake

    How to Train Your Dragon Live-Action Remake Needs to Avoid Disney’s Biggest Mistake

    Almost 15 years ago, DreamWorks Animation’s How To Teach Your Dragon soared into venues. The movie initially appeared to be another odd concept from the animation studio that once played second fiddle to Disney, a la Bee Movie ( 2007 ) or Monsters vs. Aliens ( 2009 ). But, Hollywood rapidly learned this wasn’t another decent entry into ]…]

    The first article on Den of Geek was How to Train Your Dragon to Avoid Disney’s Biggest Mistake.

    Almost 15 years ago, DreamWorks Animation&#8217, s How To Teach Your Dragon soared into venues. The movie initially appeared to be another odd concept from the animation studio that once played second fiddle to Disney, a la Bee Movie ( 2007 ) or Monsters vs. Aliens ( 2009 ). But, Hollywood quickly learned this was n&#8217, t another decent entry into the Studios library. In fact, How To Drain Your Dragon flew to new creative heights the animation studio hadn&#8217, t seen since Shrek ( 2001 ). &nbsp,

    The picture was an honest-to-goodness smash hit, spawning a series of videos, an active TV series subsidiary, and a plethora of products. There will even be a unit of Universal Studios&#8217, Epic Universe theme park starting this summer. But in fact, How To Teach Your Dragon was an obvious member to get the live-action therapy. This will be the first copy of a movie from DreamWorks Animation&#8217, as well as a new chance for Universal Pictures, which adds to that inevitability. And at last the second full trailer for said remake has been released, giving fans a look at the history &#8217, s important events.

    Shrek was unable to dispel any of the small brother accusations against Disney because they appear to be following Disney’s example in a concept that Mouse House has been using for years. While live-action remakes of Disney’s animated classics have been around for decades, they have had a long, highly criticized revival since Tim Burton’s film Alice in Wonderland debuted in 2010 and#8211, which unexpectedly came out the same month as the year’s first How To Train Your Dragon.

    One of the most highly criticized aspects of Disney &#8217 ;s remakes is that the movies are too similar to their animated counterparts, which leads to a play that is so conservative that the new renditions fail to support their existence. The film emblematic of this epidemic is (ironically ) the most successful of the bunch, The Lion King ( 2019 ). With the exception of one new music amount written for superstar Beyoncé, who voiced Nala in the image, the &#8220, live-action&#8221, The Lion King is a scene-for-scene, and in many cases a shot-for-shot, repeat of the 1994 common. The movie has the feel of a reissue rather than a copy, as if it had a video game title and never a narrative-driven motion picture. &nbsp,

    Of course, the remake will have many of the favorite scenes from the first movie. There might have been protests at Disney World &#8217, s Hollywood Boulevard if some huge occasion had been omitted from The Lion King &#8216, s history. When Mulan ( 2020 ) decided to axe the musical sequences and Mushu the dragon, online Disney fans were in fact vocally upset.

    Perhaps for this reason the How To Teach Your Dragon remake&#8217, s advertising has leaned into familiarity, with John Powell&#8217, s broad report serving as a landscape to some of the most cherished moments from the animated image. Hiccup ( now played by Mason Thames ) timidly extends his hand toward Toothless for the first time, feeling the scaly embrace of the once-thought-provoking menace of a night fury dragon. Iconography causes bottoms in seats. However, Studios may prevent playing it too safe, or they &#8217, ill work the strategy of having another The Lion King.

    It appears that Dean DeBlois, the writer and director, is also acutely aware of this chance. He co-wrote and directed all three of the favorite animated How to Train Your Dragon shows, and he just revealed to Den of Geek how receptive he is of the numerous live-action sequels of animated movie. The director spoke with our older director David Crow about what he might perceive as the strength in some live-action extensions during a specific assessment for the click about the new movie. But while he felt the call to remake the dearest night fury with all the other dragons in a far freer hand, giving them a much more tactile heft and also menace, he also felt the need to make sure Toothless looks how audiences remember it. The one picture we get of that in the new video comes from a far more sinister and gigantic &#8220, Red Death&#8221, monster attacking the picture &#8217, s main Vikings.

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

    DeBlois&#8217, words are reassuring as is his passion for this world he has so intimately played a part in creating. If he can see his vision through, perhaps he could land closer to Jon Favreau&#8217, s first Disney remake, The Jungle Book ( 2016 ), which ironically released three years before his less loved The Lion King redo. The Jungle Book is often regarded as one of Disney &#8217, s best live-action adaptations. The film hones in on pivotal moments of the 1967 original, such as &#8220, The Bare Necessities &#8221, and &#8220, I Wan&#8217, na Be Like You &#8221, musical numbers. However, the movie pivots away from the cartoon, establishing an extended backstory, alternative plot threads, and added sequences not found in the 1967 version. It is a genuine adaptation that draws inspiration from its original work while adding urgency and energy that fit the new medium. &nbsp,

    The footage presented at the event promises a much bigger reimagining of Hiccup and Toothless&#8217, island, as well as a grander sense of world-building for this Viking land where dragonriders are recruited from across the globe. The most recent How To Train Your Dragon trailer mostly relies on playing a sizzle reel of animated film highlights, this time with realistic CGI graphics. DreamWorks has so far managed to avoid the errors of Disney and the infamous &#8220, Ugly Sonic, &#8221, both of which feature overdesigned characters that detract from viewership, but it’s not clear whether they will do the same with their predecessors. &nbsp,

    Based on what we know, the movie attempts to expand the lore of the 98-minute original and explore the motivations of the supporting characters while also exploring the lore that was admittedly a little thin in the 98-minute original. However, it’s hoped that the creators will explore many different ways to make the 2025 remake different from the 2010 original. In other words, I hope they are more in tune with The Jungle Book than The Lion King.

    Universal and DreamWorks will decide whether or not to do this, but one can hope they learned something from their rival and produced a film that stands out above any Disney remake before it.

    On June 13, How to Train Your Dragon will be available in theaters.

    The post Disney &#8217, s Biggest Mistake Should Be Avoided appeared first on Den of Geek.

  • Walker Scobell Teases an Epic Battle in Percy Jackson Season 2

    Walker Scobell Teases an Epic Battle in Percy Jackson Season 2

    Although there are plenty of wonderful conflicts and fights in Percy Jackson and the Olympians ‘ first year, Sea of Monsters significantly raises the bar, as followers of Rick Riordan’s book series will attest. The second season has the potential to [ ] ] with the many mythical monsters that the series ‘ young heroes cross both on land and sea.

    Walker Scobell Tells a Poetic Battle in Percy Jackson Season 2 arose as the first article on Den of Geek.

    Almost 15 years ago, DreamWorks Animation&#8217, s How To Teach Your Dragon soared into venues. The movie initially appeared to be another odd concept from the animation studio that once played second fiddle to Disney, a la Bee Movie ( 2007 ) or Monsters vs. Aliens ( 2009 ). But, Hollywood quickly learned this was n&#8217, t another decent entry into the Studios library. In fact, How To Drain Your Dragon flew to new creative heights the animation studio hadn&#8217, t seen since Shrek ( 2001 ). &nbsp,

    The picture was an honest-to-goodness smash hit, spawning a series of videos, an active TV series subsidiary, and a plethora of products. There will even be a unit of Universal Studios&#8217, Epic Universe theme park starting this summer. But in fact, How To Teach Your Dragon was an obvious member to get the live-action therapy. This will be the first version of a movie from DreamWorks Animation&#8217, as well as a new prospect for Universal Pictures, which adds to that inevitability. And at last the second full trailer for said remake has been released, giving fans a look at the history &#8217, s important events.

    Disney and DreamWorks allegedly followed suit in a concept that the Mouse House has been using for ages, despite all of the little brother allegations made against them. Although live-action remakes of Disney’s animated classics have been around for decades, they have had a long, highly criticized revival since Tim Burton’s Alice in Wonderland debut in 2010 and #8211, which unexpectedly came out the same month as the year’s first How To Train Your Dragon.

    One of the most highly criticized aspects of Disney’s remakes is that the movies play therefore modestly that the new renditions fail to support their existence because they are too similar to their lively counterparts. The film emblematic of this epidemic is (ironically ) the most successful of the bunch, The Lion King ( 2019 ). With the exception of one new music amount written for superstar Beyoncé, who voiced Nala in the image, the &#8220, live-action&#8221, The Lion King is a scene-for-scene, and in many cases a shot-for-shot, repeat of the 1994 common. The movie has a resemblance to a video game name rather than a narrative-driven motion picture, with less of a copy and more of a reissue. &nbsp,

    Of program, many of the favorite scenes from the first movie must be re-released for the copy. There might have been protests at Disney World &#8217, s Hollywood Boulevard if some huge occasion had been omitted from The Lion King &#8216, s history. When Mulan ( 2020 ) decided to axe the musical sequences and Mushu the dragon, online Disney fans were in fact vocally upset.

    Perhaps for this reason the How To Teach Your Dragon remake&#8217, s advertising has leaned into familiarity, with John Powell&#8217, s broad report serving as a landscape to some of the most cherished moments from the animated image. Hiccup ( now played by Mason Thames ) timidly extends his hand toward Toothless for the first time, feeling the scaly embrace of the once-thought-provoking menace of a night fury dragon. Iconography causes bottoms in seats. However, Studios may prevent playing it too safe, or they &#8217, ill work the strategy of having another The Lion King.

    It appears that Dean DeBlois, the writer and director, is also acutely aware of this chance. He co-wrote and directed all three of the favorite animated How to Train Your Dragon shows, and he just revealed to Den of Geek how receptive he is of the numerous live-action sequels of animated movie. The director spoke with our older writer David Crow about what he might find to be the strength in some live-action sequels during a special press presentation about the new movie. But while he felt the call to remake the dearest night fury with all the other dragons in a far freer hand, giving them a much more tactile heft and also menace, he also felt the need to make sure Toothless looks how audiences remember it. The one picture we get of that in the new video comes from a far more sinister and gigantic &#8220, Red Death&#8221, monster attacking the movie &#8217, s main Vikings.

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

    DeBlois&#8217, words are reassuring as is his passion for this world he has so intimately played a part in creating. If he can see his vision through, perhaps he could land closer to Jon Favreau&#8217, s first Disney remake, The Jungle Book ( 2016 ), which ironically released three years before his less loved The Lion King redo. The Jungle Book is often regarded as one of Disney &#8217, s best live-action adaptations. The film hones in on pivotal moments of the 1967 original, such as &#8220, The Bare Necessities &#8221, and &#8220, I Wan&#8217, na Be Like You &#8221, musical numbers. However, the movie pivots away from the cartoon, establishing an extended backstory, alternative plot threads, and added sequences not found in the 1967 version. It is a genuine adaptation that draws inspiration from its original source material while adding urgency and energy that fit the new medium. &nbsp,

    The footage presented at the event promises a much bigger reimagining of Hiccup and Toothless&#8217, island, as well as a grander sense of world-building for this Viking land where dragonriders are recruited from across the globe. However, the most recent How To Train Your Dragon trailer mostly relies on playing a sizzle reel of animated film highlights, this time with realistic CGI graphics. DreamWorks has so far managed to avoid the errors of Disney and the infamous &#8220, Ugly Sonic, &#8221, both of which feature overdesigned characters that detract from viewership, but it’s not clear whether they will do the same with their predecessors. &nbsp,

    Based on what we know, the movie attempts to expand the lore of the 98-minute original and explore the motivations of the supporting characters while also exploring the story’s 98-minute original, which is based on DeBlois ‘ ( Nico Parker ) and Hiccup’s ( a different ragtag group of friends being recruited from faraway lands and sailed to Berk, where the film is set ). However, it’s hoped that the creators will explore many different ways to make the 2025 remake different from the 2010 original. In other words, I hope they are more in tune with The Jungle Book than The Lion King.

    Universal and DreamWorks will decide whether or not to do this, but one can hope they learned something from their rival and produced a film that stands out above any Disney remake before it.

    On June 13, How to Train Your Dragon will be available in theaters.

    The post Disney &#8217, s Biggest Mistake Should Be Avoided appeared first on Den of Geek.

  • Beware the Cut ‘n’ Paste Persona

    Beware the Cut ‘n’ Paste Persona

    A machine learning algorithm is used to create human faces on this man does not occur. It takes actual photos and recombines them into false human faces. We just squirted past a LinkedIn post that claimed this website might be helpful “if you are developing a image and looking for a photo.”

    We concur that personas may remain excellent matches for computer-generated eyes, 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, much like in the photos. Data is combined with natural environment to create a singular, unrealized preview.

    But strangely enough, manufacturers use personalities to encourage their style for the real world.

    A step up, personalities

    Most manufacturers have at least once in their careers created, used, or encountered identities. In their content” Personas- A Plain Introduction”, the Interaction Design Foundation defines profile as “fictional characters, which you create based upon your study in order to reflect the unique user types that might use your service, product, site, or brand”. Personas typically consist of a name, profile picture, quotes, demographics, goals, needs, behavior in relation to a particular service/product, emotions, and motivations ( for instance, 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 well-known because they make “dry” research information more realistic and people. However, this approach places a cap on the author’s data analysis, making it impossible for the investigated users to be excluded 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 history knowledge to understand why. You end up with user images that are in reality less people.

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

    People are assumed to be stable, according to individuals.

    Here’s a painfully obvious truth: people are not a fixed set of features. Although many businesses still try to box in their employees and customers with outdated personality tests ( referring to you, Myers-Briggs ), You act, think, and feel different according to the situations you experience. You may behave helpful to some people, or you might act rude to others because you appear distinct to different people. And you constantly change your mind about the choices you’ve made.

    Modern psychology agree that while persons usually behave according to certain styles, it’s actually a combination of history and culture that determines how people act and take decisions. The type of person you are at each precise moment depends on the context, the impact of other people, your mood, and the whole history that preceded it.

    Personalities do not account for this variation in their attempt to reduce reality; instead, they present a consumer as a predetermined set of features. Like personality tests, personas seize people away from real existence. Even worse, individuals are labeled as” that kind of guy” with no means to practice their innate flexibility and are reduced to a brand. This behavior defies stereotypes, diminishes variety, and doesn’t reveal reality.

    Personas rely on people, not the environment

    In the real world, you’re creating content for a situation, no an entity. There are economic, political, and cultural factors to consider when a person lives in a home, a community, or an ecosystem. A pattern is not meant for a single customer. Instead, you create a layout for one or more specific situations where a certain product might be used by a large number of people. But, personas do not explicitly explain how the person interacts with the environment but rather present the user alone.

    Do you usually make the same decision over and over again? Possibly you’re a dedicated veggie but also decide to buy some beef when your relatives visit. Your decisions, including your behavior, opinions, and statements, are not only completely accurate but very contextual because they vary with various circumstances and variables. The image that “represents” you wouldn’t take into account this interdependence, because it doesn’t explain the grounds of your choices. It doesn’t provide a rationale for why you act in 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, it’s common to pick a fictional character and build a character’s behavior around a particular circumstance based on the fiction. How could you possibly understand how someone you want to represent behave in new circumstances if you hadn’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 synthesized from observations of many people. 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 fit within that average seat is a well-known criticism of this aspect of personas.

    The same limitation applies to mental aspects of people. Have you ever heard a famous person say something was taken out of context? They uttered my words, but I didn’t mean it that way. The celebrity’s statement was reported literally, but the reporter failed to explain the context around the statement and didn’t describe the non-verbal expressions. In the end, the intended meaning was lost. You do the same when you create personas: you collect someone’s statement ( or goal, or need, or emotion ), whose meaning can only be understood if you give its own particular context, and then report it as an isolated finding.

    But personas go a step further, extracting a decontextualized finding and joining it with another decontextualized finding from somebody else. The resultant set of findings frequently does not make sense because it is unclear or even contradictory because it lacks the underlying causes for and how that finding came about. 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 persona’s usefulness?

    The validity of personas can be 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 better explains the absurdity of this than a phrase from 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. Wouldn’t it be much more responsible to emphasize that John is only an abstraction if you purposefully conceal the fact that” John Doe” is an abstract representation of research findings? Let’s say something is artificial, and let’s say it is.

    It’s the finishing touch of a persona’s decontextualization: after having assumed that people’s personalities are fixed, dismissed the importance of their environment, and hidden meaning by joining isolated, non-generalizable findings, designers invent new context to create ( their own ) meaning. They do so by introducing a number of biases, as with everything they create. As Designit put it, as designers, we can” contextualize]the persona ] based on our reality and experience. We create connections that are familiar to us“. With each new detail added, this practice furthers stereotypes, doesn’t reflect real-world diversity, and takes people’s actual reality even further.

    To conduct effective design research, we must report the “as-is” reality and make it relatable for our audience so that everyone can use their own empathy and formula for their own interpretation and emotional response.

    Dynamic Selves: The alternative to personas

    What should we do instead if we shouldn’t use personas?

    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 life. Unfortunately, despite being a step in the right direction, this proposal doesn’t consider that people are a part of a system that controls their behavior, personality, and, yes, mindset. Therefore, Mindsets are also not absolute but change in regard to the situation. What determines a certain Mindset, is the question still unanswered.

    Margaret P., the author of the article” Kill Your Personas,” who has argued for the use of persona spectrums that include a range of user abilities, offers an alternative. For example, a visual impairment could be permanent ( blindness ), temporary ( recovery from eye surgery ), or situational (screen glare ). Because they recognize that the context is the pattern, not the personality, Persona spectrums are extremely useful for more inclusive and context-based design. However, their only drawback is that they have a very functional perspective on users that misses the relatability of a real person taken from within a spectrum.

    In developing an alternative to personas, we aim to transform the standard design process to be context-based. Contexts are generalizable and have patterns that we can recognize, just like we tried to do this with people before. So how do we learn these patterns? How do we ensure truly context-based design?

    Understand real people in a variety of settings

    Nothing about reality can be more relatable and inspiring. Therefore, we have to understand real individuals in their multi-faceted contexts, and use this understanding to fuel our design. Dynamic Selves is how we define it.

    Let’s take a look at how the approach looks based on an illustration from a recent study that examined Italians ‘ habits 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. Select the appropriate sample.

    When we argue against personas, we’re often challenged with quotes such as” Where are you going to find a single person that encapsulates all the information from one of these advanced personas]? ]” You don’t need to, which is the simple answer. You don’t need to know a lot about everyone to have deep and meaningful insights.

    In qualitative research, validity does not derive from quantity but from accurate sampling. You pick the people who best fit the “population” you’re designing for. If this sample is chosen wisely and you 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.

    In fifteen different situations, Susan is not necessary. Once you’ve seen her in a few different settings, you’ve come to understand how Susan responds to various circumstances. 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 total population you’re researching. You don’t want to see 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 persists: how do you choose a sample representative? First, you must consider the target market for the product or service you are designing. It might be helpful to examine the company’s objectives and strategy, the current customer base, and/or a potential future target audience.

    In our example project, we were designing an application for those who own a smart thermostat. Everyone in their home could have a smart thermostat in the future. However, only early adopters currently own one. To build a significant sample, we needed to understand the reason why these early adopters became such. We then recruited by enticing people to explain why and how they obtained a smart thermostat. 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. Given COVID-19 restrictions, we turned an internal ethnographic research project into home-based remote family interviews that were followed by diary research in our example project.

    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. Each interviewee would provide a story that would later become much more interesting and precise with the additions made by their spouses, partners, kids, or occasionally even pets. We also paid attention to the behaviors that came from having relationships with other important people ( such as coworkers or distant relatives ), as well as the relationships that came into being with them. This wide research focus allowed us to shape a vivid mental image of dynamic situations with multiple actors.

    It’s crucial that the research’s scope remain broad enough to cover all potential actors. Therefore, it typically works best to define broad research areas with broad questions. Interviews are best set up in a semi-structured way, where follow-up questions will dive into topics mentioned spontaneously by the interviewee. The most insightful findings will be made with this open-minded “plan to be surprised.” One of our participants responded to our question about how his family controlled the house temperature by saying,” My wife has not installed the thermostat’s app; she uses WhatsApp instead. If she wants to turn on the heater and she is not home, she will text me. She uses me as 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. A quote serves as the foundation of each Dynamic Self, which is supported by a photo and a few relevant demographics that serve as examples of the larger picture. 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. To facilitate the stakeholders ‘ transition from personas and be able to connect multiple actions and contexts to the same person, we also included the individual’s name and age, but they are optional.

    To capture exact quotes, interviews need to be video-recorded and notes need to be taken verbatim as much as possible. This is crucial to ensuring that each participant’s various selves are truthful. Photos of the setting and anonymized actors are necessary to create authentic selves in ethnographic research conducted in real life. Ideally, these photos should come directly from field research, but an evocative and representative image will work, too, as long as it’s realistic and depicts meaningful actions that you associate with your participants. One of our interviewees, for instance, shared a story of how he used to spend weekends with his family in his mountain home. We depicted him hiking with his young daughter as a result.

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

    4. Identify potential designs

    You will notice patterns beginning to appear once you have taken all of the main quotes from the interview transcripts and diaries and written them down as self-cards. These patterns will highlight the opportunity areas for new product creation, new functionalities, and new services—for new design.

    There was a particularly intriguing insight around the concept of humidity in our example project. We became aware of the importance of humidity monitoring for health and how an environment that is too dry or wet can cause respiratory problems or worsen already existing ones. This highlighted a big opportunity for our client to educate users on this concept and become a health advisor.

    Benefits of Dynamic Selves

    People are surrounded by changing environments, peculiar situations that people face, and the actions that follow when using the Dynamic Selves approach for research. In our thermostat project, we have come to know one of the participants, Davide, as a boyfriend, dog-lover, and tech enthusiast.

    Davide is a person we might have once consigned to the title of “tech enthusiast.” However, there are also those who are wealthy or poor, who are tech enthusiasts and have families or are single. Their motivations and priorities when deciding to purchase a new thermostat can be opposite according to these different frames.

    Once you have fully grasped the underlying causes of Davide’s behavior and have understood them in detail, you can then generalize how he would act in a different circumstance. You can infer what he would think and do in the circumstances ( or scenarios ) you design for using your understanding of him.

    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 about people and how difficult it is to feel empathy for others. We have the deepest compassion for people with whom we can directly relate.

    If you take a real person as inspiration for your design, you no longer need to create an artificial character. No more creating new plot devices to “realize” the character, no more implausible biases. Simply put, this is how they are in real life. In fact, in our experience, personas quickly become nothing more than a name in our priority guides and prototype screens, as we all know that these characters don’t really exist.

    Another significant benefit of Dynamic Selves is that it raises the stakes of your work: if you ruin your design, someone you and the team know and have met will suffer the consequences. It might prompt you to check your designs every day and might prevent you from making shortcuts.

    And finally, real people in their specific contexts are a better basis for anecdotal storytelling and therefore are more effective in persuasion. Real research documentation is necessary to obtain this result. It reinforces your design arguments by adding more weight and urgency:” When I met Alessandra, the conditions of her workplace struck me. Noise, bad ergonomics, lack of light, you name it. I’m afraid that if we choose to use this functionality, she’ll find her life more complicated.

    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 complex nature of our users ‘ decision-making processes and don’t take into account the fact that people are immersed in environments.

    Design needs to be simplified, but not generalized. 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. Avoid using those and use them to describe the person in all of their contexts. People and insights are subject to a context, but they cannot be removed because it would detract from the context’s meaning.

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

  • That’s Not My Burnout

    That’s Not My Burnout

    Do you find it hard to connect when I read about people who are dying as they experience exhaustion? Do you feel like your feelings are invisible to the planet because you’re experiencing burnout different? Our primary comes through more when stress starts to press down on us. Beautiful, content hearts quieten and fade into the remote and distracted stress we’ve all experienced. But some of us, those with fires constantly burning on the sides of our key, getting hotter. I am blaze in my brain. When I’m in a burnout situation, I twice over, triple down, burn hotter and hotter to try to overcome the situation. I don’t fade— I am engulfed in a passionate fatigue.

    What on earth does passionate stress actually mean?

    Envision a person who is determined to accomplish everything. She has two wonderful children whom she, along with her father who is also working mildly, is homeschooling during a crisis. She loves everyone at work because of how demanding her work is. 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? Also with a supportive group at home and at work, it is.

    Sounds like this person needs self-care because she has too much on her disk. But no, she doesn’t have occasion for that. She begins to feel as though she’s dropping pellets. Not enough is accomplished. 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 emotions become more and more real, her domestic tale becomes more and more important.

    Instantly she KNOWS what she needs to do! She ought to do more.

    This is a challenging and risky pattern. Understand why? Because when she doesn’t complete that new purpose, the story will only get worse. She immediately starts failing. She isn’t doing much. She is insufficient. She may fail, she might refuse her family, but she’ll discover more to do. She doesn’t nap as much, proceed because much, all in the attempts to do more. caught in this pattern of attempting to prove herself to herself without ever succeeding. Not feeling “enough”

    But, yeah, that’s what zealous burnout looks like for me. It develops gradually over the course of several weeks and months rather than immediately as a big movement. My using process appears to be moving more quickly than I have lost my focus. I rate up and up and up… and therefore I simply stop.

    I am the only person who has the ability.

    The things that shape us are interesting. Through the glass of youth, I viewed the worries, problems, and sacrifices of someone who had to make it all work without having much. I never went without and also got an extra here or there because my mom was so competent and my father was so friendly.

    Growing up, I didn’t feel shame when my mom gave me food postcards; in fact, I would have likely sparked debates about the subject, orally eviscerating anyone who dared to criticize the disabled person who was attempting to ensure all of our needs were met with so little. As a child, I watched the way the worry of not making those ends meet impacted persons I love. Because I was” the one who was” make our lives a little easier, I would take on many of the physical things in my house as the non-disabled people. I soon realized that putting more of myself into it was linked to fears or doubt; I am the one who does. I learned first that when something frightens me, I can double down and work harder to make it better. I am in charge of the problem. I’ve been told that I seem brave when people have seen this in me as an adult, but make no mistake, I’m no. 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 feel more motivated to show that I may make things happen if I put in more effort, put on more responsibilities, and do more.

    I do not see people who struggle financially as problems, because I have seen how powerful that tide is be—it takes you along the way. I fully realize that I had the opportunity to prevent many of the difficulties that my children faced. Having said that, I am also” the one who can” who believes she should, so I would think I had failed if I had to struggle with making ends meet for my own home. Though I am supported and educated, most of this is due to great wealth. But, I’ll give myself the haughtiness of claiming that my choices were wise and that they had sparked that success. I believe I am” the one who can,” so I feel compelled to do the most because of this. I can choose to halt, and with some pretty precise warm water splashed in my face, I’ve made the choice to previously. However, I don’t always choose to stop; instead, I move forward, driven by a fear that is so present that I hardly notice until I’m completely worn out.

    Why all this history, then? You see, burnout is a fickle thing. Over the years, I’ve read and heard a lot about burnout. Burnout is present. Especially now, with COVID, many of us are balancing more than we ever have before—all at once! It’s difficult, and the avoidance, shutting down, and procrastination have an impact on so many amazing professionals. There are significant articles that deal with what I believe the majority of people are out there, but not me. That’s not what my burnout looks like.

    The perilous invisibility of zealous burnout

    The extra hours, extra work, and overall focused commitment are often viewed as an asset in many workplaces ( and occasionally that’s all it is ). They see someone trying to rise to challenges, not someone stuck in their fear. Many well-intentioned organizations have procedures in place to safeguard 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 are praised for being so on top of it all when they can work, participate in the after-school activities, practice self-care in the form of diet and exercise, and still meet friends for coffee or wine. More so mothers, statistically speaking. Many of us have watched endless streaming episodes of COVID to see how challenging the female protagonist is, 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. Although we are aware that the media is a lie to amuse us, a large portion of society has been persuaded that it is what we should aim for.

    Women and burnout

    I adore men. And even though I don’t love every man ( heads up, I don’t love every woman or nonbinary person either ), I think there is a wonderful range of people who fit that particular binary gender.

    That said, women are still more often at risk of burnout than their male counterparts, especially in these COVID stressed times. Mothers at work experience the pressure to do everything “mom” while giving 100 %. Mothers who are not employed feel they must do more to” justify” their discontinuance from traditional employment. Women who are not mothers often feel the need to do even more because they don’t have that extra pressure at home. We are frequently unaware of the magnitude of the pressures we place on ourselves and others because it is vicious and systemic and a part of our culture.

    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”. According to the CDC,” Heart disease is the leading cause of death for women in the United States, killing 299,578 women in 2017—or roughly 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, we are all unique, and how we respond to stressors is also unique. It’s part of what makes us human. Don’t put too much emphasis on how burnout looks; instead, learn to recognize it in yourself. What are a few questions I occasionally ask my friends if they worry about them.

    Are you happy? The first thing you should ask yourself should be this straightforward query. Even if you’re burning out doing all the things you love, chances are you’ll just stop enjoying yourself as much as you do.

    Do you feel empowered to say no? I’ve observed in both myself and others that no longer feel like they can turn down opportunities. 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 fact to keep in mind is that we all have a habit of giving up on our own efforts. anything from avoiding conversations with friends to skipping showers and eating poorly. These can be red flags.

    Are you using justifications? Many of us make an effort to avoid feeling worn out. Over and over I have heard,” It’s just crunch time”,” As soon as I do this one thing, it will all be better”, and” Well I should be able to handle this, so I’ll figure it out”. And it might actually be crunch time, a single objective, or a set of skills you need to master. Life happens because of that. BUT if this doesn’t stop, be honest with yourself. If you’ve worked more than 50 hours of work since January, then perhaps it’s not crunch time; perhaps it’s a bad situation you’re finding yourself in.

    Do you have a strategy for overcoming this feeling? If something is truly temporary and you do need to just push through, then it has an exit route with a
    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.

    What should I do then?

    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 well.
    • Work out.
    • Go outside.
    • Take a break.
    • Overall, practice self-care.

    These are challenging for me because they seem like more chores. Doing any of the above for me feels like a waste if I’m in the burnout cycle. The narrative is that if I’m already failing, why would I take care of myself when I’m dropping all those other balls? People need me, don’t they?

    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. Use your roles to make healing easier by defending the time you spend working on you if they are putting you in a bad mood.

    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. In my home, there are countless tales of people coming into the kitchen, turning right, and leaving when they noticed I was” chopping angrily.” But it’s more than that, and you should give it a try. Seriously. If you don’t feel like giving time for yourself, make it a priority for someone else. Most of us work in a digital world, so cooking can fill all of your senses and force you to be in the moment with all the ways you perceive the world. It can help you get a better perspective and help you get out of your head. I’ve always had the ability to pick a location on a map and prepare food that comes from it ( thanks, Pinterest ). I love cooking Indian food, as the smells are warm, the bread needs just enough kneading to keep my hands busy, and the process takes real attention for me because it’s not what I was brought up making. And ultimately, we all triumph!

    Vent like a sniveling jerk.

    Be careful with this one!

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

    When that is required, turn to a trusted friend and give yourself some pure verbal diarrhea by expressing all your concerns. You must have faith in this friend not to judge you, to feel your pain, and, most importantly, to advise you to get your cranium removed from your own rectal cavity. Seriously, it’s about getting a reality check here! One of the things that I admire most about my husband is how he can simplify things down to the simplest of terms, even though sometimes after the fact. We’re spending our lives together, and I can’t wait to get over it. I’m so grateful for his words of dedication, love, and acceptance of me. It also, of course, has meant that I needed to remove my head from that rectal cavity. Again, those are typically appreciated in retrospect.

    Grab a book, please!

    There are many books out there that aren’t so much self-help as they are people just like you sharing their stories and how they’ve come to find greater balance. You might discover something that resonates with you. Among the titles that have stood out to me are:

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

    Or, if I love to read or listen to a book that doesn’t have anything to do with my work-life balance, I can use another tactic. I’ve read the following books, and I think they helped to balance me out because my mind was thinking about the subjects they were interested in rather than whizzing around:

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

    Choose a topic on YouTube or subscribe to a podcast if you don’t enjoy reading. In addition to learning about raising chickens and ducks, I’ve watched countless permaculture and gardening topics. For the record, I do not have a particularly large food garden, nor do I own livestock of any kind… yet. I just find the subject fascinating, and it is unrelated to anything that needs to be done in my life.

    Give yourself a break.

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

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

    This is challenging. It is hard for me. That it’s okay to stop is what inspired me to write this. It’s acceptable that your unhealthy habit, which might even be beneficial to those around you, needs to end. You can still be successful in life.

    I just learned that we are all euthanizing in our daily lives. What will your professional accomplishments say, knowing that yours won’t be mentioned in that speech? What do you want it to say?

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

    Does this sound familiar?

    If something resounds familiar to you, it’s not just you. Don’t let your sluggish self-talk tell you that you “even burn out wrong.” It’s not wrong. Even if I’m rooted in fear like my own drivers, I think this need to do more comes from a place where you have the same kind of love, determination, motivation, and other wonderful qualities that make you the amazing person you are. We’re going to be fine, you see. The lives that unfold before us might never look like that story in our head—that idea of “perfect” or “done” we’re looking for, but that’s OK. Really, when we stop and look around, usually the only eyes that judge us are in the mirror.

    Do you recall the Winnie the Pooh cartoon in which Pooh ate so much at Rabbit’s house that his buttocks couldn’t fit through the door? It came as no surprise when he abruptly declared that this was unacceptable because I already associate a lot with Rabbit. But do you recall what happened next? He made the most of the large butt in his kitchen by placing a shelf across poor Pooh’s ankles and decorations on his back.

    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 will need to redefine success to make room for comfortable human space, but that doesn’t really sound that bad either.

    So, if you’re anywhere right now, take a deep breath. Do what you need to do to get out of your head. Give thanks and be considerate.

  • Asynchronous Design Critique: Giving Feedback

    Asynchronous Design Critique: Giving Feedback

    One of the most powerful smooth abilities we have at our disposal is the ability to work together to improve our designs while developing our own abilities and perspectives, regardless of how it is used or what it might be called.

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

    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 changed for rural and distributed workplaces?

    On the web, we may discover a long history of sequential suggestions: from the early weeks of open source, script was shared and discussed on email addresses. Programmers and sprint masters discuss ideas on tickets, designers make comments in their favourite design tools, and so on.

    Design analysis is frequently used as a term for a type of collaborative feedback that is provided to improve our work. So it shares a lot of the rules with comments in public, but it also has some variations.

    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 content. This one from Lara Hogan is the one I privately like best because it’s simple and actionable.

    This formula is typically used to provide feedback to people, but it also fits really well in a pattern criticism because it finally addresses one of the main inquiries that we work on: What? Where? Why? How? Imagine that you’re giving some comments about some pattern function that spans several screens, like an onboard movement: there are some pages shown, a stream blueprint, and an outline of the decisions made. You notice a flaw in the situation. You’ll have a psychological model that can help you become more precise and effective if you keep the three components of the equation in mind.

    Here is a reply that could be given as a part of some comments, and it might seem reasonable at a first glance: it seems to casually serve the elements in the equation. But does it exist?

    Not sure about the hierarchy and styles of the buttons; it seems off. Can you change them?

    Finding a perspective that is as specific as possible when conducting design feedback refers to more than just pointing out which area of the interface. Do you offer the user’s viewpoint? Your expert perspective? from a business perspective? From the perspective of the project manager? A first-time user’s perspective?

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

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

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

    By provoking the designer’s critical thinking while receiving the feedback, the question approach is intended to provide open guidance. Notably, Lara’s equation includes a second approach: request, which instead provides instructions on how to find a particular solution. While that’s a viable option for feedback in general, for design critiques, in my experience, defaulting to the question approach usually reaches the best solutions because designers are generally more comfortable in being given an open space to explore.

    For the question approach, the difference between the two can be demonstrated as an illustration:

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

    Or, for the request approach:

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

    In some situations, it might be helpful to include an additional reason why you think the suggestion is better at this point.

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

    Choosing between the request and question approaches can occasionally be influenced by one’s personal preferences. I did rounds of anonymous feedback and I reviewed feedback with other people a while back when I was putting a lot of effort into improving my feedback. 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 switched teams. Surprise surprise, my next round of criticism from a specific person wasn’t very positive. The reason is that I had previously tried not to be prescriptive in my advice—because the people who I was previously working with preferred the open-ended question format over the request style of suggestions. However, there was a member of this other team who preferred specific guidance. So I changed my feedback so that it included requests.

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

    No, this style of feedback is actually efficient because the length here is a byproduct of clarity, and spending time giving this kind of feedback can provide exactly enough information for a good fix. Additionally, if we zoom out, it may lessen misunderstandings and back-and-forth conversations in the future, boosting overall collaboration’s effectiveness and efficiency beyond the single comment. Consider the example above where the feedback would be simply” Let’s make sure that all screens have the same two forward and back buttons.” The designer receiving this feedback wouldn’t have much to go by, so they might just apply the change. The interface might change in later iterations or they might add new features, and perhaps that change no longer makes sense. 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 type of feedback is not always effective because some comments don’t always need to be thorough, some times because some changes may be obvious ( the font used doesn’t follow our guidelines ), and others because the team may have a lot of internal knowledge, making some of the whys may be implied.

    Therefore, the above equation serves as a mnemonic to reflect and enhance the practice rather than a strict template for feedback. Even after years of active work on my critiques, I still from time to time go back to this formula and reflect on whether what I just wrote is effective.

    The atmosphere

    The foundation of feedback is well-rounded content, 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.

    Tone is crucial to work on because our goal is to be understood and create a positive working environment. Over the years, I’ve tried to summarize the required soft skills in a formula that mirrors the one for content: the receptivity equation.

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

    Timing refers to when the feedback happens. If given at the wrong time, to-the-point feedback has little chance of being well received. If a new feature’s entire high-level information architecture is about to go live when it’s about to be released, it might still be relevant if that questioning raises a significant blocker that no one saw, but those concerns are much more likely to have to wait for a later revision. So in general, attune your feedback to the stage of the project. Early iteration? Iteration that was later? Polishing work in progress? Each of these needs a different one. The ideal setting will increase the likelihood that your feedback will be appreciated.

    Attitude is the equivalent of intent, and in the context of person-to-person feedback, it can be referred to as radical candor. Before writing, it’s important to make sure the person we’re writing will actually benefit them and improve the overall project. Perhaps we don’t want to admit that we don’t really appreciate that person when we reflect on them. Hopefully that’s not the case, but that can happen, and that’s okay. How would I write if I really cared about them, aside from acknowledging and having that to help you make up for it? How can I stop being a passive tyrant? How can I be more constructive?

    Form is important especially in diverse and cross-cultural workplaces because having excellent writing, perfect timing, and the right attitude might not be effective if the writing style leads to miscommunications. There could be many reasons for this: some words might cause particular reactions, some non-native speakers might not understand all the nuances of some sentences, and other times our brains might be different and we might perceive the world differently. Neurodiversity must be taken into account. Whatever the reason, it’s important to review not just what we write but how.

    A few years ago, I asked for some feedback on how I respond. I was given some helpful advice, but I also found a surprise in my comment. They pointed out that when I wrote” Oh, ]… ]”, I made them feel stupid. That wasn’t my intention at all! I recently realized that I had been giving them months of feedback without ever feeling 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 keep in mind is that people frequently beat around the bush, especially in teams with strong group spirit. It’s important to remember here that a positive attitude doesn’t mean going light on the feedback—it just means that even when you provide hard, difficult, or challenging feedback, you do so in a way that’s respectful and constructive. You can help someone grow the best way you can.

    Giving feedback in written form can be reviewed by someone else who isn’t directly involved, which can help to reduce or eliminate any bias that might exist. I found that the best, most insightful moments for me have happened when I’ve shared a comment and I’ve asked someone who I highly trusted,” How does this sound”?,” How can I do it better”, and even” How would you have written it” ?—and I’ve learned a lot by seeing the two versions side by side.

    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 meet two main objectives.

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

    In terms of clarity, start by grounding the critique that you’re about to give by providing context. This includes specifically describing where you’re coming from: do you have a thorough understanding of the project, or is this your first encounter with it? Do you have a high-level perspective, or are you just learning the ins and outs? Are there regressions? Which user’s point of view do you consider when providing feedback? Is the design iteration ready to ship this, or are important issues still to be addressed first?

    Providing context is helpful even if you’re sharing feedback within a team that already has some information on the project. And context is a must when providing cross-team feedback. If I were to review a design that might be directly connected to my work, and if I had no idea how the project might have come to that conclusion, I would say so, highlighting my opinion as external.

    We often focus on the negatives, trying to outline all the things that could be done better. That’s obviously important, but it’s even more crucial to concentrate on the positives, especially if you saw improvement in 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. Sharing positive feedback can help prevent regressions on things that are going well because those things will have been identified as crucial in the long run. Positive feedback can also help, as an added bonus, prevent impostor syndrome.

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

    Depersonalizing the feedback is another way to improve it: comments should always be about the work and never the creator of 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.

    One of the best ways to assist the designer who is reading your feedback is to divide it into bullet points or paragraphs, which are simpler to review and analyze one by one, in terms of actionability. For longer pieces of feedback, you might also consider splitting it into sections or even across multiple comments. Of course, it’s also possible to include screenshots or indicators for the specific area of the interface you’re referring to.

    One method that I’ve personally used to enhance the bullet points in some situations is using emojis. So a red square � � means that it’s something that I consider blocking, a yellow diamond � � is something that I can be convinced otherwise, but it seems to me that it should be changed, and a green circle � � is a detailed, positive confirmation. A blue spiral is also used for exploration, open alternatives, or just a note when I’m not sure what to make. 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 change how I 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 that one of these two buttons will go forward and the other will go back when I see them. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Let’s make sure that all screens have the same two forward and back buttons so that users don’t get confused.
    • Overall, I believe the page is strong, and this is a good candidate for our release candidate for a version 1. 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 look for a different shade?
    • 🔶Tiles—Given the number of items on the page, and the overall page hierarchy, it seems to me that the tiles shouldn’t be using the Subtitle 1 style but the Subtitle 2 style. This will maintain consistency in the visual hierarchy.
    • Background: Using a light texture is effective, but I’m not sure if doing so will cause too much noise on this kind of page. What is the thinking in using that?

    What about using Figma or another design tool that enables in-place feedback to provide feedback directly? 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.

    Say the obvious, please. Sometimes we might feel good or bad about something, so we don’t say it. Or sometimes we might have a doubt that we don’t express because the question might sound stupid. Say it, that’s fine. Don’t hold it back, though, because you might need to change the phrasing a little to make the reader feel more at ease. Good feedback is transparent, even when it may be obvious.

    Asynchronous feedback also has the benefit of automatically guiding decisions, according to writing. Why did we do this, especially in large projects? could be a question that pops up from time to time, and there’s nothing better than open, transparent discussions that can be reviewed at any time. For this reason, I suggest using software to save these discussions without keeping them hidden until they are resolved.

    Content, tone, and format are all there. Each one of these subjects provides a useful model, but working to improve eight areas—observation, impact, question, timing, attitude, form, clarity, and actionability—is a lot of work to put in all at once. One way to take them one by one is to first identify the area you most need from both your own perspective and feedback from others. 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 Mike Shelton and Brie Anne Demkiw for their initial review of this article.

  • Asynchronous Design Critique: Getting Feedback

    Asynchronous Design Critique: Getting Feedback

    ” Any opinion”? is perhaps one of the worst ways to ask for opinions. It’s obscure and unreliable, and it doesn’t give a clear picture of what we’re looking for. Great feedback begins sooner than we might anticipate: it begins with the request.

    It might seem contradictory to start the process of receiving feedback with a problem, but that makes sense if we realize that getting feedback can be thought of as a form of pattern research. The best way to ask for feedback is to write strong questions, just like we wouldn’t do any studies without the right questions to get the insight we need.

    Design analysis is not a one-time procedure. Sure, any great comments process continues until the project is finished, but this is especially true for layout because architecture work continues iteration after iteration, from a high level to the finest details. Each stage requires its unique set of questions.

    Finally, we need to review what we received, get to the heart of its findings, and taking action, as with any good research. Problem, generation, and evaluation. Let’s take a look at each of those.

    The query

    Being available to input is important, but we need to be specific about what we’re looking for. Any comments,” What do you think,” or” I’d love to hear your mind” at the conclusion of a presentation are likely to garner a lot of different ideas, or worse, to make everyone follow the lead of the first speaker. And finally, we become irritated because ambiguous queries like those can result in people leaving reviews that don’t even consider keys. Which might be a savory matter, so it might be hard at that point to divert the crew to the topics that you had wanted to focus on.

    But how do we enter this circumstance? A number of elements are involved. One is that we don’t often consider asking as a part of the input approach. Another is how healthy it is to assume that everyone else will agree with the problem and leave it alone. Another is that there are frequently no need to be that exact in nonprofessional conversations. In short, we tend to underestimate the importance of the issues, so we don’t work on improving them.

    The action of asking insightful questions guidelines and concentrates the criticism. It also serves as a form of acceptance, outlining your willingness to make comments and the types of responses you want to receive. It puts people in the right emotional position, especially in situations when they weren’t expecting to give opinions.

    There isn’t a second best way to ask for opinions. It simply needs to be certain, and precision can take a variety of forms. A design for design critique that I’ve found especially helpful in my training is the one of stage over depth.

    The term” level” refers to each stage of the process, specifically the design phase. The kind of feedback changes as the consumer research moves forward to the final design. But within a single stage, one might also examine whether some assumptions are correct and whether there’s been a suitable language of the amassed input into updated designs as the job has evolved. The levels of user experience may serve as a starting point for possible questions. What do you want to learn about venture goals? User requirements? Funnality? Articles? Contact design? Data structures Interface pattern Navigation style? physical architecture Brand?

    Here’re a some example questions that are specific and to the place that refer to different levels:

    • Features: Is it desired to automate accounts creation?
    • Contact design: Please review the updated movement and let me know if there are any steps or error points I may have missed.
    • Information structures: We have two competing bits of information on this site. Does the framework make a good communication between them?
    • User interface design: What do you think about the top-most error counter, which ensures that you can see the following error even when the error is outside the viewport?
    • Navigation style: From study, we identified these second-level routing items, but when you’re on the webpage, the list feels very long and hard to understand. Exist any recommendations for resolving this?
    • Are the thick alerts in the bottom-right corner of the page clearly visible enough?

    The other plane of sensitivity is about how heavy you’d like to go on what’s being presented. For instance, we may have introduced a new end-to-end movement, but you might want to know more about a particular viewpoint you found especially difficult. This can be particularly helpful from one generation to the next when it’s crucial to identify the areas that have changed.

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

    A quick fix is to get rid of the common qualifiers from issues like “good”, “well,” “nice,” “bad,” “okay,” and” cool.” Asking,” When the prevent opens and the switches appear, is this conversation great, for instance?” may seem precise, but you can place the “good” tournament, and transfer it to an even better query:” When the wall opens and the buttons appear, is it clear what the next action is”?

    Sometimes we do want a lot of feedback. That’s uncommon, but it can occur. In that sense, you might still make it explicit that you’re looking for a wide range of opinions, whether at a high level or with details. Or perhaps just say,” At first glance, what do you think”? so that after someone’s first five seconds of viewing it, it becomes obvious that what you’re asking is open ended but focused on the subject.

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

    Asking specific questions can completely change the quality of the feedback that you receive. People who have less refined critique abilities will now be able to provide more useful feedback, and even experienced designers will appreciate the clarity and effectiveness gained from concentrating solely on what is required. It can save a lot of time and frustration.

    The iteration

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

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

    There are many benefits to using iteration posts:

      It establishes a rhythm in the design process, allowing the designer to review the feedback from each iteration and get ready for the following.
    • It makes decisions visible for future review, and conversations are likewise always available.
    • It keeps a record of how the design evolved over time.
    • It might also make it simpler to collect and act on feedback depending on the tool.

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

    There isn’t, in my opinion, a common format for iteration posts. But there are a few high-level elements that make sense to include as a baseline:

    1. The objective is to achieve
    2. The layout
    3. The list of changes
    4. The querys

    A goal for each project is likely to be one that has already been condensed into a single sentence, such as the request for the project owner, the product manager, or the client brief. So this is something that I’d repeat in every iteration post—literally copy and pasting it. To avoid having to search through information from multiple posts, the goal is to provide context and repeat what is necessary to complete each iteration post. The most recent iteration post will provide all I need to know about the most recent design.

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

    The actual series of information-architecture outlines, diagrams, flows, maps, wireframes, screens, visuals, and any other design work that has been done is what the design is then called. In short, it’s any design artifact. In the work’s final stages, I prefer to use the term “blank” to emphasize that I’ll be displaying complete flows rather than individual screens to facilitate comprehension of the larger picture.

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

    A bullet list of the changes made in the previous iteration should also be included for a successful discussion so that attendees can concentrate on what’s changed. This is especially useful for larger works of work where keeping track, iteration after iteration, might prove difficult.

    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. Creating a numbered list of questions can also help make it simpler to refer to each one by its number.

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

    Even if these iterations posts are written and intended as checkpoints, they are not required 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.

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

    • Unique—It’s a clear unique marker. Everyone knows where to go to review things, and it’s simple to say” This was discussed in i4″ with each project.
    • Unassuming—It functions like versions ( such as v1, v2, and v3 ), but versions give the impression of something that is large, exhaustive, and complete. Iterations must be able to be exploratory, incomplete, partial.
    • Future proof—It resolves the “final” naming issue that versions can encounter. No more files with the title “final final complete no-really-its-done” Within each project, the largest number always represents the latest iteration.

    The wording release candidate (RC ) could be used to indicate when a design is finished enough to be worked on, even if there are some bits that still need work and, in turn, need more iterations:” with i8 we reached RC” or “i12 is an RC” to illustrate this.

    The evaluation

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

    Asynchronous feedback is particularly effective because of this shift, especially around these friction points:

      It lessens the need to respond to everyone.
    1. It reduces the frustration from swoop-by comments.
    2. It lowers the stakes we have in ourselves.

    The first friction point is having to feel pressured to respond to each and every comment. Sometimes we write the iteration post, and we get replies from our team. It’s just a few of them, it’s simple, and there isn’t much of a problem with it. Sometimes, however, some solutions may require more in-depth discussions, and the number of responses can quickly rise, which can cause tension between trying to be a good team player by responding to everyone and attempting 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. It’s human nature to try to accommodate those we care about, and we need to accept that this pressure is completely normal. Responding to all comments at times can be effective, but when we consider a design critique more like user research, we realize that we don’t need to respond to every comment, and there are alternatives in asynchronous spaces:

      One is to let the next iteration speak for itself. When the design changes and we publish a follow-up iteration, that’s the response. You could tag everyone in the previous discussion, but even that is 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. These will be included in the upcoming iteration. In some cases, this could also be just a single top-level comment along the lines of” Thanks for all the feedback everyone—the next iteration is coming soon”!
    • One more thing is to quickly summarize the comments before proceeding. This may be particularly helpful if your workflow uses a simplified checklist to refer to for the following 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 is something that one can hope to learn: they could begin to acknowledge that they are doing this and they could be more aware of where they are coming from. Swoop-by comments frequently prompt the simple thought,” We’ve already discussed this,” and it can be frustrating to have to keep saying the same thing over and over.

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

    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. Yes, you’ll still be frustrated, but that might at least make things better for you.

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

    Remember to always remember that you don’t have to accept every piece of feedback, even though you need to listen to stakeholders, project owners, and specific advice. You have to analyze it and make a decision that you can justify, but sometimes “no” is the right answer.

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

    Thanks to Mike Shelton and Brie Anne Demkiw for their initial review of this article.

  • Designing for the Unexpected

    Designing for the Unexpected

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

    Flash, Photoshop, and flexible style

    My go-to program when I first started designing platforms was Photoshop. I created a 960px paint and set about creating a design that I would eventually lose information in. Using set widths, fixed heights, and complete positioning, the development phase aimed to achieve pixel-perfect precision.

    Ethan Marcotte’s speak at An Event Off and subsequent content” Responsive Web Design” in A List Off in 2010 changed all this. I immediately became enthralled when I learned about flexible style. 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 design 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 phase.

    A novel method of architecture

    Developing flexible or smooth sites has always been about removing limitations, producing material that can be viewed on any system. It relies on using percentage-based layouts, which I immediately achieved using local CSS and power courses:

    .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%;}

    Then with Sass so I could take advantage of @includes to re-use repeated slabs of script and walk up to more semantic premium:

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

    Media inquiries

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

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

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

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

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

    Our rely on multimedia queries resulted in parts that were tied to frequent window sizes. This is a real problem if component libraries are intended to be reused because they cannot be used when the devices being designed for match the pattern library’s viewport sizes, thus failing to achieve the “devices that don’t already exist” goal.

    Then there’s the problem of space. Media inquiries 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: A bogus sun or our lord?

    Container concerns have long been touted as an improvement upon press questions, but at the time of composing are unsupported in most computers. There are solutions for JavaScript, but they can lead to dependencies and connectivity issues. The basic principle underlying pot queries is that elements may change based on the size of their family box and not the viewport diameter, as seen in the following illustrations.

    One of the biggest arguments in favor of box concerns is that they help us create elements or design patterns that are really reusable because they can be picked up and placed somewhere in a design. This is a significant step in the direction of a component-based design that can be used with any device, regardless of size.

    In other words, responsive components to replace responsive layouts.

    Container queries will enable us to design components that can be placed in a sidebar or in the main content and respond accordingly rather than designing pages that respond to the browser or device size.

    My concern is that we are still using layout to determine when a design needs to adapt. This strategy will always be restrictive because we will still require 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 instance, the container’s dimensions are not what should be used to dictate the design; rather, the image is.

    It’s hard to say for sure whether container queries will be a success story until we have solid cross-browser support for them. Responsive component libraries would undoubtedly change the way we design them, and they would increase the possibilities for reuse and scale design. But maybe we will always need to adjust these components to suit our content.

    CSS is evolving.

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

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

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

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

    The biggest benefit of all this is you don’t need to wrap elements in container rows. Without rows, content is not directly linked to page markup, allowing for content removals or additions without further development.

    The real game changer for flexible designs is CSS Subgrid, which is a significant improvement in terms of designing designs that allow for evolving content.

    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. Subgrid, in contrast, allows us to create designs that can be modified to fit changing content. Subgrid at the time of writing is only supported in Firefox but the above code can be implemented behind an @supports feature query.

    Intrinsic layouts

    I’d be remiss not to mention intrinsic layouts, the term created by Jen Simmons to describe a mixture of new and old CSS features used to create layouts that respond to available space.

    Columns with percentages are flexible in responsive layouts. Intrinsic layouts, on the other hand, use the fr unit to create flexible columns that won’t ever shrink so much that they render the content illegible.

    frunits is a statement that says,” I want you to distribute the extra space in this way, but never make it smaller than the content that is inside.”

    —Jen Simmons,” Designing Intrinsic Layouts”

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

    What distinguishes intrinsic design is that it not only creates designs that can withstand future devices but also helps scale designs without losing flexibility. Components and patterns can be lifted and reused without the prerequisite of having the same breakpoints or the same amount of content as in the previous implementation.

    They now have the ability to adapt to the content both inside and outside of them. With an intrinsic approach, we can construct responsive components without depending 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. Modern projects frequently improve existing websites with an existing codebase and use existing tools and frameworks.

    Another could be that I feel more prepared for change now. I was brand-new to design in general in 2010, and the shift involved a lot of learning. Also, an intrinsic approach isn’t exactly all-new, it’s about using existing skills and existing CSS knowledge in a different way.

    You can’t “frame” your way out of” a content issue.

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

    There are also design tools. We probably all, at some point in our careers, used Photoshop templates for desktop, tablet, and mobile devices to drop designs in and show how the site would look at all three stages.

    How do you do that right away, with each component reacting to content and layout flexing as needed? This type of design must happen in the browser, which personally I’m a big fan of.

    Another topic that has persisted for years is the debate over whether designers should code. 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?

    I’m personally anticipating the day when a design component can truly be flexible and adapt to both its space and content without relying on the device or container dimensions. This is the day.

    Content first

    Content is not a fixed number. After all, to design for the unknown or unexpected we need to account for content changes like our earlier Subgrid card example that allowed the cards to respond to adjustments to their own content and the content of 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. This was frequently accomplished with Sass mixins in the past, but it was frequently limited to a left-to-right or right-to-left orientation.

    In the Sass version, directional variables need to be set.

    $direction: rtl;$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, with the addition of native logical properties, there is no longer a need to rely on Sass ( or a comparable tool ) and pre-planning that would have 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);}

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

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

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

    As long as the element’s width is at least 300px, the element will now be 50 % of its container. 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 distinguish between markup and content, which means that user modifications will not have an impact on the design. We can start to future-proof designs by planning for unexpected changes in language or direction. Additionally, we can increase flexibility by specifying desired dimensions alongside adaptable alternatives, which will allow for more or less content to be displayed correctly.

    Situation first

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

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

    This is why making a 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, we have many options available to you.

    Responsible design

    There are places on the planet where mobile data is prohibitively expensive and where broadband infrastructure is sparse or absent.

    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, in the real world, our users may be commuters using smaller mobile devices that may experience drops in connectivity while traveling on trains or other modes of transportation. There is nothing more frustrating than a web page that won’t load, but there are ways we can help users use less data or deal with sporadic connectivity.

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

    Image alt text

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

      

    Additionally, there is native lazy loading, which indicates that only required files should be downloaded for use.

    …

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

    So how can we put users in control?

    The media queries are returning.

    Media inquiries 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. Because of these checks, we can offer options that work for more than one situation. It’s less about one-size-fits-all and more about providing adaptable content.

    As of this writing, the Media Queries Level 5 spec is still under development. It brings up some really intriguing queries that will eventually help us design for a number of other unanticipated situations.

    For example, there’s a light-level feature that allows you to modify styles if a user is in sunlight or darkness. These features, which are paired with individual properties, make it simple to create designs or themes for a particular setting.

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

    Expect the unanticipated

    In the end, the one thing we should always expect is for things to change. With foldable screens already available on the market, devices in particular change more quickly than we can keep up.

    We can’t design the same way we have for this ever-changing landscape, but we can design for content. We can create more robust, flexible designs that increase the longevity of our products by putting the customer first and allowing that customer to adapt to whatever environment surrounds them.

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

    When it comes to unexpected circumstances, we 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.

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

  • Voice Content and Usability

    Voice Content and Usability

    We’ve been conversing for a long time. Whether to present information, perform transactions, or just to check in on one another, people have yammered aside, chattering and gesticulating, through spoken discussion for many generations. Only recently have we begun to write our conversations, and only recently have we outsourced them to the system, a system that exhibits a far greater affection for written communications than for the vernacular rigors of spoken speech.

    Speech is more important in laptops because it is more important than written speech in spoken and written writing. To have productive conversations with us, machines may struggle with the messiness of mortal speech: the disfluencies and pauses, the gestures and body language, and the variations in word choice and spoken dialect that is stymie even the most carefully crafted human-computer interaction. Speaking language also has the advantage of face-to-face contact, where we can easily view visual social cues in the human-to-human scenario.

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

    Spoken speech lacks this pleasure. There are verbal cues and outspoken behaviors that mimic conversation in complex ways, including how something is said, never what. These are the nonverbal cues that ornament conversations with emphasis and emotional context. Whether rapid-fire, low-pitched, or high-decibel, whether satirical, awkward, or groaning, our spoken speech conveys much more than the written word had ever muster. As designers and content managers, we face significant challenges when it comes to tone interfaces, the machines with which we speak.

    Voice-to-text relations

    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 dialogue as a result:

    • we require something ( such as a transaction ),
    • we want to know something ( information of some sort ), or
    • We are sociable creatures, and we need a talk partner.

    These three categories, which I refer to as transactional, technical, and prosocial, also apply to basically every voice interaction: a solitary conversation that starts with the voice interface’s initial greeting and ends with the user leaving the interface. Notice here that a discussion in our individual sense—a talk between people that leads to some result and lasts an arbitrary length of time—could encompass many interpersonal, technical, and interpersonal voice interactions in succession. In other words, a voice interaction is a conversation, but it is not always just one voice interaction.

    Most voice interfaces are more gimmicky than captivating in purely prosocial conversations because machines are unable to yet be truly interested in our progress and engage in the kind of glad-handing behavior that people crave. There’s also ongoing debate as to whether users actually prefer the sort of organic human conversation that begins with a prosocial voice interaction and shifts seamlessly into other types. In fact, Michael Cohen, James Giangola, and Jennifer Balogh advise sticking to user expectations by imitating how they interact with other voice interfaces rather than trying too hard to be human, which could lead to alienation of them ( ).

    That leaves two different types of conversations we can have with one another that a voice interface can also have easily, such as one that focuses on a transactional voice interaction ( buying iced tea ) and another on learning 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. The conversation quickly shifts from a brief smattering of neighborly small talk to ordering a pizza ( generously topped with pineapple, as it should be ) when we walk up to the counter and place an order.

    Alison: Hey, how’s it going?

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

    Alison: Can I get a pizza from Hawaii with extra pineapple.

    Burhan: Yes, but what size?

    Alison: Large.

    Burhan: Anything else?

    Alison: No, that’s it.

    Burhan: Something to drink?

    I’ll have a bottle of Coke, Alison.

    Burhan, you know what. That’ll be$ 13.55 and about fifteen minutes.

    A service rendered or a product delivered, as each incremental disclosure in this transactional conversation reveals more and more of the desired transactional outcome. Transactional conversations exhibit a few key characteristics: they’re direct, to the point, and economical. They quickly dispense with pleasantries.

    Informational voice interactions

    In the meantime, some conversations are primarily about getting information. Though Alison might visit Crust Deluxe with the sole purpose of placing an order, she might not actually want to walk out with a pizza at all. She might be interested in trying kosher or halal dishes, trying gluten-free dishes, or something else entirely. Even though we have a prosocial mini-conversation once more at the beginning to practice politeness, we are after much more.

    Alison: Hey, how’s it going?

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

    Alison: Can I ask a few questions?

    Burhan: Of course! Continue straight ahead.

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

    Burhan: Totally! On request, we can make any pie halal. We also have lots of vegetarian, ovo-lacto, and vegan options. Are you considering any additional dietary restrictions?

    Alison: What about pizzas that are gluten-free?

    Burhan: We can definitely do a gluten-free crust for you, no problem, for both our deep-dish and thin-crust pizzas. Anything else I can say to you to help?

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

    Burhan: Anytime, come back soon!

    This is a very different dialogue. Here, the goal is to obtain a particular set of facts. Informational conversations are research expeditions to gather data, news, or facts in search of the truth. Voice interactions that are informational might be more long-winded than transactional conversations by necessity. Responses are typically longer, more in-depth, and carefully communicated so that the customer is aware of the important lessons.

    Voice-to-text interfaces

    At their core, voice interfaces employ speech to support users in reaching their goals. However, just because an interface has a voice component doesn’t mean that every user interaction with it is mediated by voice. We’re most concerned in this book with pure voice interfaces because multimodal voice interfaces can lean on visual components like screens as crutches, which are completely dependent on spoken conversation and lack any visual component, making them much more nuanced and challenging to deal with.

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

    IVR ( interactive voice response ) systems

    Written conversational interfaces have been a part of computing for many decades, but voice interfaces first started to appear 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. With the advent of interactive voice response ( IVR ) systems, intended as an alternative to overburdened customer service representatives, we became acquainted with the first true voice interfaces that engaged in authentic conversation.

    IVR systems made it easier for businesses to cut down on call centers, but they soon gained notoriety for their clunkiness. When you call an airline or hotel company, which is a common practice in the corporate world, these systems were primarily intended as metaphorical switchboards to direct customers to a real phone agent (” Say Reservations to book a flight or check an itinerary” ), which are more likely to happen when you call one. Despite their functional issues and users ‘ frustration with their inability to speak to an actual human right away, IVR systems proliferated in the early 1990s across a variety of industries (, PDF).

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

    Readers of screens

    Parallel to the evolution of IVR systems was the invention of the screen reader, a tool that transcribes visual content into synthesized speech. For Blind or visually impaired website users, it’s the predominant method of interacting with text, multimedia, or form elements. Readers of screens represent perhaps the closest equivalent we have today to an out-of-the-box implementation of content delivered through voice.

    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 a computer with graphical user interfaces ( GUIs ) ( ).

    With the rapid expansion of the web in the 1990s, there was an explosion in the demand for user-friendly tools. Thanks to the introduction of semantic HTML and especially ARIA roles beginning in 2008, screen readers started facilitating speedy 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. 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” ( ).

    Although incredibly instructive for voice interface designers, screen readers have a major flaw: they’re challenging to use and consistently verbose. Sometimes awkward pronouncements that name every manipulable HTML element and announce every formatting change are made because the visual structures of websites and web navigation don’t translate well to screen readers. For many screen reader users, working with web-based interfaces exacts a cognitive toll.

    Accessibility advocate and voice engineer Chris Maury examines why the screen reader experience is not appropriate for users who rely on voice in Wired:

    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 the effort and effort put into creating the ideal app user experience is wasted, or worse, having a negative effect on blind users ‘ experience. ( ) _ _ _

    Well-designed voice interfaces can often beat lengthy screen reader monologues in terms of speeding up users ‘ movements. After all, users of the visual interface have the advantage of freely scurrying around the viewport to find information without worrying about 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-activated devices

    When we think of voice assistants (the subset of voice interfaces now commonplace in living rooms, smart homes, and offices), many of us immediately picture HAL from 2001: A Space Odyssey or hear Majel Barrett’s voice as the omniscient computer in Star Trek. Voice-activated devices are akin to personal concierges that can answer questions, schedule appointments, conduct searches, and perform other common day-to-day tasks. And they’re rapidly gaining more attention from accessibility advocates for their assistive potential.

    Before the earliest IVR systems found success in the enterprise, Apple published a demonstration video in 1987 depicting the Knowledge Navigator, a voice assistant that could transcribe spoken words and recognize human speech to a great degree of accuracy. Then, in 2001, Tim Berners-Lee and others created their vision for a Semantic Web “agent” that would carry out routine tasks like” checking calendars, making appointments, and finding locations” (, behind paywall ). Apple’s Siri only became a reality until 2011 when it finally made voice assistants a reality for consumers.

    Thanks to the plethora of voice assistants available today, there is considerable variation in how programmable and customizable certain voice assistants are over others ( Fig 1.1 ). At one extreme, everything but vendor-provided features are locked down. For instance, when they were released, core functionality for Apple’s Siri and Microsoft’s Cortana couldn’t be expanded beyond their already-existing capabilities. There are no other means of developers communicating with Siri at a low level, aside from predefined categories of tasks like messaging, hailing rideshares, making restaurant reservations, and other things, which are still possible today.

    At the opposite end of the spectrum, voice assistants like Amazon Alexa and Google Home offer a core foundation on which developers can build custom voice interfaces. For this reason, developers who feel constrained by the limitations of Siri and Cortana are increasingly using programmable voice assistants that are extensibable and customizable. Google Home enables the programming of arbitrary Google Assistant skills, while Amazon offers the Alexa Skills Kit, a developer framework for creating custom voice interfaces for Amazon Alexa. Today, users can choose from among thousands of custom-built skills within both the Amazon Alexa and Google Assistant ecosystems.

    As businesses like Amazon, Apple, Microsoft, and Google continue to occupy their positions, they’re also selling and open-sourcing an unheard array of tools and frameworks for designers and developers that aim 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 becomes a voice interface, textual chatbot, and IVR system upon deployment. In Chapter 4, we’ll explore some of the possible effects these variables might have on how you build out your design artifacts, but I don’t recommend any particular implementation strategies in this design-focused book.

    Voice Content

    Simply put, voice content is content that is delivered through voice. Voice content must be free-flowing, organic, contextless, and concise in order 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.

    Our initial step in informational voice interfaces will likely be to provide user content, according to many of us. There’s only one problem: any content we already have isn’t in any way ready for this new habitat. How can we improve the conversational content on our websites? And how do we create fresh copy that works with voice-recognition?

    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. Microcontent was defined by technologist Anil Dash as permalinked pieces of content that could be read in any environment, such as email or text messages, in 2002, well before the current-day ubiquity of voice assistants:

    A day’s weather forcast]sic], the arrival and departure times for an airplane flight, an abstract from a long publication, or a single instant message can all be examples of microcontent. ( ) _ _ _

    I would update Dash’s definition of microcontent to include all instances of bite-sized content that transcends written communiqués. After all, today we encounter microcontent in interfaces where a small snippet of copy is displayed alone, unmoored from the browser, like a textbot confirmation of a restaurant reservation. 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.

    Voice content stands out as being unique because it illustrates how content is experienced in space as opposed to time. We can glance at a digital sign underground for an instant and know when the next train is arriving, but voice interfaces hold our attention captive for periods of time that we can’t easily escape or skip, something screen reader users are all too familiar with.

    We need to make sure that our microcontent truly performs well as voice content because it is essentially composed of isolated blobs without any connection to the channels in which they will eventually end up. This means focusing on the two most crucial characteristics 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.

  • Sustainable Web Design, An Excerpt

    Sustainable Web Design, An Excerpt

    Some members of the elite running group were beginning to think it was impossible to run a hour in less than four hours in the 1950s. 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 people 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 today knew that the four-minute hour could be accomplished thanks to this change in the criterion. Bannister’s history lasted just forty-six days, when it was snatched aside by American sprinter John Landy. Finally, a year later, three runners all managed to cross the four-minute hurdle in the same culture. 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 human running speed, we also think there are strict guidelines for how a website should do.

    Establishing requirements for a lasting web

    The key indicators of climate performance in most big sectors 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. However, in the world of websites and apps, we aren’t held to any specific environmental standards, and we have only recently developed the tools and methods we need to actually conduct an environmental assessment.

    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 merchandise produces. We can’t assess 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. So what do we accomplish then?

    If we can‘t measure the actual carbon emissions, then we need to get what we can estimate. The following are the main elements that could be used as carbon pollution gauges:

    1. Transfer of data
    2. Electricity’s carbon power

    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 reliable indicator of how much power is being consumed and how much carbon is being 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 required 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 the majority of this data transfer, making them the single biggest contributor to carbon emissions on a 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 web’s underlying technology like data centers and transmission networks, become more and more energy-efficient, websites themselves become less effective as time goes on.

    You might be aware of the project team’s focus on creating faster user experiences using the concept of performance budgeting. 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, whereas web performance is frequently more about the subjective perception of load times than it is about the underlying system’s actual 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.

    If we want to take it to the next level, we could start looking at how much more popular our web pages are when people visit them frequently. 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, repeat users who load the same page frequently will likely have a high percentage of the files cached in their browser, which means they won’t need to move all of the files back 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. Moving away from the first visit and allowing us to determine page weight budgets for scenarios other than this one can help us learn even more about how to optimize efficiency for users who regularly visit our pages.

    Page weight budgets are easy to track throughout a design and development process. Although they don’t actually provide direct information on carbon emissions and energy consumption, 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 reducing 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 power.

    Electricity’s carbon power

    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” is used to describe how many grams of carbon are produced for every kilowatt-hour of electricity (gCO2/k Wh ). 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 between that location and the data center that our hosting company uses 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 calculate the distance between San Francisco and London, 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 take it one step further and tailor the data more precisely to the unique aspects of your project.

    With the ability to calculate carbon emissions for our projects, we could actually expand our page weight budget and establish carbon budgets as well. 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, which supports 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 phones, tablets, laptops, desktops, or even smart TVs, as front-end web technologies advance. 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 computation in a web browser requires more energy to be 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 make them use older, slower devices and make their phones and laptops ‘ batteries discharge 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. This not only harms the environment, but it places a disproportionate financial burden on the poorest members of society.

    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 developer console of the Safari browser is one of the tools we currently have ( Fig. 2.5 ).

    You know when your computer’s cooling fans start spinning so frantically that you suspect 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 how much CPU is used and how long it takes to load the web page. 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.