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  • From Beta to Bedrock: Build Products that Stick.

    From Beta to Bedrock: Build Products that Stick.

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

    Financial goods, which is the area of my specialization, are no exception. It’s tempting to put as many features at the ceiling as possible and expect something sticks because people’s genuine, hard-earned money is on the line, user expectations are high, and crowded market. However, this strategy will lead to disaster. Why, you see this:

    The fatalities of feature-first creation

    It’s easy to get swept up in the enthusiasm of developing innovative features when you start developing a financial product from scratch or are migrating existing client journeys from papers or phone channels to online bank or mobile applications. You might be thinking,” If I can only put one more thing that solves this particular person problem, they’ll enjoy me”! But what happens if you eventually encounter a roadblock as a result of your safety team’s negligence? don’t like it, right? When a difficult-fought film fails to win over viewers or fails due to unanticipated difficulty?

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

    The issue with most fund apps is that they frequently turn out to be reflections of the company’s internal politics rather than an knowledge created specifically for the customer. This implies that the priority should be given to delivering as many features and functionalities as possible in order to satisfy the requirements and wishes of competing internal departments as opposed to crafting a compelling value statement that is focused on what people in the real world actually want. As a result, these products can very quickly became a mixed bag of misleading, related, and finally unhappy customer experiences—a feature salad, you might say.

    The significance of the foundation

    What is a better strategy, then? How can we create items that are reliable, user-friendly, and most importantly, stick?

    The concept of “bedrock” comes into play in this context. The mainstay of your product is really important to people, and Bedrock is that. The foundation of worth and relevance over time is built upon it.

    The core must be in and around the standard servicing journeys in the retail banking industry, which is where I work. People only look at their existing accounts once every blue sky, but they do so daily. They purchase a credit card every year or every other year, but they at least once a month examine their stability and pay their bills.

    The key is in identifying the main tasks that individuals want to complete and therefore persistently striving to make them simple, reliable, and trustworthy.

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

    It also requires some nerve, as your coworkers might not always agree on your eyesight at first. And in some cases, it might even mean making it clear to clients that you won’t be coming over to their home and prepare their meal. Sometimes you may need to use the sporadic “opinionated user interface design” ( i .e. clunky workaround for edge cases ) to test a concept or to give yourself some room to work on something more crucial stuff.

    Realistic methods for creating financially successful products

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

    1. What issue are you attempting to resolve first, and why? For whom? Before beginning any construction, make sure your vision is completely clear. Make certain it also aligns with the goals of your business.
    2. Avoid the temptation to put too many features at once and focus on getting that right first. Choose one that actually adds price, and work from that.
    3. When it comes to financial goods, clarity is often more important than difficulty. Eliminate unwanted details and concentrate solely on what matters most.
    4. Accept constant iteration as Bedrock is a powerful process rather than a set destination. Continuously collect customer comments, make improvements to your product, and move toward that foundation.
    5. Stop, look, and listen: Don’t just go through with testing your product as part of the delivery process; test it consistently in the field. Use it for yourself. Move the A/B checks. User comments on Gear. Speak to the users of it and make adjustments accordingly.

    The foundational dilemma

    Building towards core implies sacrificing some short-term expansion potential in favor of long-term balance, which is an interesting paradox at play here. But the payoff is worthwhile because products built with a emphasis on bedrock will outlive and surpass their rivals over time and provide users with long-term value.

    How do you begin your quest for rock, then? Taking it one step at a time. Start by identifying the underlying factors that your customers actually care about. Concentrate on developing and improving a second, potent function that delivers real value. And most importantly, make an obsessive effort because, in the words of Abraham Lincoln, Alan Kay, or Peter Drucker ( whew! The best way to foretell the future is to make it, he said.

  • An Holistic Framework for Shared Design Leadership

    An Holistic Framework for Shared Design Leadership

    Picture this: You’re in a meeting room at your tech company, and two people are having what looks like the same conversation about the same design problem. One is talking about whether the team has the right skills to tackle it. The other is diving deep into whether the solution actually solves the user’s problem. Same room, same problem, completely different lenses.

    This is the beautiful, sometimes messy reality of having both a Design Manager and a Lead Designer on the same team. And if you’re wondering how to make this work without creating confusion, overlap, or the dreaded “too many cooks” scenario, you’re asking the right question.

    The traditional answer has been to draw clean lines on an org chart. The Design Manager handles people, the Lead Designer handles craft. Problem solved, right? Except clean org charts are fantasy. In reality, both roles care deeply about team health, design quality, and shipping great work. 

    The magic happens when you embrace the overlap instead of fighting it—when you start thinking of your design org as a design organism.

    The Anatomy of a Healthy Design Team

    Here’s what I’ve learned from years of being on both sides of this equation: think of your design team as a living organism. The Design Manager tends to the mind (the psychological safety, the career growth, the team dynamics). The Lead Designer tends to the body (the craft skills, the design standards, the hands-on work that ships to users).

    But just like mind and body aren’t completely separate systems, so, too, do these roles overlap in important ways. You can’t have a healthy person without both working in harmony. The trick is knowing where those overlaps are and how to navigate them gracefully.

    When we look at how healthy teams actually function, three critical systems emerge. Each requires both roles to work together, but with one taking primary responsibility for keeping that system strong.

    The Nervous System: People & Psychology

    Primary caretaker: Design Manager
    Supporting role: Lead Designer

    The nervous system is all about signals, feedback, and psychological safety. When this system is healthy, information flows freely, people feel safe to take risks, and the team can adapt quickly to new challenges.

    The Design Manager is the primary caretaker here. They’re monitoring the team’s psychological pulse, ensuring feedback loops are healthy, and creating the conditions for people to grow. They’re hosting career conversations, managing workload, and making sure no one burns out.

    But the Lead Designer plays a crucial supporting role. They’re providing sensory input about craft development needs, spotting when someone’s design skills are stagnating, and helping identify growth opportunities that the Design Manager might miss.

    Design Manager tends to:

    • Career conversations and growth planning
    • Team psychological safety and dynamics
    • Workload management and resource allocation
    • Performance reviews and feedback systems
    • Creating learning opportunities

    Lead Designer supports by:

    • Providing craft-specific feedback on team member development
    • Identifying design skill gaps and growth opportunities
    • Offering design mentorship and guidance
    • Signaling when team members are ready for more complex challenges

    The Muscular System: Craft & Execution

    Primary caretaker: Lead Designer
    Supporting role: Design Manager

    The muscular system is about strength, coordination, and skill development. When this system is healthy, the team can execute complex design work with precision, maintain consistent quality, and adapt their craft to new challenges.

    The Lead Designer is the primary caretaker here. They’re setting design standards, providing craft coaching, and ensuring that shipping work meets the quality bar. They’re the ones who can tell you if a design decision is sound or if we’re solving the right problem.

    But the Design Manager plays a crucial supporting role. They’re ensuring the team has the resources and support to do their best craft work, like proper nutrition and recovery time for an athlete.

    Lead Designer tends to:

    • Definition of design standards and system usage
    • Feedback on what design work meets the standard
    • Experience direction for the product
    • Design decisions and product-wide alignment
    • Innovation and craft advancement

    Design Manager supports by:

    • Ensuring design standards are understood and adopted across the team
    • Confirming experience direction is being followed
    • Supporting practices and systems that scale without bottlenecking
    • Facilitating design alignment across teams
    • Providing resources and removing obstacles to great craft work

    The Circulatory System: Strategy & Flow

    Shared caretakers: Both Design Manager and Lead Designer

    The circulatory system is about how information, decisions, and energy flow through the team. When this system is healthy, strategic direction is clear, priorities are aligned, and the team can respond quickly to new opportunities or challenges.

    This is where true partnership happens. Both roles are responsible for keeping the circulation strong, but they’re bringing different perspectives to the table.

    Lead Designer contributes:

    • User needs are met by the product
    • Overall product quality and experience
    • Strategic design initiatives
    • Research-based user needs for each initiative

    Design Manager contributes:

    • Communication to team and stakeholders
    • Stakeholder management and alignment
    • Cross-functional team accountability
    • Strategic business initiatives

    Both collaborate on:

    • Co-creation of strategy with leadership
    • Team goals and prioritization approach
    • Organizational structure decisions
    • Success measures and frameworks

    Keeping the Organism Healthy

    The key to making this partnership sing is understanding that all three systems need to work together. A team with great craft skills but poor psychological safety will burn out. A team with great culture but weak craft execution will ship mediocre work. A team with both but poor strategic circulation will work hard on the wrong things.

    Be Explicit About Which System You’re Tending

    When you’re in a meeting about a design problem, it helps to acknowledge which system you’re primarily focused on. “I’m thinking about this from a team capacity perspective” (nervous system) or “I’m looking at this through the lens of user needs” (muscular system) gives everyone context for your input.

    This isn’t about staying in your lane. It’s about being transparent as to which lens you’re using, so the other person knows how to best add their perspective.

    Create Healthy Feedback Loops

    The most successful partnerships I’ve seen establish clear feedback loops between the systems:

    Nervous system signals to muscular system: “The team is struggling with confidence in their design skills” → Lead Designer provides more craft coaching and clearer standards.

    Muscular system signals to nervous system: “The team’s craft skills are advancing faster than their project complexity” → Design Manager finds more challenging growth opportunities.

    Both systems signal to circulatory system: “We’re seeing patterns in team health and craft development that suggest we need to adjust our strategic priorities.”

    Handle Handoffs Gracefully

    The most critical moments in this partnership are when something moves from one system to another. This might be when a design standard (muscular system) needs to be rolled out across the team (nervous system), or when a strategic initiative (circulatory system) needs specific craft execution (muscular system).

    Make these transitions explicit. “I’ve defined the new component standards. Can you help me think through how to get the team up to speed?” or “We’ve agreed on this strategic direction. I’m going to focus on the specific user experience approach from here.”

    Stay Curious, Not Territorial

    The Design Manager who never thinks about craft, or the Lead Designer who never considers team dynamics, is like a doctor who only looks at one body system. Great design leadership requires both people to care about the whole organism, even when they’re not the primary caretaker.

    This means asking questions rather than making assumptions. “What do you think about the team’s craft development in this area?” or “How do you see this impacting team morale and workload?” keeps both perspectives active in every decision.

    When the Organism Gets Sick

    Even with clear roles, this partnership can go sideways. Here are the most common failure modes I’ve seen:

    System Isolation

    The Design Manager focuses only on the nervous system and ignores craft development. The Lead Designer focuses only on the muscular system and ignores team dynamics. Both people retreat to their comfort zones and stop collaborating.

    The symptoms: Team members get mixed messages, work quality suffers, morale drops.

    The treatment: Reconnect around shared outcomes. What are you both trying to achieve? Usually it’s great design work that ships on time from a healthy team. Figure out how both systems serve that goal.

    Poor Circulation

    Strategic direction is unclear, priorities keep shifting, and neither role is taking responsibility for keeping information flowing.

    The symptoms: Team members are confused about priorities, work gets duplicated or dropped, deadlines are missed.

    The treatment: Explicitly assign responsibility for circulation. Who’s communicating what to whom? How often? What’s the feedback loop?

    Autoimmune Response

    One person feels threatened by the other’s expertise. The Design Manager thinks the Lead Designer is undermining their authority. The Lead Designer thinks the Design Manager doesn’t understand craft.

    The symptoms: Defensive behavior, territorial disputes, team members caught in the middle.

    The treatment: Remember that you’re both caretakers of the same organism. When one system fails, the whole team suffers. When both systems are healthy, the team thrives.

    The Payoff

    Yes, this model requires more communication. Yes, it requires both people to be secure enough to share responsibility for team health. But the payoff is worth it: better decisions, stronger teams, and design work that’s both excellent and sustainable.

    When both roles are healthy and working well together, you get the best of both worlds: deep craft expertise and strong people leadership. When one person is out sick, on vacation, or overwhelmed, the other can help maintain the team’s health. When a decision requires both the people perspective and the craft perspective, you’ve got both right there in the room.

    Most importantly, the framework scales. As your team grows, you can apply the same system thinking to new challenges. Need to launch a design system? Lead Designer tends to the muscular system (standards and implementation), Design Manager tends to the nervous system (team adoption and change management), and both tend to circulation (communication and stakeholder alignment).

    The Bottom Line

    The relationship between a Design Manager and Lead Designer isn’t about dividing territories. It’s about multiplying impact. When both roles understand they’re tending to different aspects of the same healthy organism, magic happens.

    The mind and body work together. The team gets both the strategic thinking and the craft excellence they need. And most importantly, the work that ships to users benefits from both perspectives.

    So the next time you’re in that meeting room, wondering why two people are talking about the same problem from different angles, remember: you’re watching shared leadership in action. And if it’s working well, both the mind and body of your design team are getting stronger.

  • How to Create Exceptional Experiences

    How to Create Exceptional Experiences

    How to Create Exceptional Experiences written by John Jantsch read more at Duct Tape Marketing

    Listen to the full episode:   Overview On this episode of the Duct Tape Marketing Podcast, John Jantsch interviews Neen James, globally recognized leadership and customer experience expert, keynote speaker, and author of “Exceptional Experiences: Five Luxury Levers to Elevate Every Aspect of Your Business.” Neen shares how any business—regardless of size, industry, or budget—can […]

    How to Create Exceptional Experiences written by John Jantsch read more at Duct Tape Marketing

    Listen to the full episode:
     

    Photo of Neen JamesOverview

    On this episode of the Duct Tape Marketing Podcast, John Jantsch interviews Neen James, globally recognized leadership and customer experience expert, keynote speaker, and author of “Exceptional Experiences: Five Luxury Levers to Elevate Every Aspect of Your Business.” Neen shares how any business—regardless of size, industry, or budget—can create extraordinary, memorable customer experiences by leveraging attention, intentionality, and five key “luxury levers.” From the power of origin stories to practical experience audits, Neen unpacks how luxury is a feeling, not a price tag—and why making people feel seen, heard, and valued is the greatest differentiator in a world full of automation and noise.

    About the Guest

    Neen James is a leadership and customer experience expert, keynote speaker, and author known for helping Fortune 500s and fast-growth businesses turn ordinary interactions into extraordinary results. Her frameworks focus on attention, intentionality, and leveraging luxury “levers” to make brands more memorable, profitable, and impactful.

    Actionable Insights

    • Luxury isn’t about price or exclusivity—it’s about how you make people feel; exceptional experiences are defined as high quality, long lasting, unique, authentic, and (sometimes) indulgent.
    • Any business can use the five luxury levers—Attention, Anticipation, Personalization, Generosity, and Gratitude—to elevate customer experiences.
    • Attention is about presence, storytelling, and meaningful origin stories, not just being loud; collaborations and origin stories are powerful ways to capture mindshare.
    • Anticipation is the hallmark of luxury: Think like a concierge, not a bellhop—anticipate client needs before they ask.
    • Personalization and customization are rooted in genuine curiosity and fascination with your customers—capture details and use them to create more tailored experiences.
    • Engage all five senses—luxury is often subtle, seamless, and easy; even digital businesses can use the language of the senses to stand out.
    • Experience audits (and mystery shopping) are practical ways to spot where your business falls short of luxury and to inspire your team to elevate every touchpoint.
    • In an automated world, human touches—like handwritten notes, personalized videos, or exclusive small events—are more valuable and memorable than ever.
    • Differentiation often comes from surprising luxury in unexpected places—when you deliver above-and-beyond experiences where clients least expect it.
    • Start small: Engage the senses, be truly present, and look for one way to add delight, anticipation, or a personal touch in the next 30 days.

    Great Moments (with Timestamps)

    • 01:17 – Redefining “Luxury” for Every Business
      Why luxury is both inclusive and exclusive—and always about feelings, not price.
    • 03:47 – What Does Luxury Really Mean?
      The five universal qualities: high quality, long lasting, unique, authentic, indulgent.
    • 04:36 – The Five Luxury Levers Explained
      From attention to advocacy, Neen’s elevation model for mindshare and market share.
    • 06:32 – Capturing Attention Through Origin Stories and Collaboration
      Why being present, telling powerful stories, and creative partnerships win in a noisy world.
    • 08:54 – Anticipation as the Hallmark of Luxury
      Learning from the concierge: how to anticipate needs and create wow moments.
    • 12:13 – Experience Audits and Mystery Shopping
      Practical ways to spot and fix gaps in your customer journey.
    • 15:48 – The Power of the Five Senses
      How fragrance, tactile experiences, and even digital “sense” can elevate your brand.
    • 17:37 – Human Touch in an Automated World
      Handwritten notes, personalized videos, and thoughtful gifts drive real connection.
    • 21:21 – Differentiation Through Unexpected Luxury
      Why luxury in “ordinary” businesses creates the most powerful word-of-mouth.

    Insights

    “Luxury is about making people feel seen, heard, and valued—no matter the price tag.”

    “Anticipation is what sets luxury apart; be curious, ask questions, and solve needs before they’re spoken.”

    “Engage the senses—luxury is as much about ease, atmosphere, and emotion as it is about products.”

    “In a digital and automated world, human touches and surprise-and-delight moments are your top differentiators.”

    “Start small: pick one luxury lever and look for ways to add a personal or sensory touch to your next customer interaction.”

    John Jantsch (00:01.464)

    Hello and welcome to another episode of the Duct Tape Marketing Podcast. This is John Jantsch and my guest today is Neen James. She is a globally recognized leadership and customer experience expert, sought after keynote speaker and author. She has worked with Fortune 500 companies and fast growth businesses alike, helping them turn ordinary interactions into extraordinary results with a focus on…

    Neen (00:06.681)

    is today is Neen James. She’s a globally.

    Neen (00:14.203)

    keynote speaker and author. She has worked with Fortune 500 companies and fast growth businesses alike, helping them turn ordinary interactions into extraordinary results with a focus on attention, intentionality, and luxury levers that we’re going talk about today. She’s passionate about making businesses more memorable, profitable, and impactful. And we are going to unpack her latest book, Exceptional Experiences by Luxury Levers to Elevate

    John Jantsch (00:26.592)

    attention, intentionality, and luxury levers that we’re going to talk about today. he’s passionate about making businesses more memorable, profitable, and impactful. And we are going to unpack her latest book, Exceptional Experiences, Five Luxury Levers to Elevate Every Aspect of Your Business. So Neen, welcome back.

    Neen (00:44.571)

    of your business, Dean, welcome back. G’day, what a treat it is to be back with you. It’s been a minute since we got to play like this.

    John Jantsch (00:52.682)

    That’s right. So you we need to start here, I think, because you kind of opened the book by saying, OK, let’s talk about this word luxury, what it actually is. Right. Because I think we think Ritz Carlton, we think Rolex, we think Mercedes, whatever. I’m not sure those are the most luxurious brands, but you get the point that that’s how people think. So if I’m an accounting firm or I’m a remodeling contractor, like what does luxury have to do with me?

    Neen (01:00.303)

    Mm-hmm.

    Neen (01:04.705)

    Sure.

    Neen (01:17.485)

    Yeah, think luxury is a divisive word, John. I think to your point, some people think it’s expensive or it’s elitist or it’s unapproachable. And yet I’m on this mission to really reframe and change the narrative around that. It’s my belief that luxury is both inclusive and exclusive. So inclusive, John, meaning I think luxury is for everyone every day. It’s just that our definitions of luxury are different. We can get into that.

    John Jantsch (01:20.492)

    Yeah, it is. Yeah.

    John Jantsch (01:24.439)

    Right.

    Neen (01:45.339)

    But I think it’s exclusive because we all have the privilege of being able to roll out a red carpet experience for our clients, for our team members. And so if you look at my body of work, you mentioned intentionality and attention. So if you think back through the books that I’ve already written, folding time, I said to the world, you can’t manage time, but you can manage your attention. And then I published Attention Pays, where I said it’s really intention that makes our attention valuable.

    And I had shared that attention’s about connection, right? And I see my new book, Exceptional Experiences, as the evolution of all of those things, because what I believe is that it’s really luxury is about the human connection, and now more than ever before in our digital AI world, John, I think we’re all craving that human connection. So really to me, luxury, what it means to me and what it means to you could be different. And so what I did was a research study on that.

    very topic. So even luxury as a word, John, it is one that we all need to kind of think about what it means to us personally and what it means to brands.

    John Jantsch (02:43.382)

    Yeah.

    John Jantsch (02:52.174)

    Yeah, and I think a lot of people jump immediately to, you know, gold plating or something. mean, you know, like the tangible things, right, of luxury. And I think I may have read this actually in your work. It’s really more, luxury is more of a feeling or how you make somebody feel, right? Or how whatever the product or purchasing the product makes you feel. And I think that that’s probably the, I mean, should we even say luxurious? Does that sound more like a feeling?

    Neen (02:56.951)

    Sure. Mm-hmm.

    in your work. It’s really more…

    Neen (03:07.803)

    Right. Yes.

    Neen (03:16.635)

    Should we even say luxurious? that sound more like a feeling? Yeah, and I think it is. But John, think too what makes you feel special and feels like luxurious to you could be different to someone else. But we all have this power. have this power to create these experiences for others, which is why the book has been called exceptional experiences, because I think one of the things that I did when I did this proprietary research study, the only one of its kind in the world.

    John Jantsch (03:29.678)

    I assure you it is. I assure you it is.

    Neen (03:47.131)

    While people have different versions of what luxury is, they have different mindsets, What they all agreed was that luxury could be defined as high quality, long lasting, unique, authentic and indulgent. Now, indulgent is the word that most people will be like, you know, some people are like, I don’t know if that’s me, but think about all the other four words, John. They could apply to leadership.

    John Jantsch (03:53.55)

    Mm-hmm.

    Neen (04:14.863)

    High quality, long lasting, authentic and unique. And so that’s truly how luxury is defined. So then what we do is we take it a step further and say, well, what does luxury mean for you? And that could be different.

    John Jantsch (04:26.73)

    Yeah. So, so also in the subtitle, five luxury levers, attention, anticipation, personalization, generosity, gratitude. Did I get that right?

    Neen (04:28.077)

    So also at the summer.

    Neen (04:36.771)

    Yeah, so we have taken these five luxury levers and what we’ve said is because of all the consulting that I do with global brands, whether it’s as a keynote or whether I’m confident to the CEOs working with their teams, what I realized was this experience elevation model, which is the framework is inside the book. You can all see that in the book is what I realized is.

    My CEOs are measured on two things. And so are so many of the small businesses listening to this or the marketing professionals. And that is they’re measured on mind share and market share. The model has been designed so that you do everything from capturing the attention of the clients you want to work with, right? Which as marketers, we always were in the attention business, right? How do we capture the attention? And so that is really top of mind. How do you really grab that mind share all the way through to the pinnacle of the model is how do you create

    advocates of those same people, which is really about driving revenue, which is about market share. So if you think top of mind, top of market, what my experience elevation model does inside the book, it’s just a framework that anyone can apply as you entice people to do business with you and invite them into your community. You get them excited about what you’re offering and then delight them with all the different ways you can do that. So you ignite them to be advocates. That’s the five luxury levers.

    John Jantsch (05:56.654)

    All right, so let’s unpack them, each of the words, can we? And you say lever, I say lever, I don’t know.

    Neen (06:01.168)

    Yeah!

    Let’s yeah, we can go with whatever makes you feel comfortable, but I know our listeners are probably saying, what did she say? Lever, lever. We can go with lever for today.

    John Jantsch (06:10.318)

    Okay, so attention is kind of a loaded word for marketers, know, right? Because it’s getting really noisy. There’s so many distractions because everybody’s trying to get our attention. So what are some practical ways that attention is more about being present rather than being loud?

    Neen (06:16.248)

    Mm-hmm.

    Neen (06:22.046)

    So noisy.

    Neen (06:32.634)

    Mm hmm. It is. I mean, John, think about it as marketers, we’re brilliant storytellers. But what I think we need to do is, and while the book does mention storytelling as a system of elevation, of course, because we need to be able to tell stories. One of the stories that can really capture people’s attention is origin stories.

    If you look to luxury brands like Chanel, if you’ve even walked into a Chanel makeup counter in your department store, every product, every piece of merchandise, every name is associated with Coco herself. And as the sales associate explains the name of that lipstick and why it is the way it is and that the merchandise has been designed like the staircase in her apartment in Paris.

    All of a sudden as a consumer, you’re like, I need that lipstick because I want to be closer to Chanel. So when it comes to attention, it’s not just about storytelling. It’s also about the origin story so that people get to understand why you as the small business owner, why you as the marketer are so passionate. But another system and a practical thing we talk about here as far as capturing attention, John, is being more collaborative and being very creative. Billy Carl-Samuel, one of my favorite champagne houses.

    They partnered with Hansman Seville Rowe, a bespoke suit tailor. Now, what do those two businesses have in common? Well, they share the same kind of clients, but what they were able to do was to create a tweed that was based on champagne. The white flowers, the white foam of champagne, the steel vats with the silver, the green leaves of the vines. And so they created a tweed based on their partnership that they then sold to their clients.

    So understanding that if we want to capture attention now, John, we have to do it in more creative ways through the origin stories, through the collaborations we have. But being present for some of us in the most practical sense is sometimes just putting our phone down. Sometimes it’s just actually looking at the person and saying hello and making them feel seen and heard. That’s a very easy way for all of us, no matter what business we’re in, to be more present.

    John Jantsch (08:39.624)

    I want to go to another one and we don’t have to unpack all five of these, but one that I thought was kind of curious or I’m curious about was anticipation as the hallmark of luxury. Can you maybe use an example of that one? Because the book is loaded with case studies.

    Neen (08:54.679)

    Yeah, I love this. Yes. When you think about it, the luxury lever, to use your word, of delight is, know, how do we anticipate needs that people don’t even know they have? And let’s think about this. If you, think too often as marketers, as small businesses, as managers of businesses, we act like the bellhop. And a bellhop in a hotel is vital. They move the bags quickly through the hotel lobby and up to your room and efficiency is key and it’s very transactional for them, right?

    But if you think about it, we don’t want to think like a bellhop. We want to think like a concierge. Because a concierge, John, they’re the most well-known revered position in a hotel. They’re the go-to person, which is what we want to be as a small business or a marketer, right? And what they do is they get us that ticket to that particular concert or that table. We couldn’t get that reservation, but here’s how a concierge is different. A concierge anticipates needs we didn’t even know we had.

    They make suggestions in our community or in the hotel or things we didn’t even know we wanted. But what that requires is a fascination. Luxury brands are genius at personalization and customization. Personalization is really about information and as marketers we have a lot of information data points. Customization is about connection. How do you connect in a deeper way to the clients who already love you or want to do business with you?

    But I think it is fascination that requires that anticipation. We have to be so curious about the people we want to serve, John, that we ask the extra questions, that we get to give them our undivided attention. So personalization, customization, fascination, this anticipation, we need to have systems in place to do that. We need to teach our team to be more curious.

    to spend more time, to capture those data points so we can use it in our conversations later. It might be the simplicity of a newsletter that you have and actually using the person’s name and capturing their first name in your sign up form so that that’s the simplest, easiest way and get it right so the spelling is correct. But let’s like.

    Neen (11:06.337)

    simplest form, we love the sound of our own name, John. You know, if you go into your coffee shop and they know your name or your favorite restaurant, you just smile a little bigger because someone saw you. That’s what anticipation is.

    John Jantsch (11:25.826)

    You know, it’s funny. mean, some of this is right out of, some ways is right out of how to win friends and influence people, right? It’s some of the…

    Neen (11:32.883)

    Dale Carnegie said it himself in the early 1900s when he wrote that book he says a person’s name is the sweetest sound and he was right back then and it’s as right today as it was back then because but the stealth message don’t tell anyone but the real message of this book John is how do you make people feel seen heard and valued luxury brands do that so so well my whole body of work is about how do you create these moments that matter for people

    And he had it right when he wrote that book, How to Win Friends and Influence People. And we all crave that.

    John Jantsch (12:13.41)

    You talk about something, because I’m sure there’s some people that are starting to say, okay, this is great. Like, how do we start kind of thinking this way or bringing this around? You talk about something you call experience audits. You want to kind of walk us through that?

    Neen (12:16.795)

    There’s some people that starting to say, okay, this is great. Like how do we start?

    something you call experience on it. Can you walk us through that? Yeah.

    It doesn’t matter, you don’t have to have a luxury product to provide a luxury level of service, right? So you could be running a mechanic shop. I use the same consulting model when I’m working with the emergency rooms for some of my hospital clients. So you can apply these five luxury levers at any business. It’s really about finding the system of elevation that makes the most sense for you and what you’re trying to achieve. But an easy experience audit is maybe you could even find out what the luxury points are not.

    doesn’t feel like luxury in your business if there’s too many forms to fill out, if the lines are too long, if there’s weeds in your garden, if there’s dusty old magazines in your reception area. It’s very easy to see and look around what’s not luxury, John. That’s a really easy starting point. I do encourage businesses, regardless of what type of business you have, to if you want to upskill your team to provide a more luxury level of service,

    Send them to a hotel lobby, give them a budget, get them to order a coffee and sit and observe what’s going on. Do they notice the way the staff move, they dress, they speak, the sounds, the smells, the touch points, the service they receive? Allow your team members to enjoy some luxury so they understand it and then get them to come back and debrief it with the team. What did they see, hear, smell, touch?

    Neen (13:48.74)

    What was all of the senses that were engaged in that experience so they can do an audit out into the world as well? I also really encourage my teams, the clients I work with to mystery shop, to mystery shop, have someone mystery shop their business. Now this is an old technique yet it’s still valid for today, right? Mystery shop your competitors, mystery shop, have someone mystery shop your business and then do a bit of a readout so the team get to hear.

    This was their experience. There’s so many ways you can do an experience audit.

    John Jantsch (14:21.218)

    You know, it’s funny, when I think back in hindsight, some of the best experiences, luxury experiences I’ve had, wasn’t, the place wasn’t trying to be that. They weren’t trying to put that on as like, we’re very, like you said, exclusive. They just did everything. In some ways you don’t notice luxury, right?

    Neen (14:26.485)

    experiences I’ve had. wasn’t, the place wasn’t.

    Neen (14:39.684)

    Yes, and it’s easy because one of the things that often is associated with luxury is ease. The Ritz has a, they have a preference that you only ever enter your information once. Now let’s think about this. Like I was at a hotel this week. I mean, I travel for a living. That’s my job. Some people drive, I fly. It’s the same thing.

    It’s just different form of commute. So I stay in a lot of hotels and every time I open my computer I had to add my hotel room and my name for the Wi-Fi I mean multiple times think of how often we open and close that computer and so the Ritz has got it right because they’re like Let’s just enter your information once so now the system says I see you. Mr. Jance I’m so glad that you’re back with us and then that’s all you have to do. So sometimes luxury is ease How do we make it really easy for people to do business with us?

    John Jantsch (15:08.419)

    Yes.

    John Jantsch (15:28.012)

    Yeah. So, all right. If you were going to, I loved, I love doing this to people that write books and they have like five key things or seven key things. And I asked them to pick the fit, not only their favorite, but like if somebody came to you and they probably do this at the end of a talk, right? Okay. That’s all great, Neen. But like, what’s the one thing I need to focus on like for the next 30 days, what would you tell them?

    Neen (15:41.532)

    If somebody came to you…

    Neen (15:48.419)

    Yeah!

    can tell you what my favorite thing is that often gets overlooked. And that is how do you really engage the five senses? Because John, we all know this, especially as marketers, that our sense of smell gives us a deeper emotional connection to a brand. We can smell a meal or a fragrance from someone who’s important to us and all of a sudden we’re transported back.

    Look at something like the Addition Hotels. They have a signature fragrance. If I walk into the Tampa Addition, the Madrid Addition, or the New York Addition Hotel, every time I know exactly where I am because they have a signature scent. I would invite people that regardless of what business you’re in, how do you engage the five senses? And if you’re a digital business, if everything’s 100 % online, think about how you’re using the language of sight and smell and touch.

    And think about how do you elevate that? Look at Ikea. 60 % of the purchases at Ikea are unplanned. Why? Because they deliberately appeal to all five senses. You smell the meatballs, you walk through the store, you touch the fabrics, you build it yourself. And then $500 later that you didn’t even know you needed to spend, you’ve got a whole lot of to-do list items because you’ve been shopping at Ikea. They’re geniuses at this. So I would say to people, start.

    with thinking how do we engage the senses in the lobby, the reception, the collaterals, all of those things.

    John Jantsch (17:14.83)

    I was going to ask you, not just digital businesses, mean, every type of business is using more automation. We’re using AI. We’re becoming more efficient. We’re in some ways distancing the customer. How do you take advantage of the fact that I think people are craving that more because they’re losing it?

    Neen (17:17.884)

    I mean, every type of business is using more automation. We’re using AI. We’re becoming more efficient.

    Neen (17:31.621)

    take it.

    Neen (17:37.966)

    Because I do things like I still write handwritten notes. I’m a big fan of a handwritten note. And so that’s an easy way to say to a client, we really appreciate doing business with you. And it costs me a stamp and two minutes of my time. I’m also a fan of sending like what I call lumpy mail. So like actual packages in the post so that someone opens it. Because if you get your mail at the end of the day, I don’t know about you, but all the white envelopes generally equal some sort of bill or invoice. So if I get something that feels like a present.

    John Jantsch (17:41.837)

    Yeah.

    John Jantsch (17:55.074)

    Mm-hmm.

    John Jantsch (18:05.878)

    or no, it’s a credit card application. It’s what it is. Yeah.

    Neen (18:07.708)

    It’s awesome. Okay, a credit card. There you go. There you go. So I think what we need to think about is how do we bring the human connection back into those opportunities? How about instead of just sending an email, what if you got out your cell phone and you shot a short video and sent a text message and said, I love doing business with you. By the way, we just got this new set of tires in. I think they’d be great for your car.

    John Jantsch (18:23.726)

    Mm-hmm.

    Neen (18:32.636)

    I just wanted to let you know about them. Here’s a picture of them. Send. imagine if we brought our voice, our human voice back into business through video messaging, through the text messaging, through voice notes. There’s so easy ways. It still feels like a system of elevation, but instead of just sending yet another email that’s going to land in someone’s inbox and get cluttered up by the 200 other emails they have, what if you leverage that personal touch?

    That’s the type of thing. If you see something and say, Hey, I saw this and I thought of you. That’s a very easy line to say to a customer. Like I see you, I hear you. know you’re important to me. That’s why I think luxury is about human connection.

    John Jantsch (19:16.204)

    Yeah. And I, and I do think, I mean, I personally recognize when somebody, I mean, it’s easy to hit, like you hit, you said send, you know, to 20,000 people at once, right? That’s why it’s appealing because you can do it. But, but yeah, I was going to say, but I, I, I personally noticed when somebody does something that I know they can’t automate.

    Neen (19:25.308)

    Right? That’s why it’s appealing. Sure, it’s efficient, but that’s thinking like a bellhop.

    I notice when somebody does that.

    Yes. And it’s more obvious now, John. And so when you think about it, if you really want people to pay attention to what you’re doing, you don’t want to be like everybody else. You want to think about, for example, I use pink, my brand is pink, if people didn’t know that, and you’re listening to this, I use pink mailers for books that I send out. Does it cost a little more? Sure. But when people get it, they say, I know it was from you immediately.

    John Jantsch (19:39.799)

    Yeah.

    Neen (20:02.33)

    because there’s a consistency of the brand, right? But I still have to ship things. So I most will just choose something that feels a little bit more unique. I hand write labels so that they know that it’s my handwriting that I took the time to send it to them. That’s why I like to write a handwritten note that you can’t order. I mean, you can, that’s not true. You can automate that kind of thing now, but I feel like we have to think about, especially those top tier clients that we’re have, that we’re serving.

    What is it that we’re doing for them? It could be the simplicity, John, of having a private event. Maybe, let’s say you’re working, going back to the tire shop example, you might be running a tire shop, which does not feel like luxury, but you know what you could do?

    You could open a little bit earlier for your top tier clients. They could meet the mechanics. They could explain more about the tires and the wheel balancing and how you take care of them and what to do in bad weather. And all of a sudden you’re getting more of an exclusive luxury experience from your local tire dealer. It doesn’t take a lot of thought, but it does take effort.

    John Jantsch (21:06.818)

    Yeah, it’s also interesting. mean, you expect a luxury experience from the bespoke tailor. mean, that’s sort of like that’s the bar of entry for them, right? So imagine this business that you’re not really expecting that from. What a differentiator, right?

    Neen (21:12.644)

    Of course.

    Neen (21:21.402)

    Yes and then because it’s so differentiated, the client can’t help but tell other people. We used a Tyler for a home project many years ago. I cannot tell you how many times I have referred that Tyler. They had perfectionism like I’ve never seen before. They cleaned up. They were so lovely, so polite, well groomed and

    People want that level of service from anyone who’s in their home, but this Tyler, he went above and beyond all of that. And so what I want people to think about is luxury, that connection point. What is it you could do to anticipate things? People didn’t even know they needed, therefore thinking more like a concierge. We can all do that. We just have to invest the time and energy to think about it in advance. Then you can systemize it.

    John Jantsch (22:06.336)

    And now we’re back to attention, aren’t we? So, Neen, I appreciate you taking a few moments to stop by. Where would you invite people to connect with you? Obviously, find out about your work and your latest book.

    Neen (22:08.152)

    Always about attention,

    Neen (22:19.328)

    Neenjames.com you can find out everything there. You can also download a free self assessment to find out what your own luxury mindset is. It’ll take you less than five minutes to do it. It’s free. So go to the website Neenjames.com grab your copy of the book and download the assessment.

    John Jantsch (22:33.824)

    Awesome. Well, again, I appreciate you taking a moment and hopefully we’ll run into you one of these days out there on the road.

    Neen (22:38.864)

    I would love that. Thank you for everything you do in the world, John.

    powered by

  • Alien: Earth Finale – In Conversation With The Eyeball’s Newest Host

    Alien: Earth Finale – In Conversation With The Eyeball’s Newest Host

    This article contains spoilers for season 8 of Alien: Earth. There is a well-established custom in story that says if an alien parasitic eyeball is introduced in the first act, it must by the second act have a chance of taking over someone’s brain. Although it undoubtedly produced a beautiful, downright demonic visual, Alien: Earth’s so-called “eye midge” was…

    The second episode of Den of Geek was entitled Alien: Earth Finale – In Conversation With The Eyeball’s Newest Host.

    Episode 8 of Alien: Planet may contain clues in this article.

    A long-standing custom has been established in story that if an alien parasitic eyeball is introduced in the first act, it must by the second act have a chance of dominating someone’s mind. &nbsp,

    Although it made for a gorgeous, quite demonic visual, Alien: Earth couldn’t stay in that sheep’s orbit for the duration of the season’s episode of FX’s Eye Mage. The little buddy known as T. Ocellus would eventually have to find a human host, just like it did when it took control of the engineer Shmuel ( Michael Smiley ) aboard the USCSS Maginot. Fan theories about the eyeball&#8217, s next host ranged from the obvious ( Samuel Blenkin&#8217, Boy Kavalier ) to the unlikely ( any of the hybrids ) to the wickedly creative ( the xenomorph herself ).

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

    In the end, however, the eye-opening moment does n’t belong to any of those candidates; rather, it is a humble egghead named Arthur Sylvia&#8230 or, more accurately, what &#8217 ;s left of Arthur Sylvia. The actions moves away from the cramped confines of Prodigy Corporation&#8217, s Neverland element to the beautiful Thai beach outside near the finish of Alien: Earth year 1 finale &#8220, The True Monsters, &#8221. The fatherly professor was killed in the previous event by the more well-known Alien foe, the chestburster, and there Arthur&#8217’s corpse has been washed ashore. The missing T. Ocellus crawls in, removes Arthur&#8217, has a decaying left eye, and slinks across the sand. In just two days, Arthur’s body swells off, becoming the home of its second extraterrestrial enemy.

    FX's Alien: Earth -- "Emergence" -- Season 1, Episode 7 (Airs Tues, Sept 16) -- Pictured: David Rysdahl as Arthur. CR: Patrick Brown/FX

    According to Arthur Syliva artist David Rysdahl, I’ve been thinking a bit about the fact that I’ve never played an alien previously. &#8220, There&#8217, s like an irony to this T. Ocellus that I think it &#8217, d be really fun to play. &#8221,

    One of the Alien: Earth performers, Noah Hawley, co-starred with him in his FX book energy Fargo, is Rysdahl. The friendly Midwest-born actor was able to talk to Den of Geek about how that Hawley network contributed to Arthur&#8217, his great time, and what he hopes to see through that cursed gaze in Alien: Earth year 2.

    What did the Eyeball sound like to you when you first heard it entering your mind, Den of Geek?

    David Rysdahl: The Eyeball was a last-minute purchase. The scripts for season eight were written the night before, and Noah texted me,” I’m not done with you yet,” in a text message. I had a feeling that I would be done for the year, &#8221! Both Arthur and David both found so much in it.

    Have you ever been a fan of Alien: Earth’s web talk? Whose head does the Eyeball end up in, and why? Has been a topic of conversation of interest lately.

    a little bit. I make an effort to get involved. I do find it fascinating that you create something before it becomes not theirs again. It&#8217, s the world &#8217, s, it &#8217, s everybody &#8217, s, it &#8217, s all of ours now. I had some of the debate going on, such as” Who&#8217, is it going to go into”? When we were filming it, the cast and crew all really thought in the same way of the fans. We were like &#8220, it &#8217, s gonna go into something in season eight. &#8221, Little did we know it would be Arthur&#8217, s dead. We really had a very similar and complementary knowledge to what the fans are currently experiencing.

    Has Noah even given you any information about what &#8217, s in store for Arthur in winter 2? What do you anticipate?

    We&#8217, de also figuring it out. Noah&#8217, s got a lot of tips but he&#8217, s usually a small tight-lipped. I’ve been thinking a lot about the fact that I’ve never played an mysterious previously. I’ve never played anything that has a sense of fun and a lot of the world. similar to the pis pi show with the crap on the floor. That&#8217, s interesting! This T. Ocellus has such an irony that I believe it would be really enjoyable to play. There are already a lot of rules in place for this tiny thing now from season one. What does it do to the mind that it is a part of? How much of Arthur may I take in because it uses this new camera to see the world and Arthur is a new camera? We’ll see how Noah wants to design it because I’m now having a lot of tips for acting.

    Although the final scene of the show certainly packs a punch, I believe Arthur’s finest hour is the final episode. What was it like to play that scene with Slightly ( Adarsh Gourav ) and Smee ( Jonathan Ajayi ), in which you were very gentle with them, holding their hands, and teaching them about lying just before the chestburster moment?

    I mentioned to Noah and I that I am a professor and a father. And gradually over the course of the year, the father triumphs. That final picture needs to have a full-female experience. &#8221, I&#8217, m no more seeing them as variants, I&#8217, m seeing them as two babies who I care for seriously.

    We’ve all seen the chestburster’s work. So the &#8220, what &#8221, is not in question, but the &#8220, how&#8221, is exciting. We discussed this chestburster time with “, but what makes it unique and intriguing compared to the earlier people? &#8221, This is a parents being chestbursted by his &#8220, son&#8221, to delivery a fresh &#8220, xenomorph son&#8221, in a way. Because all the technology has faded, and it’s just me being the father to two disturbed sons, it was the simplest scene.

    What’s it like to be chestbursted in terms of actual acting? Did you research past chestburstings?

    Absolutely. You are aware that you are entering cannon, so you must respect what has come before you and even make an effort to do it your way. I had a lot of fun watching John Hurt in that first chestburster field. We captured the shore scene from the outside, and we then captured the chestbursting on a sand platform, where my brain is no mine. It&#8217 is a marionette that three puppeteers are working on. The &#8220, burster&#8221, itself is its own puppet and it &#8217, s all mechanical.

    Not really my situation. This group of people have come up who have researched and used it for a few weeks. You just kind of rely on what &#8217, s happening to feel authentic and original. You don’t need to think too much because it’s really happening to you at that time. That’s what I enjoy most about being an artist, in my opinion. When more could you go through something like that? Hopefully not, but I long for that encounter as a person. And acting grants you these figurative interplanetary experience.

    What was it like working with Noah on this project versus the unique experience as one of the few players He brought over to Alien: Earth from Fargo?

    For me, the characters in [ Fargo season 5] Wayne and Arthur kind of resemble one another. They are two parents who have had to deal with their people. Wayne is so positive that he&#8217 ;s never going to suffer, right? Arthur has so many opposing feelings and this feeling that he is doomed. Then there is the contrast between a very hot place [of Alien: Earth [ /s ] and a very cold place [of Fargo[ /s ] in [s Minnesota]. In its native tongue, Fargo is melodic and melodic. Alien is extremely 70s with this amplified science fiction realism.

    They also perform Noah Hawley’s charm and are still honoring the original material before asking you to make a decision. Noah&#8217, s usually like &#8220, really make a choice. I&#8217, ill tell you if it &#8217, s straight or no. Simply create a wise decision. &#8221, It&#8217, s a partnership because he&#8217, ill therefore be able to write for you as you go ahead. He wants to magnify or alter his position throughout the year as he sees stuff happening at the beginning of it. They &#8217, re two different beats but it &#8217, s still Noah Hawley &#8217, s brilliant brain.

    Do you have any questions you want to ask about your Alien: Earth knowledge that you haven’t yet had the opportunity to address?

    I don’t think I’ve talked enough about how Thailand is a figure in the present, the people, the landscape, and how it’s a really unique culture. Simply being in that allows for fresh perspectives and ideas to enter your acting world. Talking about Alien with a team that doesn’t speak English, I believe it’s important at the moment because it’s about individuals. Being surrounded by these incredible Thai individuals and even being invited to play pickleball or whatever on the weekends actually made me feel like this was a world show. And I believe that has been incorporated into the job.

    On Hulu right now, you can channel every episode of Alien: Earth.

    The article Newest Host for Alien: Earth Finale by In Conversation With The Eyeball &#8211, appeared initially on Den of Geek.

  • Is Peacemaker Season 2 About to Adapt the Darkest DC Universe?

    Is Peacemaker Season 2 About to Adapt the Darkest DC Universe?

    This article contains spoilers for episodes 1 through 5 of Peacemaker time 2. Chris Smith thinks the world is the best ever in Peacemaker’s first five incidents. Whatever Chris wants is available in this alternative fact that he accesses through a Quantum Folding Chamber. Not only is his father kind and encouraging, but he is also]…]] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ]

    The episode of Peacemaker Season 2 About to Adjust the Darkest DC Universe appeared first. second appeared on Den of Geek.

    Episode 8 of Alien: Earth contains trailers in this article.

    There is a well-established custom in storytelling that says if an alien parasitic eyeball is introduced in the first act, it must by the second act take over someone’s mind. &nbsp,

    Although it certainly made for a beautiful, quite devilish visible, the so-called eye midge of FX&#8217, s Alien: Earth couldn’t hold that sheep’s orbital socket all season. The T. Ocellus, a tiny buddy, would eventually have to find a human host, just like it did when it took control of the engineer Shmuel ( Michael Smiley ) aboard the USCSS Maginot. The xenomorph herself, the xenomorph herself, and the obvious ( Samuel Blenkin, Boy Kavalier ) were the host of the numerous fan theories regarding the eyeball&#8217, s next host.

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

    In the end, nevertheless, the eye-opening time doesn’t really belong to any of those individuals; instead, it’s more of a humble egghead named Arthur Sylvia&#8230 or, more precisely, what’s left of Arthur Sylvia. The actions moves away from the cramped confines of Prodigy Corporation&#8217, s Neverland element to the beautiful Thai beach outside near the finish of Alien: Earth year 1 finale &#8220, The True Monsters, &#8221. The fatherly professor was killed in the previous event by the chestburster, a more well-known Alien foe, in which case Arthur&#8217’s corpse has been washed ashore. The missing T. Ocellus crawls in, removes Arthur&#8217, has a decaying left eye, and scurries across the sand. Arthur’s body swells up, now variety to its next interplanetary enemy in as many times.

    FX's Alien: Earth -- "Emergence" -- Season 1, Episode 7 (Airs Tues, Sept 16) -- Pictured: David Rysdahl as Arthur. CR: Patrick Brown/FX

    According to Arthur Syliva artist David Rysdahl, I’ve been thinking a lot about the fact that I’ve always played an alien previously. &#8220, There&#8217, s like an irony to this T. Ocellus that I think it &#8217, d be really fun to play. &#8221,

    One of the Alien: Earth performers is Rysdahl, who recently collaborated with collection showrunner Noah Hawley on his FX book effort Fargo. The friendly Midwest-born actor was able to talk about how that Hawley link contributed to Arthur&#8217, his huge moment, and what he hopes to see through the cursed vision in Alien: Earth period 2.

    What did you think when you first learned that the Eyeball may be entering your mind?

    David Rysdahl: The Eyeball was a last-minute purchase. The scripts for the event eight were written the night before, and Noah texted me,” I’m never done with you yet,” and he texted,” I’m never done with you yet.” I anticipated being done for the time, but I was wrong! It was a revelation that both Arthur and David both enjoyed.

    Have you ever been a fan of Alien: Earth’s internet chatter at all? Whose mind does the Eyeball end up in, and#8220? Has been a topic of conversation of interest lately.

    a little bit. I make an effort to get involved. I do find it fascinating that you create something before it becomes not theirs again. It&#8217, s the world &#8217, s, it &#8217, s everybody &#8217, s, it &#8217, s all of ours now. I had some of the debate going on, such as who&#8217, and what direction it will take? The cast and crew really thought the same way to the viewers when we were filming it. We were like &#8220, it &#8217, s gonna go into something in season eight. &#8221, Little did we know it would be Arthur&#8217, s body. Actually, our encounter was quite similar and comparable to what the fans are currently experiencing.

    Has Noah even given you any information about what &#8217, s in store for Arthur in winter 2? What do you hope to get?

    We&#8217, de also figuring it out. Noah&#8217, s got a lot of suggestions but he&#8217, s usually a small tight-lipped. I’ve been thinking a bit about the fact that I’ve never played an alien previously. I’ve never played anything that has seen a lot of the world and even has a sense of humour. similar to the pis season with the crap on the floor. That&#8217, s interesting! This T. Ocellus is so absurd that I believe it would be really enjoyable to play. There are already a lot of rules in place for this tiny thing from time one, I mean. What does it do to the brain that it &#8217 ;s in? How much of Arthur may I take in because it uses this new camera to see the world and Arthur is a new camera? I now have a lot of tips as an artist, but we’ll see how Noah wants to use them.

    Although the final scene of the show clearly packs a punch, I believe Arthur’s finest hour is the penultimate episode. What was it like to play the chestburster scene with Slightly ( Adarsh Gourav ) and Smee ( Jonathan Ajayi ), in which you were very gentle with them, holding their hands, and teaching them about lying just before the moment?

    I mentioned to Noah and I that I am a scholar and a father. And gradually over the course of the time, the father triumphs. That final field needs to feel like a full-female. &#8221, I&#8217, m no more seeing them as variants, I&#8217, m seeing them as two babies who I care for seriously.

    We’ve all seen the chestburster’s work. So the &#8220, what &#8221, is not in question, but the &#8220, how&#8221, is exciting. We discussed this chestburster time with “, but what makes it unique and intriguing compared to the earlier people? &#8221, This is a parents being chestbursted by his &#8220, son&#8221, to beginning a fresh &#8220, xenomorph son&#8221, in a way. Because all the technology has faded, and it’s just me being a father to two worried sons, it was the simplest picture.

    What is it like to become chestbursted from a real speaking perspective? Did you research past chestburstings?

    Absolutely. You are aware that you are entering cannon, so you must respect what has come before you and even make an effort to do it your way. I had a lot of fun watching John Hurt in that first chestburster image. We captured the external beach scene, and finally we captured the true chestbursting on a sand platform, where half of my body is no stone. It&#8217 is a marionette that three puppeteers are working on. The &#8220, burster&#8221, itself is its own puppet and it &#8217, s all mechanical.

    The time is not just me. This group of people who have come along who have researched and used it for a few weeks has come up. You can only reasonably assume that whatever is happening is accurate and special. You don’t need to think too much because it’s really happening to you at that time. That’s what I enjoy most about being an artist, in my opinion. When more could something like that happen to you? Hopefully not, but I long for that knowledge as a person. And acting grants you these activities that are figuratively interplanetary.

    What was it like working with him on this and that unique experience as one of the few players He brought over to Alien: Earth from Fargo?

    Wayne and Arthur, the characters in Fargo year 5, are sort of like camera images to me. They are two parents who have families in crisis. Wayne is therefore confident that he won’t suffer any harm, right? Arthur has so many opposing feelings and this feeling that he is doomed. And then there is the contrast between a very hot place [of Alien: Earth [ /s ] and a very cold place [of Fargo[ /s ] of Minnesota. In its speech, Fargo is melodic and melodic. With the realism of this amplified science fiction, Alien is quite 70s.

    They also perform Noah Hawley’s wonder and are still honoring the original material before demanding that you make a decision. Noah&#8217, s usually like &#8220, really make a choice. I&#8217, ill tell you if it &#8217, s straight or no. Simply make a wise decision. &#8221, It&#8217, s a partnership because he&#8217, ill therefore be able to write for you as you go ahead. He wants to make certain items happen more often than not in the first year, which he wants to improve or alter. They &#8217, re two different beats but it &#8217, s still Noah Hawley &#8217, s brilliant brain.

    Are there any other things you want to say about your Alien: Earth knowledge that you haven’t had the chance to say already?

    I don’t think I’ve talked enough about how Thailand is a figure in the present, the people, the landscape, and how it’s a really unique culture. Simply being in that allows for fresh perspectives and ideas to enter your acting world. Talking about Alien with a team that doesn’t speak English: it’s a tale about people, and I think that’s crucial at the moment. Being surrounded by these incredible Thai citizens and even being invited up to play pickleball or whatever on the weekends actually made me feel like this is a world show. And I believe the job has taken advantage of that.

    On Hulu right now, you can channel every episode of Alien: Earth.

    The article Newest Host for Alien: Earth Finale &#8211, In Conversation With The Eyeball &#8217, initially appeared on Den of Geek.

  • Live Auction Brings The Fantastic Four and Other Marvel Comics to Collectors Everywhere

    Live Auction Brings The Fantastic Four and Other Marvel Comics to Collectors Everywhere

    This week’s unique bidding featuring some of Marvel’s most finest items will give comic fans and collectors a treat. The life event will take place on Thursday, September 25, 2025, at 7 p.m. ET, and it will be led by three well-known faces for our normal guests: famous […]…

    The article” Life Auction Brings The Fantastic Four and Another Marvel Comics to Lovers Everyday” first appeared on Den of Geek.

    Episode 8 of Alien: World may contain clues in this article.

    There is a well-established custom in storytelling that says if an alien parasitic eyeball is introduced in the first act, it must by the second act take over someone’s mind. &nbsp,

    Although it certainly made for a beautiful, downright demonic visible, the so-called eye midge of FX&#8217, Alien: Earth couldn’t stay in that sheep’s orbit all season. The T. Ocellus, a tiny buddy, would eventually have to find a human host, just like it did when it took control of the engineer Shmuel ( Michael Smiley ) aboard the USCSS Maginot. Fan theories about the eyeball&#8217, s next host ranged from the obvious ( Samuel Blenkin&#8217, Boy Kavalier ) to the unknowable ( any of the hybrids ) to the wickedly creative ( the xenomorph herself ).

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

    In the end, however, the eye-opening moment does n’t belong to any of those candidates; rather, it is a humble egghead named Arthur Sylvia&#8230 or, more accurately, what &#8217 ;s left of Arthur Sylvia. The actions moves away from the cramped confines of Prodigy Corporation&#8217, s Neverland element to the beautiful Thai beach outside near the finish of Alien: Earth year 1 finale &#8220, The True Monsters, &#8221. The fatherly professor was killed in the previous show by the chestburster, a more well-known Alien foe, in which case Arthur&#8217’s corpse has been washed ashore. The missing T. Ocellus scurries across the dust, removes Arthur&#8217, has a decaying left eye, and crawls inside. In just two days, Arthur’s body swells off, becoming the home of its second intergalactic enemy.

    FX's Alien: Earth -- "Emergence" -- Season 1, Episode 7 (Airs Tues, Sept 16) -- Pictured: David Rysdahl as Arthur. CR: Patrick Brown/FX

    According to Arthur Syliva artist David Rysdahl, I’ve been thinking a lot about the fact that I’ve always played an alien previously. &#8220, There&#8217, s like an irony to this T. Ocellus that I think it &#8217, d be really fun to play. &#8221,

    One of the Alien: Earth performers, Rysdahl, recently collaborated with collection host Noah Hawley on his FX anthology effort Fargo. The friendly Midwest-born actor was able to talk about how that Hawley connection contributed to Arthur&#8217, his great moment, and what he hopes to see through the cursed vision in Alien: Earth period 2.

    What did the Eyeball sound like to you when you first heard it entering your mind, Den of Geek?

    David Rysdahl: The Eyeball was a last-minute purchase. The scripts for instance eight were written the night before, and Noah texted me,” I’m not done with you yet,” in a text message. I thought I would be done for the time, but I was wrong. Both Arthur and David both had a revelation experience.

    Have you ever been a fan of Alien: Earth’s internet conversation at all? Whose mind does the Eyeball end up in, and#8220? It has been a popular discussion theme for a while.

    a little bit. I make an effort to get involved. I do find it fascinating that you create something before it becomes not theirs again. It&#8217, s the world &#8217, s, it &#8217, s everybody &#8217, s, it &#8217, s all of ours now. I had some of the debate going on, such as” Who&#8217, is it going to go into”? When we were filming it, the cast and crew all truly thought in the same way of the viewers. We were like &#8220, it &#8217, s gonna go into something in season eight. &#8221, Little did we know it would be Arthur&#8217, s dead. Actually, our encounter was quite similar and comparable to what the fans are currently experiencing.

    Has Noah ever given you any information about what Arthur will have in winter 2? What do you anticipate?

    We&#8217, de also figuring it out. Noah&#8217, s got a lot of tips but he&#8217, s usually a small tight-lipped. I’ve been thinking a lot lately about the fact that I’ve always played an alien previously. I’ve never played anything that has seen a lot of the world and even has a sense of fun. similar to the pis pi show with the crap on the floor. That&#8217, s interesting! This T. Ocellus has such an irony that I believe it would be really enjoyable to play. Since winter one, there are already many rules for this tiny creature. What does it do to the brain that it &#8217 ;s in? How much of Arthur may I take in because it uses this new camera to see the earth and Arthur is a new camera? I now have a lot of tips as an artist, but we’ll see how Noah wants to use them.

    Your one picture in the episode clearly packs a punch, but I believe the final episode is Arthur&#8217’s best hour. What was it like to play that scene with Slightly ( Adarsh Gourav ) and Smee ( Jonathan Ajayi ), in which you were very patient with them, held their hands, and taught them about lying just before the chestburster moment?

    I and Noah discussed the idea that I am a scholar and I am a father. And gradually over the course of the year, the father triumphs. That final field needs to have a full-female experience. &#8221, I&#8217, m no more seeing them as variants, I&#8217, m seeing them as two babies who I care for seriously.

    We’ve all seen what the chestburster does, in our opinion. So the &#8220, what &#8221, is not in question, but the &#8220, how&#8221, is exciting. We discussed this chestburster time with “, but what makes it unique and intriguing compared to the earlier people? &#8221, This is a parents being chestbursted by his &#8220, son&#8221, to delivery a fresh &#8220, xenomorph son&#8221, in a way. Because all the science has faded, and it &#8217 ;s just me being a father to two troubled sons, it was actually the simplest scene.

    What is it like to get chestbursted from a real speaking perspective? Did you research past chestburstings?

    Absolutely. You are aware that you are entering lore, so you must respect what has come before you and even make an effort to do it your way. I had a lot of fun watching John Hurt in that first chestburster image. We captured the external beach scene, and finally we captured the actual chestbursting on a sand platform, where half of my body is no stone. It&#8217 is a marionette that three puppeteers are working on. The &#8220, burster&#8221, itself is its own puppet and it &#8217, s all mechanical.

    The situation is different from me. This group of people have come up who have researched and used it for a few weeks. You just kind of rely on what &#8217, is happening to feel authentic and original. You don’t need to think too much because it’s really happening to you at the time. That’s kind of what I enjoy most about being an artist. When more could something like that happen to you? Hopefully not, but I long for that encounter as a person. And acting grants you these figurative interplanetary experience.

    What was it like working with Noah on this project versus the unique experience as one of the few players He brought over to Alien: Earth from Fargo?

    For me, the characters in [ Fargo season 5] Wayne and Arthur kind of resemble one another. They are two parents who have had to deal with their people. Wayne is therefore confident that he won’t suffer any harm, right? Arthur feels doomed and has so many conflicting thoughts. And then there is the contrast between a very hot place [of Alien: Earth [ /s ] and a very cold place [of Fargo[ /s ] of Minnesota. Fargo is melodic and music in its vocabulary. Alien is quite 70s with this amplified science fiction realism.

    They also perform Noah Hawley’s wonder and are still honoring the original material before demanding that you make a decision. Noah&#8217, s usually like &#8220, really make a choice. I&#8217, ill tell you if it &#8217, s straight or no. Simply choose wisely. &#8221, It&#8217, s a partnership because he&#8217, ill therefore be able to write for you as you go ahead. He wants to magnify or alter his position throughout the year as he sees stuff happening at the beginning of it. They &#8217, re two different beats but it &#8217, s still Noah Hawley &#8217, s brilliant brain.

    Do you have any questions you want to ask about your Alien: Earth knowledge that you haven’t yet had the opportunity to address?

    I don’t think I’ve covered sufficiently the aspects of how Thailand is a figure in the show, the people, the scenery, and how it’s a truly unique culture. Simply being in that allows for the development of fresh perspectives and ideas within your acting corps. Talking about Alien with a team that doesn’t speak English: it’s a tale about people, and I think that’s crucial at the moment. Being surrounded by these incredible Thai citizens and even being invited up to play pickleball or whatever on the weekends actually made me feel like this is a world show. And I believe that has been incorporated into the job.

    On Hulu right now, you can channel every episode of Alien: Earth.

    The article Newest Host for Alien: Earth Finale &#8211, In Conversation With The Eyeball &#8217, initially appeared on Den of Geek.

  • How Alien: Earth Season 2 Can Follow in Aliens’ Footsteps

    How Alien: Earth Season 2 Can Follow in Aliens’ Footsteps

    Episode 8 of Alien: Earth has trailers in this article. In the Alien: Earth episode, director Noah Hawley ensures the show lives up to its nameake,” The True Monsters,” and the real horrors of Neverland have finally been revealed. While Wendy ( Sydney Chandler ) and the rest of the Lost Boys realized who they were […]

    The first article on Den of Geek: How Alien: Earth Season 2 Can Adopt in Aliens ‘ Footsteps appeared second.

    Episode 8 of Alien: Planet may contain clues in this article.

    A long-standing custom has been established in story that if an alien parasitic eyeball is introduced in the first act, it must by the second act have a chance of dominating someone’s mind. &nbsp,

    Although it certainly made for a beautiful, quite devilish visible, the so-called eye midge of FX&#8217, s Alien: Earth couldn’t hold that sheep’s orbital socket all season. The T. Ocellus, a small buddy known as T. Ocellus, would eventually have to find a human host, just like it did when it took control of engineer Shmuel ( Michael Smiley ) aboard the USCSS Maginot. The xenomorph herself, the xenomorph herself, and the obvious ( Samuel Blenkin, Boy Kavalier ) were the host of the numerous fan theories regarding the eyeball&#8217, s next host.

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

    In the end, nevertheless, the eye-opening time doesn’t really belong to any of those individuals; instead, it’s more of a humble egghead named Arthur Sylvia&#8230 or, more precisely, what’s left of Arthur Sylvia. The actions moves away from the cramped confines of Prodigy Corporation&#8217, s Neverland element to the beautiful Thai beach outside near the finish of Alien: Earth year 1 finale &#8220, The True Monsters, &#8221. The fatherly scientist was killed in the previous episode by the more well-known Alien foe, the chestburster, and there Arthur&#8217’s corpse has been washed ashore. The missing T. Ocellus scurries across the sand, removes Arthur&#8217, has a moldering left eye, and crawls inside. Arthur’s body swells up, now host to its second extraterrestrial invader in as many days.

    FX's Alien: Earth -- "Emergence" -- Season 1, Episode 7 (Airs Tues, Sept 16) -- Pictured: David Rysdahl as Arthur. CR: Patrick Brown/FX

    According to Arthur Syliva actor David Rysdahl, I’ve been thinking a lot about the fact that I’ve never played an alien before. &#8220, There&#8217, s such an absurdity to this T. Ocellus that I think it &#8217, d be really fun to play. &#8221,

    One of the Alien: Earth performers, Rysdahl, previously collaborated with series host Noah Hawley on his FX anthology effort Fargo. The friendly Midwest-born actor was able to talk to Den of Geek about how that Hawley connection contributed to Arthur&#8217, his big moment, and what he hopes to see through that cursed eye in Alien: Earth season 2.

    What did the Eyeball sound like to you when you first heard it entering your head, Den of Geek?

    David Rysdahl: The Eyeball was a last-minute purchase. The scripts for episode eight were written the night before, and Noah texted me,” I’m not done with you yet,” and he texted me. I had a feeling that I would be done for the season, &#8221! Both Arthur and David both found so much in it.

    Have you ever been a fan of Alien: Earth’s online chatter? Whose brain does the Eyeball end up in, and#8220? It has been a popular conversation topic for a while.

    A little bit. I make an effort to get into it. I do find it fascinating when you create something before it no longer belongs to you. It&#8217, s the world &#8217, s, it &#8217, s everybody &#8217, s, it &#8217, s all of ours now. I had some of the speculation going on, such as who&#8217, and what direction it will take? When we were filming it, the cast and crew actually thought in the same way of the fans. We were like &#8220, it &#8217, s gonna go into somebody in episode eight. &#8221, Little did we know it would be Arthur&#8217, s corpse. We actually had a very similar and complementary experience to what the fans are currently experiencing.

    Has Noah even given you any information about what Arthur will have in season 2? What do you hope to get?

    We&#8217, re still figuring it out. Noah&#8217, s got a lot of ideas but he&#8217, s always a little tight-lipped. I’ve been thinking a lot lately about the fact that I’ve never played an alien before. I’ve never played anything that has a sense of humor and a lot of the universe. similar to the pi pi episode with the shit on the floor. That&#8217, s funny! This T. Ocellus has such an absurdity that I believe it would be really enjoyable to play. Since season one, there are already many rules for this tiny creature. What does it do to the brain that it is a part of? How much of Arthur can I bring in because it uses this new lens to see the world and Arthur is a new lens? We’ll see how Noah wants to shape it because I’m already having a lot of ideas as an actor.

    Your one scene in the finale obviously packs a punch, but I believe Arthur’s finest hour is the penultimate episode. What was it like to play that scene with Slightly ( Adarsh Gourav ) and Smee ( Jonathan Ajayi ), in which you were very gentle with them, holding their hands, and teaching them about lying just before the chestburster moment?

    I mentioned to Noah and I that I am a scientist and a father. And gradually over the course of the season, the father triumphs. That final scene needs to have a full-female feel. &#8221, I&#8217, m no longer seeing them as hybrids, I&#8217, m seeing them as two children who I care for deeply.

    We’ve all seen what the chestburster does, in our opinion. So the &#8220, what &#8221, is not in question, but the &#8220, how&#8221, is interesting. We discussed this chestburster moment with “, but what makes it unique and intriguing compared to the earlier ones? &#8221, This is a father being chestbursted by his &#8220, son&#8221, to birth a new &#8220, xenomorph son&#8221, in a way. Because all the science has faded, and it &#8217 ;s just me being a father to two troubled sons, it was actually the simplest scene.

    What’s it like to be chestbursted in terms of physical acting? Did you research previous chestburstings?

    Definitely. You are aware that you are entering canon, so you must respect what has come before you and also make an effort to do it your own way. I enjoyed John Hurt’s role in the first chestburster scene. We captured the exterior beach scene, and then we captured the actual chestbursting on a sand platform, where half of my body is not mine. Three puppeteers are currently working on it; it’s a puppet. The &#8220, burster&#8221, itself is its own puppet and it &#8217, s all mechanical.

    The moment is not just mine. This group of people have come together and have done it frequently over the years. You can only reasonably assume that whatever is happening is accurate and unique. You don’t need to think too much because it’s actually happening to you at that time. That’s kind of what I enjoy most about being an actor. When else could something like that happen to you? Well, I’m hoping never, but I long for that experience as a person. And acting grants you these experiences that are figuratively extraterrestrial.

    What was it like working with him on this versus that original experience as one of the few performers Noah brought over to Alien: Earth from Fargo?

    For me, the characters in [ Fargo season 5] Wayne and Arthur kind of resemble one another. They are two fathers who have had to deal with their families. Wayne is so confident that he won’t suffer any harm, right? Arthur has so many conflicting feelings and a sense of he is doomed. And then there is the contrast between a very hot place [of Alien: Earth [ /s ] and a very cold place [of Fargo[ /s ] of Minnesota. Fargo is melodic and musical in its language. Alien is very 70s with this heightened science fiction naturalism.

    They still perform Noah Hawley’s magic and they still pay tribute to the original material before asking you to make a decision. Noah&#8217, s always like &#8220, just make a choice. I&#8217, ll tell you if it &#8217, s right or not. Simply make a wise choice. &#8221, It&#8217, s a collaboration because he&#8217, ll then be able to write for you as you go forward. He anticipates events occurring in the first season that he wants to intensify or alter his course throughout. They &#8217, re two different beats but it &#8217, s still Noah Hawley &#8217, s brilliant brain.

    Do you have any questions you want to ask about your Alien: Earth experience that you haven’t yet had the opportunity to address?

    I don’t think I’ve covered enough the aspects of how Thailand is a character in the show, the people, the landscape, and how it’s a truly special culture. Simply being in that allows your actor body to infiltrate new ideas and viewpoints. Talking about Alien with a crew that doesn’t speak English, it’s a story about people, and I believe that’s crucial at the moment. Being surrounded by these incredible Thai people and even being invited out to play pickleball or whatever on the weekends really made me feel like this is a global show. And I believe the work has taken advantage of that.

    Right now, you can stream every episode of Alien: Earth on Hulu.

    The post Den of Geek‘s Newest Host, In Conversation With The Eyeball, and Alien: Earth Finale #8211, first appeared.

  • Asynchronous Design Critique: Giving Feedback

    Asynchronous Design Critique: Giving Feedback

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

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

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

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

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

    The material

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

    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 something that needs to be improved. If you keep the three elements of the equation in mind, you’ll have a mental model that can help you be more precise and effective.

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

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

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

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

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

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

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

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

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

    Or, for the request approach:

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

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

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

    Choosing the question approach or the request approach can also at times be a matter of personal preference. I did rounds of anonymous feedback and 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 changed teams. Surprise surprise, one particular person gave me a lot of negative feedback. The reason is that I had previously tried not to be prescriptive in my advice—because the people who I was previously working with preferred the open-ended question format over the request style of suggestions. However, there was a person in this other team who had always preferred specific guidance. So I adapted my feedback for them to include requests.

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

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

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

    Therefore, the equation above is intended to serve 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

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

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

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

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

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

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

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

    Something to highlight because it’s quite frequent—especially in teams that have a strong group spirit—is that people tend to beat around the bush. It’s important to keep in mind that having a positive attitude doesn’t necessarily mean passing judgment on the feedback; rather, it simply means that even when you give difficult, or difficult feedback, you do so in a way that’s respectful and constructive. The nicest thing that you can do for someone is to help them grow.

    We have a great advantage in giving feedback in written form: it can be reviewed by another person who isn’t directly involved, which can help to reduce or remove any bias that might be there. When I shared a comment and asked someone I trusted,” How does this sound,”” How can I do it better,” or even” How would you have written it,” I discovered that the best, most insightful moments for me occurred when I saw 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 reviewing it and leaving a comment. There are many ways to accomplish this, and context is of course important, but let’s try to think about some things that might be worthwhile to take into account.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

  • Asynchronous Design Critique: Getting Feedback

    Asynchronous Design Critique: Getting Feedback

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

    Starting the process of receiving feedback with a question may seem counterintuitive, but it makes sense if we consider that receiving input can be seen as a form of pattern research. In the same way that we wouldn’t perform any studies without the correct questions to get the insight that we need, the best way to ask for feedback is also to build strong issues.

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

    And suddenly, as with any great research, we need to review what we got up, get to the base of its perspectives, and take activity. Iteration, evaluation, and problem. This look at each of those.

    The query

    Being available to input is important, but we need to be specific about what we’re looking for. Any comments,” What do you think,” or” I’d love to hear your mind” at the end of a presentation are likely to garner a lot of different ideas, or worse, to make people follow the lead of the first speaker. And next… we get frustrated because vague issues like those you turn a high-level moves review into folks rather commenting on the borders of buttons. Which topic may be a savory one, so it might be difficult to get the team to switch to the subject you wanted to concentrate on.

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

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

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

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

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

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

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

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

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

    Sometimes we actually do want broad feedback. That’s 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 you should just say,” At first glance, what do you think”? so that it’s clear that what you’re asking is open ended but focused on someone’s impression after their first five seconds of looking at it.

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

    Asking specific questions can completely change the quality of the feedback that you receive. 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 visible part of the design work, and they provide a natural checkpoint for feedback. Many design tools have inline commenting, but many of them only display changes as a single fluid stream in the same file. In addition, these kinds of design tools automatically update shared UI components, make conversations disappear and require designs to always display the most recent version, unless these would-be useful features were manually disabled. The implied goal that these design tools seem to have is to arrive at just one final copy with all discussions closed, probably because they inherited patterns from how written documents are collaboratively edited. That approach to design critiques is probably not the best approach, but some teams might benefit from it even if I don’t want to be too prescriptive.

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

    There are many benefits to using iteration posts:

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

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

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

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

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

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

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

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

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

    Finally, as mentioned earlier, it’s crucial that you include a list of the questions to help you guide the design critique in the desired direction. Doing this as a numbered list can also help make it easier to refer to each question by its number.

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

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

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

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

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

    The review

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

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

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

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

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

    The swoop-by comment, which is the kind of feedback that comes from a member of a team or non-project who might not be aware of the context, restrictions, decisions, or requirements, or of the discussions from earlier iterations, is the second friction point. On their side, there’s something that one can hope that they might learn: they could start to acknowledge that they’re doing this and they could be more conscious in outlining where they’re coming from. Swoop-by comments frequently prompt the simple thought,” We’ve already discussed this,” and it can be frustrating to have to keep coming back and forth.

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

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

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

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

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

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

  • Designing for the Unexpected

    Designing for the Unexpected

    Although I’m not sure 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 products that function on products that have not yet been created?

    Flash, Photoshop, and flexible pattern

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

    All of this was altered by Ethan Marcotte’s speak at An Event Apart and the subsequent article in A Checklist Off in 2010. I was sold on reactive style as soon as I heard about it, but I was even terrified. The pixel-perfect models full of special figures that I had formerly prided myself on producing were no longer good enough.

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

    A new way to style

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

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

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

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

    Media questions

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

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

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

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

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

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

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

    Container queries: our savior or a false dawn?

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

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

    In other words, responsive elements should be used to replace responsive layouts.

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

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

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

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

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

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

    CSS is changing

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

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

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

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

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

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

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

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

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

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

    Intrinsic layouts

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

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

    frunits is a statement that says,” I want you to distribute the extra space in this way, but 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 makes intrinsic design stand out is that it not only creates designs that can withstand future devices but also helps scale design without losing flexibility. Without the requirement of having the same breakpoints or the same amount of content as in the previous implementation, components and patterns can be lifted and reused.

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

    Another 2010 moment?

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

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

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

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

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

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

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

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

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

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

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

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

    First, the content

    Content is not constant. After all, to design for the unanticipated or unexpected, we must take into account changes in content, such as in our earlier Subgrid card illustration, which allowed the cards to make adjustments to both their own and sibling elements.

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

    Instead of dated markup tricks like this —

    First line of text with different styling...

    —we can target content based on where it appears.

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

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

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

    Directional variables must be set in the Sass version.

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

    These variables can be used as values—

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

    —or as real estate.

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

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

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

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

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

    Fluid and fixed

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

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

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

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

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

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

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

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

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

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

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

    First, the circumstances

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

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

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

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

    Responsible design

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

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

    Chris Ashton

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

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

    Image alt text

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

      

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

    …

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

    So how can we put users in control?

    The media queries are returning.

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

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

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

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

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

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

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

    Expect the unexpected

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

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

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

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

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