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  • From Beta to Bedrock: Build Products that Stick.

    From Beta to Bedrock: Build Products that Stick.

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

    Financial goods, which is the industry in which I work, are no exception. It’s tempting to put as many features at the ceiling as possible and expect something sticks because people’s true, hard-earned money is on the line, user expectations are high, and crowded market. However, this strategy will lead to disaster. Why, please:

    The perils of feature-first creation

    It’s easy to get swept up in the enthusiasm of developing innovative features when you start developing a financial product from scratch or are migrating existing client journeys from papers or telephony channels to online bank or mobile applications. They may think,” If I may only add one more thing that solves this particular person problem, they’ll enjoy me”! What happens, however, when you eventually encounter a roadblock caused by your safety team? not like it? When a battle-tested film isn’t as well-known as you anticipated or when it fails due to unforeseen difficulty?

    The concept of Minimum Viable Product ( MVP ) comes into play in this context. Even if Jason Fried doesn’t usually refer to this concept, his book Getting Real and his audio Rework frequently discuss it. An MVP is a product that offers only enough value to your users to keep them interested, but not so much that it becomes difficult to keep up. Although it seems like an easy idea, it requires a razor-sharp eye, a ruthless edge, and the courage to stand up for your position because it is easy to fall for” the Columbo Effect” when there is always” just one more thing …” to add.

    The issue with most fund apps is that they frequently turn out to be reflections of the company’s internal politics rather than an knowledge created specifically for the customer. This implies that the priority is to provide as some features and functionalities as possible to satisfy the requirements and desires of competing internal departments as opposed to a distinct value statement that is focused on what people in the real world actually want. These products may therefore quickly become a muddled mess of confusing, related, and finally unlovable client experiences—a feature salad, you might say.

    The significance of the foundation

    What is a better strategy, then? How may we create products that are user-friendly, firm, and, most importantly, stick?

    The concept of “bedrock” comes into play in this context. The mainstay of your product is really important to consumers, and Bedrock is that. It serves as the foundation for the fundamental building block that creates benefit and maintains relevance over time.

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

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

    But how do you reach the foundation? By focusing on the” MVP” strategy, giving ease precedence, and working incrementally toward a clear value proposition. This means avoiding pointless extras and putting your customers first, making the most of them.

    It also requires having some fortitude, as your coworkers might not always agree with you immediately. And dubiously, occasionally it can even suggest making it clear to customers that you won’t be coming to their house and making their breakfast. Sometimes you need to use the sporadic “opinionated user interface design” ( i .e. clunky workaround for edge cases ) to test a concept or to give yourself some more time to work on something more crucial.

    Functional methods for creating reliable economic products

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

    1. What trouble are you trying to solve first and foremost with a distinct “why”? For whom? Make sure your goal is unmistakable before beginning any work. Make certain it also aligns with the goals of your business.
    2. Avoid the temptation to put too many characteristics at once by focusing on one, key feature and focusing on getting that right before moving on to something else. Choose one that actually adds benefit, and work from that.
    3. Give clarity the precedence it deserves over difficulty when it comes to financial products. Eliminate unwanted details and concentrate solely on what matters most.
    4. Accept constant iteration as Bedrock is a powerful process rather than a fixed destination. Continuously collect customer opinions, make improvements to your product, and move toward that foundation.
    5. Stop, glance, and listen: You must test your product frequently in the field rather than just as part of the shipping process. Use it for yourself. Move the A/B testing. User comments on Gear. Speak to users and make adjustments accordingly.

    The foundational dilemma

    This is an intriguing conundrum: sacrificing some of the potential for short-term progress in favor of long-term stability is at play. But the reward is worthwhile because products created with a concentrate on core will outlive and outperform their competitors and provide people with ongoing value over time.

    How do you begin your journey to rock, then? Consider it gradually. Start by identifying the underlying factors that your customers actually care about. Concentrate on developing and improving a second, potent have that delivers real value. And most importantly, check constantly because, whatever you think, Abraham Lincoln, Alan Kay, or Peter Drucker are all in the same boat! The best way to foretell the future is to make it, he said.

  • An Holistic Framework for Shared Design Leadership

    An Holistic Framework for Shared Design Leadership

    Picture this: Two people are having what appears to be the same talk about the same pattern issue in a conference room at your technology company. One is talking about whether the staff has the right abilities to handle it. The various examines whether the answer really addresses the user’s issue. Similar place, the same issue, and entirely different perspectives.

    This is the lovely, sometimes messy fact of having both a Design Manager and a Guide Designer on the same group. And you’re asking the right question if you’re wondering how to make this job without creating confusion, coincide, or the feared” to some cooks” situation.

    The conventional solution has been to create clear traces on an organizational chart. The Design Manager handles persons, the Lead Designer handles art. Problem solved, is that straight? Except for dream, fresh org charts. In fact, both roles care greatly about crew health, style quality, and shipping great work.

    When you start thinking of your style organization as a style organism, the magic happens when you embrace the coincide rather than fighting it.

    The biology of a good design team

    Here’s what I’ve learned from years of being on both sides of this formula: consider of your design team as a living organism. The layout manager is guided by the group dynamics, emotional security, and career growth. The Lead Designer is more focused on the body ( the user-generated design standards, the handcrafted skills ), than the hands-on work that is done.

    But just like mind and body aren’t totally separate systems, but, also, do these tasks overlap in significant ways. Without working in harmony with one person, you can’t have a healthier person. The technique is to recognize those overlaps and how to manage them gently.

    When we look at how good team really function, three critical devices emerge. Each requires the collaboration of both jobs, but one must assume the lead role in maintaining that system sturdy.

    Folks & Psychology: The Nervous System

    Major custodian: Design Manager
    Supporting duties: Guide Custom

    Signs, comments, emotional health are all important components of the nervous program. When this technique is good, information flows easily, people feel safe to take risks, and the staff may react quickly to new problems.

    The main caregiver here is the Design Manager. They are keeping track of the team’s emotional state, making sure feedback loops are healthier, and creating the environment for growth. They’re hosting job meetings, managing task, and making sure no single burns out.

    However, the Lead Designer has a vital supporting role. They’re offering visual feedback on build development needs, identifying stagnant design skills in someone, and pointing out potential growth opportunities that the Design Manager might overlook.

    Design Manager tends to:

    • discussions about careers and career development
    • internal security and dynamics of the team
    • Job management and resource planning
    • Performance evaluations and opinions mechanisms
    • Providing opportunities for learning

    Direct Custom supports by:

    • Providing craft-specific coaching for crew members
    • identifying opportunities for growth and style talent gaps
    • Giving design mentoring and assistance
    • indicating when a crew is prepared for more challenging tasks.

    The Muscular System: Design & Execution

    Major custodian: Lead Designer
    Design Manager supporting part

    Strength, cooperation, and skill development are the hallmarks of the skeletal system. When this technique is healthy, the team can do complicated design work with precision, maintain regular quality, and adjust their craft to fresh challenges.

    The Lead Designer is in charge of everything here. They oversee the creation of quality standards, provide craft instruction, and set design standards. They’re the ones who can tell you if a design decision is sound or if we’re solving the right problem.

    However, a significant supporting role is played by the Design Manager. They are making sure the team has the resources and support they need to perform their best work, such as ensuring that an athlete receives proper nutrition and recovery time.

    Lead Designer tends to:

    • Definition of system usage and design standards
    • Feedback on design work that meets the required standards
    • Experience direction for the product
    • Design choices and product-wide alignment are at stake.
    • advancement of craft and innovation

    Design Manager supports by:

    • ensuring that all members of the team are aware of and adopting design standards
    • Confirming that the right course of action is being taken
    • Supporting practices and systems that scale without bottlenecking
    • facilitating team-wide design alignment
    • Providing resources and removing obstacles for outstanding craft work

    The Circulatory System: Strategy &amp, Flow

    Shared caretakers: Lead Designer and Design Manager, respectively.

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

    True partnership occurs in this context. Although both roles are responsible for maintaining the circulation, they both have unique perspectives to offer.

    Lead Designer contributes:

    • The product fulfills the user’s needs.
    • overall experience and product quality
    • Strategic design initiatives
    • User needs based on research for each initiative

    Design Manager contributes:

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

    Both parties work together on:

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

    Keeping the Organism Healthy

    Understanding that all three systems must work together is the key to making this partnership sing. A team with excellent craftmanship but poor psychological protection will eventually burn out. A team with great culture but weak craft execution will ship mediocre work. A team that has both but poor strategic planning will concentrate on the wrong things.

    Be Specific About the System You’re Defending.

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

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

    Create Positive Feedback Loops

    The partnerships that I’ve seen have the most effective partnerships that create clear feedback loops between the systems:

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

    The nervous system receives the message” The team’s craft skills are progressing more quickly than their project complexity.”

    We’re seeing patterns in team health and craft development that suggest we need to adjust our strategic priorities, both systems say to the circulatory system.

    Handle Handoffs Gracefully

    When something switches from one system to another, this partnership’s pivotal moment is. This might occur when a team’s ( nervous system ) needs to be exposed to a design standard ( muscular system ), or when a strategic initiative ( circulatory system ) needs specific craft execution ( muscular system ).

    Make these transitions explicit. I’ve defined the new component requirements. Can you give me some ideas for how to get the team up to speed? or” We’ve agreed on this strategic direction. From here, I’ll concentrate on the specific user experience approach.

    Stay original and avoid being a tourist.

    The Design Manager who never thinks about craft, or the Lead Designer who never considers team dynamics, is like a doctor who only looks at one body system. Even when they are not the primary caretaker, great design leadership requires both people to be as concerned with the entire organism.

    Rather than making assumptions, one must ask questions. ” What do you think about the team’s craft development in this area”? or” How do you think this is affecting team morale and workload”? keeps both viewpoints at the forefront of every choice.

    When the Organism Gets Sick

    This partnership has the potential to go wrong, even with clear roles. Here are the most typical failure modes I’ve seen:

    System Isolation

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

    The signs: Mixed messages are sent to team members, poor morale is attained, and there are negative things.

    Reconnect with other people and discuss shared outcomes. What are you both trying to achieve? Great design work typically arrives on time from a strong team. Discover how both systems accomplish that goal.

    Poor Circulation

    There is no clear strategic direction, shifting priorities, or accepting responsibility for the flow of information.

    The symptoms are: Team members are unsure of their priorities, work is duplicated or dropped, and deadlines are missed.

    The treatment: Explicitly assign responsibility for circulation. Who is communicating with whom? When? What’s the feedback loop?

    Autoimmune Response

    The other person’s expertise makes them feel threatened. The Design Manager thinks the Lead Designer is undermining their authority. The Design Manager is allegedly misunderstanding the craft, according to the lead designer.

    The signs: defensive behavior, territorial disputes, team members stifled in the middle.

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

    The Payoff

    Yes, this model calls for more interaction. Yes, both parties must be able to assume full responsibility for team health. But the payoff is worth it: better decisions, stronger teams, and design work that’s both excellent and sustainable.

    When both roles are well-balanced and functioning well together, you get the best of both worlds: strong people leadership and deep craft knowledge. When one person is overly sick, on vacation, or overworked, the other can help keep the team’s health. When a decision requires both the people perspective and the craft perspective, you’ve got both right there in the room.

    Most importantly, the framework is flexible. You can use the same system thinking to new challenges as your team grows. Need to launch a design system? Both the muscular system ( standards and implementation ), the nervous system (team adoption and change management ), and both have a tendency to circulate ( communication and stakeholder alignment ).

    The End result

    The relationship between a Design Manager and Lead Designer isn’t about dividing territories. Multipliering impact is what is concerned with. Magic occurs when both roles realize they are tending to various aspects of the same healthy organism.

    The mind and body work together. The team receives both the required craft excellence and strategic thinking. And most importantly, the work that is distributed to users benefits both sides.

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

  • Building a Business That Runs Without You

    Building a Business That Runs Without You

    Read more about John Jantsch’s book, Building a Business That Goes Without You, at Duct Tape Marketing.

    Listen to the full season: Overview On this season of the Duct Tape Marketing Podcast, John Jantsch conversations Dr. Sabrina Starling, chairman of Tap the Potential, business development expert, and creator of the Four Week Vacation ™ design. … [Sabrina shares her hard-won lessons about succession planning, letting go, and creating a truly successful business. ]

    Read more about John Jantsch’s book, Building a Business That Goes Without You, at Duct Tape Marketing.

    Talk to the full season:

    Sabrina StarlingOverview

    John Jantsch conversations Dr. Sabrina Starling, the leader of Tap the Potential, an expert on business growth, and the father of the Four Week Vacation Podcast on this season of the Duct Tape Marketing Podcast.™type. In addition to learning how to let go, inheritance planning, and building a business that can function without you, Sabrina stock her hard-won training. After a specific horror forced her to move away for six months, she discovered the systems, mindsets, and command growth needed to create a company that’s responsible, successful, and supports the lives of owners and teams everywhere. If you want your business to thrive—whether you’re present or not—this episode is packed with practical, people-focused advice.

    About the Visiting Person

    Dr. Sabrina Starling is a business growth strategist, founder of Tap the Potential, and a sought-after coach, speaker, and author. known for her signature Four Week Vacation and her expertise in people-focused systems™approach, she helps entrepreneurs build companies that support—not consume—their lives. Sabrina’s work centers on leadership, succession planning, and sustainable, joyful business growth.

      Resources: tapthepotential.com & website &

    • Four Week Vacation Model: tapthepotential.com/4weekvacation
    • Download the$ 10, 000 Activities Chart at tapthepotential.com/$ 10, 000.
    • Podcast: Profit by Design

    Actionable Insights

    • Mindset is 98 % of the solution: the majority of business bottlenecks stem from owners ‘ beliefs about what’s possible and what they “have” to do themselves.
    • Letting go can be forced by life—don’t wait for a crisis to test your business’s sustainability, plan, delegate, and build systems now.
    • True succession planning involves protecting your team and your company’s legacy, not just who “takes over” someday.
    • Simple, recurring reviews ( every 1–2 years ) are better than overwhelming, one-time estate planning attempts, aim for progress, not perfection.
    • Don’t assume family will want to take over—groom and empower team leaders and create buy-in/ownership options thoughtfully.
    • Use the$ 10, 000 Activity Chart to determine what you should only do and give your team the authority to handle the rest. Delegation is a growth engine.
    • A Four Week Vacation is a test—and a tool—for building a business that lasts. Start with small steps, unplug for a day, and then build up.
    • When you delegate, let your team own the outcome—don’t take the task back or undermine their growth.

    Great Moments ( with Timestamps )

    • The Real Bottleneck: Mindset, Not Systems 00: 39
      Why” I can’t” thinking is the real block to business growth.
    • What Happens When You Truly Step Away? 02: 57
      How a personal tragedy revealed the power of systems and team leadership.
    • 05: 57 – Refocusing on Succession and Legacy
      estate planning, sustainability, and the effects of loss are all examined in a new way.
    • 09: 12 – The Team-First Succession Model
      How to keep your family safe and secure your people and business, even if they don’t want to.
    • 14: 33 – Leadership Development, Not Just” Replacement”
      Why you must nurture leaders and build systems for a company to outlast its founder.
    • 17: 59 – The Four Week Vacation as a Reality Test
      Why you should step away before you feel ready—and what it reveals about your business.
    • The$ 10, 000 Activity Chart is 18: 39.
      A practical tool for owners and leaders to delegate, focus, and grow.
    • 20: 56 – Growth for A Players
      Why is it important to give your team the power to take control of projects for their growth and retention.

    Insights

    ” Mindset is 98 % of the issue—most bottlenecks start with owners ‘ beliefs, not their systems”.

    In the end, success planning involves safeguarding your people’s and your company’s capacity to serve, not just those who assume the reins.

    ” Don’t wait for a crisis: test your systems and your team’s leadership now, not someday”.

    ” The Four Week Vacation is more than a dream—it’s a stress test for sustainability and a path to real freedom”.

    ” Empower your team, delegate for growth, and let go; your life and business will thank you.”

     

    Sponsored By:

    Morningmate is the all-in-one work management platform for client-facing teams.

    Manage projects, chat, and files in one place—simple to use and scalable as you grow.

    Get a 30-day free trial today

    John Jantsch ( 00: 01.304 )

    Hello and welcome to another episode of the Duct Tape Marketing Podcast. This is John Jance and my guest today is Dr. Sabrina Starling. She is the founder of TAP, a business development and leadership development company that specializes in helping entrepreneurs create profitable, sustainable businesses that support both their lives and those of their teams. Known for her work on the four week vacation model and her expertise in people-focused business systems, Dr. Sabrina is a sought after coach and speaker.

    for owners who want to take their business from a standstill. So Sabrina, welcome back to the show.

    Dr. Sabrina Starling ( 00: 36.692 )

    Thank you, John. I’m delighted to be here.

    John Jantsch ( 00: 39.392 )

    So you work, your work primarily centers around helping business owners get out of the weeds, struggle to let go, things of that nature. Do you find, you know, I know people probably come to you and say like, what’s the hack? What is the system, exactly? What’s the process I need to put in place? Do you believe that the first problem is actually one of mentality?

    Dr. Sabrina Starling ( 00: 59.124 )

    Mindset is 98 % of the issue, if not 100 % of the issue. And I am aware for myself that there are so many ways that I have over the years held myself back, held the company back, and gotten in my own way, just from the statement,” I can’t do that. That runs through my head. On podcasts like Duck Tank Marketing, you know, we get tons of great advice, ideas, and tactics. And then,

    For whatever reason, we’ll say, well, I can’t. And I’ve discovered that we can accomplish incredible things, and that we really need to change the phrase “can’t,” “needs,” “needs,”” support do I need, “need,” “nowhere can I learn,” and instead of asking those open-ended questions to open up possibilities.

    John Jantsch ( 01: 55.278 )

    Yes, I am aware. You know, I’ve been doing this for a long time and I do know that, you know, one of the things that creeps up all the time for me even this is like, well, I could do it faster myself is one. The other one sometimes is, but that’s kind of where I get like my joy or happiness, you know, even if that’s like not where I need to be. Right. mean, so sometimes it’s, I mean,

    Dr. Sabrina Starling ( 12:56 )

    yeah.

    John Jantsch ( 02: 19.906 )

    Do you ever have sessions where you’re like got the couch out and it’s like, let’s visit your childhood. What are some of the causes of these exist, for example, are there?

    Dr. Sabrina Starling ( 02: 28.276 )

    You know, I don’t find it very productive to go back in time because we don’t have the time to rehash and discover where all these issues come from. What I have found is that when our back is up against the wall, we can do things we didn’t think were possible. And especially when we have these things in our businesses that we hang on to because they’re our fun.

    John Jantsch ( 02: 31.118 )

    Yeah, yeah, yeah, yeah.

    John Jantsch ( 02: 40.066 )

    That’s the doctor part though, right? So I just assumed.

    Dr. Sabrina Starling ( 02: 57.462 )

    our joy. The Profit by Design podcast is a prime example of that, in my opinion. I love hosting the podcast. I love sharing and teaching. I enjoy conducting guest interviews. And then in the summer of 2024, right before I was going to take a four week vacation, fully unplugged, it was the week that I was just wrapping things up.

    Ned, my husband, passed away suddenly and unfortunately. The trauma around that, can’t even, I don’t have enough background as a psychologist even to go into the level of what that did to me. All I was able to do is call one of my team members and say, don’t worry about the business. We’ll figure it out, but I’m unable to be right now. And

    That was wonderful because a member of my family had already informed the company. So they already knew, thank goodness. And my team member said, Dr. Shabrita, don’t worry, we’ve got this. You simply go ahead and take whatever amount of time you require. I ended up being completely out of the business, fully out, like I couldn’t track anything for six weeks.

    And that meant that I was completely removed from the podcast. And I was so relieved that it was. My team member, Melissa, stepped up and started leading the podcast. you know what? We had this whole transition plan in place where she was going to take it over and it was going to take a year and a half for us to get there. She stepped up and took the switch after it flipped over night.

    And she’s done amazing things with it and our listenership has grown. We’re getting incredible feedback on it. So, back to the mindset issue I had created, which is that this is going to be challenging, in my head. And Melissa had created stuff in her head about the hosting the podcast and all the mental space that would be involved for her and why it would be hard. And suddenly, we didn’t have an option. She just had to run with it.

    Dr. Sabrina Starling ( 05: 21.526 )

    and enable it to work.

    John Jantsch ( 05: 24.238 )

    Well, and I am aware that you have somewhat shifted your focus from the traditional definition of sustainability. I think it was always about getting out of the weeds, but I think maybe it’s taken a new level of, of, of legacy and impact perhaps. and you, you, you did tell, you did share the story about your, your husband’s death off air. I can’t imagine, so let’s talk a little bit about, you know,

    Dr. Sabrina Starling ( 05: 32.297 )

    Yes.

    Dr. Sabrina Starling ( 05: 36.649 )

    Absolutely.

    John Jantsch ( 05: 53.954 )

    that kind of refocus or shifted focus, I should say.

    Dr. Sabrina Starling ( 56 ) 57.63

    So the shift in focus that it created for me, he and I were in the midst of estate planning. You don’t anticipate that life will end at this point in, at this stage of life because we’re young. And so we had postponed our estate planning for two years for various reasons. You know, we would get started and stop. No, fun is not one of the main causes.

    John Jantsch ( 06: 12.163 )

    me.

    John Jantsch ( 06: 19.722 )

    It’s not very fun is one of the main reasons.

    Dr. Sabrina Starling ( 06: 24.842 )

    However, one of the things I became acutely aware of was that there were so many things to figure out that it felt difficult to put my finger on. And so we kept postponing decisions, like we would kick that can down the road. Next month, we’ll discuss that. We got too much going on this month to deal with this issue. And now that I’m on the other end of it, of feeling the pain of all of our decisions that we didn’t make,

    John Jantsch ( 06: 34.732 )

    Mm-hmm.

    Dr. Sabrina Starling ( 06: 54.384 )

    and going through all the complexity that resulted from our making these choices. It’s made me highly aware of all the people in my life that I don’t want to put through that, including the business. And so I’ve really started looking at the business from the lens of if something happened to me today, what’s going to happen to the business and most importantly, what’s going to happen to my team members who put

    everything they put into working for us and providing our clients. I want them to know they still have a job, a paycheck, and that their opportunities continue to exist regardless of if I’m here or not. And because I’m aware that our clients will be looked after, I’m confident in their well-being. So I’m looking at it from the perspective of what do I need to put in place to make sure that my team is okay. And then I’m looking at it from the perspective of

    I’m not planning my estate planning until 10 years from now, because you know, I’m not sure what will happen. I’m doing it based on here’s where we are right now. And if something were to happen to me this year or next year, I’d get a reminder in my scheduling system every year to get me to review my estate planning and the succession planning at Tap the Potential and update it. And that will be how I…

    handle things just from a one to two year perspective rather than trying to figure it all out because that trying to figure it all out is too much. And neither of my children, age 19, nor my daughter, age 11, have any interest in owning or running. And so

    What does that mean for my team and the legacy that Tap the Potential has left behind? Tap the Potential has been in existence for 20 years. We support business owners in taking their lives back from our business. What we do is driven by our passion. I don’t want that to stop if I stop for some reason, right? How do I make sure this operation can continue, then? Well, everything that I’ve been teaching

    Dr. Sabrina Starling ( 09: 12.449 )

    When it comes to succession planning, how do you create a sustainable business that is profitable and can run without you? Because we’re looking at how does the leadership team run the business so that my daughters could continue to own it. And we can give team members the chance to purchase it if they so choose in the future. But even if they didn’t.

    there could still be, it can still be owned by my daughters, but the business can continue to run with the leadership team and the systems that are in place.

    John Jantsch ( 09: 51. 182 )

    I’m curious, this kind of launched you on a little bit of understanding more legal structures and financial structures and things that maybe somebody who does exit planning for a living would do?

    Dr. Sabrina Starling ( 10: 03.497 )

    Yes, so absolutely. It’s also led me to look at what is the most simple solution to put in place, because there’s a lot of legal complexity that could get added into this and financial complexity that a lot of small businesses just aren’t in a position to take advantage of and it wouldn’t serve them. We are aware that this business can run successfully.

    with the leadership team running it. We have the processes, and the systems have been used. So what’s really the next level to get the business where if I’m gone and I’m completely out of the picture and a 19 year old and an 11 year old are owning this business, obviously with a trustee, somebody who is guiding them in the background, but ultimately they’re the owners.

    What needs to happen? My daughters need to know the Tap the Potential team first, right? And my team needs to know them. They must understand my intentions. All of that needs to be documented. The operating agreements need to be updated at Tap the Potential. As we speak, my attorney is currently examining that. And so these are things that

    John Jantsch ( 11: 08. 973 )

    Mm.

    Dr. Sabrina Starling ( 11: 29.335 )

    can be done in any small business from the perspective of, if you, John, you have family who want to be a part of duct tape marketing and continue that legacy, but not every small business owner has that. And so it is.

    John Jantsch ( 11: 44.974 )

    Yes, but even up, as I’ll put it, it wasn’t anything that was planned or planned, I suppose. You know, she came back from backpacking, you know, after college and said, I need you, do you have like some work I could do? You know, that was literally, you know, how she got into business, you know, 15 years later, 13 years later, you know, she’s the CEO. However, I’ll say that our actions were not made with any intention. It’s been, hey, I know you, you know, me, we trust each other, we’ll make it work. And it does.

    But I wouldn’t suggest that that’s probably the path for everyone, is it?

    Dr. Sabrina Starling ( 12: 16.535 )

    If there is a chance and a possibility, that is wonderful. But we have so many small business owners at Tap the Potential where the business owners come to us because they’re frazzled, they’re burnt out. We help them succeed in making that company profitable, and it cannot function without them. And a lot of times they’ll say, now that it’s running so smoothly, I don’t really want to sell it. I’d like to own it. I enjoy it once more. It’s fun.

    John Jantsch ( 12: 29.388 )

    Right.

    John Jantsch ( 12: 39.918 )

    I like it again.

    Dr. Sabrina Starling ( 12: 45. 585 )

    And so great. And that’s where I am, really because when I returned, I realized, you see, I can’t run a business. don’t want, I need to sell this. I need to get out because my head is just not here. Well, first of all, you don’t make any quick decisions when you’re grieving. So fortunately I did not act on that. I simply permitted that sensation to exist.

    John Jantsch ( 12: 54.208 )

    Mmm-hmm. …

    Dr. Sabrina Starling ( 13: 08.311 )

    And now that I’ve stepped back in and it’s a little past a year since I reflect on it, I’m looking at, okay, things are running really smoothly. I can do the parts that I love, which is coming on podcasts and the visibility sharing our message. And one of the things that we wanna be so intentional about it to have the potential is sharing our learning and the journey that we are on. So that’s why we’re talking about this in full confidence.

    But I’ve seen so many business owners who have family members, adult children, who are maybe in the corporate world and they’re hoping to somehow lure those kids to coming in and taking a leadership role in the business. And for a reason or another, it hardly ever works out. The kids don’t have necessarily the same passion that we have, we who founded the business and started it.

    John Jantsch ( 13: 46.839 )

    Mmm-hmm. Mm-hmm.

    Dr. Sabrina Starling ( 14. 42-428 )

    But there are people on our teams who have that passion, who own our immutable laws, who bought into our vision, who help us grow that vision. And it’s a very organic process. And so really looking at how do we allow what’s already very profitable to grow without actually stifling it by saying,” I want to continue own it.”

    John Jantsch ( 14: 08.364 )

    Yes.

    Dr. Sabrina Starling ( 14: 33.876 )

    and be in it, there’s a difference, then that’s transition that I’m in. Now I’m working about 10 hours a week at the most, a lot of weeks it’s less than that, and really looking at how do I serve the business, but most importantly making sure that anything that I’m doing can run, can continue without me. Therefore, the tools are in place to make it happen.

    John Jantsch ( 15: 00.301 )

    So.

    I’m really hearing you say that often, and that’s true, that I want my kids to take control of the dream. But you know, really what the typical business really just needs to start actually grooming that was probably not their best word, but grooming leadership folks almost from the beginning, right? I mean, start identifying them with the idea that that however many years from now, you you’re going to need leaders if you grow, but also that’s your best bet for transitioning.

    Dr. Sabrina Starling ( 15: 31. 703 )

    Yes, and it may not be that the leaders buy the business. We frequently yell business owners off the rails. We just had a conversation in one of our small groups this past week where a business owner wanted to give ownership percentage to a member of the leadership team to kind of create a safety net there that that person is going to then take over the business and become a co-owner.

    John Jantsch ( 15: 54.646 )

    Mm-hmm.

    Dr. Sabrina Starling ( 16: 00. 183 )

    A lot of times we’ve seen that go awry over the years too. And so we need to keep in mind that we, the business owners, invested a lot of effort and labor in creating these businesses. And if we give someone ownership percentage and yes, they may be an incredible leader in the company and they may be doing, you know, they may have great strategic vision and being a huge support. But if we’re going to just give the ownership

    What exactly are we doing to that A player? So right, one of the things psychologically that we have to be mindful of is that A players are intrinsically motivated. We show up and put in a lot of effort because it counts. And so when we start giving bonuses or incentives financially to reward an A player who works hard, that takes away that intrinsic motivation. It can interfere.

    John Jantsch ( 16: 57. 29. 9 )

    Hmm.

    Dr. Sabrina Starling ( 16: 58.432 )

    with it. And so I’m not saying don’t ever give ownership percentage to leadership team. That’s not where I’m saying I’m saying be very thoughtful and make sure there is a clear plan and way that that is going to be done. And I would really encourage people to consider whether they could become members of the leadership team to invest in the business over time, in the same way that you would do the same for buying stock in another company on the stock market.

    those opportunities versus just here you go because you’ve been a wonderful team member.

    John Jantsch ( 17: 32.238 )

    Yeah. Yes. Yes. So in, in light of everything you’ve shared today, the four week vacation almost, almost feels trite. You know, because I mean, I mean, I need to take a four-week vacation because I’m sure people are hearing their story. Cause who knows what’s going to happen tomorrow. Right. And I am aware that’s something you’re known for. In a way.

    Dr. Sabrina Starling ( 17: 40. 376 )

    you

    Dr. Sabrina Starling ( 17: 52.76 )

    Right.

    John Jantsch ( 17: 59.576 )

    Do you notice that some people say,” OK, yeah, that’s the goal?” That’s the goal. I need to go there by myself. But you kind of explain something where maybe just do it and like rip the bandaid off. Do it even if you don’t feel ready and see what happens.

    Dr. Sabrina Starling ( 18: 13941 )

    Yes, so do it and be planful. The worst way to do this is, you know, sudden and unexpected. When we support business owners in getting to the point where the business can run four weeks without you, we say start small, start with the baby steps. So it’s not overwhelming because none of us can talk ourselves into just saying, okay, team, I’m going to be gone for four weeks. Good luck. We’re never going to do that.

    John Jantsch ( 18: 36.472 )

    Yeah. Yes.

    Dr. Sabrina Starling ( 18: 39. 767 )

    But if we look at what’s the longest we’ve been able to be away from the business fully unplugged and increase that. So, let’s say the longest is four hours because some business owners are tied to their phones and constantly feel like they must respond to everything. So maybe you take a full day off where you are fully unplugged and really look at what is going to fall through the cracks and

    what can be delegated, what can come off my plate. We employ a program called the chart of activities that cost$ 10, 000 per hour. And it is an incredible delegation tool. And it really comes at things from the perspective that we spend the majority of our time on things that can be handled competently by someone else and that give us very little personal satisfaction. The statistic is that we spend 44 % of our time.

    on activities that offer us little to no personal satisfaction and can be competently handled by another person. And so we want to begin moving in the same direction where our main focus is on these$ 10, 000-an-hour activities. We are doing a$ 10, 000 an hour activity when we are working from our strengths, making everything else easier or unnecessary for ourselves or others.

    That means that each member of the team can engage in$ 10, 000 worth of daily activity. And the beauty in that is that as we start delegating and taking things off our plate, we will have leadership team members who become overwhelmed and start to burn out because everything we’re putting on them, they’re kind of just like, I can’t breathe.

    John Jantsch ( 20: 25.601 )

    Yes, absolutely.

    Dr. Sabrina Starling ( 20: 28.355 )

    So what, then? They have to learn how to delegate too. And they pull out their chart of$ 10, 000 an hour activities and look at what’s the highest and most valuable use of their time around the sweet spot and what drives the profit in the business and start delegating down. When we delegate down in that manner, what we’re doing is creating a highly desirable business for A players to work in because A players want one thing.

    John Jantsch ( 20: 52.621 )

    Mm-hmm.

    Dr. Sabrina Starling ( 20: 56. 309 )

    opportunities for growth. Not necessarily advancement, opportunities for growth. And so when we continue, like when I continued to host the podcast, I assumed I was doing it to prevent my team from becoming too overwhelmed. She jumped in and she grew and she is so proud of what she has done with the podcast. I’m now just coming on, I’m kind of like a guest on my own podcast, and we chatter back and forth, but she’s grown.

    and she owns it and she feels proud and that’s the rule of thumb around delegating is once you’ve delegated it and the person has handled it you don’t take it back because when you take it back what you’re saying is I don’t think you’re that competent like yeah you handled it in a few weeks but you can’t handle it long term and so this this chart of ten thousand dollar an hour activities you can download it at tapthepotential.com forward slash

    John Jantsch ( 21: 39.638 )

    Yes, you did fail, no? Right. Yes, that’s correct.

    Dr. Sabrina Starling ( 21: 54.426 )

    10K. That is a first step forward in terms of seriously considering how to get this business going without me and living beyond me.

    John Jantsch ( 22: 07.522 )

    What’s the one simple thing you just gave it to us, exactly? That’s the perfect segue. It’s tapthepotential.com slash 10 K. So, Sabrina, I appreciate you stopping by, the duct tape marketing podcast. think you’d invite people to find out more at tap the potential anywhere else you want to invite people to connect with you.

    Sabrina Starling ( 22: 11.065 )

    You

    Dr. Sabrina Starling ( 22: 24.971 )

    Check out the Profit by Design podcast if you enjoy them.

    John Jantsch ( 22: 28.366 )

    Well, again, it was great seeing you. We’ll probably run into you one of these days while driving.

    Dr. Sabrina Starling ( 22: 34.862 )

    Thank you, John, for that.

    powered by
  • Alien: Earth – Lily Newmark on the Nibs Moment She’s Been Waiting Her Whole Life For

    Alien: Earth – Lily Newmark on the Nibs Moment She’s Been Waiting Her Whole Life For

    Devices have been a key component of the Alien brand ever since Ian Holm’s Ash oozed creamy light blood all over the surface of the USCSS Nostromo. The initial TV series from FX’s hallowed Internet, Alien: Earth, has recently upped the ante in a significant way. Three distinct [ ]…] are the three-episodes in the Noah Hawley-created eight-episode series.

    Lily Newmark on the Nibs Moment she’s been waiting her entire lifestyle for appeared first on Den of Geek.

    This article contains spoilers for the first three episodes of Gen V time 2.

    Gen V is up for winter 2 after a bit of an extended break. The Boys ‘ fifth and final seasons will keep viewers entertained until the end of the series, and Prime Video’s X-rated version of the X-Men will expand the Syllabus lore away of Vought Rising. A three-episode fall from Gen V season 2 features a second episode dedicated to Chance Perdomo’s memory and introduces some potentially dangerous new foes.

    Gen V season 1 introduced a very different kind of Dean to Godolkin University while Gen V season 1 followed the vengeful Indira Shetty ( Shelley Conn ) trying to eradicate supes from the face of the Earth with her experiments in” the Woods.” Hamish Linklater from Midnight Mass enters the fray as the enigmatic Cipher. Similar to Aya Cash’s Stormfront and Antony Starr’s Homelander, Cipher views supes as a king race, while referring to Erin Moriarty’s Starlight as a “race traitor.” In his” Hero Optimization Seminar,” where he demands that kids use their full potential or be cast away, this is apparent. &nbsp,

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

    We’re also not much further along in Gen V, and with the exception of a confirmation that Dean Cipher enjoys peanut butter and chicken sandwiches. His motives are still undetermined, aside from the confirmation that he was there while Marie Moreau ( Jaz Sinclair ) and the rest of the Elmira Center were imprisoned. One well-known Reddit idea from long before the time premiered reiterated how The Boys ‘ names normally relate to their powers in terms of Cipher’s powers.

    The OP suggested that he can protocol his DNA to the abilities of another supe, which would allow him to replicate their abilities because” riddle” means to translate as a password. The Boys already had the Shapeshifter as their physical covert agent Starlight, but the idea of being able to duplicate another person’s abilities is intriguing. Someone else pointed to a scene in the video where a startled Marie sees a sheep erupt into a terrible mess while looking like Cipher might have contributed.

    Cipher has some sort of long-lasting body that resembles X-Men’s Colossus, which would be an even more unsatisfying revelation. The first show features Cipher appearing to kill a weapon into his hands without reacting, aside from a range in his seminar where he claimed the class was necessary because” not all of us are bulletproof.” It’s obvious Cipher isn’t scared of little, whether he can mimic powers, boasts armored body, or is immune to discomfort. Whatever abilities it’s concealing, it might be connected to Cate ( Maddie Phillips ) discovering his secret vault in episode 3. Take note of how the inbound God U overseer quickly turned her attention away from it, suggesting that it both holds the key to his strength or that it may be arsenic.

    People are persuaded that Cipher is a revived Thomas Godolkin somewhere. The God U founder’s warning to a team of scientists that Compound V wasn’t available was the first episode’s opening scene. A relatively ominous Godolkin hasn’t been seen since, but as we’ve already learned to often, that doesn’t really matter in The Kids. The great reveal in episode 3 would also be the result of the Godolkin theory, which claimed Cipher was the one who gave Marie and his relations to the resurrected Project Odessa. According to one commentator,” He’s the initial godolkin guy, switching bodies or simply changing his look,” while another added,” Calling it, the professor is the Liberty-Stormfront position all over again Cipher is Thomas Godolkin.” Even though he could have used an alias, Marie’s aunt’s use of the term” Doctor Gould” may have already led to the debunking of this concept.

    The final choice only presents Cipher as another member of the family, going back to the Godolkin plan. One reliable Reddit idea claims that Cipher is the brother of Thomas Godolkin, despite the certainly odd fact that it doesn’t appear Cipher has aged since the image of him holding Marie as a child. The Redditor proposed the idea that Cipher’s energy is the ability to “decipher” any issue that coincides with the “final option” concept of Nazis and supes. Eventually, his father’s request for Compound V from him would fit the Gen V theme of inherited capabilities.

    He shares Homelander’s unsettling character with Cipher, whatever the heck is going on. He could actually be yet scarier because he appears to have no fear of Homelander. The idea that Cipher” supes turn men” means he could be crucial in helping increase Homelander’s alleged very troops as we enter The Boys ‘ final given that Homelander might be the first achievement story of Project Odessa, and Marie another win.

    The first three incidents of Gen V year 2 are currently streamable on Prime Video. Wednesday are the start of fresh episodes, which will have their final episode on October 22, 2025.

    The second post Gen V Season 2 Tells a Wild Dean Cipher Twist appeared on Den of Geek.

  • One Battle After Another Review: Leonardo DiCaprio Lights Political Fire

    One Battle After Another Review: Leonardo DiCaprio Lights Political Fire

    A school of thought views the entire human experience, from the cave dwellers who discovered fire to the tower and smartphone designers of immediately, as an endless cycle of guys trying to impress women. This broad generalization has plenty of reasons to be skeptical, not the least of which is because it removes [ …]…]…]…]…]…]…]…]] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ] ]

    On Den of Geek, the initial assessment of Leonardo DiCaprio’s Political Fire appeared.

    Spoilers appear in these episodes 1 through 3 of Gen V year 2.

    Gen V returns for winter 2 after a bit of an extended break. The Boys ‘ fifth and final seasons will keep viewers entertained until the end of the film’s fifth and final time, while also extending the Vought lore in preparation for Vought Rising. Prime Video’s X-rated version of the X-Men is back in terrible style. A three-episode cut from Gen V season 2 features a second episode dedicated to the storage of Chance Perdomo, and some potentially dangerous fresh foes.

    Gen V season 1 introduced a very different kind of Dean to Godolkin University while Gen V season 1 followed the vengeful Indira Shetty ( Shelley Conn ) trying to eradicate supes from the face of the Earth with her experiments in” the Woods.” Hamish Linklater, the enigmatic Cipher, joins the Midnight Mass cast. Related to Aya Cash’s Stormfront and Antony Starr’s Homelander, Cipher views Supes as a king race, while Citro’s Starlight refers to Erin Moriarty as a “race traitor.” In his” Hero Optimization Seminar,” where he demands that kids use their full potential or be cast off, this is apparent. &nbsp,

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

    We’re also not much further along in Gen V, and with the exception of a confirmation that Dean Cipher enjoys nut cheese and chicken sandwiches. His motives remain ambiguous, aside from the confirmation that he was there while Marie Moreau ( Jaz Sinclair ) and the rest of the Elmira Center were imprisoned. One well-known Reddit principle from long before the period premiered reiterated how names of The Boys characters generally relate to their powers in terms of Cipher’s powers.

    The OP suggested that he can cipher his DNA so that it can be matched to another person’s abilities, which would allow him to recoup their abilities because” cipher” means” code.” The Shapeshifter who actually appeared as Starlight was already a part of The Boys, but the idea of being able to duplicate another person’s abilities is intriguing. Someone else pointed to a scene in the video where a startled Marie sees a sheep erupt into a terrible mess while looking like Cipher might have contributed.

    Cipher has some sort of long-lasting body that resembles X-Men’s Colossus, which would be an even more disappointing revelation. The first show features Cipher appearing to kill a weapon into his hands without reacting, aside from a range in his seminar where he claimed the class was necessary because” not all of us are bulletproof.” It’s obvious that Cipher isn’t scared of little, whether she can imitate powers, exudes bulletproof body, or is immune to discomfort. Whatever abilities it may be hiding, Cate ( Maddie Phillips ) discovering his secret vault in episode 3 might be a factor. Take note of the way the approaching God U overseer quickly turned her attention away from it, suggesting that it might be the source of his might or that it might be arsenic.

    Others are also persuaded that Cipher is a reborn Thomas Godolkin. The God U founder’s warning to a team of scientists that Compound V wasn’t available was the first episode’s opening scene. A relatively ominous Godolkin hasn’t been seen since, but as we’ve already learned to often, that doesn’t really matter in The Kids. The great reveal in episode 3 would be the Godolkin hypothesis, which claimed Cipher was the one who gave Marie and his connections to the resurrected Project Odessa. He’s the initial godolkin person, changing his appearance or changing his body, according to one commentator on X,” Calling it, the professor is the Liberty-Stormfront scenario all over again Cipher is Thomas Godolkin.” Even though he could have used an nickname, Marie’s aunt’s use of the term” Doctor Gould” may have already led to the debunking of this concept.

    The final choice only presents Cipher as another member of the family, going back to the Godolkin plan. One reliable Reddit idea claims that Cipher is the brother of Thomas Godolkin, despite the certainly odd fact that it doesn’t appear Cipher has aged since the image of him holding Marie as a child. The Redditor proposed the idea that Cipher’s energy is the ability to “decipher” any issue that coincides with Nazis ‘ “final option” concept. Ultimately, his father’s request for Compound V from him would fit the Gen V theme of inherited capabilities.

    He shares Homelander’s unsettling personality with Cipher, whatever the heck is going on. He could actually be also scarier because he appears to not worry Homelander. The idea that Cipher” supes turn soldiers” could be important in raising Homelander’s supposed very army as we approach The Boys ‘ endgame given that Homelander might be Project Odessa’s first success story and Marie another victory.

    Gen V year 2’s first three episodes can now be watched on Prime Video. Wednesday bring in new incidents, with the 2025 season finale on October 22.

    The second post Gen V Season 2 Tells a Wild Dean Cipher Twist appeared on Den of Geek.

  • Alien: Earth Has a Villain More Dangerous Than Michael Fassbender’s David

    Alien: Earth Has a Villain More Dangerous Than Michael Fassbender’s David

    This article contains spoilers for the seventh season of Alien: Earth. The long-awaited Alien TV set has made it clear that the Xeonomorph is far from [ …] and that the first year of Alien: Earth is chest-bursting its way to an action-packed episode.

    The second post On Den of Geek was titled Alien: Earth Has a Villain More Hazardous Than Michael Fassbender’s David.

    Trailers appear in these episodes 1 through 3 of Gen V time 2.

    Gen V returns for winter 2 after a bit of an extended break. The Boys ‘ fifth and final seasons will keep viewers entertained until the end of the series, and Prime Video’s X-rated version of the X-Men will expand the Vought mythology away of Vought Rising. The first show of Gen V season 2 features a tribute to Chance Perdomo, while Gen V time 2’s three-episode cut brings back the rest of the old shield and some potentially dangerous fresh foes.

    Gen V season 1 introduced a very different kind of Dean to Godolkin University while Gen V season 1 followed the vengeful Indira Shetty ( Shelley Conn ) trying to eradicate supes from the face of the Earth with her experiments in” the Woods.” Hamish Linklater from Midnight Mass enters the fray as the enigmatic Cipher. Similar to Aya Cash’s Stormfront and Antony Starr’s Homelander, Cipher views Supes as a king race, while Citro’s Starlight refers to Erin Moriarty as a “race traitor.” This is apparent in his” Hero Optimization Seminar,” where he makes students work out to unleash their full potential or face dismissal. &nbsp,

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

    We’re also not much further along in Gen V, and with the exception of a confirmation that Dean Cipher enjoys nut cheese and chicken sandwiches. His motives are still undetermined, aside from the confirmation that he was there while Marie Moreau ( Jaz Sinclair ) and the rest of the Elmira Center were imprisoned. One well-known Reddit idea from long before the time premiered reiterated how The Boys ‘ names normally relate to their powers in terms of Cipher’s powers.

    The OP suggested that he can protocol his DNA to the abilities of another supe, which would allow him to recoup their abilities because” cipher” means to translate as a password. The Shapeshifter, who previously appeared in The Lads as Starlight, was now a part of the plot, but the idea of copying someone else’s abilities is intriguing. Someone else pointed to a scene in the video where a startled Marie sees a sheep erupt into a terrible mess while looking like Cipher might have contributed.

    Cipher has some sort of long-lasting body that resembles X-Men’s Colossus, which would be an even more disappointing revelation. The first show features Cipher posing as a knife into his hands without reacting, in addition to a collection in his seminar where he claimed the class was required because” not all of us are bulletproof.” It’s obvious Cipher isn’t scared of little, whether he can mimic powers, boasts armored body, or is immune to discomfort. Whatever abilities it may be hiding, Cate ( Maddie Phillips ) discovering his secret vault in episode 3 might be a factor. Take note of how the inbound God U overseer quickly turned her attention away from it, suggesting that it sometimes holds the key to his strength or that it may be arsenic.

    People are persuaded that Cipher is a Thomas Godolkin who has been resurrected somewhere. The God U founder’s warning to a team of scientists that Compound V wasn’t set was the first episode’s opening scene. A relatively ominous Godolkin hasn’t been seen since, but as we’ve already learned to often, that doesn’t really matter in The Kids. The Godolkin concept may also lead to the big reveal in episode 3 that Cipher was the one who gave birth to Marie and his relations to the resurrected Project Odessa. According to one commenter on X,” He’s the original godolkin person, switching body or simply changing his looks,” and another added,” Calling it, the professor is the Liberty-Stormfront scenario all over again Cipher is Thomas Godolkin.” Due to Marie’s aunt’s reference to Cipher as” Doctor Gould,” this idea may have already been refuted despite the fact that he could have used an nickname.

    The final choice only presents Cipher as another member of the family, going back to the Godolkin plan. One reliable Reddit idea claims that Cipher is the brother of Thomas Godolkin, despite the certainly odd fact that it doesn’t appear Cipher has aged since the image of him holding Marie as a child. The Redditor proposed the idea that Cipher’s energy is the ability to “decipher” any issue that coincides with the “final option” concept of Nazis and supes. Ultimately, his father’s request for Compound V from him would meet the Gen V theme of inherited capabilities.

    Whatever is happening with Cipher, Homelander and he both have the same unsettling character. He could actually be yet scarier because he appears to not worry Homelander. The idea that Cipher” supes turn men” means he could be crucial in helping increase Homelander’s alleged very troops as we enter The Boys ‘ final given that Homelander might be the first achievement story of Project Odessa, and Marie another win.

    Gen V year 2’s first three episodes can now be watched on Prime Video. Wednesday bring in new incidents, with the 2025 season finale on October 22.

    The second article Gen V Season 2 Tells a Wild Dean Cipher Twist appeared on Den of Geek.

  • Gen V Season 2 Teases a Wild Dean Cipher Twist

    Gen V Season 2 Teases a Wild Dean Cipher Twist

    Clues appear in these Gen V season 2 incidents 1 through 3. Gen V is up for winter 2 after a bit of an extended break. [Vought Rising, Prime Video’s X-rated adaptation of the X-Men, aims to keep fans of The Boys glued until the fifth and final time while also expanding the Vought mythology.

    The second article Gen V Season 2 Tells a Wild Dean Cipher Twist appeared on Den of Geek.

    Spoilers appear in these episodes 1 through 3 of Gen V year 2.

    Gen V returns for winter 2 after a bit of an extended break. The Boys ‘ fifth and final seasons will keep viewers entertained until the end of the series, and Prime Video’s X-rated version of the X-Men will expand the Vought mythology away of Vought Rising. A three-episode fall from Gen V season 2 features a second episode dedicated to Chance Perdomo’s memory and introduces some potentially dangerous fresh foes.

    Gen V season 1 introduced a completely different kind of Dean to Godolkin University, while Gen V season 1 followed the vengeful Indira Shetty ( Shelley Conn ) who was attempting to eradicate supes from the face of the Earth through her” the Woods” experiments. Hamish Linklater, the enigmatic Cipher, joins the Midnight Mass cast. Similar to Aya Cash’s Stormfront and Antony Starr’s Homelander, Cipher views supes as a king culture, while referring to Erin Moriarty’s Starlight as a “race traitor.” In his” Hero Optimization Seminar,” where he demands that kids use their full potential or be cast away, this is apparent. &nbsp,

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

    We’re also not much further along with Gen V‘s three episodes, and apart from a revelation that Dean Cipher enjoys meat and peanut butter milkshakes, we’re no closer to understanding his actual name or story. His motives are still undetermined, aside from the confirmation that he was there while Marie Moreau ( Jaz Sinclair ) and the rest of the Elmira Center were imprisoned. One well-known Reddit concept from long before the period premiered reiterated how names of The Boys characters normally relate to their powers in terms of Cipher’s powers.

    The OP suggested that he can protocol his DNA to the abilities of another supe, which would allow him to replicate their abilities because” cipher” means to translate as a password. The Shapeshifter who actually appeared as Starlight was already a part of The Boys, but the idea of being able to duplicate another person’s abilities is intriguing. Someone else pointed to a scene in the video where a startled Marie sees a sheep erupt into a terrible mess while looking like Cipher might have contributed.

    A much more disappointing discovery would be that Cipher has a body type similar to X-Men’s Colossus. The first show features Cipher appearing to kill a blade into his hands without reacting, aside from a range in his seminar where he claimed the class was necessary because” not all of us are bulletproof.” It’s obvious that Cipher isn’t scared of little, whether she can imitate powers, exudes bulletproof body, or is immune to discomfort. Whatever abilities it’s concealing, it might be connected to Cate ( Maddie Phillips ) discovering his secret vault in episode 3. Take note of the way the incoming God U overseer quickly turned her attention away from it, suggesting that it might be the source of his might or that it might be arsenic.

    People are persuaded that Cipher is a Thomas Godolkin who has been resurrected somewhere. The God U founder’s warning to a team of scientists that Compound V wasn’t set was the first episode’s opening scene. Although a relatively ominous Godolkin hasn’t been seen in a while, as we’ve already seen too many instances, The Boys ‘ lack of significance is not very strong. The great reveal in season 3 would also be the result of the Godolkin principle, which claimed Cipher was the one who gave Marie and his relations to the resurrected Project Odessa. He’s the initial godolkin man, changing his appearance or changing his body, according to one commentator on X,” Calling it, the professor is the Liberty-Stormfront scenario all over again Cipher is Thomas Godolkin.” Due to Marie’s aunt’s reference to Cipher as” Doctor Gould,” this idea may have already been refuted despite the fact that he could have used an nickname.

    The ultimate choice simply presents Cipher as a new family member, going back to the Godolkin plan. One reliable Reddit idea claims that Cipher is the brother of Thomas Godolkin, despite the certainly odd fact that it doesn’t appear Cipher has aged since the image of him holding Marie as a child. The Redditor proposed the idea that Cipher’s energy is the ability to “decipher” problems that coincide with Nazis ‘ “final option” philosophy. Eventually, his father’s request for Compound V from him would fit the Gen V theme of inherited capabilities.

    He shares Homelander’s unsettling character with Cipher, whatever the heck is going on. He could actually be yet scarier because he appears to not worry Homelander. The idea that Cipher” supes turn soldiers” could be important in raising Homelander’s supposed very army as we approach The Boys ‘ endgame given that Homelander might be Project Odessa’s first success story and Marie another victory.

    The first three incidents of Gen V year 2 are currently streamable on Prime Video. Wednesday bring in new incidents, with the 2025 season finale on October 22.

    The second article Gen V Season 2 Tells a Wild Dean Cipher Twist appeared on Den of Geek.

  • Asynchronous Design Critique: Giving Feedback

    Asynchronous Design Critique: Giving Feedback

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

    Feedback is also one of the most underestimated equipment, and generally by assuming that we’re already good at it, we settle, forgetting that it’s a talent that can be trained, grown, and improved. Bad feedback can cause conflict in jobs, lower motivation, and negatively impact faith and teamwork over the long term. Quality opinions can be a revolutionary force.

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

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

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

    The material

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

    This calculation, which is typically used to provide feedback to users, even fits really well in a design critique because it finally addresses one of the main issues that we address: What? Where? Why? How? Imagine that you’re giving some comments about some pattern function that spans several screens, like an onboard movement: there are some pages shown, a stream blueprint, and an outline of the decisions made. You notice anything that needs to be improved. If you keep the three components of the equation in mind, you’ll have a mental unit that can help you become more precise and effective.

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

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

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

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

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

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

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

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

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

    Or, for the request approach:

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

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

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

    Choosing the question approach or the request approach can also at times be a matter of personal preference. I 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 changed teams. Surprise surprise, my next round of criticism from a specific person wasn’t very positive. The reason is that I had previously tried not to be prescriptive in my advice—because the people who I was previously working with preferred the open-ended question format over the request style of suggestions. However, there was one person in this other team who now preferred specific guidance. So I adapted my feedback for them to include requests.

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

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

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

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

    The atmosphere

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

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

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

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

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

    Form is relevant especially in a diverse and cross-cultural work environments because having great content, perfect timing, and the right attitude might not come across if the way that we write creates misunderstandings. There could be many reasons for this: some words might cause particular reactions, some non-native speakers might not understand all the nuances of some sentences, and other times our brains might be different and we might perceive the world differently. Neurodiversity must be taken into account. Whatever the reason, it’s important to review not just what we write but how.

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

    Something to highlight because it’s quite frequent—especially in teams that have a strong group spirit—is that people tend to beat around the bush. A positive attitude doesn’t necessarily mean giving in to criticism; it just means that you give it in a respectful and constructive manner, whether it be in the form of criticism or criticism. The nicest thing that you can do for someone is to help them grow.

    We have a great advantage in giving feedback in written form: it can be reviewed by another person who isn’t directly involved, which can help to reduce or remove any bias that might be there. The best, most insightful moments for me came when I shared a comment and asked a trusted person how it sounds, how can I do it better, or even” How would you have written it”? I discovered that by seeing the two versions side by side, I’ve learned a lot.

    The format

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

    Let’s imagine that someone shared a design iteration for a project. You are reviewing it and leaving a comment. Let’s try to think about some factors that might be helpful to consider, as there are many ways to accomplish this, and context is of course a factor.

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

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

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

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

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

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

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

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

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

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

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

    Asynchronous feedback also has the benefit of automatically guiding decisions, according to writing. Especially in large projects,” Why did we do this”? There’s nothing better than open, transparent discussions that can be reviewed at any time, which could be a question that arises from time to time. For this reason, I recommend using software that saves these discussions, without hiding them once they are resolved.

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

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

  • Asynchronous Design Critique: Getting Feedback

    Asynchronous Design Critique: Getting Feedback

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

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

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

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

    The query

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

    But how do we get into this scenario? It’s a combination of various components. One is that we don’t often consider asking as a part of the input approach. Another is how healthy it is to assume that everyone else will agree with the problem and leave it alone. Another is that in nonprofessional conversations, there’s usually no need to be that exact. In summary, we tend to undervalue the value of the issues, and we don’t work to improve them.

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

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

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

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

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

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

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

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

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

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

    Asking specific questions can completely change the quality of the feedback that you receive. Even experienced designers will appreciate the clarity and efficiency gained from concentrating solely on what is required, and those with less refined critique skills will now be able to offer more actionable feedback. It can save a lot of time and frustration.

    The iteration

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

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

    Using iteration posts has a number of benefits:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    The review

    A back-and-forth between two people that can be very productive typically occurs during a design critique. This approach is particularly effective during live, synchronous feedback. However, using a different approach when we work asynchronously is more effective: adopting a user-research mindset. Written feedback from teammates, stakeholders, or others can be treated as if it were the result of user interviews and surveys, and we can analyze it accordingly.

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

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

    The first friction is being forced to respond to every comment. Sometimes we write the iteration post, and we get replies from our team. It’s simple, straightforward, and doesn’t cause any issues. But other times, some solutions might require more in-depth discussions, and the amount of replies can quickly increase, which can create a tension between trying to be a good team player by replying to everyone and doing the next design iteration. This might be especially true if the respondent is a stakeholder or someone directly involved in the project who we feel we need to speak with. We need to accept that this pressure is absolutely normal, and it’s human nature to try to accommodate people who we care about. When responding to all comments, it can be effective, but when we consider a design critique more like user research, we realize that we don’t need to respond to every comment, and there are alternatives in asynchronous spaces:

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

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

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

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

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

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

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

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

  • Designing for the Unexpected

    Designing for the Unexpected

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

    Flash, Photoshop, and flexible pattern

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

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

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

    A new way to style

    Removing restrictions and creating content that can be viewed on any device has always been the goal of designing responsive or liquid websites. It relies on the use of percentage-based design, which I immediately achieved with local CSS and power groups:

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

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

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

    Media questions

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

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

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

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

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

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

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

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

    Container queries: our savior or a false dawn?

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

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

    In other words, responsive elements are meant to replace responsive layouts.

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

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

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

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

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

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

    CSS is changing

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

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

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

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

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

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

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

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

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

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

    Intrinsic layouts

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

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

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

    —Jen Simmons,” Designing Intrinsic Layouts”

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

    What makes intrinsic design stand out is that it not only creates designs that can withstand future devices but also helps scale design without losing flexibility. Without having to have the same breakpoints or content as in the previous implementation, components and patterns can be removed and reused.

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

    Another 2010 moment?

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

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

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

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

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

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

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

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

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

    How do you do that now, with each component responding to content and layouts flexing as and when they need to? Personally, I’m a big fan of this kind of design in the browser.

    The debate about “whether designers should code” is another that has rumbled on for years. When designing a digital product, we should, at the very least, design for a best- and worst-case scenario when it comes to content. It’s not ideal to 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 intrinsic design is the standard for design, when a design component can be truly flexible and adapt to both its space and content with no reliance on device or container dimensions.

    First, the content

    Content is not constant. After all, to design for the unanticipated or unexpected, we must take into account content modifications, such as the earlier Subgrid card example, which allowed the cards to adjust both their own content and that of their sibling elements.

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

    Instead of dated markup tricks like this —

    First line of text with different styling...

    —we can target content based on where it appears.

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

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

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

    Directional variables must be specified in the Sass version.

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

    These variables can be used as values—

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

    —or as properties.

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

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

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

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

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

    Fluid and fixed

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

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

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

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

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

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

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

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

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

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

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

    First, the situation

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

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

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

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

    Responsible design is important.

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

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

    Chris Ashton

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

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

    Image alt text

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

      

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

    …

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

    So how can we put users in control?

    The media queries are now being returned.

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

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

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

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

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

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

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

    Expect the unexpected

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

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

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

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

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