Category: Blog

The same holds true for those of us who are currently employed in design and development. Having worked on the web for about three years at this point, I’ve seen the typical wax and wane of concepts, strategies, and systems. Every day we as developers and designers re-enter a routine music, a brand-new concept or technology emerges to shake things up and completely alter our world.

How we got below

I built my first website in the mid-’90s. Design and development on the web back then was a free-for-all, with few established norms. For any layout aside from a single column, we used table elements, often with empty cells containing a single pixel spacer GIF to add empty space. We styled text with numerous font tags, nesting the tags every time we wanted to vary the font style. And we had only three or four typefaces to choose from: Arial, Courier, or Times New Roman. When Verdana and Georgia came out in 1996, we rejoiced because our options had nearly doubled. The only safe colors to choose from were the 216 “web safe” colors known to work across platforms. The few interactive elements (like contact forms, guest books, and counters) were mostly powered by CGI scripts (predominantly written in Perl at the time). Achieving any kind of unique look involved a pile of hacks all the way down. Interaction was often limited to specific pages in a site.

website requirements were born.

At the turn of the century, a new cycle started. Crufty code littered with table layouts and font tags waned, and a push for web standards waxed. Newer technologies like CSS got more widespread adoption by browsers makers, developers, and designers. This shift toward standards didn’t happen accidentally or overnight. It took active engagement between the W3C and browser vendors and heavy evangelism from folks like the Web Standards Project to build standards. A List Apart and books like Designing with Web Standards by Jeffrey Zeldman played key roles in teaching developers and designers why standards are important, how to implement them, and how to sell them to their organizations. And approaches like progressive enhancement introduced the idea that content should be available for all browsers—with additional enhancements available for more advanced browsers. Meanwhile, sites like the CSS Zen Garden showcased just how powerful and versatile CSS can be when combined with a solid semantic HTML structure.

Server-side language like PHP, Java, and.NET took Perl as the primary back-end computers, and the cgi-bin was tossed in the garbage bin. The first age of internet programs started with content-management systems (especially those used in blogs like Blogger, Grey Matter, Movable Type, and WordPress ), with these better server-side equipment. In the mid-2000s, AJAX opened gates for sequential interaction between the front end and back close. Websites now no longer needed to reload their pages ‘ content. A grain of Script frameworks like Prototype, YUI, and ruby arose to aid developers develop more credible client-side conversation across browsers that had wildly varying levels of standards support. Techniques like photo replacement enable skilled manufacturers and developers to show fonts of their choosing. And technology like Flash made it possible to include movies, sports, and even more engagement.

These new methods, requirements, and systems greatly boosted the sector’s growth. Web style flourished as creators and designers explored more different styles and designs. However, we also relied heavily on numerous exploits. Early CSS was a huge improvement over table-based layouts when it came to basic layout and text styling, but its limitations at the time meant that designers and developers still relied heavily on images for complex shapes ( such as rounded or angled corners ) and tiled backgrounds for the appearance of full-length columns (among other hacks ). All kinds of nested floats or absolute positioning were required for complicated layouts ( or both ). Display and photo substitute for specialty styles was a excellent start toward varying the designs from the big five, but both tricks introduced convenience and efficiency issues. Additionally, JavaScript libraries made it simple for anyone to add a dash of interaction to pages, even at the expense of double or even quadrupling the download size of basic websites.

The web as software platform

The interplay between the front end and the back end continued to grow, which led to the development of the current era of modern web applications. Between expanded server-side programming languages ( which kept growing to include Ruby, Python, Go, and others ) and newer front-end tools like React, Vue, and Angular, we could build fully capable software on the web. Along with these tools, there were additional options, such as shared package libraries, build automation, and collaborative version control. What was once primarily an environment for linked documents became a realm of infinite possibilities.

Mobile devices also increased in their capabilities, and they gave us access to internet in our pockets at the same time. Mobile apps and responsive design opened up opportunities for new interactions anywhere and any time.

This fusion of potent mobile devices and potent development tools contributed to the growth of social media and other centralized tools for user interaction and consumption. As it became easier and more common to connect with others directly on Twitter, Facebook, and even Slack, the desire for hosted personal sites waned. Social media provided connections on a global scale, with both positive and negative outcomes.

Want a much more extensive history of how we got here, with some other takes on ways that we can improve? ” Of Time and the Web” was written by Jeremy Keith. Or check out the” Web Design History Timeline” at the Web Design Museum. Additionally, Neal Agarwal takes a fascinating tour of” Internet Artifacts.”

Where we are now

It seems like we’ve reached yet another significant turning point in the last couple of years. As social-media platforms fracture and wane, there’s been a growing interest in owning our own content again. There are many different ways to create a website, from the tried-and-true classic of hosting plain HTML files to static site generators to content management systems of all varieties. The fracturing of social media also comes with a cost: we lose crucial infrastructure for discovery and connection. Webmentions, RSS, ActivityPub, and other IndieWeb tools can be useful in this regard, but they’re still largely underdeveloped and difficult to use for the less geeky. We can build amazing personal websites and add to them regularly, but without discovery and connection, it can sometimes feel like we may as well be shouting into the void.

Browser support for standards like web components like CSS, JavaScript, and other standards has increased, particularly with efforts like Interop. New technologies gain support across the board in a fraction of the time that they used to. I frequently find out about a new feature and check its browser support only to discover that its coverage is already over 80 %. Nowadays, the barrier to using newer techniques often isn’t browser support but simply the limits of how quickly designers and developers can learn what’s available and how to adopt it.

With a few commands and a few lines of code, we can currently prototype almost any concept. All the tools that we now have available make it easier than ever to start something new. However, the upfront cost these frameworks may save in initial delivery eventually comes down as the maintenance and upgrading they become a part of our technical debt.

If we rely on third-party frameworks, adopting new standards can sometimes take longer since we may have to wait for those frameworks to adopt those standards. These frameworks, which previously made it easier to adopt new techniques sooner, have since evolved into obstacles. These same frameworks often come with performance costs too, forcing users to wait for scripts to load before they can read or interact with pages. And frequently, when scripts fail ( whether due to poor code, network problems, or other environmental factors ), users are left with blank or broken pages.

Where do we go from here?

Hacks of today help to shape standards for tomorrow. And there’s nothing inherently wrong with embracing hacks —for now—to move the present forward. Problems only arise when we refuse to acknowledge that they are hacks or when we choose not to replace them. So what can we do to create the future we want for the web?

Build for the long haul. Optimize for performance, for accessibility, and for the user. weigh the costs of those user-friendly tools. They may make your job a little easier today, but how do they affect everything else? What is the cost to the users? To future developers? to the adoption of standards? Sometimes the convenience may be worth it. Sometimes it’s just a hack that you’ve gotten used to. And sometimes it’s holding you back from even better options.

Start with standards. Standards continue to evolve over time, but browsers have done a remarkably good job of continuing to support older standards. The same holds true for third-party frameworks, though. Sites built with even the hackiest of HTML from the’ 90s still work just fine today. The same can’t be said about websites created with frameworks even after a few years.

Design with care. Consider the effects of each choice, whether your craft is code, pixels, or processes. The convenience of many a modern tool comes at the cost of not always understanding the underlying decisions that have led to its design and not always considering the impact that those decisions can have. Use the time saved by modern tools to think more carefully and make decisions with care rather than rushing to “move fast and break things.”

Always be learning. If you constantly learn, you also develop. Sometimes it may be hard to pinpoint what’s worth learning and what’s just today’s hack. Even if you were to concentrate solely on learning standards, you might end up focusing on something that won’t matter next year. ( Remember XHTML? ) However, ongoing learning opens up new connections in your brain, and the techniques you learn in one day may be used to guide different experiments in the future.

Play, experiment, and be weird! The ultimate experiment is this web we created. It’s the single largest human endeavor in history, and yet each of us can create our own pocket within it. Be brave and try something new. Build a playground for ideas. Create absurd experiments in your own crazy science lab. Start your own small business. There has never been a place where we have more room to be creative, take risks, and discover our potential.

Share and amplify. Share what you think has worked for you as you experiment, play, and learn. Write on your own website, post on whichever social media site you prefer, or shout it from a TikTok. Write something for A List Apart! But take the time to amplify others too: find new voices, learn from them, and share what they’ve taught you.

Make a move and make it happen.

As designers and developers for the web ( and beyond ), we’re responsible for building the future every day, whether that may take the shape of personal websites, social media tools used by billions, or anything in between. Let’s give everything we produce a positive vibe by infusing our values into everything we do. Create that thing that only you are uniquely qualified to make. Then share it, improve it, re-use it, or create something new. Learn. Make. Share. Grow. Rinse and repeat. Everything will change whenever you believe you have mastered the web.

I’d like you to consider this a “yes … and” piece to complement Joe’s post. Instead of refuting everything he’s saying, I’m pointing out some areas where AI may produce real, positive impacts on people with disabilities. To be clear, I want to take some time to speak about what’s possible in hope that we’ll get there one day. There are, and we’ve needed to address them, like, yesterday.

Other words

Joe’s article spends a lot of time addressing computer-vision types ‘ ability to create alternative words. He raises a lot of legitimate points regarding the state of the world right now. And while computer-vision concepts continue to improve in the quality and complexity of information in their information, their benefits aren’t wonderful. As he rightly points out, the state of image research is currently very poor, especially for some graphic types, in large part due to the lack of context for which AI systems look at images ( which is a result of having separate “foundation” models for words analysis and picture analysis ). Today’s models aren’t trained to distinguish between images that are contextually relevant ( which should probably have descriptions ) and those that are purely decorative ( which might not even need a description ) either. Nonetheless, I still think there’s possible in this area.

As Joe points out, human-in-the-loop publishing of ctrl text should definitely be a factor. And if AI can intervene to provide a starting place for alt text, even if the rapid might say What is this BS? That’s not correct at all … Let me try to offer a starting point— I think that’s a win.

If we can specifically station a design to examine image usage in context, this may help us more quickly determine which images are likely to be elegant and which ones are likely to be descriptive. That will help clarify which situations require image descriptions, and it will increase authors ‘ effectiveness in making their sites more visible.

While complex images—like graphs and charts—are challenging to describe in any sort of succinct way ( even for humans ), the image example shared in the GPT4 announcement points to an interesting opportunity as well. Let’s say you came across a map that was simply the name of the table and the type of visualization it was: Pie table comparing smartphone use to have phone use among US households making under$ 30, 000 annually. ( That would be a pretty bad alt text for a chart because it would frequently leave many unanswered questions about the data, but let’s just assume that that was the description in place. ) If your browser knew that that image was a pie chart ( because an onboard model concluded this ), imagine a world where users could ask questions like these about the graphic:

• Do more people use smartphones or other types of smartphones?
• How many more?
• Is there a group of people that don’t fall into either of these buckets?
• How many people are that?

For a moment, the chance to learn more about images and data in this way could be revolutionary for people who are blind and low vision as well as for those with various forms of color blindness, cognitive disabilities, and other issues. Putting aside the realities of large language model ( LLM) hallucinations, where a model just makes up plausible-sounding “facts,” It could also be useful in educational contexts to help people who can see these charts, as is, to understand the data in the charts.

What if you could ask your browser to make a complicated chart simpler? What if you demanded that the line graph be isolated into just one line? What if you could ask your browser to transpose the colors of the different lines to work better for form of color blindness you have? What if you demanded that it switch colors in favor of patterns? That seems like a possibility given the chat-based interfaces and our current ability to manipulate images in today’s AI tools.

Now imagine a purpose-built model that could extract the information from that chart and convert it to another format. For instance, it might be able to convert that pie chart (or, better yet, a number of pie charts ) into more usable ( and useful ) formats, like spreadsheets. That would be incredible!

Matching algorithms

When Safiya Umoja Noble chose to call her book Algorithms of Oppression, she hit the nail on the head. Although her book focused on how search engines can foster racism, I believe it’s equally true that all computer models have the potential to foster conflict, prejudice, and intolerance. Whether it’s Twitter always showing you the latest tweet from a bored billionaire, YouTube sending us into a Q-hole, or Instagram warping our ideas of what natural bodies look like, we know that poorly authored and maintained algorithms are incredibly harmful. A large portion of this is a result of a lack of diversity in the people who design and construct them. There is still a lot of potential for algorithm development when these platforms are built with inclusive features in mind.

Take Mentra, for example. They serve as a network of employment for people who are neurodivers. They employ an algorithm to match job seekers with potential employers based on more than 75 data points. On the job-seeker side of things, it considers each candidate’s strengths, their necessary and preferred workplace accommodations, environmental sensitivities, and so on. On the employer side, it takes into account each work environment, communication issues relating to each job, and other factors. Mentra made the decision to change the script when it came to the typical employment websites because it was run by neurodivergent people. They use their algorithm to propose available candidates to companies, who can then connect with job seekers that they are interested in, reducing the emotional and physical labor on the job-seeker side of things.

When more people with disabilities are involved in developing algorithms, this can lower the likelihood that these algorithms will harm their communities. Diverse teams are crucial because of this.

Imagine that a social media company’s recommendation engine was tuned to analyze who you’re following and if it was tuned to prioritize follow recommendations for people who talked about similar things but who were different in some key ways from your existing sphere of influence. For instance, if you follow a group of white men who are not white or aren’t white and who also discuss AI, it might be wise to follow those who are also disabled or who are not white. If you followed its recommendations, you might learn more about what’s happening in the AI field. These same systems should also use their understanding of biases about particular communities—including, for instance, the disability community—to make sure that they aren’t recommending any of their users follow accounts that perpetuate biases against (or, worse, spewing hate toward ) those groups.

Other ways that AI can assist people with disabilities

I’m sure I could go on and on about using AI to assist people with disabilities, but I’m going to make this last section into a bit of a lightning round. In no particular order:

preservation of voice You might have heard about the voice-preserve offerings from Microsoft, Acapela, or others, or have seen the VALL-E paper or Apple’s Global Accessibility Awareness Day announcement. It’s possible to train an AI model to replicate your voice, which can be a tremendous boon for people who have ALS ( Lou Gehrig’s disease ) or motor-neuron disease or other medical conditions that can lead to an inability to talk. We need to approach this tech responsibly because it has the potential to have a truly transformative impact, which is why it can also be used to create audio deepfakes.
• Voice recognition. Researchers like those in the Speech Accessibility Project are paying people with disabilities for their help in collecting recordings of people with atypical speech. As I type, they are currently hiring people with Parkinson’s and related conditions, and they intend to expand this list as the project develops. More people with disabilities will be able to use voice assistants, dictation software, and voice-response services, as well as to use only their voices to control computers and other devices, according to this research.
• Text transformation. The most recent generation of LLMs is quite capable of changing existing text without giving off hallucinations. This is incredibly empowering for those who have cognitive disabilities and who may benefit from text summaries or simplified versions, or even text that has been prepared for Bionic Reading.

The importance of diverse teams and data

Our differences must be acknowledged as important. The intersections of the identities that we exist in have an impact on our lived experiences. These lived experiences—with all their complexities ( and joys and pain ) —are valuable inputs to the software, services, and societies that we shape. Our differences must be reflected in the data we use to develop new models, and those who provide that valuable information must be compensated for doing so. Inclusive data sets produce stronger models that promote more justifiable outcomes.

Want a model that doesn’t demean or patronize or objectify people with disabilities? Make sure that you include information about disabilities that is written by people who have a range of disabilities and that is well represented in the training data.

Want a non-binary language model? You may be able to use existing data sets to build a filter that can intercept and remediate ableist language before it reaches readers. Despite this, AI models won’t soon replace human copy editors when it comes to sensitivity reading.

Want a copilot for coding that provides recommendations that are accessible after the jump? Train it on code that you know to be accessible.

I have no doubts about how dangerous AI can and will be for people today, tomorrow, and for the rest of the world. However, I think we should also acknowledge this and make thoughtful, thoughtful, and intentional changes to our approaches to AI that will also reduce harm over time with an emphasis on accessibility ( and, in general, inclusion ). Today, tomorrow, and well into the future.

Many thanks to Kartik Sawhney for supporting the development of this article, Ashley Bischoff for providing me with invaluable editorial support, and, of course, Joe Dolson for the prompt.

I am imaginative. What I do involves science. It is a secret. I prefer to let it be done through me rather than through me.

I have a creative side. Certainly all creative people approve of this brand. Not everyone see themselves in this manner. Some innovative individuals incorporate technology into their work. I value their assertion, which is true. Perhaps I even have a small envy for them. However, my thinking and being are unique.

It distracts one to apologize and qualify in progress. My head uses that to destroy me. I’ll leave it alone for today. I may forgive and be qualified at any time. After I’ve said what I originally said. which is sufficient.

Except when it is simple and flows like a wine valley.

Sometimes it does. Maybe I have to create something right away. I’ve learned to avoid saying it right away because people think you don’t work hard enough when you know it’s the best idea when you’re on the go and you know it’s the best idea.

Sometimes I just keep working until the plan strikes me. Maybe it arrives right away, but I don’t remind people for three weeks. Sometimes I get so excited about an thought that just came along that I blurt it out and didn’t stop myself. like a child who discovered a reward in a box of Cracker Jacks. Often I get away with this. Yes, that is the best idea, but maybe others disagree. The majority of the time, they don’t, and I regret that joy has faded.

Joy should only be saved for the meet, when it matters. Certainly the informal get-together that comes before that meeting with two more meetings. Nothing understands why we hold these gatherings. We keep saying we’re getting rid of them, but we keep discovering new ways to get them. They occasionally yet excel. But occasionally they are a hindrance to the actual job. Depending on what you do and where you do it, the ratio between when conferences are valuable and when they are a sad distraction vary. And who you are and how you go about doing it. I’ll go over it once more. I am imaginative. That is the design.

Often, a lot of hours of diligent and diligent work ends up with something that is rarely useful. Maybe I have to accept that and move on to the next task.

Don’t inquire about the procedure. I am imaginative.

I have a creative side. I have no power over my goals. And I have no power over my best tips.

I can nail ahead, fill in the blanks, or use images or information, which occasionally works. I can go for a move, which occasionally works. There is a Eureka, which has nothing to do with boiling pots and sizzling oil, and I may be making dinner. I frequently have a plan for action when I wake up. The idea that may have saved me disappears almost as frequently as I become aware and a part of the world once more as a senseless wind of oblivion. For imagination, in my opinion, comes from that other planet. The one that we enter in ambitions and, possibly, before and after death. I’m not a writer, so that’s up to authors to think about. I am imaginative. Theologians are encouraged to build massive armies in their artistic world, which they insist is true. But that is yet another diversion. And a miserable one. Whether or not I am innovative or not, this may be on a much larger issue. But that’s also a step backwards from what I’m trying to say.

Often, the outcome is evasion. also suffering. Do you know the designer who is tortured by the cliché? Even when the artist is trying to write a soft drink song, a call in a worn-out comedy, or a budget ask, that word is correct.

Some individuals who detest being called artistic perhaps been closeted artists, but that’s between them and their gods. No offence here, that’s meant. Your reality is also true. However, mine is for me.

Creatives understand artists.

Disadvantages are aware of cons, just like queers are aware of queers, just like real rappers are aware of genuine rappers. People have a lot of regard for artists. We respect, follow, and nearly deify the excellent ones. Of course, it is horrible to revere any person. We have been given warning. We are more knowledgeable. We are aware that people are really people. Because they are clay, like us, they squabble, they are depressed, they regret making the most important decisions, they are poor and hungry, they can be violent, and they can be as ridiculous as we can. But. But. However, they produce this incredible issue. They give birth to something that may not exist without them and did not exist before them. They are the inspirations of thought. And I suppose I should add that they are the mother of technology because it’s just lying it. Ba ho backside! That’s done, I suppose. Continue.

Because we compare our personal small accomplishments to those of the great ones, artists denigrate our own. Wonderful video! I‘m not Miyazaki, so I‘m not. That is brilliance right now. That is brilliance straight out of the mouth of God. This meagre much creation that I made? It essentially fell off the pumpkin truck’s again. And the carrots weren’t actually new.

Artists is aware that they are at best Some. That is what Mozart’s artists do, also.

I have a creative side. In my hallucinations, my former innovative managers are the ones who judge me because I haven’t worked in advertising in 30 times. They are correct in doing so. When it really matters, my mind goes flat because I am too lazy and complacent. No medication is available to treat innovative function.

I have a creative side. Every project I create has a goal that makes Indiana Jones appear older and snoring in a deck head. The more I pursue creativity, the faster I can complete my work, and the longer I obsess over my ideas and whizz around in circles before I can complete that task.

I can move ten times more quickly than those who aren’t innovative, those who have just been creative for a short while, and those who have just had a short time of creative work. Only that I spend twice as long as they do putting the job of before I work ten times as quickly as they do. When I put my mind to it, I am so confident in my ability to do a great career. I have an addiction to the delay rush. I’m still so frightened of jumping.

I am hardly a painter.

I have a creative side. never a performer. Though as a boy, I had a dream that I would one day become that. Some of us criticize our abilities and like our own accomplishments because we are not Michelangelos and Warhols. That is narcissism, but at least we aren’t in elections.

I have a creative side. Despite my belief in reason and science, I make decisions based on my own senses and instincts. And bear witness to what comes next, both the successes and the catastrophes.

I have a creative side. Every term I’ve said these may irritate another artists who see things differently. Ask a question to two designers, and you’ll find three responses. Our dispute, our interest in it, and our commitment to our own truth, at least in my opinion, are the proof that we are creative, no matter how we does think about it.

I have a creative side. I lament my lack of taste in the areas of human knowledge that I know quite small, that is to say about everything. And I put my taste before everything else in the things that are most important to me, or perhaps more precisely, to my obsessions. Without my passions, I had probably have to spend time staring living in the eye, which almost none of us can do for very long. No seriously. No truly. Because a lot of career is intolerable if you really look at it.

I have a creative side. I think that when I leave, a small portion of me will stay in someone else’s head, just like a parent does.

Working frees me from worrying about my job.

I have a creative side. I fear that my little present will disappear without warning.

I have a creative side. I’m too busy making the next thing to devote too much time to it, especially since practically everything I create did achieve the level of success I conceive of.

I have a creative side. I think there is the greatest secret in the process. I think I have to consider it so strongly that I actually made the foolish decision to publish an essay I wrote without having to go through or edit. I swear I didn’t do this frequently. But I did it right away because I was even more scared of forgetting what I was saying because I was as scared as I might be of you seeing through my sad gestures toward the gorgeous.

There. I believe I’ve said it.

As a solution contractor for too many times, I can’t recall how many times I’ve seen promising ideas go from being heroes in a few weeks to being useless within months.

Financial items, which is the area of my specialization, are no exception. It’s tempting to put as many features at the ceiling as possible and hope someone sticks because people’s true, hard-earned money is on the line, user expectations are high, and a crammed market. However, this strategy is a formula for disaster. Why, please:

The fatalities of feature-first growth

It’s simple 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 apps. You might be thinking,” If I can only put one more thing that solves this particular person problem, they’ll appreciate me”! What happens, however, when you eventually encounter a roadblock caused by your safety team? don’t like it? When a difficult-fought film fails to win over viewers or fails due to unanticipated difficulty?

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

The issue with most fund apps is that they frequently turn out to be reflections of the company’s internal politics rather than an experience created purely for the customer. Instead of offering a distinct value statement that is focused on what people in the real world want, the focus should be on delivering as some features and functionalities as possible to satisfy the needs and wants of competing inside sections. As a result, these products can very quickly became a mixed bag of misleading, related, and finally unhappy customer experiences—a feature salad, you might say.

The significance of the foundation

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

The concept of “bedrock” comes into play in this context. Rock is the main feature of your solution that really matters to customers. It serves as the foundation for the fundamental building block that creates price 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. Individuals only look at their existing account once every five minutes, but they also look at it daily. They purchase a credit card every year or every other year, but they at least once a month assess their stability and pay their bills.

The key is in identifying the main jobs that people want to complete and working relentlessly to render them simple, reliable, and trustworthy.

How can you reach the foundation, though? By focusing on the” MVP” strategy, giving clarity the top priority, and working toward a distinct value proposition. This means avoiding unnecessary functions and putting your customers first, and adding real value.

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

Functional methods for creating stick-like economic products

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

1. What trouble are you trying to solve first, and make a distinct “why”? Who is it for? Make sure your goal is unmistakable before beginning any work. Make certain it also aligns with the goals of your business.
2. Avoid putting too many features on the list at again; instead, focus on getting that right first. 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: Bedrock is not a fixed destination; it is a fluid process. Continuously collect customer feedback, make product improvements, and advance in that direction.
5. Stop, look, and listen: Don’t just go through with testing your product as part of the delivery process; test it frequently in the field. Use it for yourself. Work A/B testing. User comments on Gatter. Speak to the users of it 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. But the reward is worthwhile because products built with a focus on rock will outlive and surpass their rivals over time and provide users with long-term value.

How do you begin your quest for core, then? Consider it gradually. Start by identifying the essential components that your customers actually care about. Focus on developing and improving a second, potent have that delivers real value. And most importantly, make an obsessive effort because, in the words of Abraham Lincoln, Alan Kay, or Peter Drucker ( whew! The best way to foretell the future is to build it, he said.

I had to walk meetings of Mortal Kombat and Wolfenstein 3D apart from my mother’s perceptive eye because she never liked playing violent games. One game that was so notorious that I had to take extra precautions in playing it, either on our family computer ( thanks, shareware! ) [ …] or even at friends ‘ homes.

The article How Doom Changed Gaming Forever appeared first on Den of Geek.

The ideal combination would be robberies and movies. Both require a great team, a ton of personality, and clock accuracy in an atmosphere where everything is ready to go bad. Some things compare to the satisfaction of watching it all come together and fall apart, despite the training we’ve received to know that the ideal crime is as uncommon as the riches that film thieves seek to take. The best attack shows draw us in time and time again to the idea of it all. &nbsp,

And while we’re here to enjoy the best attack movies, please observe that identifying a attack film can be as large of a task as pulling off the best plan. I made a general effort to draw a line between simple robberies, con artist movies, violence movies, and the attack genre itself. It’s a narrow range, but the best attack movies usually focus on the job, the team, the strategy, and, more often than not, the fallout. &nbsp,

15. Dead Presidents ( 1995 ) )

” It&#8217, s not your fault you &#8217, ve been brainwashed by America”. Revolutionist Delilah Benson elicits cold comfort from veteran Vietnam specialist Anthony Curtis with these thoughts and effectively sums up the spirit that pushes this attack movie from executives Albert Hughes and Allen Hughes.

Many like they did with Menace II Society, the Hughes boys use this tale of people forced to turn to a life of violence to glow a light on the problems that plague some Black people who’ve been forced to the outskirts of society. However, with Dead Presidents, they expand their scope of investigation into how many soldiers who were forced into lives back home after a war, especially the Vietnam War, had never imagined they would have to endure. It’s heavy material but the Hughes Brothers keep it infinitely watchable thanks to their incredible visual style, some killer performances, and one of the best soundtracks of the ‘ 90s. &nbsp,

14. Three Kings ( 1999 )

Director David O. Russell was reportedly drawn to the concept for Three Kings as soon as he saw the words “heist set in the Gulf War”. Russell then shepherded that brilliant elevator pitch through a terrifying filming process, pleading with pretty much everyone ( including story creator John Ridley and star George Clooney ). And while the director ultimately delivered a heist movie set in the Gulf War, somewhere along the way, Three Kings became something much greater.

In the final days of the Gulf War, three soldiers trying to find a fortune in gold bullion, as it turns out, account for a large portion of the drama in Three Kings. That part proves to be surprisingly simple. When those same soldiers attempt to solve the moral quandary of what they are about to get away with, things get much more complicated. Three Kings features the kind of nuanced observations about America’s involvement in the Middle East that we wouldn’t see again for a long time after 9/11. They are also tucked into an incredible heist adventure that addresses the ethics of thievery. &nbsp,

13. The Thomas Crown Affair ( 1999 )

There is something particularly slick about being an art thief, at the risk of needlessly glorifying crime. Anyone can recognize at least the monetary value of stealing cash or jewels, but art thieves inherently exhibit a taste for the finer things in life. The Thomas Crown Affair from 1999 is largely due to its extreme criminality. &nbsp,

While this remake of the 1968 original film, which was a 1999 remake, benefits from better pacing ( what else would you expect from legendary action director John McTiernan? ), the heart of the film is still its two leads. Based on their desires, interests, and growing respect for one another’s abilities, Pierce Brosnan and Rene Russo have a genuinely sexy ( and refreshingly age-appropriate ) love affair. It all builds toward a genius final heist that nourishes the soul and mind. &nbsp,

12. ( 2016 ) Hell or High Water

Hell or High Water dances around that thin line which separates the heist genre from other crime films, but it’s ultimately too difficult to ignore the ways this movie views the economic and class factors that contribute to the decision to” steal”.

Hell or High Water, a story based on the Yellowstone-based author Taylor Sheridan, centers on two brothers who start robbing banks to save the family farm. Essentially a Western heist film, Hell or High Water is packed with people trying to carve something for themselves out of a corner of the world that time seems to have forgotten. This film brilliantly explores the desperation of criminality, suggesting that “getting even” is another way to say you are merely trying to free yourself of unfathomable debts. &nbsp, &nbsp,

11. A Fish Called Wanda ( 1988 )

It’s surprising that there aren’t more ( or better ) comedy heist movies given that many movie heists ultimately end in spectacular ways. Even if there were, it would be hard for them to beat the offbeat brilliance of A Fish Called Wanda. &nbsp,

What would otherwise be a relatively straightforward heist story about a jewelry robbery soon becomes complicated by both criminal circumstances and the truly unhinged personalities of the job’s willing ( and unwilling ) main players. Even when the ensemble is theoretically working together, Kevin Kline steals the show in a performance that is more Oscar-worthy than it is typically remembered as. However, the real joy is in seeing the entire group try to get one over one. &nbsp,

10. Inception ( 2010 )

It seems strange to refer to Inception as a heist film. It most certainly is, but Christopher Nolan‘s story of a group of operatives who perform corporate espionage by diving into people’s dreams goes to such … places that it’s sometimes easy to forget that there’s a heist at the heart of it all.

However, it is that heist that Nolan can use to explore the absurd conceptual and visual locations he so frequently explores in Inception. The best heist stories are fundamentally twisty tales that find ways to keep us engaged through every turn. Nolan simply reaches completely new heights by bending reality to fit the narrative of this crew’s desperate quest to escape before everything comes to a head. By regularly returning to that simple genre conceit, Nolan delivers some of the most mind-bending concepts we’ve ever seen in a major release without losing too much of the enraptured audience. &nbsp,

9. The League of Gentlemen ( 1960 )

There is a quaintness to The League of Gentlemen that speaks to both its pure, essential” Britishness” and the fact that it was made well before the typical heist movie formula was finalized. Some people may find the story of specialists robbing a bank a little sluggish and familiar. &nbsp,

However, The League of Gentlemen deserves a lot of love because it is one of the first instances of this kind of “getting the gang together” style of heist movie. It’s also one of the most lovable, clever, and strangely wholesome versions of that concept. Nothing in this fundamental heist film is taken for granted, and the cast and crew’s enthusiasm for the genius of the entire thing makes navigating those genre tropes that have always been enjoyable ( previously they were tropes ) that much more enjoyable. This also remains one of the best examples of a movie that wants us to love its thieves while still delivering the” crime doesn’t pay” finale that this era of film demanded. &nbsp,

8. Inside Man ( 2005 )

I will eternally envy those who get to watch Inside Man for the first time. What begins as one of the most cleverly planned logistical heist movies ever made, evolving from a seemingly standard tale of a police officer trying to thwart a bank robbery to what honestly feels under director Spike Lee‘s standards.

Though many heist movies revolve around” the plan”, few movies celebrate the art of slowly watching that plan unfold as well as Inside Man does. Every scene adds another layer to the expanding cast of characters who are ensnared in this incredible unfolding event. By the time you get to the final reveal, you’ll be reaching for a cigarette regardless of whether you ever smoked. &nbsp,

7. Sexy Beast ( 2000 )

Though strangely conventional by director Jonathan Glazer’s standards, Sexy Beast is rather unconventional by those of the heist movie. The heist itself occurs at the very end of the movie, and it is a remarkably low-tech affair that emphasizes the brutality of its perpetrators rather than attempting to impress you with their criminal cleverness. The bulk of the movie instead focuses on Gal: a former safecracker who receives an unwelcome visit from an old accomplice named Don Logan, who is determined to get him to pull off one last job. &nbsp,

As Don Logan, Sir Ben Kingsley delivers one of the greatest and most terrifying performances in the history of crime cinema. If anything, “in the history of crime cinema” serves as a pointless qualifier that limits the scope of his 89-minute thriller’s tautness. If you can look past Kingsley’s magnetic madness, you’ll find a quieter, slightly surreal film that gives the pull of the underworld a physical form and grapples with the horror of the idea that you’ve already made the decision that will define your life. &nbsp,

6. Jackie Brown ( 2000 )

Jackie Brown is an airline stewardess who has just been caught smuggling cash for her gun-running employer. Her employer wants her dead, and the DEA wants her to cooperate. However, Jackie forms a bold plan to escape prosecution, steal her employer’s money, and cash out on the bad hand that life has dealt her. &nbsp,

Time is almost always a factor in heist movies. Before the cops arrive, the game is over, and the officers are forced to race against the clock. And while there is a time-sensitive plan to steal$ 500, 000 in Jackie Brown, most of our characters are racing against time itself. The only thing scarier than being caught is realizing you missed your shot, which is the only thing in this brilliant thriller with career-best performances from Robert Forster and Pam Grier. Due respect to Inglourious Basterds, but this character-driven heist thriller adapted from an Elmore Leonard novel may be Quentin Tarantino‘s real masterpiece.

5. Le Cercle Rouge ( 1970 )

Three men at the end of their ropes enter each other’s lives just in time to pull off a stunning jewelry heist in this Jean-Pierre Melville classic. The setup may seem familiar to fans of the genre, but Melville is less interested in subverting the genre than he is in gathering and sharing every ounce of cinematic majesty that can be mined from that concept. &nbsp,

And unlike the film’s protagonists, we’re all left richer at the end of the experience. Le Cercle Rouge is undoubtedly one of Melville’s greatest stylistic achievements and the most visually stunning heist film ever produced. The minimalist dialog allows us to lose ourselves in this tour of wonderfully imagined noir locales guided by some of the most cinematically cool, but morally empty, criminals you’ll spend time with on either side of the screen. &nbsp,

4. 1950’s The Asphalt Jungle

After directing some of the greatest noir and adventure films ever made, John Huston decided to combine both styles in a crime movie that proved to be one of the foundational pieces of the entire heist genre. The Asphalt Jungle offers so much more than just the star power, despite the possibility that any film that combines the likes of John Huston, a young Marilyn Monroe, and Sterling Hayden is bound to be at least as entertaining. &nbsp,

This is a tale of criminals attempting to reclaim their piece of the perfect plan, which only the best noirs of this time can do. Desperate crooks gather in smoky backrooms to discuss the upcoming job with a kind of blue-collar professionalism that exhibits their casualness without underselling the scope of what they are about to do. Although it shouldn’t surprise you to learn that things don’t go as planned ( it was 1950, after all ), Houston’s portrayal of these criminals set the stage for the heist genre’s and far beyond.

3. Heat ( 1995 ) )

Does any line summarize the heist genre as well as “don’t let yourself get attached to anything you are not willing to walk out on in 30 seconds flat if you feel the heat around the corner”? While Michael Mann showed off his strong crime story skills in his excellent debut feature film, Thief, there are many good reasons to think that Heat is the director’s definitive crime film. &nbsp,

An all-star cast performs their best work in almost perfect harmony in Heat, just like the best heist crews. While this movie is rightfully remembered for its breathtaking bank robbery shootout ( perhaps the best shootout ever put on film ), the many, many rewatches of this movie we’ve all enjoyed often reveal something equally incredible during those quieter moments. The gruff hyper-masculine coolness found in the best David Mamet works may help, but it ultimately resembles a story of professionals struggling to control their own selves. &nbsp,

2. Rififi ( 1955 )

Rififi, which was made by blacklisted director Jules Dassin while he was a prisoner of war in France, demonstrates that seemingly impossible combination of rage and craft that Dassin himself appeared to possess at that special time in his life. It may not be the first heist movie, but nearly every heist film that follows owes a debt to the way it balanced” the job” with what happens next. &nbsp,

Rififi‘s stunning heist sequence ( which is shot in real time and presented without dialogue ) is conceptually brilliant and actually seems to go off without much of a hitch. When the heist crew attempts to collaborate on the job, the problems arise later. Rififi explores the curse of sudden fortune by showing how money can not alter the paths that led to these men doing something so desperate in the first place. &nbsp,

1. Ocean’s Eleven ( 2001 )

Many of the best heist movies ultimately deal with the futility and tragedy of crime. That’s understandable and morally righteous. However, we are also often attracted to heist movies because they are so damn cool. No heist movie is cooler than Ocean’s Eleven, despite the numerous cool criminals and crews in the wide world of heist movies. &nbsp,

Steven Soderbergh’s story of a man named Danny Ocean, who is assembling the perfect heist crew after being paroled, is one of the most relentlessly entertaining movies ever made. Perfectly paced, gorgeously shot, and loaded with incredible performances, it’s even somehow cooler than the 1960 original that starred the Rat Pack. It rightfully remains the go-to option for millions who simply want to enjoy the art of the heist. 

The post The 15 Best Heist Movies Ever Made, Ranked appeared first on Den of Geek.

stutters. Bludgeonings. cutting men from the thigh to the throat. Slipping on innards. Defending a horse with a second blow. And dead but mangled after war that they’re only distinguishable by their shoe size. []These are the rumored accomplishments of the Westerosi battle knights that were recently confirmed by Variety as being part of House of the Dragon.

The article House of the Dragon Season 3 Suddenly Gears Up For Action With New Cast appeared second on Den of Geek.

The ideal combination would be thefts and movies. Both require a great team, a ton of personality, and clockwork accuracy in an atmosphere where everything is ready to go bad. Some things compare to the satisfaction of watching it all come along and fall off, even though we’ve been trained to realize that the ideal crime is as uncommon as the jewels that movie criminals seek to take. The best attack shows draw us in time and time again to the idea of it all. &nbsp,

And while we’re here to enjoy the best attack movies, please observe that identifying a attack film can be as large of a task as pulling off the best plan. I made a general effort to draw a line between simple robberies, con artist movies, murder movies, and the attack genre itself. It’s a narrow range, but the best attack movies usually focus on the job, the team, the strategy, and, more often than not, the fallout. &nbsp,

15. Dead Presidents ( 1995 ) )

” It&#8217, s not your fault you &#8217, ve been brainwashed by America”. Revolutionist Delilah Benson sums up the spirit that pushes this heist movie from executives Albert Hughes and Allen Hughes with these words:” Returning Vietnam War veterinarian Anthony Curtis is cold comforted by revolutionary Delilah Benson.”

Many like they did with Menace II Society, the Hughes boys use this tale of people forced to turn to a life of violence to glow a light on the problems that plague some Black people who’ve been forced to the outskirts of society. However, they expand their scope with Dead Presidents to show how many soldiers who had been forced into lives they had never imagined they would endure during war, especially the Vietnam War. It’s heavy material but the Hughes Brothers keep it infinitely watchable thanks to their incredible visual style, some killer performances, and one of the best soundtracks of the ‘ 90s. &nbsp,

14. Three Kings ( 1999 )

Director David O. Russell was reportedly drawn to the concept for Three Kings as soon as he saw the words “heist set in the Gulf War”. Russell then shepherded that brilliant elevator pitch through a terrifying filming process, piss off pretty much everyone ( including George Clooney and John Ridley, the film’s creator ). And while the director ultimately delivered a heist movie set in the Gulf War, somewhere along the way, Three Kings became something much greater.

In the final days of the Gulf War, three soldiers trying to find a fortune in gold bullion, as it turns out, account for a large portion of the drama in Three Kings. That part proves to be surprisingly simple. When those same soldiers attempt to escape the moral quandary of what they are about to get away with, things get much more difficult. Three Kings features the kind of nuanced observations about America’s involvement in the Middle East that we wouldn’t see again for a long time after 9/11. Additionally, it encircles an incredible heist adventure that addresses the morality of thievery. &nbsp,

13. The Thomas Crown Affair ( 1999 )

Being an art thief is a particularly slick thing, at the risk of needlessly glorifying crime. Anyone can recognize at least the monetary value of stealing cash or jewels, but art thieves inherently exhibit a taste for the finer things in life. The Thomas Crown Affair from 1999 is a big part of the reason that suave criminality stands out from the crowd. &nbsp,

While this remake of the 1968 original film, which was a 1999 remake, benefits from better pacing ( what else would you expect from legendary action director John McTiernan? ), the heart of the film is still its two leads. Based on their desires, interests, and growing respect for each other’s abilities, Pierce Brosnan and Rene Russo have a genuinely sexy ( and refreshingly age-appropriate ) love affair. It all builds toward a genius final heist that nourishes the soul and mind. &nbsp,

12. ( 2016 ) Hell or High Water

Hell or High Water dances around that thin line which separates the heist genre from other crime films, but it’s ultimately too difficult to ignore the ways this movie views the economic and class factors that contribute to the decision to” steal”.

Hell or High Water, a story based on the Yellowstone-based author Taylor Sheridan, centers on two brothers who start robbing banks to save the family farm. Essentially a Western heist film, Hell or High Water is packed with people trying to carve something for themselves out of a corner of the world that time seems to have forgotten. This film brilliantly explores the desperation of criminality, suggesting that “getting even” is another way to say you are merely trying to free yourself of unfathomable debts. &nbsp, &nbsp,

11. A Fish Called Wanda ( 1988 )

It’s surprising that there aren’t more ( or better ) comedy heist movies given that many movie heists ultimately end in spectacular ways. Even if there were, it would be hard for them to beat the offbeat brilliance of A Fish Called Wanda. &nbsp,

What would otherwise be a relatively straightforward heist story about a jewelry robbery soon becomes complicated by both criminal circumstances and the truly unhinged personalities of the job’s willing ( and unwilling ) main players. Even when the ensemble is theoretically working together, Kevin Kline steals the show in a performance that is more Oscar-worthy than it is typically remembered as. However, the real joy is in seeing the entire group try to get one over one. &nbsp,

10. Inception ( 2010 )

Calling Inception a heist movie seems odd to me. It most certainly is, but Christopher Nolan‘s story of a group of operatives who perform corporate espionage by diving into people’s dreams goes to such … places that it’s sometimes easy to forget that there’s a heist at the heart of it all.

Nolan can explore the wild conceptual and visual spaces he so frequently explores in Inception thanks to that heist. The best heist stories are fundamentally twisty tales that find ways to keep us engaged through every turn. Nolan simply reaches entirely new heights by bending reality itself to fit the story of this crew’s desperate quest to get the goods and leave before everything comes to a crashing berm. By regularly returning to that simple genre conceit, Nolan delivers some of the most mind-bending concepts we’ve ever seen in a major release without losing too much of the enraptured audience. &nbsp,

9. The League of Gentlemen ( 1960 )

There is a quaintness to The League of Gentlemen that speaks to both its pure, essential” Britishness” and the fact that it was made well before the typical heist movie formula was finalized. Some people may find the story of specialists robbing a bank a little sluggish and familiar. &nbsp,

However, The League of Gentlemen deserves a lot of love because it is one of the first heist movies with the “getting the gang together” formula. It’s also one of the most lovable, clever, and strangely wholesome versions of that concept. Nothing in this fundamental heist film is taken for granted, and the cast and crew’s enthusiasm for the genius of the entire thing makes navigating those genre tropes that have always been enjoyable ( previously they were tropes ) that much more enjoyable. This also remains one of the best examples of a movie that wants us to love its thieves while still delivering the” crime doesn’t pay” finale that this era of film demanded. &nbsp,

8. Inside Man ( 2005 )

I will eternally envy those who get to watch Inside Man for the first time. What begins as one of the most cleverly planned logistical heist movies ever made, evolving from a seemingly standard tale of a police officer trying to thwart a bank robbery to what honestly feels under director Spike Lee‘s standards.

Though many heist movies revolve around” the plan”, few movies celebrate the art of slowly watching that plan unfold as well as Inside Man does. Every scene adds another layer to the expanding cast of characters who are ensnared in this incredible unfolding event. By the time you get to the final reveal, you’ll be reaching for a cigarette regardless of whether you ever smoked. &nbsp,

7. Sexy Beast ( 2000 )

Though strangely conventional by director Jonathan Glazer’s standards, Sexy Beast is rather unconventional by those of the heist movie. The heist itself occurs at the very end of the movie, and it highlights the brutality of its perpetrators rather than distracting you with their criminal cleverness. The bulk of the movie instead focuses on Gal: a former safecracker who receives an unwelcome visit from an old accomplice named Don Logan, who is determined to get him to pull off one last job. &nbsp,

As Don Logan, Sir Ben Kingsley delivers one of the greatest and most terrifying performances in the history of crime cinema. If anything, “in the history of crime cinema” is a pointless qualifier that limits the scope of what he can accomplish in an 89-minute thriller that is taut. If you can look past Kingsley’s magnetic madness, you’ll find a quieter, slightly surreal film that gives the pull of the underworld a physical form and grapples with the horror of the idea that you’ve already made the decision that will define your life. &nbsp,

6. Jackie Brown ( 2000 )

Jackie Brown is an airline stewardess who has just been caught smuggling cash for her gun-running employer. Her employer wants her dead, and the DEA wants her to cooperate. However, Jackie forms a bold plan to escape prosecution, steal her employer’s money, and cash out on the bad hand that life has dealt her. &nbsp,

Time is almost always a factor in heist movies. Before the cops show up, they are forced to race against the clock, and the game is over. And while there is a time-sensitive plan to steal$ 500, 000 in Jackie Brown, most of our characters are racing against time itself. The only thing scarier than getting caught is realizing that you missed your shot, which is a key component of this brilliant thriller, which is anchored by career-best performances from Robert Forster and Pam Grier. Due respect to Inglourious Basterds, but this character-driven heist thriller adapted from an Elmore Leonard novel may be Quentin Tarantino‘s real masterpiece.

5. Le Cercle Rouge ( 1970 )

Three men at the end of their ropes enter each other’s lives just in time to pull off a stunning jewelry heist in this Jean-Pierre Melville classic. The setup may seem familiar to fans of the genre, but Melville is less interested in subverting the genre than he is in gathering and sharing every ounce of cinematic majesty that can be mined from that concept. &nbsp,

And unlike the film’s protagonists, we’re all left richer at the end of the experience. Le Cercle Rouge is undoubtedly one of Melville’s greatest stylistic achievements and the most visually stunning heist film ever produced. The minimalist dialog allows us to lose ourselves in this tour of wonderfully imagined noir locales guided by some of the most cinematically cool, but morally empty, criminals you’ll spend time with on either side of the screen. &nbsp,

4. The Asphalt Jungle ( 1950 ) )

After directing some of the greatest noir and adventure films ever made, John Huston decided to combine both styles in a crime movie that proved to be one of the foundational pieces of the entire heist genre. The Asphalt Jungle offers so much more than just the star power, despite the possibility that any film that combines the incomparable Sterling Hayden, a young Marilyn Monroe, and John Huston in his prime is bound to be at least at least entertaining. &nbsp,

This tale of criminals attempting to reclaim their piece of the perfect plan is wonderfully sweaty in the manner only the best noirs of this time can be. Desperate crooks gather in smoky backrooms to discuss the upcoming job with a kind of blue-collar professionalism that exhibits their casualness without underselling the scope of what they are about to do. Although it shouldn’t surprise you to learn that things don’t go as planned ( it was 1950, after all ), Houston’s appreciation of these criminals helped pave the way for the heist genre’s and far beyond.

3. Heat ( 1995 )

Does any line summarize the heist genre as well as “don’t let yourself get attached to anything you are not willing to walk out on in 30 seconds flat if you feel the heat around the corner”? While Michael Mann showed off his strong crime story skills in his excellent debut feature film, Thief, there are many good reasons to think that Heat is the director’s definitive crime film. &nbsp,

Like the best heist crews, Heat features an all-star cast performing in almost perfect harmony. While this movie is rightfully remembered for its breathtaking bank robbery shootout ( perhaps the best shootout ever put on film ), the many, many rewatches of this movie we’ve all enjoyed often reveal something equally incredible during those quieter moments. The gruff hyper-masculine coolness found in the best David Mamet works may help, but it ultimately resembles a story of professionals struggling to control their own selves. &nbsp,

2. Rififi ( 1955 )

Rififi, which was made by blacklisted director Jules Dassin while he was a prisoner of war in France, demonstrates that seemingly impossible combination of rage and craft that Dassin himself appeared to possess at that special time in his life. It may not be the first heist movie, but nearly every heist film that follows owes a debt to the way it balanced” the job” with what happens next. &nbsp,

Rififi‘s stunning heist sequence ( which is shot in real time and presented without dialogue ) is conceptually brilliant and actually seems to go off without much of a hitch. The issues arise when the heist crew tries to collaborate as they did while on the job. Rififi explores the curse of sudden fortune by showing how money can not alter the paths that led to these men doing something so desperate in the first place. &nbsp,

1. Ocean’s Eleven ( 2001 )

Many of the best heist movies ultimately deal with the futility and tragedy of crime. That is morally correct and understandable. However, we are also often attracted to heist movies because they are so damn cool. No heist movie is cooler than Ocean’s Eleven, despite the numerous cool criminals and crews that exist in heist movies. &nbsp,

Steven Soderbergh’s story of a man named Danny Ocean, who is assembling the perfect heist crew after being paroled, is one of the most relentlessly entertaining movies ever made. Perfectly paced, gorgeously shot, and loaded with incredible performances, it’s even somehow cooler than the 1960 original that starred the Rat Pack. It rightfully remains the go-to option for millions who simply want to enjoy the art of the heist. 

The post The 15 Best Heist Movies Ever Made, Ranked appeared first on Den of Geek.

Robberies and movies are the ideal combination. Both require a great team, a ton of personality, and clock accuracy in an atmosphere where everything is ready to go bad. Few things surpass the [ ] ] despite the training to realize that the ideal crime is as uncommon as the treasures that movie thieves smuggle.

The article The 15 Best Attack Movies Ever Made, Ranked appeared initially on Den of Geek.

Movies and robberies make the ideal combination. Both require a great team, a ton of personality, and clock accuracy in an atmosphere where everything is ready to go bad. Few things can compare to the satisfaction of watching it all come together and fall off, even though we’ve been trained to realize that the best offense is as unique as the treasures that film thieves attempt to steal. The best attack shows draw us in time and time again to the idea of it all. &nbsp,

And while we’re here to enjoy the best attack movies, please observe that identifying a attack film can be as large of a task as pulling off the best plan. I frequently tried to draw a line between heist movies, con artist movies, basic robberies, and crime movies itself. It’s a narrow range, but the best attack movies usually focus on the job, the team, the strategy, and, more often than not, the fallout. &nbsp,

15. Dead Presidents ( 1995 )

” It&#8217, s not your fault you &#8217, ve been brainwashed by America”. Revolutionist Delilah Benson sums up the spirit behind this attack movie from executives Albert Hughes and Allen Hughes in a poignant way by offering cold comfort to Vietnam vet Anthony Curtis who is currently a veteran of the Vietnam War.

Many like they did with Menace II Society, the Hughes boys use this tale of people forced to turn to a life of violence to glow a light on the problems that plague some Black people who’ve been forced to the outskirts of society. However, in Dead Presidents, they expand their scope of investigation into how many soldiers who had been forced into lives back home after a war, especially the Vietnam War, never imagined they would have to endure. It’s heavy material but the Hughes Brothers keep it infinitely watchable thanks to their incredible visual style, some killer performances, and one of the best soundtracks of the ‘ 90s. &nbsp,

14. Three Kings ( 1999 )

Director David O. Russell was reportedly drawn to the concept for Three Kings as soon as he saw the words “heist set in the Gulf War”. From there, Russell shepherded that brilliant elevator pitch through a terrifying filming process, pleading with pretty much everyone ( including story creator John Ridley and star George Clooney ). And while the director ultimately delivered a heist movie set in the Gulf War, somewhere along the way, Three Kings became something much greater.

In the final days of the Gulf War, three soldiers trying to find a fortune in gold bullion, as it turns out, account for a large portion of the drama in Three Kings. That part proves to be surprisingly simple. When those same soldiers attempt to solve the moral quandary of what they are about to get away with, things get much more complicated. Three Kings features the kind of nuanced observations about America’s involvement in the Middle East that we wouldn’t see again for a long time after 9/11. They are also tucked into an incredible heist adventure that addresses the morality of thievery. &nbsp,

13. The Thomas Crown Affair ( 1999 )

Being an art thief is a particularly slick thing, at the risk of needlessly glorifying crime. Anyone can recognize at least the monetary value of stealing cash or jewels, but art thieves inherently exhibit a taste for the finer things in life. That extreme crime is a large part of the reason why 1999’s The Thomas Crown Affair stands out from the crowd. &nbsp,

What else would you anticipate from legendary action director John McTiernan, despite the improved pacing in this 1999 remake of the 1968 original film? ), the heart of the film is still its two leads. Based on their desires, interests, and growing respect for each other’s abilities, Pierce Brosnan and Rene Russo have a genuinely sexy ( and refreshingly age-appropriate ) love affair. It all builds toward a genius final heist that nourishes the soul and mind. &nbsp,

12. ( 2016 ) Hell or High Water

Hell or High Water dances around that thin line which separates the heist genre from other crime films, but it’s ultimately too difficult to ignore the ways this movie views the economic and class factors that contribute to the decision to” steal”.

The two brothers who begin bank robbers in order to save the family farm are the subjects of Taylor Sheridan’s Yellowstone novel Hell or High Water. Essentially a Western heist film, Hell or High Water is packed with people trying to carve something for themselves out of a corner of the world that time seems to have forgotten. This film brilliantly explores the desperation of criminality, suggesting that “getting even” is another way to say you are merely trying to free yourself of unfathomable debts. &nbsp, &nbsp,

11. A Fish Called Wanda ( 1988 )

It’s surprising that there aren’t more ( or better ) comedy heist movies given that many movie heists ultimately end in spectacular ways. Even if there were, it would be hard for them to beat the offbeat brilliance of A Fish Called Wanda. &nbsp,

What would otherwise be a relatively straightforward heist story about a jewelry robbery soon becomes complicated by both criminal circumstances and the truly unhinged personalities of the job’s willing ( and unwilling ) main players. Yes, Kevin Kline steals the show in a performance that is more Oscar-worthy than it is typically remembered as, but the real joy is in being able to see the ensemble constantly try to win over each other, even when they are technically cooperating. &nbsp,

10. Inception ( 2010 )

Calling Inception a heist film seems odd. It most certainly is, but Christopher Nolan‘s story of a group of operatives who perform corporate espionage by diving into people’s dreams goes to such … places that it’s sometimes easy to forget that there’s a heist at the heart of it all.

Yet it’s that heist that allows Nolan to explore the bizarre conceptual and visual locations he so frequently explores in Inception. The best heist stories are fundamentally twisty tales that find ways to keep us engaged through every turn. Nolan simply reaches entirely new heights by bending reality to fit the story of this crew’s desperate quest to get the goods and leave before everything comes to a head. By regularly returning to that simple genre conceit, Nolan delivers some of the most mind-bending concepts we’ve ever seen in a major release without losing too much of the enraptured audience. &nbsp,

9. The League of Gentlemen ( 1960 )

There is a quaintness to The League of Gentlemen that speaks to both its pure, essential” Britishness” and the fact that it was made well before the typical heist movie formula was finalized. Some people may find the story of specialists robbing a bank a little sluggish and familiar. &nbsp,

However, The League of Gentlemen deserves a lot of love because it is one of the first instances of this kind of “getting the gang together” style of heist movie. It’s also one of the most lovable, clever, and strangely wholesome versions of that concept. This fundamental heist film is not taken for granted, and the cast and crew’s enthusiasm for the genius of the entire thing makes it even more enjoyable to navigate those genre tropes that have always been enjoyable ( previously known as tropes ). This also remains one of the best examples of a movie that wants us to love its thieves while still delivering the” crime doesn’t pay” finale that this era of film demanded. &nbsp,

8. Inside Man ( 2005 )

I will eternally envy those who get to watch Inside Man for the first time. What starts off as a seemingly standard tale of a police officer attempting to stop a bank robbery quickly turns into one of the most clever logistical heist movies ever produced.

Though many heist movies revolve around” the plan”, few movies celebrate the art of slowly watching that plan unfold as well as Inside Man does. Every scene adds another layer to the growing cast of characters who are ensnared in this incredible event. By the time you get to the final reveal, you’ll be reaching for a cigarette regardless of whether you ever smoked. &nbsp,

7. Sexy Beast ( 2000 )

Though strangely conventional by director Jonathan Glazer’s standards, Sexy Beast is rather unconventional by those of the heist movie. The heist itself occurs at the very end of the movie, and it is a remarkably low-tech incident that emphasizes the brutality of its perpetrators rather than trying to impress you with their criminal cleverness. The bulk of the movie instead focuses on Gal: a former safecracker who receives an unwelcome visit from an old accomplice named Don Logan, who is determined to get him to pull off one last job. &nbsp,

As Don Logan, Sir Ben Kingsley delivers one of the greatest and most terrifying performances in the history of crime cinema. In the end, “in the history of crime cinema” is a pointless qualifier that limits what he can accomplish in an 89-minute thriller that is taut. If you can look past Kingsley’s magnetic madness, you’ll find a quieter, slightly surreal film that gives the pull of the underworld a physical form and grapples with the horror of the idea that you’ve already made the decision that will define your life. &nbsp,

6. Jackie Brown ( 2000 )

Jackie Brown is an airline stewardess who has just been caught smuggling cash for her gun-running employer. Her employer wants her dead, and the DEA wants her to cooperate. However, Jackie forms a bold plan to escape prosecution, steal her employer’s money, and cash out on the bad hand that life has dealt her. &nbsp,

Time is almost always a factor in heist movies. Before the cops show up, they are forced to race against the clock, and the game is over. And while there is a time-sensitive plan to steal$ 500, 000 in Jackie Brown, most of our characters are racing against time itself. The only thing scarier than getting caught is realizing that you missed your shot, which is a key component of this brilliant thriller, which is anchored by career-best performances from Robert Forster and Pam Grier. Due respect to Inglourious Basterds, but this character-driven heist thriller adapted from an Elmore Leonard novel may be Quentin Tarantino‘s real masterpiece.

5. Le Cercle Rouge ( 1970 )

Three men at the end of their ropes enter each other’s lives just in time to pull off a stunning jewelry heist in this Jean-Pierre Melville classic. The setup may seem familiar to fans of the genre, but Melville is less interested in subverting the genre than he is in gathering and sharing every ounce of cinematic majesty that can be mined from that concept. &nbsp,

And unlike the film’s protagonists, we’re all left richer at the end of the experience. One of Melville’s greatest stylistic achievements is Le Cercle Rouge, which is perhaps his most visually stunning heist film ever produced. The minimalist dialog allows us to lose ourselves in this tour of wonderfully imagined noir locales guided by some of the most cinematically cool, but morally empty, criminals you’ll spend time with on either side of the screen. &nbsp,

4. 1950’s The Asphalt Jungle

After directing some of the greatest noir and adventure films ever made, John Huston decided to combine both styles in a crime movie that proved to be one of the foundational pieces of the entire heist genre. The Asphalt Jungle offers so much more than just the star power, despite the possibility that any film that combines the incomparable Sterling Hayden, a young Marilyn Monroe, and John Huston in his prime is bound to be at least at least entertaining. &nbsp,

This is a tale of criminals attempting to reclaim their piece of the perfect plan, which only the best noirs of this time can do. Desperate crooks gather in smoky backrooms to discuss the upcoming job with a kind of blue-collar professionalism that exhibits their casualness without underselling the scope of what they are about to do. Although it shouldn’t surprise you to learn that things don’t go as planned ( it was 1950, after all ), Houston’s portrayal of these criminals set the stage for the heist genre’s and far beyond.

3. Heat ( 1995 ) )

Does any line summarize the heist genre as well as “don’t let yourself get attached to anything you are not willing to walk out on in 30 seconds flat if you feel the heat around the corner”? While Michael Mann’s excellent debut feature film, Thief, brilliantly demonstrated his crime story credentials, there are many good reasons to think Heat is the director’s definitive crime film. &nbsp,

An all-star cast performs their best work in almost perfect harmony in Heat, just like the best heist crews. While this movie is rightfully remembered for its breathtaking bank robbery shootout ( perhaps the best shootout ever put on film ), the many, many rewatches of this movie we’ve all enjoyed often reveal something equally incredible during those quieter moments. The gruff hyper-masculine coolness in the best David Mamet works may help, but Heat ultimately is a tale of professionals struggling to control what they can leave behind. &nbsp,

2. Rififi ( 1955 )

Rififi, a film that blacklisted director Jules Dassin made while he was in exile in France, demonstrates the seemingly impossible chemistry of rage and craft that Dassin himself appeared to possess at that special time in his life. It may not be the first heist movie, but nearly every heist film that follows owes a debt to the way it balanced” the job” with what happens next. &nbsp,

Rififi‘s stunning heist sequence ( which is shot in real time and presented without dialogue ) is conceptually brilliant and actually seems to go off without much of a hitch. When the heist crew tries to collaborate as they did on the job, the issues come later. Rififi explores the curse of sudden fortune by showing how money can not alter the paths that led to these men doing something so desperate in the first place. &nbsp,

1. Ocean’s Eleven ( 2001 )

Many of the best heist movies ultimately deal with the futility and tragedy of crime. That’s understandable and morally righteous. However, we are also often attracted to heist movies because they are so damn cool. No heist movie is cooler than Ocean’s Eleven, despite the numerous cool criminals and crews in the wide world of heist movies. &nbsp,

Steven Soderbergh’s story of a man named Danny Ocean, who is assembling the perfect heist crew after being paroled, is one of the most relentlessly entertaining movies ever made. Perfectly paced, gorgeously shot, and loaded with incredible performances, it’s even somehow cooler than the 1960 original that starred the Rat Pack. It rightfully remains the go-to option for millions who simply want to enjoy the art of the heist. 

The article The 15 Best Attack Movies Ever Made, Ranked appeared initially on Den of Geek.

Feedback, in whichever form it takes, and whatever it may be called, is one of the most effective soft skills that we have at our disposal to collaboratively get our designs to a better place while growing our own skills and perspectives.

Feedback is also one of the most underestimated tools, and often by assuming that we’re already good at it, we settle, forgetting that it’s a skill that can be trained, grown, and improved. Poor feedback can create confusion in projects, bring down morale, and affect trust and team collaboration over the long term. Quality feedback can be a transformative force. 

Practicing our skills is surely a good way to improve, but the learning gets even faster when it’s paired with a good foundation that channels and focuses the practice. What are some foundational aspects of giving good feedback? And how can feedback be adjusted for remote and distributed work environments? 

On the web, we can identify a long tradition of asynchronous feedback: from the early days of open source, code was shared and discussed on mailing lists. Today, developers engage on pull requests, designers comment in their favorite design tools, project managers and scrum masters exchange ideas on tickets, and so on.

Design critique is often the name used for a type of feedback that’s provided to make our work better, collaboratively. So it shares a lot of the principles with feedback in general, but it also has some differences.

The content

The foundation of every good critique is the feedback’s content, so that’s where we need to start. There are many models that you can use to shape your content. The one that I personally like best—because it’s clear and actionable—is this one from Lara Hogan.

While this equation is generally used to give feedback to people, it also fits really well in a design critique because it ultimately answers some of the core questions that we work on: What? Where? Why? How? Imagine that you’re giving some feedback about some design work that spans multiple screens, like an onboarding flow: there are some pages shown, a flow blueprint, and an outline of the decisions made. You spot something that could be improved. If you keep the three elements of the equation in mind, you’ll have a mental model that can help you be more precise and effective.

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

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

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

When I see these two buttons, I expect one to go forward and one to go back.

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

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

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

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

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

Or, for the request approach:

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

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

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

Choosing the question approach or the request approach can also at times be a matter of personal preference. A while ago, I was putting a lot of effort into improving my feedback: I did rounds of anonymous feedback, and I reviewed feedback with other people. 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. To my shock, my next round of feedback from one specific person wasn’t that great. 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. But now in this other team, there was one person who instead 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 style of feedback is actually efficient because the length here is a byproduct of clarity, and spending time giving this kind of feedback can provide exactly enough information for a good fix. 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.” The designer receiving this feedback wouldn’t have much to go by, so they might just apply the change. In later iterations, the interface might change or they might introduce new features—and maybe that change might not make sense anymore. Without the why, the designer might imagine that the change is about 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.

So the equation above isn’t meant to suggest a strict template for feedback but a mnemonic to reflect and improve 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 tone

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. Tone alone can make the difference between content that’s rejected or welcomed, and it’s been demonstrated that only positive feedback creates sustained change in people.

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 required soft skills in a formula that mirrors the one for content: the receptivity equation.

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

Timing refers to when the feedback happens. To-the-point feedback doesn’t have much hope of being well received if it’s given at the wrong time. Questioning the entire high-level information architecture of a new feature when it’s about to ship might still be relevant if that questioning highlights a major blocker that nobody saw, but it’s way more likely that those concerns will have to wait for a later rework. So in general, attune your feedback to the stage of the project. Early iteration? Late iteration? Polishing work in progress? These all have different 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 means checking before we write to see whether what we have in mind will truly help the person and make the project better 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 that 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 constructive?

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 might be many reasons for this: sometimes certain words might trigger specific reactions; sometimes nonnative speakers might not understand all the nuances of some sentences; sometimes our brains might just be different and we might perceive the world differently—neurodiversity must be taken into consideration. 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 received some good advice but also a comment that surprised me. They pointed out that when I wrote “Oh, […],” I made them feel stupid. That wasn’t my intent! 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 made a quick fix: I added “oh” in my list of replaced words (your choice between: macOS’s text replacement, aText, TextExpander, or others) so that when I typed “oh,” it was instantly deleted. 

Something to highlight because it’s quite frequent—especially in teams that have a strong group spirit—is that people tend to beat around the bush. It’s important to remember here that a positive attitude doesn’t mean going light on the feedback—it just means that even when you provide hard, difficult, or challenging feedback, you do so in a way that’s respectful and constructive. The 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. I found that the best, most insightful moments for me have happened when I’ve shared a comment and I’ve asked someone who I highly trusted, “How does this sound?,” “How can I do it better,” and even “How would you have written it?”—and I’ve learned a lot by seeing the two versions side by side.

The format

Asynchronous feedback also has a major inherent advantage: we can take more time to refine what we’ve written to make sure that it fulfills two main goals: the clarity of communication and the actionability of the suggestions.

Let’s imagine that someone shared a design iteration for a project. You are reviewing it and leaving a comment. There are many ways to do this, and of course context matters, but let’s try to think about some elements that may be useful to consider.

In terms of clarity, start by grounding the critique that you’re about to give by providing context. Specifically, this means describing where you’re coming from: do you have a deep knowledge of the project, or is this the first time that you’re seeing it? Are you coming from a high-level perspective, or are you figuring out the details? Are there regressions? Which user’s perspective are you taking when providing 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?

Providing context is helpful even if you’re sharing feedback within a team that already has some information on the project. 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 often focus on the negatives, trying to outline all the things that could be done better. 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. This might seem superfluous, but it’s important to keep in mind that design is a discipline where there are hundreds of possible solutions for every 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. As a bonus, positive feedback can also help reduce impostor syndrome.

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

Another way that you can improve your feedback is to depersonalize the feedback: the comments should always be about the work, never about the person who made it. It’s “This button isn’t well aligned” versus “You haven’t aligned this button well.” This is very easy to change in your writing 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. For longer pieces of feedback, you might also consider splitting it into sections or even across multiple comments. 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. So a red square 🟥 means that it’s something that I consider blocking; a yellow diamond 🔶 is something that I can be convinced otherwise, but it seems to me that it should be changed; and a green circle 🟢 is a detailed, positive confirmation. I also use a blue spiral 🌀 for either something that I’m not sure about, an exploration, an open alternative, or just a note. But I’d use this approach only on teams where I’ve already established a good level of trust because if it happens that I have to deliver a lot of red squares, the impact could be quite demoralizing, and I’d reframe how I’d communicate that a bit.

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

• 🔶 Navigation—When I see these two buttons, I expect one to go forward and one to go back. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Let’s make sure that all screens have the same two forward and back buttons so that users don’t get confused.
• 🟢 Overall—I think the page is solid, and this is good enough to be our release candidate for a version 1.0.
• 🟢 Metrics—Good improvement in the buttons on the metrics area; the improved contrast and new focus style make them more accessible.
•  🟥  Button Style—Using the green accent in this context creates the impression that it’s a positive action because green is usually perceived as a confirmation color. Do we need to explore a different color?
• 🔶Tiles—Given the number of items on the page, and the overall page hierarchy, it seems to me that the tiles shouldn’t be using the Subtitle 1 style but the Subtitle 2 style. This will 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 thinking in using that?

What about giving feedback directly in Figma or another design tool that allows in-place feedback? In general, I find these difficult to use because they hide discussions and they’re harder to track, but in the right context, they can be very effective. Just make sure that each of the comments is separate so that it’s easier to match each discussion to a single task, similar to the idea of splitting mentioned above.

One final note: say the obvious. Sometimes we might feel that something is obviously good or obviously wrong, and so we don’t say it. Or sometimes we might have a doubt that we don’t express because the question might sound stupid. Say it—that’s okay. 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.

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

Content, tone, and format. Each one of these subjects provides a useful model, but working to improve eight areas—observation, impact, question, timing, attitude, form, clarity, and actionability—is a lot of work to put in all at once. One effective approach is to take them one by one: first identify the area that you lack the most (either from your perspective or from feedback from others) and start there. Then the second, then 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.

But what on earth is a passionate stress?

Imagine a person determined to do it all. She has two wonderful children whom she, along with her father who is also working mildly, is homeschooling during a crisis. She has a demanding customer fill at work—all of whom she loves. She gets up early to get some movement in ( or frequently catch up on work ), does meal training as the children are eating breakfast, and gets to work while positioning herself near “fourth quality” to listen in as she juggles clients, jobs, and expenses. Sound like a bit? Yet with a supportive group both at home and at work, it is.

Sounds like this person has too much on her disk and needs self-care. But no, she doesn’t have occasion for that. In truth, she starts to feel like she’s dropping balloons. No accomplishing much. There’s not enough of her to be here and there, she is trying to divide her head in two all the time, all time, every time. She starts to fear herself. And as those thoughts creep in more and more, her domestic tale becomes more and more important.

Instantly she KNOWS what she needs to do! She really Would MORE.

This is a challenging and dangerous period. Hear why? Because when she doesn’t end that new purpose, that storyline will get worse. Immediately she’s failing. She isn’t doing much. SHE is not enough. She may fail, she might fail her home… so she’ll get more she should accomplish. She doesn’t nap as much, proceed because much, all in the attempts to do more. Caught in this period of trying to prove herself to herself, not reaching any purpose. Not feeling “enough”.

But, yeah, that’s what zealous burnout looks like for me. It doesn’t happen overnight in some magnificent sign but rather carefully builds over weeks and months. My burning out procedure looks like speeding up, not a man losing focus. I rate up and up and up… and therefore I simply stop.

I am the one who had

It’s amusing the things that shape us. Through the glass of youth, I viewed the worries, problems, and sacrifices of someone who had to make it all work without having much. I was happy that my mom was so competent and my dad sympathetic, I never went without and also got an extra here or there.

Growing up, I did not think pity when my family paid with meal stamps, in truth, I’d have probably taken on any debate on the topic, orally eviscerating anyone who dared to criticize the disabled person trying to make sure all our needs were met with so little. As a child, I watched the way the fear of not making those ends meet impacted people I love. As the non-disabled person in my home, I would take on many of the physical tasks because I was” the one who could” make our lives a little easier. I learned early to associate fears or uncertainty with putting more of myself into it— I am the one who can. I learned early that when something frightens me, I can double down and work harder to make it better. I can own the challenge. When people have seen this in me as an adult, I’ve been told I seem fearless, but make no mistake, I’m not. If I seem fearless, it’s because this behavior was forged from other people’s fears.

And here I am, more than 30 years later still feeling the urge to mindlessly push myself forward when faced with overwhelming tasks ahead of me, assuming that I am the one who can and therefore should. I find myself driven to prove that I can make things happen if I work longer hours, take on more responsibility, and do more.

I do not see people who struggle financially as failures, because I have seen how strong that tide can be—it pulls you along the way. I truly get that I have been privileged to be able to avoid many of the challenges that were present in my youth. That said, I am still” the one who can” who feels she should, so if I were faced with not having enough to make ends meet for my own family, I would see myself as having failed. Though I am supported and educated, most of this is due to good fortune. I will, however, allow myself the arrogance of saying I have been careful with my choices to have encouraged that luck. My identity stems from the idea that I am” the one who can” so therefore feel obligated to do the most. I can choose to stop, and with some quite literal cold water splashed in my face, I’ve made the choice to before. But that choosing to stop is not my go-to, I move forward, driven by a fear that is so a part of me that I barely notice it’s there until I’m feeling utterly worn away.

So why all the history? You see, burnout is a fickle thing. I have heard and read a lot about burnout over the years. Burnout is real. Especially now, with COVID, many of us are balancing more than we ever have before—all at once! It’s hard, and the procrastinating, the avoidance, the shutting down impacts so many amazing professionals. There are important articles that relate to what I imagine must be the majority of people out there, but not me. That’s not what my burnout looks like.

The dangerous invisibility of zealous burnout

A lot of work environments see the extra hours, extra effort, and overall focused commitment as an asset ( and sometimes that’s all it is ). They see someone trying to rise to challenges, not someone stuck in their fear. Many well-meaning organizations have safeguards in place to protect their teams from burnout. But in cases like this, those alarms are not always tripped, and then when the inevitable stop comes, some members of the organization feel surprised and disappointed. And sometimes maybe even betrayed.

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

Women and burnout

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

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

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

This relationship between work stress and health, from what I have read, is more dangerous for women than it is for their non-female counterparts.

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

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

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

Do you feel empowered to say no? I have observed in myself and others that when someone is burning out, they no longer feel they can say no to things. Even those who don’t” speed up” feel pressure to say yes to not disappoint the people around them.

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

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

Do you have a plan to stop feeling this way? If something is truly temporary and you do need to just push through, then it has an exit route with a
defined end.

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

So now what?

What I just described is a different path to burnout, but it’s still burnout. There are well-established approaches to working through burnout:

• Get enough sleep.
• Eat healthy.
• Work out.
• Get outside.
• Take a break.
• Overall, practice self-care.

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

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

To help remind myself of the airline attendant message about putting the mask on yourself first, I have come up with a few things that I do when I start feeling myself going into a zealous burnout.

Cook an elaborate meal for someone!

OK, I am a “food-focused” individual so cooking for someone is always my go-to. There are countless tales in my home of someone walking into the kitchen and turning right around and walking out when they noticed I was” chopping angrily”. But it’s more than that, and you should give it a try. Seriously. It’s the perfect go-to if you don’t feel worthy of taking time for yourself—do it for someone else. Most of us work in a digital world, so cooking can fill all of your senses and force you to be in the moment with all the ways you perceive the world. It can break you out of your head and help you gain a better perspective. In my house, I’ve been known to pick a place on the map and cook food that comes from wherever that is ( thank you, Pinterest ). I love cooking Indian food, as the smells are warm, the bread needs just enough kneading to keep my hands busy, and the process takes real attention for me because it’s not what I was brought up making. And in the end, we all win!

Vent like a foul-mouthed fool

Be careful with this one!

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

When that is what’s needed, turn to a trusted friend and allow yourself some pure verbal diarrhea, saying all the things that are bothering you. You need to trust this friend not to judge, to see your pain, and, most importantly, to tell you to remove your cranium from your own rectal cavity. Seriously, it’s about getting a reality check here! One of the things I admire the most about my husband ( though often after the fact ) is his ability to break things down to their simplest. ” We’re spending our lives together, of course you’re going to disappoint me from time to time, so get over it” has been his way of speaking his dedication, love, and acceptance of me—and I could not be more grateful. It also, of course, has meant that I needed to remove my head from that rectal cavity. So, again, usually those moments are appreciated in hindsight.

Pick up a book!

There are many books out there that aren’t so much self-help as they are people just like you sharing their stories and how they’ve come to find greater balance. Maybe you’ll find something that speaks to you. Titles that have stood out to me include:

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

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

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

If you’re not into reading, pick up a topic on YouTube or choose a podcast to subscribe to. I’ve watched countless permaculture and gardening topics in addition to how to raise chickens and ducks. For the record, I do not have a particularly large food garden, nor do I own livestock of any kind… yet. I just find the topic interesting, and it has nothing to do with any aspect of my life that needs anything from me.

Forgive yourself

You are never going to be perfect—hell, it would be boring if you were. It’s OK to be broken and flawed. It’s human to be tired and sad and worried. It’s OK to not do it all. It’s scary to be imperfect, but you cannot be brave if nothing were scary.

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

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

I recently read that we are all writing our eulogy in how we live. Knowing that your professional accomplishments won’t be mentioned in that speech, what will yours say? What do you want it to say?

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

Does this sound familiar?

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

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

At the end of the day we are resourceful and know that we are able to push ourselves if we need to—even when we are tired to our core or have a big butt of fluff’ n’ stuff in our room. None of us has to be afraid, as we can manage any obstacle put in front of us. And maybe that means we will need to redefine success to allow space for being uncomfortably human, but that doesn’t really sound so bad either.

So, wherever you are right now, please breathe. Do what you need to do to get out of your head. Forgive and take care.

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

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

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

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

The question

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

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

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

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

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

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

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

The other axis of specificity is about how deep you’d like to go on what’s being presented. For example, we might have introduced a new end-to-end flow, but there was a specific view that you found particularly challenging and you’d like a detailed review of that. This can be especially useful from one iteration to the next where it’s important to highlight the parts that have changed.

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

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

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

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

Asking specific questions can completely change the quality of the feedback that you receive. People with less refined critique skills will now be able to offer more actionable feedback, and even expert designers will welcome the clarity and efficiency that comes from focusing only on what’s needed. It can save a lot of time and frustration.

The iteration

Design iterations are probably the most visible part of the design work, and they provide a natural checkpoint for feedback. Yet a lot of design tools with inline commenting tend to show changes as a single fluid stream in the same file, and those types of design tools make conversations disappear once they’re resolved, update shared UI components automatically, and compel designs to always show the latest version—unless these would-be helpful features were to be manually turned off. The implied goal that these design tools seem to have is to arrive at just one final copy with all discussions closed, probably because they inherited patterns from how written documents are collaboratively edited. That’s probably not the best way to approach design critiques, but even if I don’t want to be too prescriptive here: that could work for some teams.

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

Using iteration posts has many advantages:

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

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

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

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

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

This copy-and-paste part introduces another relevant concept: alignment comes from repetition. So having posts that repeat information is actually very effective toward making sure that everyone is on the same page.

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

It can also be useful to label the artifacts with clear titles because that can make it easier to refer to them. Write the post in a way that helps people understand the work. It’s not too different from organizing a good live presentation. 

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

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

Not all iterations are the same. Earlier iterations don’t need to be as tightly focused—they can be more exploratory and experimental, maybe even breaking some of the design-language guidelines to see what’s possible. Then later, the iterations start settling on a solution and refining it until the design process reaches its end and the feature ships.

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

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

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

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

The review

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

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

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

The first friction point is feeling a pressure to reply to every single comment. Sometimes we write the iteration post, and we get replies from our team. It’s just a few of them, it’s easy, and it doesn’t feel like a problem. But other times, some solutions might require more in-depth discussions, and the amount of replies can quickly increase, which can create a tension between trying to be a good team player by replying to everyone and doing the next design iteration. This might be especially true if the person who’s replying is a stakeholder or someone directly involved in the project who we feel that we need to listen to. We need to accept that this pressure is absolutely normal, and it’s human nature to try to accommodate people who we care about. Sometimes replying to all comments can be effective, but if we treat a design critique more like user research, we realize that we don’t have to reply to every comment, and in asynchronous spaces, there are alternatives:

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

The second friction point is the swoop-by comment, which is the kind of feedback that comes from someone outside the project or team who might not be aware of the context, restrictions, decisions, or requirements—or of the previous iterations’ discussions. On their side, there’s something that one can hope that they might learn: they could start to acknowledge that they’re doing this and they could be more conscious in outlining where they’re coming from. Swoop-by comments often trigger the simple thought “We’ve already discussed this…”, and it can be frustrating to have to repeat the same reply over and over.

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

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

The third friction point is the personal stake we could have with the design, which could make us feel defensive if the review were to feel more like a discussion. Treating feedback as user research helps us create a healthy distance between the people giving us feedback and our ego (because yes, even if we don’t want to admit it, it’s there). And ultimately, treating everything in aggregated form allows us to better prioritize our work.

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

As the designer leading the project, you’re in charge of that decision. Ultimately, everyone has their specialty, and as the designer, you’re the one who has the most knowledge and the most context to make the right decision. And by listening to the feedback that you’ve received, you’re making sure that it’s also the best and most balanced decision.

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