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  • Unforgotten Series 6 Cast: Meet the New Characters Joining Sunny and Jess

    Unforgotten Series 6 Cast: Meet the New Characters Joining Sunny and Jess

    Unforgotten, an ITV crime drama, features a brand-new guest cast that includes MyAnna Buring, Emmett J. Scanlan, Victoria Hamilton, and Damien Molony, along with a new historical murder that Sunny and her new ( ish ) boss Jess must solve. They join the returning cast of lead Sanjeev Bhaskar as DI Sunil” Sunny” Khan, Sinéad Keenan as DCI Jessica James, ]…]

    The second post Unforgotten Series 6 Cast: Meet the New Characters Joining Sunny and Jess appeared second on Den of Geek.

    Unforgotten, an ITV crime drama, features a brand-new guest cast that includes MyAnna Buring, Emmett J. Scanlan, Victoria Hamilton, and Damien Molony, along with a new historical murder that Sunny and her new ( ish ) boss Jess must solve.

    They join the returning cast of direct Sanjeev Bhaskar as DI Sunil &#8220, Sunny &#8221, Khan, Sinéad Keenan as DCI Jessica James, both of whose personal life took a pounding in the previous set. While grieving for his former colleague Cassie, who died suddenly in a car accident at the end of series four, Sunny &#8217, s relationship with his fiancée Sal ( Michelle Bonnard ) also ended. Sal lost a pregnancy and Sunny told her that he didn&#8217, t want to have any more kids, but she moved out of their home. With his sons aside at school, Sunny then lives alone.

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    Jessie discovered that her father had been having an affair with her sister while making a bad choice for her new career in line five. Her no-nonsense approach made her fight with Sunny and his still-grieving team, but by the end of the series, they &#8217, d reached a kind of friendship and realised that they didn&#8217, t walk as far apart in terms of professional values as they &#8217, d first thought.

    Sunny and Jess may be joined by Unforgotten patrons Jordan Long as DS Murray Boulting, Carolina Main as DC Fran Lingley, Hiten Patel as DC Patel, Pippa Nixon as DC Karen Willets, and Georgia Mackenzie as Dr. Leanne Balcombe, along with Andrew Lancel as Jess&#8217, partner Steve, and Kate Robbins as her mother Kate. Get out everything about the new cast of guests below:

    MyAnna Buring portrays Melinda Ricci.

    MYANNA BURING as Melinda Ricci

    Melinda is a journalist for Britannia News, Unforgotten&#8216, s right-wing GB News-style entity, but does she really believe in the anger she&#8217, s spouting on Television? Her personal life has suffered a recent tragedy when fiancé Patrick ( Emmett Scanlan ) was paralysed in an accident. MyAnna Buring, a well-known mouth, has appeared in the roles of Long Susan in BBC/Prime Video time crime crisis Ripper Street, Kill List, The Twilight Saga: Breaking Dawn, and others.

    Emmett Scanlan as Patrick

    EMMETT J SCANLAN as Patrick

    Patrick is Melinda&#8217, s fiancé and when we meet him, is in recovery following a severe injury that left his lower system paralysed. He&#8217, s played by Emmett J. Scanlan, seen recently in British crime crisis Kin, as Billy Grade in the last set of BBC gang drama Peaky Blinders, in ITV crime drama The Tower, and earlier, Sky thriller Gangs of London, horror-fantasy In the Flesh and cat-and-mouse detective drama The Fall.

    Maximilian Fairley as Martin” Marty” Johnson

    Maximillian Fairley as Marty Baines

    Marty, a young man with autism, tries to take care of his disabled mother Dot ( Michele Dotrice ), who lives in Deal on the Kent coast. He is isolated and pushed out of town in his free time, looking for kinship and belonging in right-wing virtual communities. Maximilian Fairley, a new graduate of the Royal Central School of Speech and Drama, plays Marty. This is his first broadcast record because he is hard of hearing and neurodiverse with high-functioning dementia.

    Michele Dotrice as Dot Johnson

    MICHELE DOTRICE as Dot Baines

    Dot Marty’s family, Dot, lives in a packed house on the Kent beach in chaos. She relies on her brother for meals and is unable to take care of herself, and the pair are obviously not coping also. She&#8217, s played by British acting former Michele Dotrice, who has a long and distinguished film and television job, and is cherished for the position of Betty Spencer in classic comedy Some Mothers Do &#8216, Ave &#8216, Em, as well as productions of Middlemarch, Vanity Fair, Les Miserables and many more.

    Elham Ehsas portrays Asif Syed

    ELHAM EHSAS as Asif Syed

    Asif, an Afghan who immigrated to the UK to escape a life-threatening situation in Afghanistan, is currently residing in Barnstaple, Devon, where he is studying for his British citizenship exam. He&#8217, s played by Homeland, Young Wallander, Shantaram and The Agency actor Elham Ehsas.

    Ahmad Sakhi as Hassan

    AHMAD SAKHI as Hassan

    Hassan is an Afghan man who travels dangerously illegally to the UK to avoid fear and death on a dangerous, illegal journey. He&#8217, s played by Ahmad Sakhi, who&#8217, s recently had roles in Coronation Street, Malpractice, and The Outpost, and will soon appear in Anne Rice&#8217, s The Talamasca.

    Victoria Hamilton portrays Juliet Cooper

    VICTORIA HAMILTON as Juliet Cooper

    A student has lodged a complaint against her at a London university, and Juliet Cooper is the head of the department. She&#8217, s a bereaved wife and the mother of troubled teenage daughter Taylor ( Pixie Davies ). Juliet is played by Victoria Hamilton, a familiar face on screen known for recent roles in Paramount + crime drama The Crow Girl, Sky political thriller COBRA, Netflix behemoth The Crown, in which she played the Queen Mother, as well as previously in Lark Rise to Candleford and many, many more.

    Pixie Davies as Taylor Cooper

    PIXIE DAVIES as Taylor Cooper

    Taylor Cooper is a teenager who is having trouble with school because of a family bereavement. She&#8217, s the daughter of university lecturer Juliet ( Victoria Hamilton ) and is played by 18-year-old Pixie Davies, who&#8217, s been acting since the age of six and has starred on television in Humans, Utopia, The Secret of Crickley Hall, and on film in Mary Poppins Returns, Miss Peregrine&#8217, s Home for Peculiar Children among others.

    Also Appearing: Damien Molony

    The Brassic, The Split and GameFace actor, who came to prominence as centuries-old vampire Hal in Being Human will also appear in Unforgotten series six in an as-yet-undisclosed role.

    Unforgotten series six premieres on ITV1 on February 9 and streams on ITVX.

    The second post Unforgotten Series 6 Cast: Meet the New Characters Joining Sunny and Jess appeared second on Den of Geek.

  • Unforgotten: Who’s the Ex-Police Detective Prisoner at the End of Episode One?

    Unforgotten: Who’s the Ex-Police Detective Prisoner at the End of Episode One?

    Warning: trailers for Unsung line six show one. Every Television crime crisis Unforgotten welcomes a new addition to the investigation for the year. By the time the credits roll on the finale, series regulars DI Khan ( Sanjeev Bhaskar ) and DCI James ( Sinéad Keenan, who took over from Nicola Walker’s DCI Stuart in series ]… ]

    The article Unremembered: Who’s the Ex-Police Detective Prisoner at the End of Episode One? primary appeared on Den of Geek.

    Unforgotten, an ITV crime drama, features a brand-new guest cast that includes MyAnna Buring, Emmett J. Scanlan, Victoria Hamilton, and Damien Molony, along with a new historical murder for Sunny and new ( ish ) boss Jess to solve.

    They join the returning cast of direct Sanjeev Bhaskar as DI Sunil &#8220, Sunny &#8221, Khan, Sinéad Keenan as DCI Jessica James, both of whose personal life took a pounding in the previous set. While grieving for his former colleague Cassie, who died suddenly in a car accident at the end of series four, Sunny &#8217, s relationship with his fiancée Sal ( Michelle Bonnard ) also ended. Sal lost a pregnancy and Sunny told her that he didn&#8217, t want to have any more children, but she moved out of their house. With his sons aside at school, Sunny then lives alone.

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

    Jessie started her new career in line five with a bad schedule after learning that her father had been having an affair with her girl. Her no-nonsense approach made her fight with Sunny and his still-grieving team, but by the end of the series, they &#8217, d reached a kind of friendship and realised that they didn&#8217, t walk as far apart in terms of professional values as they &#8217, d first thought.

    Sunny and Jess may be joined by Unforgotten patrons Jordan Long as DS Murray Boulting, Carolina Main as DC Fran Lingley, Hiten Patel as DC Patel, Pippa Nixon as DC Karen Willets, and Georgia Mackenzie as Dr. Leanne Balcombe, along with Andrew Lancel as Jess&#8217, father Steve, and Kate Robbins as her mother Kate. Above, learn everything about the new host cast:

    MyAnna Buring portrays Melinda Ricci.

    MYANNA BURING as Melinda Ricci

    Melinda is a journalist for Britannia News, Unforgotten&#8216, s right-wing GB News-style entity, but does she really believe in the anger she&#8217, s spouting on Television? Her personal life has suffered a recent tragedy when fiancé Patrick ( Emmett Scanlan ) was paralysed in an accident. MyAnna Buring, a well-known experience, has appeared in the roles of Long Susan in BBC/Prime Video time crime crisis Ripper Street, The Witcher, and The Twilight Saga: Breaking Dawn, among others.

    Emmett Scanlan as Patrick

    EMMETT J SCANLAN as Patrick

    Patrick is Melinda&#8217, s fiancé and when we meet him, is in recovery following a severe injury that left his lower system paralysed. He&#8217, s played by Emmett J. Scanlan, seen recently in British crime crisis Kin, as Billy Grade in the last set of BBC gang drama Peaky Blinders, in ITV crime drama The Tower, and earlier, Sky thriller Gangs of London, horror-fantasy In the Flesh and cat-and-mouse detective drama The Fall.

    Maximilian Fairley as Martin” Marty” Johnson

    Maximillian Fairley as Marty Baines

    Marty, a young man with autism, tries to take care of his disabled mother Dot ( Michele Dotrice ), who lives in Deal on the Kent coast. He is isolated and pushed out of town in his free time, looking for a sense of belonging and compassion in right-wing virtual communities. Maximilian Fairley, a new student of the Royal Central School of Speech and Drama, plays Marty. This is his first broadcast record because he has high functioning autism and is hard of hearing.

    Michele Dotrice as Dot Boone

    MICHELE DOTRICE as Dot Baines

    Dot Marty’s family, Dot, lives in a packed house on the Kent beach in chaos. She relies on her brother for foods, and the couple are obviously never coping well. She is able to take care of herself. She&#8217, s played by British acting former Michele Dotrice, who has a long and distinguished film and television job, and is cherished for the position of Betty Spencer in classic comedy Some Mothers Do &#8216, Ave &#8216, Em, as well as productions of Middlemarch, Vanity Fair, Les Miserables and many more.

    Elham Ehsas as Asif Syed

    ELHAM EHSAS as Asif Syed

    Asif, an Afghan who fled to the UK to leave a life-threatening situation in Afghanistan, is currently residing in Barnstaple, Devon, where he is studying for his American citizenship. He&#8217, s played by Homeland, Young Wallander, Shantaram and The Agency artist Elham Ehsas.

    Ahmad Sakhi as Hassan

    AHMAD SAKHI as Hassan

    Hassan is an Pashtun man who travels to the UK in unsafe, illegal fashion to avoid being subjected to harassment and death threats. He&#8217, s played by Ahmad Sakhi, who&#8217, s late had tasks in Coronation Street, Malpractice, and The Island, and will immediately look in Anne Rice&#8217, s The Talamasca.

    Juliet Cooper portrayed by Victoria Hamilton

    VICTORIA HAMILTON as Juliet Cooper

    A student has lodged a complaint against her at a London school, and Juliet Cooper is a history lecturer and head of department. She&#8217, s a bereaved wife and the mother of troubled teenage daughter Taylor ( Pixie Davies ). Juliet is played by Victoria Hamilton, a recognizable face on camera known for new jobs in Paramount + crime crisis The Crow Girl, Sky social movie COBRA, Netflix behemoth The Crown, in which she played the Queen Mother, as well as formerly in Lark Rise to Candleford and many, many more.

    Pixie Davies as Taylor Cooper

    PIXIE DAVIES as Taylor Cooper

    Taylor Cooper is a student who is having trouble with school because of a family loss. She&#8217, s the daughter of university lecturer Juliet ( Victoria Hamilton ) and is played by 18-year-old Pixie Davies, who&#8217, s been acting since the age of six and has starred on television in Humans, Utopia, The Secret of Crickley Hall, and on film in Mary Poppins Returns, Miss Peregrine&#8217, s Home for Peculiar Children among others.

    Even Appearing: Damien Molony

    The Brassic, The Split and GameFace artist, who came to prominence as centuries-old monster Hal in Being Human may also appear in Unsung set six in an as-yet-undisclosed position.

    Unforgotten series six premieres on ITV1 on February 9 and streams on ITVX.

    The first post Unforgotten Series 6 Cast: Meet the New Characters Joining Sunny and Jess appeared first on Den of Geek.

  • Beware the Cut ‘n’ Paste Persona

    Beware the Cut ‘n’ Paste Persona

    This Person Does Not Exist is a website that uses a machine learning algorithm to create individual faces. It takes actual photos and recombines them into false human faces. We just squinted past a LinkedIn post that claimed this site might be helpful “if you are developing a image and looking for a photo.”

    We concur that personas may remain excellent matches for computer-generated eyes, but not for the purpose you might think. Ironically, the website highlights the core issue of this very common design method: the person ( a ) does not exist. Personas are deliberately created, much like in the photos. Knowledge is combined into a sporadic, unreliable snapshot that is taken out of context.

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

    A step up, personalities

    Most manufacturers have at least once in their careers created, used, or encountered personalities. In their content” Personas- A Plain Introduction”, the Interaction Design Foundation defines profile as “fictional characters, which you create based upon your study in order to reflect the unique user types that might use your service, product, site, or brand”. Personas typically consist of a name, profile picture, quotes, demographics, goals, needs, behavior in relation to a particular service/product, emotions, and motivations ( for example, see Creative Companion’s Persona Core Poster ). According to design firm Designit, the goal of personas is” to make the research relatable, ]and ] easy to communicate, digest, reference, and apply to product and service development.”

    The decontextualization of personalities

    People are well-known because they make “dry” study information relevant and more people. However, this approach places a cap on the author’s ability to exclude the target users from their particular contexts. As a result, personalities don’t describe important factors that make you realize their decision-making method or allow you to connect to users ‘ thoughts and behavior, they lack stories. You are aware of the persona’s actions, but you lack the knowledge to know why. You end up with less human-like user images.

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

    People are assumed to be dynamic, according to people.

    Here’s a painfully obvious truth: people are not a fixed set of characteristics, despite the fact that many businesses still try to recruit and retain their employees and customers using outdated personality tests ( referring to you, Myers-Briggs ). You act, think, and feel different according to the situations you experience. You may work helpful to some people and harshly to others because you come across as different from everyone. And you constantly change your mind regarding the selections you’ve made.

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

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

    Personas rely on people, not the environment

    You’re designing for a environment, not an individual, in the real world. There are economic, political, and cultural factors to consider when a person lives in a home, a community, or an ecosystem. A pattern is not meant for a single customer. Instead, you create a product that is intended to be used by a certain number of people. However, personal experiences don’t explicitly explain how a person feels about the surroundings. Instead, they show the user only.

    Do you often make the same decision over and over again? Possibly you’re a dedicated vegan but also decide to buy some beef when your relatives visit. Your decisions, including your behavior, opinions, and statements, are not absolute but very contextual because they depend on various circumstances and factors. The image that “represents” you wouldn’t take into account this interdependence, because it doesn’t explain the grounds of your choices. It doesn’t give a rationale for your behavior. People practice the well-known attribution error, which states that they too often attribute others ‘ behavior to their personalities and not to the circumstances.

    As mentioned by the Interaction Design Foundation, identities are often placed in a situation that’s a” specific environment with a problem they want to or have to solve “—does that mean environment actually is considered? Unfortunately, what frequently occurs is that you choose a fictional character to play with a particular circumstance based on the fiction. How could you possibly understand how someone you want to represent behave in new circumstances if you hadn’t even fully investigated and understood the current context of the people you want to represent?

    Personas are meaningless averages

    A persona is depicted as a specific person but is not a real person, as stated in Shlomo Goltz’s introduction article on Smashing Magazine; rather, it is made up of observations from numerous people. The famous USA Air Force design planes were designed based on the average of 140 of their pilots ‘ physical dimensions, with not a single pilot actually fit within that average seat, is a well-known criticism of this aspect of personas.

    The same limitation applies to mental aspects of people. Have you ever heard a famous person say something was taken out of context? I didn’t mean it that way when they used my words. The celebrity’s statement was reported literally, but the reporter failed to explain the context around the statement and didn’t describe the non-verbal expressions. The intended purpose was lost as a result. You collect someone’s statement ( or goal, need, or emotion ) into which its meaning can only be understood if it is provided with its own specific context, and then report it as an isolated finding.

    But personas go a step further, extracting a decontextualized finding and joining it with another decontextualized finding from somebody else. Because it lacks the underlying causes for and how that finding came about, the results of the analysis frequently fail to make sense. It’s unclear or even contradictory. It lacks any significance. And the persona doesn’t give you the full background of the person ( s ) to uncover this meaning: you would need to dive into the raw data for each single persona item to find it. What then is the persona’s usefulness?

    The validity of personas is deceiving.

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

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

    Everyone should use their own empathy and develop their own interpretation and emotional response if we want to conduct good design research by reporting the reality “as-is” and making it relatable for our audience.

    Dynamic Selves: The alternative to personas

    What should we do instead of using personas?

    Designit suggested utilizing mindsets rather than personas. Each Mindset is a” spectrum of attitudes and emotional responses that different people have within the same context or life experience”. It challenges designers to avoid becoming fixated on just one person’s way of being. Unfortunately, despite being a step in the right direction, this proposal disregards the fact that people are influenced by how their personality, behavior, and, yes, mindset are shaped by their surroundings. Therefore, Mindsets are also not absolute but change in regard to the situation. What determines a certain Mindset, remains to be seen.

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

    In developing an alternative to personas, we aim to transform the standard design process to be context-based. Similar to how we previously dealt with people, contexts are generalizable and have patterns that we can identify. How can we identify these patterns, then? How do we ensure truly context-based design?

    Understand real people in a variety of settings

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

    Let’s take a look at how the approach looks based on an illustration from a recent study that examined Italians ‘ habits around energy consumption. We drafted a design research plan aimed at investigating people’s attitudes toward energy consumption and sustainable behavior, with a focus on smart thermostats.

    1. Select the appropriate sample.

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

    In qualitative research, validity does not derive from quantity but from accurate sampling. You pick the people who best fit the “population” you’re designing for. If this sample is chosen wisely and you have a deep understanding of the sampled people, you can infer how the rest of the population thinks and acts. There’s no need to study seven Susans and five Yuriys, one of each will do.

    In fifteen different situations, Susan is not necessary. Once you’ve seen her in a few different settings, you’ve grasped Susan’s general scheme of action. Not Susan as an atomic being but Susan in relation to the surrounding environment: how she might act, feel, and think in different situations.

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

    However, the question persists: how do you choose a representative sample? First of all, you must consider who the target market is for the product or service you are designing. It might be helpful to take into account the company’s objectives and strategy, the current customer base, and/or a potential future target audience.

    In our example project, we were designing an application for those who own a smart thermostat. Everyone in their home could have a smart thermostat in the future. However, only early adopters currently own one. To build a significant sample, we needed to understand the reason why these early adopters became such. We therefore recruited by enticing people to explain why and how they obtained a smart thermostat. There were those who had made the decision to purchase it, those who had been influenced by other people’s decisions, and those who had discovered it in their homes. So we selected representatives of these three situations, from different age groups and geographical locations, with an equal balance of tech savvy and non-tech savvy participants.

    2. Conduct your research

    After having chosen and recruited your sample, conduct your research using ethnographic methodologies. This will give you more examples and anecdotes to enrich your qualitative data. Given COVID-19 restrictions, we transformed an internal ethnographic research project into remote family interviews conducted at home and accompanied by diary research for our example project.

    To gain an in-depth understanding of attitudes and decision-making trade-offs, the research focus was not limited to the interviewee alone but deliberately included the whole family. Each interviewee would provide a story that would later become much more interesting and precise with the additions made by their spouses, partners, kids, or occasionally even pets. We also paid attention to the behaviors that came from having relationships with other important people ( such as coworkers or distant relatives ), as well as the relationships that came into being with them. This wide research focus allowed us to shape a vivid mental image of dynamic situations with multiple actors.

    It is crucial that the research’s scope remain broad enough to cover all potential actors. Therefore, it typically works best to define broad research areas with broad questions. Interviews are best set up in a semi-structured way, where follow-up questions will dive into topics mentioned spontaneously by the interviewee. The most insightful findings will be made with this open-minded “plan to be surprised.” One of our participants responded,” My wife has not installed the thermostat’s app; she uses WhatsApp instead,” when we asked how his family controlled the house temperature. If she wants to turn on the heater and she is not home, she will text me. I serve as her thermostat.

    3. Analysis: Create the Dynamic Selves

    You begin to represent each individual with several Dynamic Selves, each” Self” representing one of the circumstances you have examined throughout the research analysis. A quote serves as the foundation of each Dynamic Self, which is supported by a photo and a few relevant demographics that help to illustrate the larger context. The research findings themselves will show which demographics are relevant to show. The key demographics were family type, number and type of homes owned, economic status, and technological maturity in our case because our research focused on families and their way of life to understand their needs for thermal regulation. We also included the individual’s name and age, but they’re optional; they’ll help the stakeholders transition from personas and allow them to connect multiple actions and contexts to the same person.

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

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

    4. Identify potential design challenges

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

    A particularly intriguing finding was made in our example project regarding the concept of humidity. We became aware of the importance of monitoring humidity for health and that people don’t know what it is because an environment that’s too dry or wet can cause respiratory problems or worsen already existing ones. This highlighted a big opportunity for our client to educate users on this concept and become a health advisor.

    Benefits of Dynamic Selves

    When you conduct your research using the Dynamic Selves method, you start to notice peculiar social relations, peculiar circumstances that people face and the consequences of their actions, and that people are surrounded by ever-changing environments. In our thermostat project, we have come to know one of the participants, Davide, as a boyfriend, dog-lover, and tech enthusiast.

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

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

    The Dynamic Selves approach aims to dismiss the conflicted dual purpose of personas—to summarize and empathize at the same time—by separating your research summary from the people you’re seeking to empathize with. This is crucial because scale affects how we feel empathy for people; the bigger the group, the smaller it is to feel empathy for others. We have the deepest compassion for people with whom we can directly relate.

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

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

    And finally, real people in their specific contexts are a better basis for anecdotal storytelling and therefore are more effective in persuasion. Real research documentation is necessary to obtain this result. The circumstances of your design proposals resound in your mind when you encounter Alessandra. Noise, bad ergonomics, lack of light, you name it. I’m afraid that if we choose to use this functionality, she’ll find her life more complicated.

    Conclusion

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

    Design needs to be simplified, but not generalized. You have to look at the research elements that stand out: the sentences that captured your attention, the images that struck you, the sounds that linger. Avoid using those and use them to describe the person in all of their contexts. People and insights both come with a context, and they cannot be taken out of that context because it would detract from meaning.

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

  • That’s Not My Burnout

    That’s Not My Burnout

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

    What on earth does passionate stress actually mean?

    Envision a person determined to accomplish it all. She has two wonderful children whom she, along with her father who is also working mildly, is homeschooling during a crisis. She loves everyone at work because of how demanding her work is. She wakes up early to get some movement in ( or frequently catch up on work ), prepares dinner while the kids are having breakfast, and works while positioning herself near the end of her “fourth grade” to watch as she balances clients, tasks, and budgets. Sound like a bit? It works well with a friendly group at home and at work.

    This person seems to need self-care because she has too much going on. But no, she doesn’t have occasion for that. She begins to feel as though she’s dropping balloons. Not enough is achieved. There’s not enough of her to be here and there, she is trying to divide her head in two all the time, all time, every time. She begins to question herself. And as those feelings grow more in, her domestic tale grows more and more important.

    Immediately she KNOWS what she needs to do! She ought to work harder.

    This loop is challenging and risky. Hear why? Because the narrative only gets worse when she doesn’t complete that novel goal. She instantly starts failing. She isn’t doing much. She is insufficient. She’ll discover more she may do because she might neglect, or perhaps her home. She doesn’t nap as much, proceed because much, all in the attempts to do more. Trying to prove herself to herself, but not succeeding in any endeavor. Always feeling “enough”

    But, yeah, that’s what zealous burnout looks like for me. It doesn’t develop overnight in some grand gesture, but it does rather develop gradually over the course of several weeks and months. My using process appears to be moving more quickly than I have lost my focus. I rate up and up and up… and therefore I simply stop.

    I am the only person who has the potential.

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

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

    And here I am, more than 30 years afterwards, despite the overwhelming pressures that come with putting my mind to work on them when I have many things to do and that I may. I feel more motivated to demonstrate that I can influence things if I put in more effort, put on more responsibilities, and demonstrate that I can influence items.

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

    Why all this story, then? You see, stress is a volatile thing. Over the years, I’ve read and heard a bunch about stress. Fatigue is a real thing. Especially today, with COVID, many of us are balancing more than we ever have before—all at once! It’s difficult, and the evasion, shutting down, and procrastination have an impact on so many wonderful professionals. There are significant reports that, in my opinion, relate to the majority of people out there, but no me. That’s not what my stress looks like.

    The perilous darkness of passionate burnout

    The more hours, more work, and overall focused commitment are often viewed as an advantage in many workplaces ( and occasionally that’s all it is ). They see anyone trying to rise to difficulties, never people stuck in their anxiety. Some well-intentioned organizations have measures in place to safeguard their employees from stress. However, in situations like this, alarms don’t usually ring, and some business members are surprised and depressed when the inevitable prevent occurs. And maybe even actually betrayed.

    Parents are praised for being so on top of it all when they may work, participate in the after-school activities, exercise self-care in the form of diet and exercise, and also meet friends for coffee or wines. More but mothers, statistically speaking. Many of us watched endless streaming COVID incidents to see how challenging the female character is, but she is strong, interesting, and capable of doing it. It’s a “very special season” when she breaks down, shouts in the bathroom, terribly admits she needs help, and only stops for a bit. Truth be told, many people are hidden in tears or doom-scrolling to escape. Although we are aware that the internet is a lie to amuse us, the belief that it’s what we should try for frequently permeates little of culture.

    People and stress

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

    That said, people are still more frequently at risk of stress than their male counterparts, especially in these COVID stressed days. Mother at work experience the pressure to do everything “mom” while giving 100 %. Mothers who are not employed feel they need to do more to” justify” their lack of traditional employment. People who are not parents generally feel the need to do even more because they don’t have that extra stress at home. It’s so ingrained in our culture and cruel and widespread that we frequently are unaware of how much pressure we place on ourselves and others.

    And there are costs that go beyond joy. Harvard Health Publishing released a study a decade ago that “uncovered solid links between children’s work pressure and cardio disease”. According to the CDC,” Center condition is the leading cause of death for women in the United States, killing 299,578 ladies in 2017—or roughly 1 in every 5 women fatalities,”

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

    But what if your stress isn’t like that sometimes?

    You might not be the same as that. After all, we are all unique, and how we respond to stress is also unique. It’s part of what makes us people. Don’t put too much emphasis on how tiredness manifests; rather, learn to recognize it in yourself. Here are a few inquiries I occasionally ask friends if I’m worried about them.

    Are you glad? The first thing you may ask yourself should be this straightforward query. Perhaps if you’re burning out doing all the things you love, you’ll probably prevent enjoying yourself as you approach stress.

    Do you feel compelled to say no? I’ve observed in myself and another that when someone is going out, they no longer feel like they can say no to issues. Even those who don’t” speed up” feel pressured to say “yes” and not let the people around them be disappointed.

    What are three issues you’ve done for yourself? Another fact to keep in mind is that we all have a habit of giving up on our own efforts. everything from avoiding conversations with friends to skipping rains and eating poorly. These can be red colors.

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

    Do you have a strategy for overcoming this experience? If something is really temporary and you do need to just drive with, then it has an exit route with a
    defined conclusion

    Take the time to listen to your companion in the same way. Be honest, permit yourself to be uneasy, and break the thought phases that prevent you from recovery.

    So what comes next?

    What I merely described has a different way to stress, but it’s still burnout. There are well-established techniques to working through stress:

    • Getting much sleep.
    • Eat well.
    • Work away.
    • Leave the house.
    • Take a break, please.
    • Nevertheless, training self-care.

    These are challenging for me because they seem like more chores. Doing any of the preceding for me feels like a waste if I’m in the burning period. The tale is that if I’m now failing, why do I take care of myself when I’m dropping all those other balloons? Individuals need me, don’t they?

    Your inner speech might already be quite bad if you’re deeply in the loop. If you need to, remind yourself you need to take care of the person your folks depend on. Use your tasks to create healing easier by defending the time you spend working on you if they are putting you in a bad mood.

    I have come up with a few suggestions for me to help me remember the airport attendant’s advice to put on your face first when I feel burned out.

    Cook an elaborate dinner for one!

    Okay, since I’m a “food-focused” person, cooking for people always comes naturally to my mind. In my house, there are many stories of people coming into the kitchen, turning right, and leaving when they noticed I was” chopping ferociously.” But it’s more than that, and you should give it a try. Really. If you don’t feel like giving occasion for yourself, do it for someone else. Most of us work in a modern world, but cooking can fill all of your emotions and push you to be in the time with all the way you perceive the world. It can help you get a better perspective and help you get out of your mind. I’ve always had the ability to pick a location on a map and prepare food that comes from it ( thanks, Pinterest ). I love cooking American food, as the smells are hot, the food needs just enough kneading to keep my hands hectic, and the procedure takes real attention for me because it’s not what I was brought up making. And ultimately, we all triumph!

    Vent like a sniveling jerk.

    Be careful with this one!

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

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

    Grab a book, please!

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

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

    Or, if I love to read or listen to a book that doesn’t have anything to do with my work-life balance, I can use another tactic. The following books helped me balance out after I’ve read them because my mind was pondering the subjects ‘ interesting points rather than circling them:

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

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

    Give yourself a break.

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

    The most crucial thing to remember is to grant yourself permission to NOT do it all. You never promised to be everything to everyone at all times. Our fears determine our strength, not ours.

    This is challenging. It is hard for me. That it’s acceptable to stop is what inspired me to write this. It’s acceptable that you have to stop an unhealthy habit that could even help you and those around you. You can still be successful in life.

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

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

    Does this sound familiar?

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

    Do you recall the Winnie the Pooh cartoon where Pooh ate so much at Rabbit’s house that his buttocks were unable to pass through the door? It came as no surprise when he abruptly declared that this was unacceptable because I already associate a lot with Rabbit. But do you recall what happened next? He made the most of the large butt in his kitchen by placing a shelf across poor Pooh’s ankles and decorations on his back.

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

    So, wherever you are at this moment, take a deep breath. Do what you need to do to get out of your head. Give thanks and be considerate.

  • Asynchronous Design Critique: Giving Feedback

    Asynchronous Design Critique: Giving Feedback

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

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

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

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

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

    The information

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

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

    Here is a comment that could be given as a part of some feedback, and it might look reasonable at a first glance: it seems to superficially fulfill the elements in the equation. But does it exist?

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

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

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

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

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

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

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

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

    Or, for the request approach:

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

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

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

    Choosing between the request and question approaches can occasionally be a matter of personal preference. I did rounds of anonymous feedback and reviewed feedback with other people before putting a lot of effort into improving it a while ago. After a few rounds of this work and a year later, I got a positive response: my feedback came across as effective and grounded. until I switched teams. Surprise surprise, one particular person gave me a lot of negative feedback. The reason is that I had previously tried not to be prescriptive in my advice—because the people who I was previously working with preferred the open-ended question format over the request style of suggestions. However, there was a member of this other team who preferred specific guidance. So I changed my feedback so that it included requests.

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

    No, this style of feedback is actually efficient because the length here is a byproduct of clarity, and spending time giving this kind of feedback can provide exactly enough information for a good fix. Additionally, it can reduce misunderstandings and back-and-forth conversations in the future, boosting overall collaboration’s effectiveness and efficiency beyond the single comment. Consider the example above where the feedback would be simply,” Let’s make sure that all screens have the same two forward and back buttons.” The designer receiving this feedback wouldn’t have much to go by, so they might just apply the change. In later iterations, the interface might change or new features might be introduced, and perhaps that change no longer makes sense. Without explaining the why, the designer might assume that the change is one of consistency, but what if it wasn’t? So there could now be an underlying concern that changing the buttons would be perceived as a regression.

    Yes, this type of feedback is not always effective because some comments don’t always need to be thorough, some may be obvious because of the team’s internal knowledge, which may lead to some explanations of the whys.

    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

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

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

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

    Timing refers to when the feedback happens. When given at the wrong time, to-the-point feedback has little chance of receiving favorable reception. If a new feature’s entire high-level information architecture is about to go live when it’s about to be released, it might still be relevant if that questioning raises a significant blocker that no one saw, but those concerns are much more likely to have to wait for a later revision. So in general, attune your feedback to the stage of the project. Iteration in the early stages? Iteration later? Polishing work in progress? Each of these needs a different one. Your feedback will be received favorably if the right timing is chosen.

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

    Form is important especially in diverse and cross-cultural workplaces because having excellent writing, perfect timing, and the right attitude might not be effective if the writing style leads to miscommunications. There could be many reasons for this, including the fact that occasionally certain words may cause specific reactions, that nonnative speakers may not be able to comprehend all thenuances of some sentences, that our brains may be different and that our world may be perceived differently; hence, neurodiversity must be taken into account. Whatever the reason, it’s important to review not just what we write but how.

    I asked for some feedback on how I gave it a while back. I was given some sound advice, but I also got a surprise comment. They pointed out that when I wrote” Oh, ]… ]”, I made them feel stupid. That’s not what I meant to say! I just realized that I had been giving them feedback for months and that I had always made them feel foolish. I was horrified … but also thankful. I quickly changed the way I typed “oh” into my list of replaced words (your choice between aText, TextExpander, or others ), so that it was instantly deleted when I typed “oh.”

    Something to keep in mind because it’s quite common, especially in teams with a strong group spirit, is that people frequently beat around the bush. It’s important to remember here that a positive attitude doesn’t mean going light on the feedback—it just means that even when you provide hard, difficult, or challenging feedback, you do so in a way that’s respectful and constructive. The best thing you can do for someone is to encourage their growth.

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

    The format

    Asynchronous feedback also has a significant inherent benefit: we can devote more time to making sure that the suggestions ‘ clarity of communication and actionability fulfill two main objectives.

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

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

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

    We often focus on the negatives, trying to outline all the things that could be done better. That’s obviously important, but it’s even more crucial to concentrate on the positives, especially if you saw improvement in the previous iteration. Although this may seem superfluous, it’s important to remember that design has a number of possible solutions to each problem. So pointing out that the design solution that was chosen is good and explaining why it’s good has two major benefits: it confirms that the approach taken was solid, and it helps to ground your negative feedback. Sharing positive feedback can help prevent regressions in the long run because those things will have been identified as crucial. 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.

    Depersonalizing your feedback is another way to make it better: it should never be about the creator of the piece of art. 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.

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

    Emojis have been a method I’ve personally used to enhance the bullet points in some situations. So a red square � � means that it’s something that I consider blocking, a yellow diamond � � is something that I can be convinced otherwise, but it seems to me that it should be changed, and a green circle � � is a detailed, positive confirmation. A blue spiral is also used for either something I’m uncertain about, an exploration, an open alternative, or just a note. However, I’d only use this strategy on teams where I’ve already established a high level of trust because it might turn out to be quite demoralizing if I deliver a lot of red squares and change how I communicate that.

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

    • 🔶 Navigation—I anticipate one to go forward and the other to go back when I see these two buttons. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Let’s make sure that all screens have the same two forward and back buttons so that users don’t get confused.
    • Overall, I believe the page is strong, and this is a good candidate for our version 1. 1.0 release candidate.
    • � � Metrics—Good improvement in the buttons on the metrics area, the improved contrast and new focus style make them more accessible.
    • Button Style: Using the green accent in this context, which conveys that it is a positive action because green is typically seen as a confirmation color. Do we need to look for a different color?
    • 🔶Tiles—Given the number of items on the page, and the overall page hierarchy, it seems to me that the tiles shouldn’t be using the Subtitle 1 style but the Subtitle 2 style. This will help maintain consistency in the visual hierarchy.
    • Background: A light texture is effective, but I’m not sure if doing so will cause too much noise on this kind of page. What is the thinking in using that?

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

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

    Asynchronous feedback also has the benefit of automatically guiding decisions, according to writing. Why did we do this, especially in large projects? could be a question that pops up from time to time, and there’s nothing better than open, transparent discussions that can be reviewed at any time. I advise using software to prevent these discussions from being hidden after they have been resolved for this reason.

    Content, tone, and format are all present. Each one of these subjects provides a useful model, but working to improve eight areas—observation, impact, question, timing, attitude, form, clarity, and actionability—is a lot of work to put in all at once. One effective way to approach them is to start with the area you lack the most, either from your point of view or from other people’s feedback. Then the second, followed by the third, and so on. At first you’ll have to put in extra time for every piece of feedback that you give, but after a while, it’ll become second nature, and your impact on the work will multiply.

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

  • Asynchronous Design Critique: Getting Feedback

    Asynchronous Design Critique: Getting Feedback

    ” Any feedback?” is perhaps one of the worst ways to ask for suggestions. It’s obscure and unfocused, and it doesn’t give us a sense of what we’re looking for. Great feedback begins sooner than we might anticipate: it begins with the demand.

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

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

    Finally, we need to review what we received, get to the heart of its findings, and taking action, as with any good research. Problem, generation, and evaluation. Let’s take a closer 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 view” at the conclusion of a presentation are likely to generate a lot of divergent thoughts, or worse, to make people follow the lead of the first speaker. And finally, we become irritated because ambiguous queries like those can result in people leaving reviews that don’t even consider keys. Which might be a savory matter, so it might be hard at that point to divert the crew to the topics that you had wanted to focus on.

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

    The practice of asking good issues guidelines and concentrates the criticism. It’s even a form of acceptance because it specifies what kind of feedback you’d like to receive and how you’re open to them. 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 way to ask for opinions. It only needs to be certain, which can take many forms. A design for design critique that I’ve found especially helpful in my training is the one of stage over depth.

    The term” level” refers to each stage of the process, which is, in our case, the design phase. The kind of feedback changes as the consumer research moves forward to the final design. But within a single stage, one might also examine whether some assumptions are correct and whether there’s been a suitable language of the amassed input into updated designs as the job has evolved. The levels of consumer experience could serve as a starting point for possible questions. What are the project priorities, in your opinion? User requirements? Funnality? the glad Contact design? Data structures Interface pattern Navigation style? physical style Brand?

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

    • Features: Is it desired to automate accounts creation?
    • Interaction style: Take a look at the updated flowing and let me know if there are any steps or error states I may have missed.
    • Information infrastructure: We have two competing bits of information on this site. Does the framework make a good communication between them?
    • User interface design: What do you think about the top-of-the-page problem counter, which makes sure you can see the following error even when the error is outside the viewport?
    • Navigation style: From study, we identified these second-level routing items, but when you’re on the webpage, the list feels overly long and hard to understand. Are there any ways to deal with this?
    • The bottom-right corner’s thick messages are clearly visible, but are they sufficient?

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

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

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

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

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

    Asking specific questions can completely change the quality of the feedback that you receive. People with less refined criticism will now be able to provide more actionable feedback, and even expert designers will appreciate the clarity and effectiveness gained from concentrating solely on what’s needed. It can save a lot of time and frustration.

    The iteration

    The most widely visible aspect of the design process is probably the design iteration, which serves as a natural feedback loop. 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’s probably not the most effective way to go about designing critiques, but even if I don’t want to be too prescriptive, it might work for some teams.

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

    Using iteration posts has a number of benefits:

      The layouter can review the feedback from each iteration and get ready for the next one by creating a rhythm in the design work.
    • It makes decisions visible for future review, and conversations are likewise always available.
    • It keeps track of how the design evolved over time.
    • Depending on the tool, it might also make it simpler to collect and act on feedback.

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

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

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

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

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

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

    It might also be helpful to have clear names on the objects since it makes them look better to refer to. Write the post in a way that helps people understand the work. It’s not much different from creating a strong live presentation.

    For a successful discussion, you should also include a bullet list of the changes made in the previous iteration to help people concentrate on what’s changed. This can be especially useful for larger pieces of work where keeping track, iteration after iteration, may prove difficult.

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

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

    Even if these iteration posts are written and intended as checkpoints, I want to point out that they are not by any means exhaustive. A post might be a draft—just a concept to get a conversation going—or it could be a cumulative list of each feature that was added over the course of each iteration until the full picture is done.

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

    • Unique—It’s a clear unique marker. Everyone knows where to go to review things, and it’s simple to say” This was discussed in i4″ with each project.
    • Unassuming—It functions like versions ( such as v1, v2, and v3 ), but versions give the impression of something big, exhausting, and complete. Iterations must be able to be exploratory, incomplete, partial.
    • Future proof—It resolves the “final” naming issue that versions can have. 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 evaluation

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

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

      It makes it easier to respond to everyone.
    1. It reduces the frustration from swoop-by comments.
    2. It lessens our own worth.

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

      One is to let the next iteration speak for itself. When the design changes and we publish a follow-up iteration, that’s the response. You could tag everyone in the previous discussion, but even that is a choice, not a requirement.
    • Another is to briefly reply to acknowledge each comment, such as” Understood. Thank you,”” Good points— I’ll review,” or” Thanks. In the upcoming iteration, I’ll include these. In some cases, this could also be just a single top-level comment along the lines of” Thanks for all the feedback everyone—the next iteration is coming soon”!
    • Another option is to provide a quick summary of the comments before moving on. This may be particularly helpful if your workflow allows you to create a simplified checklist that you can use for the following iteration.

    The second friction point is the swoop-by comment, which is the kind of feedback that comes from someone outside the project or team who might not be aware of the context, restrictions, decisions, or requirements —or of the previous iterations ‘ discussions. One can hope that they will learn something from them, starting with acknowledging that they are doing this and making their location more explicit. Swoop-by comments frequently prompt the simple thought,” We’ve already discussed this,” and it can be frustrating to have to keep coming back and forth.

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

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

    The personal stake we might have in 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.

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

    You are in charge of making that choice as the designer who is in charge of the project. 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 initial review of this article.

  • Designing for the Unexpected

    Designing for the Unexpected

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

    Flash, Photoshop, and flexible style

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

    Ethan Marcotte’s speak at An Event Off and later content” Responsive Web Design” in A List Off in 2010 changed all this. As soon as I learned about flexible style, I was convinced, but I also was terrified. The pixel-perfect models full of special figures that I had formerly prided myself on producing were no longer good enough.

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

    A novel method of architecture

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

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

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

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

    Media inquiries

    The next ingredient for flexible design is press queries. Without them, regardless of whether the content remained readable, would shrink to fit the available space. ( The exact opposite issue developed with the introduction of a mobile-first approach. )

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

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

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

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

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

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

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

    Container queries: a false sun or our lord?

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

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

    In other words, responsive components to replace responsive layouts.

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

    My concern is that we are still using layout to determine when a design needs to adapt. We will still require predetermined breakpoints, so this approach will always be restrictive. For this reason, my main question with container queries is, How would we decide when to change the CSS used by a component?

    The best place to make that choice is probably a component library that is disconnected from context and real content.

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

    The container’s dimensions shouldn’t be the design’s, but rather the image should.

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

    CSS is evolving.

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

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

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

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

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

    This is a significant improvement when it comes to developing designs that allow for dynamic content, but CSS Subgrid is the real game changer for flexible designs.

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

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

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

    CSS Grid allows us to separate layout and content, thereby enabling flexible designs. Subgrid also enables us to create designs that can be modified to fit changing content. Subgrid at the time of writing is only supported in Firefox but the above code can be implemented behind an @supports feature query.

    Intrinsic layouts

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

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

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

    —Jen Simmons,” Designing Intrinsic Layouts”

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

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

    We can now make designs that can fit the content in them, the inside of them, and the content around them. With an intrinsic approach, we can construct responsive components without depending on container queries.

    Another 2010 moment, perhaps?

    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 is that I now work for a sizable company, which is quite different from the role I held as a design agency in 2010! In my agency days, every new project was a clean slate, a chance to try something new. Modern projects frequently improve existing websites with an existing codebase and use existing tools and frameworks.

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

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

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

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

    Because 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.

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

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

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

    Personally, I look forward to the day that a design component can truly be flexible and adapt to both its space and content without relying on the device or container dimensions. This is the day intrinsic design is the standard for design.

    Content first

    Content is not a fixed thing. After all, to design for the unknown or unexpected we need to account for content changes like our earlier Subgrid card example that allowed the cards to respond to adjustments to their own content and the content of sibling elements.

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

    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. This was frequently accomplished with Sass mixins in the past, but it was frequently limited to switching from left-to-right to right-to-left orientation.

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

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

    These variables can be used as values—

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

    —or as properties.

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

    However, with native logical properties, there is no longer a need to rely on Sass ( or another similar tool ) or pre-planning, which made using variables throughout a codebase necessary. These properties also start to break apart the tight coupling between a design and strict physical dimensions, creating more flexibility for changes in language and in direction.

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

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

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

    Fluid and fixed

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

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

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

    As long as the element’s width is not greater than 300px, the element in the figure above will cover 50 % of its container.

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

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

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

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

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

    This time, the element’s width will be 50 % ( 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 distinguish between markup and content, which means that user modifications will not have an impact on the design. We can start to future-proof designs by planning for unexpected changes in language or direction. Additionally, we can increase flexibility by specifying desired dimensions alongside adaptable alternatives, which will allow for more or less content to be displayed correctly.

    Situation first

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

    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 choice is so crucial. One size never fits all, so we need to design for multiple scenarios to create equal experiences for all our users.

    Thankfully, we have many options available to you.

    Responsible design

    ” Mobile data is prohibitively expensive in some places around the world, and broadband infrastructure is sparse or absent.”

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

    Chris Ashton

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

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

    Image alt text

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

      

    Additionally, there is native lazy loading, which indicates that only the most crucial files should be downloaded.

    …

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

    So how can we put users in control?

    The media queries are returning.

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

    We’ve long been able to check for media types like print and speech and features such as hover, resolution, and color. Because of these checks, we can offer options that work for more than one situation. It’s less about one-size-fits-all and more about providing adaptable content.

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

    For example, there’s a light-level feature that allows you to modify styles if a user is in sunlight or darkness. These features, which have custom properties, make it simple to create designs or themes for particular 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 inquiries like this go beyond choices made by a browser to grant more control to the user.

    Expect the Unexpected

    In the end, the one thing we should always expect is for things to change. With foldable screens already available, especially in the form of tablets, we can’t keep up with them.

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

    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.

    Unexpected design should give our users, who we serve, choice and control over how they interact with the environment.

  • Voice Content and Usability

    Voice Content and Usability

    We’ve been conversing for many thousands of years. Whether to present information, perform transactions, or just to check in on one another, people have yammered aside, chattering and gesticulating, through spoken discussion for many generations. Only recently have we begun to write our discussions, and only recently have we outsourced them to the system, a system that exhibits a significantly higher affection for written letter than for the vernacular rigors of spoken language.

    Computers have issues because conversation is more important than written speech in spoken and written writing. To have productive conversations with us, machines may struggle with the messiness of mortal speech: the disfluencies and pauses, the gestures and body language, and the variations in word choice and spoken dialect that is stymie even the most carefully crafted human-computer interaction. Speaking English also has the advantage of face-to-face contact, which enables us to interpret nonverbal social cues in the human-to-human scenario.

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

    This luxury is not available in spoken language. There are verbal cues and vocal behaviors that modulate conversation in nuanced ways, including how something is said, not what. These are the nonverbal cues that decorate conversations with emphasis and emotional context. Whether rapid-fire, low-pitched, or high-decibel, whether sarcastic, stilted, or sighing, our spoken language conveys much more than the written word could ever muster. So as designers and content strategists, we face exciting challenges when it comes to voice interfaces, the machines we use to conduct spoken conversations.

    Voice Compositions

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

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

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

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

    A voice interface can also have two types of conversations we can have with one another that are both transactional and informational, each learning something new ( “discuss a musical” ).

    Transactional voice interactions

    When you order a Hawaiian pizza with extra pineapple, you’re typically having a conversation and a voice interaction when you’re tapping buttons on a food delivery app. The conversation quickly shifts from an initial smattering of neighborly small talk to the actual task at hand, which is ordering a pizza ( generously topped with pineapple, as it should be ).

    Alison: Hey, how’s it going?

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

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

    Burhan: Yes, but what size?

    Alison: Large.

    Burhan: Anything else?

    Alison: No thanks, that’s it.

    Burhan: Something to drink?

    I’ll have a bottle of Coke, Alison.

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

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

    Informational voice interactions

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

    Alison: Hey, how’s it going?

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

    Alison: Can I ask a few questions?

    Burhan: Of course! Continue straight ahead.

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

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

    Alison: What about pizzas that are gluten-free?

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

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

    Burhan: Anytime, come back soon!

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

    Voice Interfaces

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

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

    IVR ( interactive voice response ) systems

    Written conversational interfaces have been a part of computing for many decades, but voice interfaces first started to appear in the early 1990s with text-to-speech ( TTS ) dictation programs that recited written text aloud as well as speech-enabled in-car systems that gave directions to a user-provided address. With the advent of interactive voice response ( IVR ) systems, intended as an alternative to overburdened customer service representatives, we became acquainted with the first true voice interfaces that engaged in authentic conversation.

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

    IVR systems have a reputation for having less scintillating conversations than we’re used to in real life ( or even in science fiction ), despite being extremely repetitive and monotonous conversations that typically don’t veer from a single format.

    Screen readers

    Parallel to the evolution of IVR systems was the invention of the screen reader, a tool that transcribes visual content into synthesized speech. It’s the most popular way to interact with text, multimedia, or form elements for website users who are blind or visually impaired. Perhaps the closest thing we have today to an out-of-the-box implementation of content delivered through voice is represented by screen readers.

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

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

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

    Accessibility advocate and voice engineer Chris Maury examines why the screen reader experience is ill-suited for users who rely on voice in Wired:

    I disliked the operation of Screen Readers from the beginning. Why are they designed the way they are? It makes no sense to present information visually and then only to have that information translated into audio. All the effort and thought that goes into creating the ideal user experience for an app is wasted, or worse, having a negative effect on blind users ‘ experience. ( )

    Well-designed voice interfaces can often be more effective than long-winded screen reader monologues in guiding users to their destination. After all, users of the visual interface have the advantage of freely scurrying around the viewport to find information, ignoring areas that are unimportant to them. Blind users, meanwhile, are obligated to listen to every utterance synthesized into speech and therefore prize brevity and efficiency. Users with disabilities who have long had no choice but to use clumsy screen readers might find that voice interfaces, especially more contemporary voice assistants, provide a more streamlined experience.

    Voice-overseers

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

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

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

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

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

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

    Voice Content

    Simply put, voice content is content that is delivered through voice. Voice content must be free-flowing, organic, contextless, and concise in order to preserve what makes human conversation so compelling in the first place.

    Our world is replete with voice content in various forms: screen readers reciting website content, voice assistants rattling off a weather forecast, and automated phone hotline responses governed by IVR systems. We’re most concerned with the content in this book being delivered auditorically, not as an option but as a necessity.

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

    Lately, we’ve begun slicing and dicing our content in unprecedented ways. Websites are, in many ways, massive vaults of what I call macrocontent: lengthy prose that can last for miles in a browser window while being viewed in microfilm format in newspaper archives. Microcontent was defined as permalinked pieces of content that could be read in any environment, such as email or text messages back in 2002, well before the present-day ubiquity of voice assistants.

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

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

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

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

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

  • Sustainable Web Design, An Excerpt

    Sustainable Web Design, An Excerpt

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

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

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

    We accomplish a lot more when we think something is possible, and we only think it can be done when we see someone else doing it after all. As for man running speed, we also think there are the strictest requirements for how a website should do.

    Establishing requirements for a lasting web

    The key environmental performance indicators for the majority of major industries are pretty well established, such as power per square metre for homes and miles per gallon for cars. The tools and methods for calculating those measures are standardized as well, which keeps everyone on the same site when doing economic evaluations. However, in the world of websites and apps, we aren’t held to any specific environmental standards, and we have only recently developed the tools and methods we need to also conduct an environmental assessment.

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

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

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

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

    Transfer of data

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

    The webpage weight, or the page’s transfer size in kilobytes, can be most readily calculated for a second visit for web pages. It’s very easy to measure using the engineer equipment in any modern internet browser. Statistics for the total data transfer of any web application are frequently included in your web hosting account ( Fig. 2.1 ).

    The great thing about website weight as a parameter is that it allows us to compare the effectiveness of web pages on a level playing field without confusing the problem with frequently changing traffic volumes.

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

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

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

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

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

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

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

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

    Electricity’s coal power

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

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

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

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

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

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

    Reverting it to carbon emissions

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

    The Energy and Emissions Worksheet that comes with this book teaches you how to take it one step further and tailor the data more precisely to the unique aspects of your project.

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

    Browser Energy

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

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

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

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

    You know when your computer’s cooling fans start spinning so frantically that you suspect it might take off when you load a website? That’s essentially what this tool is measuring.

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

  • Design for Safety, An Excerpt

    Design for Safety, An Excerpt

    According to antiracist scholar Kim Crayton, “intention without plan is chaos.” We’ve discussed how our prejudices, beliefs, and carelessness toward marginalized and resilient parties lead to dangerous and irresponsible tech—but what, precisely, do we need to do to fix it? We need a strategy, not just the desire to make our technology safer.

    This book will provide you with that plan of action. It covers how to persuade your stakeholders that this work is required, how to respond to criticism that there isn’t really room for more variety, and how to incorporate health principles into your design work to create healthy tech. ( Spoiler: we do, but diversity alone is not the antidote to fixing unethical, unsafe tech. )

    The procedure for ensuring that everyone is safe

    When you are designing for health, your goals are to:

    • Discover the abuse-abuse potential of your goods.
    • style ways to prevent the maltreatment, and
    • offer assistance for harmed people to regain control and power.

    The Process for Inclusive Safety is a tool to help you reach those goals ( Fig 5.1 ). It’s a method I developed in 2018 to better understand the different methods I used to create products that were designed with safety in mind. Whether you are creating an entirely new product or adding to an existing element, the Process can help you produce your product secure and diverse. The Process includes five main public areas of action:

    • Conducting study
    • Developing tropes
    • Pondering issues
    • creating alternatives
    • Testing for health

    The Process is meant to be flexible; in some situations, it didn’t make sense for groups to employ every step. Use the parts that are related to your special function and environment, this is meant to be something you can put into your existing style process.

    And if you’ve used it, if you’ve got ideas for improving it, or just want to give an example of how it helped your group, please get in touch with me. It’s a dwelling report that I hope will continue to be a helpful and practical tool that technicians can use in their day-to-day job.

    If you’re developing a product especially for a defenseless group or victims of some kind of stress, like an application for victims of domestic violence, sexual abuse, or drug habit, make sure to read Chapter 7, which specifically addresses the issue and should be handled a little different. The guidelines below are for evaluating safety when designing a more basic product that will have a large customer base ( which, we now know from data, will include specific groups that should be protected from harm ). Chapter 7 concentrates on goods made especially for those who are vulnerable and those who have endured trauma.

    Step 1: Do studies

    A thorough examination of how your technology might be used for abuse as well as specialized insights into the experience of those who have witnessed and perpetrated that kind of abuse should be included in style research. At this stage, you and your staff will check issues of social harm and abuse, and examine any other safety, security, or inclusivity issues that might be a concern for your product or service, like data security, prejudiced algorithms, and harassment.

    broad analysis

    Your project should begin with broad, general research into similar products and issues around safety and ethical concerns that have already been reported. For instance, a team building a smart home device would be wise to comprehend the many ways that already-existing smart home devices have been misused as abuse tools. If your product will involve AI, seek to understand the potentials for racism and other issues that have been reported in existing AI products. Nearly all different types of technology have some sort of potential or actual harm that has been covered in the media or written about by academics. Google Scholar is a useful tool for finding these studies.

    Survivors as a specific research area

    When possible and appropriate, include direct research ( surveys and interviews ) with people who are experts in the forms of harm you have uncovered. In order to gain a better understanding of the subject and be better positioned to avoid traumatizing survivors, you should first interview those who work in the area of your research. If you’ve uncovered possible domestic violence issues, for example, the experts you’ll want to speak with are survivors themselves, as well as workers at domestic violence hotlines, shelters, other related nonprofits, and lawyers.

    It is important to pay people for their knowledge and lived experiences, especially when interviewing survivors of any kind of trauma. Don’t ask survivors to share their trauma for free, as this is exploitative. You should always make the offer in the initial ask, even though some survivors may not want to be paid. An alternative to payment is to donate to an organization working against the type of violence that the interviewee experienced. In Chapter 6, we’ll discuss more about how to appropriately interview survivors.

    Specific research: Abusers

    It’s unlikely that safety-focused projects will be able to interview self-declared abusers or those who have broken laws in areas like hacking. Don’t make this a goal, rather, try to get at this angle in your general research. Attempt to understand how abusers or bad actors use technology to harm others, how they use it against others, and how they justify or explain the abuse.

    Step 2: Create archetypes

    Use your research after you’ve finished conducting it to create abuser and survivor archetypes. Archetypes are not personas, as they’re not based on real people that you interviewed and surveyed. They are based on your investigation into potential safety problems, much like when we design for accessibility: we don’t need to have identified any blind or deaf people in our interview pool to come up with a design that is representative of them. Instead, we base those designs on existing research into what this group needs. While archetypes are more generalized and typically represent real users, they typically include a lot of details.

    The abuser archetype is someone who will look at the product as a tool to perform harm ( Fig 5.2 ). They may be attempting to overthrow, monitor, abuse, or torment someone they know personally by using surveillance or anonymous harassment.

    Someone who is being abused with the product is the survivor archetype. There are various situations to consider in terms of the archetype’s understanding of the abuse and how to put an end to it: Do they need proof of abuse they already suspect is happening, or are they unaware they’ve been targeted in the first place and need to be alerted ( Fig 5.3 )?

    To capture a range of experiences, you might want to create several survivor archetypes. They may know that the abuse is happening but not be able to stop it, like when an abuser locks them out of IoT devices, or they know it’s happening but don’t know how, such as when a stalker keeps figuring out their location ( Fig 5.4). Include as many of these scenarios in your survivor archetype as you need to. You’ll use these later on when you design solutions to help your survivor archetypes achieve their goals of preventing and ending abuse.

    It may be useful for you to create persona-like artifacts for your archetypes, such as the three examples shown. Focus on their objectives rather than the demographic details we frequently see in personas. The goals of the abuser will be to carry out the specific abuse you’ve identified, while the goals of the survivor will be to prevent abuse, understand that abuse is happening, make ongoing abuse stop, or regain control over the technology that’s being used for abuse. Later, you’ll think about how to help the survivor’s goals and the abuser’s goals.

    And while the “abuser/survivor” model fits most cases, it doesn’t fit all, so modify it as you need to. For instance, if you found a security flaw, such as the ability for someone to talk to children through a home camera system, the malicious hacker would receive the abuser archetype, and the child’s parents would receive the survivor archetype.

    Step 3: Brainstorm problems

    Brainstorm novel abuse cases and safety issues after creating archetypes. ” Novel” means things not found in your research, you’re trying to identify completely new safety issues that are unique to your product or service. The purpose of this step is to exhaust every effort put forth to find potential problems that your product might cause. You aren’t worrying about how to prevent the harm yet—that comes in the next step.

    What other uses could your product be used for besides what you’ve already identified in your research? I recommend setting aside at least a few hours with your team for this process.

    Try conducting a Black Mirror brainstorming session if you want to start somewhere. This exercise is based on the show Black Mirror, which features stories about the dark possibilities of technology. Try to figure out the most outrageous, horrible, and out-of-control ways your product could harm you in a show episode. When I’ve led Black Mirror brainstorms, participants usually end up having a good deal of fun ( which I think is great—it’s okay to have fun when designing for safety! ). I suggest that you time-box a Black Mirror brainstorm for the first half an hour, then dial it back, and then consider more realistic ways of harm the remaining half.

    After you’ve identified as many opportunities for abuse as possible, you may still not feel confident that you’ve uncovered every potential form of harm. When you’re doing this kind of work, a healthy amount of anxiety is normal. It’s common for teams designing for safety to worry,” Have we really identified every possible harm? What if something is missing, then? If you’ve spent at least four hours coming up with ways your product could be used for harm and have run out of ideas, go to the next step.

    It’s impossible to say 100 % assurance that you’ve done everything right, but instead of aiming for 100 % assurance, acknowledge that you’ve taken this step and have done everything you can, and pledge to keep putting safety first in the future. Once your product is released, your users may identify new issues that you missed, aim to receive that feedback graciously and course-correct quickly.

    Step 4: Create solutions

    At this point, you should have a list of ways your product can be used for harm as well as survivor and abuser archetypes describing opposing user goals. Next, it’s time to figure out how to design in accordance with the objectives of the abuser and the survivors ‘ objectives. This step is a good one to insert alongside existing parts of your design process where you’re proposing solutions for the various problems your research uncovered.

    Questions to ask yourself include: What are some ways to protect yourself and support your archetypes?

    • Can you design your product in such a way that the identified harm cannot happen in the first place? If not, what barriers can you place to stop the harm from occurring?
    • How can you make the victim aware that abuse is happening through your product?
    • How can you assist the victim in understanding what they need to do to stop the problem?
    • Can you identify any types of user activity that would indicate some form of harm or abuse? Could your product provide support for the user?

    In some products, it’s possible to proactively recognize that harm is happening. For instance, a pregnancy app might allow users to report being assault victims, which could result in an offer to receive resources from local and national organizations. This sort of proactiveness is not always possible, but it’s worth taking a half hour to discuss if any type of user activity would indicate some form of harm or abuse, and how your product could assist the user in receiving help in a safe manner.

    Nevertheless, be careful: you don’t want to do anything that could harm a user if their devices are being watched. If you do offer some kind of proactive help, always make it voluntary, and think through other safety issues, such as the need to keep the user in-app in case an abuser is checking their search history. In the next chapter, we’ll walk through a good illustration of this.

    Step 5: Test for safety

    The final step is to evaluate your prototypes from the perspective of your archetypes, who wants to harm the product and the victim of the harm who needs to regain control over the technology. Just like any other kind of product testing, at this point you’ll aim to rigorously test out your safety solutions so that you can identify gaps and correct them, validate that your designs will help keep your users safe, and feel more confident releasing your product into the world.

    Safety testing should be performed in addition to usability testing. If you’re at a company that doesn’t do usability testing, you might be able to use safety testing to cleverly perform both, a user who goes through your design attempting to weaponize the product against someone else can also be encouraged to point out interactions or other elements of the design that don’t make sense to them.

    If your final prototype or the finished product has already been released, you’ll want to conduct safety testing on both. There’s nothing wrong with testing an existing product that wasn’t designed with safety goals in mind from the onset —”retrofitting” it for safety is a good thing to do.

    Keep in mind that testing for safety involves both an abuser and a survivor’s perspective, even though it might not make sense for you to do both. Alternatively, if you made multiple survivor archetypes to capture multiple scenarios, you’ll want to test from the perspective of each one.

    You as the designer are most likely too closely connected to the product and its design at this point, just like other types of usability testing, and you know the product too well. Instead of doing it yourself, set up testing as you would with other usability testing: find someone who is not familiar with the product and its design, set the scene, give them a task, encourage them to think out loud, and observe how they attempt to complete it.

    Abuse testing

    The goal of this testing is to understand how easy it is for someone to weaponize your product for harm. You want to make it impossible, or at least difficult for them to accomplish their goal, unlike with usability testing. Reference the goals in the abuser archetype you created earlier, and use your product in an attempt to achieve them.

    For instance, we can imagine that the abuser archetype would have the goal of discovering where his ex-girlfriend currently lives in a fitness app with GPS-enabled location features. With this goal in mind, you’d try everything possible to figure out the location of another user who has their privacy settings enabled. You might try to follow her running routes, view any information she has on her profile, view any information she has made private, and check out the profiles of any other users who are somehow connected to her account, such as her followers.

    If by the end of this you’ve managed to uncover some of her location data, despite her having set her profile to private, you know now that your product enables stalking. Reverting to step 4 and figuring out how to stop this from occurring is your next step. You may need to repeat the process of designing solutions and testing them more than once.

    testing for a Survivor

    testing for a Survivor involves identifying how to give information and power to the survivor. It might not always make sense based on the product or context. Thwarting the attempt of an abuser archetype to stalk someone also satisfies the goal of the survivor archetype to not be stalked, so separate testing wouldn’t be needed from the survivor’s perspective.

    There are times, however, when it makes sense. For example, for a smart thermostat, a survivor archetype’s goals would be to understand who or what is making the temperature change when they aren’t doing it themselves. If you couldn’t find the information in step 4, you would need to do it again by looking for the thermostat’s history log and looking for usernames, actions, and times.

    Another goal might be regaining control of the thermostat once the survivor realizes the abuser is remotely changing its settings. Your test would involve trying to figure out how to do this: are there instructions on how to remove and change the password, and are they simple to locate? This might again reveal that more work is needed to make it clear to the user how they can regain control of the device or account.

    stress testing

    To make your product more inclusive and compassionate, consider adding stress testing. Eric Meyer and Sara Wachter-Boettcher’s Design for Real Life inspired this idea. The authors pointed out that personas typically center people who are having a good day—but real users are often anxious, stressed out, having a bad day, or even experiencing tragedy. These are known as” stress cases,” and testing your products for users in stress-case scenarios can reveal areas where your design lacks compassion. Design for Real Life has more details about what it looks like to incorporate stress cases into your design as well as many other great tactics for compassionate design.