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  • Euphoria Season 3 First Look Brings Good News for Fans of the Show

    Euphoria Season 3 First Look Brings Good News for Fans of the Show

    It’s been three long years since the year 2 finale of Euphoria. There have been doubts that we will even get a third season due to the work stops of 2023 by WGA and SAG-AFTRA and the series ‘ creative disagreements over the series ‘ direction. There’s also the fact that several of the show’s stars like Zendaya, Jacob ]…]

    Den of Geek first published a blog Euphoria Season 3 First Glance Brings Good News to Present Fans.

    The pop lifestyle calendar is n&#8217, t simply hurting for interesting festivals, conventions, and trips. There are a number of acronymic events that Den of Geek and other outlets have made a habit of covering over the years, including San Diego Comic-Con ( SDCC), New York Comic Con ( NYCC), South by Southwest ( SXSW), and Toronto International Film Festival ( TIFF). One issue many of these drawbacks have in common, however, is that they &#8217, re no located in Hollywood. And by &#8220, Hollywood, &#8221, of training, we mean &#8220, Atlanta, Georgia. &#8221,

    Blessed with a moderate climate, thriving business, and local governments that are sensitive to filming income breaks, the Peach State&#8217, s capital area has become a big production center for film and television. Atlanta has significantly made way for other heavyweights like Marvel and Netflix in recent years despite previously being the long-standing house of Turner components like TNT, TBS, and Adult Swim. And to leverage on that more Hollywood appearance, big holidays are beginning to enter as well.

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

    SCAD TVfest, which is hosted by the Savannah College of Art and Design (SCAD ) &#8217, s Atlanta campus, has been bringing together people in the TV industry for more than a decade. People from Agatha All Along director Jac Schaeffer to Shgun&#8216, Hiroyuki Sanada to The Duffer Brothers of Stranger Things of course, from this year’s model. Den of Geek was present throughout the entire experience, scurrying around red carpets and sections to learn from the creators behind our beloved shows.

    ATLANTA, GEORGIA - FEBRUARY 05: Jac Schaeffer attends Marvel Television's "Agatha All Along" Q&A during the 13th SCAD TVfest on February 05, 2025 in Atlanta, Georgia. (Photo by Vivien Killilea/Getty Images)
    Jac Schaeffer

    Agatha All Along

    Patti LuPone, the star of Agatha All Along, has already said everything that needs to be said about the possibility of a subsequent season. It&#8217, s no happening, people! Fortunately, Agatha and WandaVision father Jac Schaeffer were still at a loss for information regarding their two beloved Marvel films, which are currently ideal described as occupying the &#8220, Ralph Bohner-verse. &#8221,

    &#8220, It was my personal goal to find Ralph Bohner again on the game, &#8221, Schaeffer said. &#8220, I was like’ I’m not doing the present unless Evan Peters is in his truck. &#8217,”

    The Agatha and WandaVision writer went on to discuss her favorite Kathryn Hahn time, working with the Robert Lopez and Kristen Anderson-Lopez on &#8220, The Ballad of The Witches &#8217, Road, &#8221, and her enthusiasm for the upcoming Vision Quest line.

    ATLANTA, GEORGIA - FEBRUARY 05: Hiroyuki Sanada attends "Shōgun" Q&A during 13th SCAD TVfest on February 05, 2025 in Atlanta, Georgia. (Photo by Bryan Bedder/Getty Images)
    Hiroyuki Sanada

    Shogun

    Hiroyuki Sanada, a renowned Japanese actor and producer, was present at SCAD TVfest to get a prestigious Lifetime Achievement Award. Nevertheless, he made a stop by the red carpet to discuss some information about the rumored but highly anticipated second season of FX classic Shgun.

    ” We used the whole tale part now. So we have no book in the time two, but we have actual background and models,” Sanada said”. We know what happened in the past. But you keep that taste of season one but we’re going to create unique entertainment, imaginary entertainment, not just the history book.”

    ATLANTA, GEORGIA - FEBRUARY 05: (L-R ) Justin Spitzer, Allison Tolman, Kahyun Kim, Mekki Leeper and Eric Ledgin attend "St. Denis Medical" And Award Presentation (Breakthrough Cast Award) during the 13th SCAD TVfest on February 05, 2025 in Atlanta, Georgia. (Photo by Bryan Bedder/Getty Images)
    (L-R ) Justin Spitzer, Allison Tolman, Kahyun Kim, Mekki Leeper and Eric Ledgin

    St. Denis Medical

    Even at a festival dedicated to celebrating the best of broadcast, there&#8217, s a certain level of confusion as to what a &#8220, Television show &#8221, actually is. Check out this release from the Den of Geek publication where an attendee is unsure whether or not the preceding Shgun is a Television show. There&#8217, s no distress when it comes to NBC sitcom St. Denis Medical, yet. This well-liked medical movie is clearly a tv system, and it did well to win the Breakthrough Cast Award at SCAD TVfest.

    &#8220, I grew up in Korea and I learned slang English watching Friends. The funny on NBC is undoubtedly recognizable. It feels crazy]to be a part of this], &#8221, Serena artist Kahyun Kim said.

    ATLANTA, GEORGIA - FEBRUARY 05: Matt Duffer, Caleb McLaughlin and Ross Duffer attend "Stranger Things" and Award Presentation To The Duffer Brothers (Variety Showrunner Award) during the 13th SCAD TVfest on February 05, 2025 in Atlanta, Georgia. (Photo by Bryan Bedder/Getty Images)
    Matt Duffer, Caleb McLaughlin and Ross Duffer

    Stranger Things

    An hour section and testing with Stranger Things developers and Variety Showrunner Award winners Matt and Ross Duffer were the main highlights of SCAD TVfest Day One on February 5. The Duffers made the experience worth everyone&#8217, while offering insightful insights about the TV industry and some time 5 teases. The crowd at the SCADshow drama was noticeably disappointed to learn that the screen was merely of a previously-released period 4 show ( and not unseen images from the upcoming fifth and final season ).

    Season 5 revealed that the Duffers are confident that the show &#8217, swansong will premiere in 2025 as originally planned, and that VFX and editing work is on time. Additionally, they clarified that any Stranger Things spinoffs would not feature existing characters, scuttling the fans &#8217, dreams of a Steve and Dustin buddy comedy.

    Additionally, The Duffers” stood down” expectations for roles in a well-established franchise like Star Wars or Marvel. If we have any chips we can cash in from Stranger Things it should be something original, &#8221, Matt Duffer said, before adding: &#8220, And if that’s a total dud we’ll do IP. ” &nbsp,

    ATLANTA, GEORGIA - FEBRUARY 06: (L-R ) Missy Laney, Adele
    (L-R ) Missy Laney, Adele” Supreme” Williams and Dominique Braud

    Oh My God &#8230, Yes! A Series of Extremely Relatable Circumstances

    As you can probably tell from its lengthy, almost Fall Out Boy song c. 2005-esque title, Oh My God &#8230, Yes! A Series of Extremely Relatable Circumstances is an Adult Swim joint. Created by indie comic figure Adele “Supreme” Williams, Oh My God…Yes! etc. etc. follows “the misadventures of three best friends as they navigate womanhood” in a near-future South Central L.A. Though the show has the usual Adult Swim aesthetic down pat, it’s also, unbelievably, the network’s first series to feature a Black woman protagonist.

    &#8220, It&#8217, s an honor, &#8221, Williams told Den of Geek of her show &#8217, s unlikely place in cable history. &#8220, But I&#8217, d be lying if I said there was n&#8217, t an immense amount of pressure. And if I can be even more vulnerable: it &#8217, s a little scary. You have a rough idea of how the audience will respond to the piece of art. &#8221,

    Williams is eager to see how far that knowledge can go.

    &#8220, There are so many characters that show up in this season that could have their own entire episode, &#8221, Williams said. What I love most about the [fellow adult swim series ] Smiling Friends are all these arbitrary and tertiary characters they introduce into the world, and as the story progresses they subvert your expectations. I love the show. And I see] Oh My God…Yes ] as going on for a few more seasons. Fingers crossed, indeed. &#8221,

    ATLANTA, GEORGIA - FEBRUARY 06: (L-R ) Jon Hurwitz, Hayden Schlossberg and Josh Heald attend "Cobra Kai" during the 13th SCAD TVfest on February 06, 2025 in Atlanta, Georgia. (Photo by Jason Kempin/Getty Images)
    (L-R ) Jon Hurwitz, Hayden Schlossberg and Josh Heald

    Cobra Kai

    The Karate Kid spinoff Cobra Kai will be riding into the sunset with its final set of episodes set to air on Netflix on February 13 after six seasons of enjoyable martial arts mayhem. It&#8217, s been quite the journey for the YouTube Red survivor and its creators ( Jon Hurwitz, Hayden Schlossberg, and Josh Heald ) and some of its cast ( Tanner Buchanan, Mary Mouser, and Jacob Bertrand ) stopped by the SCAD TVfest red carpet to discuss it all, including whether any crucial Karate Kid characters never made it into Cobra Kai&#8217, s six seasons.

    &#8220, We always tried to tell a modern story and if there was a fun, organic way to bring the original characters back, we did it that way, &#8221, Hurwitz said. &#8220, But believe me, we know every single actor that we didn&#8217, t get, and it &#8217, s either because there was n&#8217, t the right story for them or they &#8217, re just not in acting mode anymore. &#8221,

    ATLANTA, GEORGIA - FEBRUARY 06: Noah Centineo attends "The Recruit" during the 13th SCAD TVfest on February 06, 2025 in Atlanta, Georgia. (Photo by Vivien Killilea/Getty Images)
    Noah Centineo

    The Recruit

    2025 has been quite the year for Noah Centineo&#8230, and we&#8217, re not even through February yet. The Recruit season 2 and The Recruit season 2 were both headlined by the To All The Boys trilogy star, who also made a surprise appearance in XO, Kitty season 2. The South Korea filming location for both projects may have been more than a coincidence, Centineo told Den of Geek.

    &#8220, You &#8217, d have to ask Netflix, &#8221, Centineo joked. &#8220, I think maybe it was by design on their end or it was just a really happy coincidence. The team over at Netflix and ACE]Entertainment ] realized I was going to be over there for The Recruit. They hey hit me up and I said &#8216, Of course, I would love to. ‘ &#8221,

    Fresh off winning SCAD&#8217, s Distinguished Performer Award, Centineo is gearing up for another season of The Recruit. &#8220, I have no idea what &#8217, s gonna happen in season three. The only thing I know is that it needs to blow out season two and season one. &#8221,

    ATLANTA, GEORGIA - FEBRUARY 07: (L-R ) D. W. Moffett, Andra Reeve-Rabb, Samiya Allen-Graham, Ian Whitt, Erica Muradi, Aria Brown, Drake Aasen, Kane Innis, Jocelyn Shelfo and Mark Tymchyshyn attend SCAD Presents: 'Lodged' during the 13th SCAD TVfest on February 07, 2025 in Atlanta, Georgia. (Photo by Bryan Bedder/Getty Images)
    (L-R ) D. W. Moffett, Andra Reeve-Rabb, Samiya Allen-Graham, Ian Whitt, Erica Muradi, Aria Brown, Drake Aasen, Kane Innis, Jocelyn Shelfo and Mark Tymchyshyn

    SCAD Presents: Lodged

    The SCAD Atlanta campus itself and the involvement of many of the college&#8217 ;s students is a particularly endearing aspect of SCAD TVfest. Aspiring filmmakers, performers, and artisans not only work many of the panels, junkets, and events, but occasionally get to highlight their own work. One such example is the SCAD-created sitcom Lodged. The series, which is set inside an Aspen ski lodge, follows a young entrepreneur trying to make the area a glamorous resort. It&#8217, s a real-ass TV show. But it &#8217, s also a learning opportunity for its cast and crew.

    &#8220, Sitcom is a good blend of theater and film. And for me personally ,]Lodged ] came at a perfect time where I had gone my whole life basically doing theater, and now in the last couple years, I&#8217, m transitioning to film and television. This bridges the gap, &#8221, Drake Aasen said.

    &#8220, SCAD just offers such a variety of opportunities &#8211, from improv clubs to sitcoms to short films to plays to everything. We actually have time to work together and collaborate on projects because they offer three-day weekends. &#8221, Jocelyn Shelfo said.

    ATLANTA, GEORGIA - FEBRUARY 07: Walker Scobell attends "Percy Jackson And The Olympians" during the 13th SCAD TVfest on February 07, 2025 in Atlanta, Georgia. (Photo by Bryan Bedder/Getty Images)
    Walker Scobell

    Percy Jackson and the Olympians

    At 16 years old, Percy Jackson and the Olympians star Walker Scobell is n&#8217, t quite old enough to even be a SCAD student yet but that didn&#8217, t stop him from receiving TVfest&#8217, s Rising Star Award. Scott spoke with Den of Geek about the Percy Jackson season 2 moment he’s most looking forward to seeing.

    &#8220, What we did in episode four with Charybdis&nbsp, and&nbsp, Scylla, &#8221, he said. &#8220, I don&#8217, t want to spoil anything but this is probably the biggest]episode]. It&#8217, s its own movie to be honest. That was the first table read we did where we hadn&#8217, t read it beforehand. They wanted us to have it for the first time with them. &#8221,

    The post Stranger Things, Shogun, Cobra Kai, Agatha, and More: What We Learned at SCAD TVfest 2025 appeared first on Den of Geek.

  • Stranger Things, Shogun, Cobra Kai, Agatha, and More: What We Learned at SCAD TVfest 2025

    Stranger Things, Shogun, Cobra Kai, Agatha, and More: What We Learned at SCAD TVfest 2025

    The music culture calendar isn’t simply hurting for interesting events, conventions, and junkets. There are a number of acronymic events that Den of Geek and other outlets have made a habit of attending, including San Diego Comic-Con ( SDCC), New York Comic Con ( NYCC), South by Southwest ( SXSW), and Toronto International Film Festival ( TIFF).

    The article Stranger Things, Shogun, Cobra Kai, Agatha, and More: What We Learned at SCAD TVfest 2025 appeared second on Den of Geek.

    The pop lifestyle calendar is n&#8217, t simply hurting for interesting festivals, conventions, and trips. There are a number of acronymic events that Den of Geek and other outlets have made a habit of covering over the years, including San Diego Comic-Con ( SDCC), New York Comic Con ( NYCC), South by Southwest ( SXSW), and Toronto International Film Festival ( TIFF). One issue many of these drawbacks have in common, however, is that they &#8217, re no located in Hollywood. And by &#8220, Hollywood, &#8221, of training, we mean &#8220, Atlanta, Georgia. &#8221,

    Blessed with a moderate climate, thriving business, and local governments that are sensitive to filming income breaks, the Peach State&#8217, s capital area has become a big production center for film and television. Atlanta has significantly made way for other heavyweights like Marvel and Netflix in recent years despite previously being the long-standing house of Turner components like TNT, TBS, and Adult Swim. And in order to capitalize on the increased Hollywood existence, main festivals are beginning to enter as well.

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

    SCAD TVfest, which is hosted by the Savannah College of Art and Design (SCAD ) &#8217, s Atlanta campus, has been bringing together people in the TV industry for more than a decade. People from Agatha All Along director Jac Schaeffer to Shgun and Hiroyuki Sanada to The Duffer Brothers of Stranger Things was welcomed in this year’s model. Den of Geek was present throughout, scurrying around modules and red carpets to learn about the makers of our favorite displays.

    ATLANTA, GEORGIA - FEBRUARY 05: Jac Schaeffer attends Marvel Television's "Agatha All Along" Q&A during the 13th SCAD TVfest on February 05, 2025 in Atlanta, Georgia. (Photo by Vivien Killilea/Getty Images)
    Jac Schaeffer

    Agatha All Along

    Patti LuPone, the star of Agatha All Along, has previously spoken out about the possibility of a second season. It&#8217, s never happening, people! Fortunately, Agatha and WandaVision father Jac Schaeffer was still at the table to talk with us about her two favorite Marvel displays, which are currently best described as occupying the &#8220, Ralph Bohner-verse. &#8221,

    &#8220, It was my private mission to find Ralph Bohner up on the game, &#8221, Schaeffer said. &#8220, I was like’ I’m not doing the present unless Evan Peters is in his truck. &#8217,”

    The Agatha and WandaVision writer went on to discuss her favorite Kathryn Hahn time, working with the Robert Lopez and Kristen Anderson-Lopez on &#8220, The Ballad of The Witches &#8217, Road, &#8221, and her enthusiasm for the upcoming Vision Quest line.

    ATLANTA, GEORGIA - FEBRUARY 05: Hiroyuki Sanada attends "Shōgun" Q&A during 13th SCAD TVfest on February 05, 2025 in Atlanta, Georgia. (Photo by Bryan Bedder/Getty Images)
    Hiroyuki Sanada

    Shogun

    Hiroyuki Sanada, a renowned Chinese actor and producer, was present at SCAD TVfest to take home a well-deserved Lifetime Achievement Award. However, he made a first-time appearance on the red carpet to share some information about the highly anticipated but unanticipated next year of FX classic Shgun.

    ” We used the whole tale part now. So we have no tale in the time two, but we have actual background and models,” Sanada said”. We know what happened in the past. But you keep that taste of season one but we’re going to create unique entertainment, imaginary entertainment, not just the history book.”

    ATLANTA, GEORGIA - FEBRUARY 05: (L-R ) Justin Spitzer, Allison Tolman, Kahyun Kim, Mekki Leeper and Eric Ledgin attend "St. Denis Medical" And Award Presentation (Breakthrough Cast Award) during the 13th SCAD TVfest on February 05, 2025 in Atlanta, Georgia. (Photo by Bryan Bedder/Getty Images)
    (L-R ) Justin Spitzer, Allison Tolman, Kahyun Kim, Mekki Leeper and Eric Ledgin

    St. Denis Medical

    Even at a festival dedicated to celebrating the best of broadcast, there&#8217, s a certain level of confusion as to what a &#8220, Television show &#8221, actually is. Test out this statement from the Den of Geek email that states that no one knows whether or not Shgun is a TV show. There&#8217, s no uncertainty when it comes to NBC sitcom St. Denis Medical, yet. This well-liked medical movie is clearly a tv system, and it did well to win the Breakthrough Cast Award at SCAD TVfest.

    &#8220, I grew up in Korea and I learned slang English watching Friends. NBC is undoubtedly known for its humor. It feels crazy]to be a part of this], &#8221, Serena celebrity Kahyun Kim said.

    ATLANTA, GEORGIA - FEBRUARY 05: Matt Duffer, Caleb McLaughlin and Ross Duffer attend "Stranger Things" and Award Presentation To The Duffer Brothers (Variety Showrunner Award) during the 13th SCAD TVfest on February 05, 2025 in Atlanta, Georgia. (Photo by Bryan Bedder/Getty Images)
    Matt Duffer, Caleb McLaughlin and Ross Duffer

    Stranger Things

    An hour section and testing with Stranger Things developers and Variety Showrunner Award winners Matt and Ross Duffer were the main highlights of SCAD TVfest Day One on February 5. The Duffers made the experience worth everyone&#8217, while offering insightful insights about the TV industry and some time 5 teases. The crowd at the SCADshow drama was noticeably disappointed to learn that the screen was merely of a previously-released period 4 show ( and not unseen images from the upcoming fifth and final season ).

    Season 5 revealed that the Duffers are confident that the show &#8217, swansong will premiere in 2025 as originally planned, and that VFX and editing work is on time. Additionally, they clarified that any Stranger Things spinoffs would not feature existing characters, scuttling the fans &#8217, dreams of a Steve and Dustin buddy comedy.

    Additionally, The Duffers” stood down” expectations for roles in a well-established franchise like Star Wars or Marvel. If we have any chips we can cash in from Stranger Things it should be something original, &#8221, Matt Duffer said, before adding: &#8220, And if that’s a total dud we’ll do IP. ” &nbsp,

    ATLANTA, GEORGIA - FEBRUARY 06: (L-R ) Missy Laney, Adele
    (L-R ) Missy Laney, Adele” Supreme” Williams and Dominique Braud

    Oh My God &#8230, Yes! A Series of Extremely Relatable Circumstances

    As you can probably tell from its lengthy, almost Fall Out Boy song c. 2005-esque title, Oh My God &#8230, Yes! A Series of Extremely Relatable Circumstances is an Adult Swim joint. Created by indie comic figure Adele “Supreme” Williams, Oh My God…Yes! etc. etc. follows “the misadventures of three best friends as they navigate womanhood” in a near-future South Central L.A. Though the show has the usual Adult Swim aesthetic down pat, it’s also, unbelievably, the network’s first series to feature a Black woman protagonist.

    &#8220, It&#8217, s an honor, &#8221, Williams told Den of Geek of her show &#8217, s unlikely place in cable history. &#8220, But I&#8217, d be lying if I said there was n&#8217, t an immense amount of pressure. And if I can be even more vulnerable: it &#8217, s a little scary. You speculate a little about how the audience will respond to the piece. &#8221,

    Williams is eager to see how far that knowledge can advance.

    &#8220, There are so many characters that show up in this season that could have their own entire episode, &#8221, Williams said. What I like most about the [fellow adult swim series ] Smiling Friends are all these arbitrary and secondary characters that they introduce, and as the story progresses they defy your expectations. I love the show. And I see] Oh My God…Yes ] as going on for a few more seasons. Fingers crossed, indeed. &#8221,

    ATLANTA, GEORGIA - FEBRUARY 06: (L-R ) Jon Hurwitz, Hayden Schlossberg and Josh Heald attend "Cobra Kai" during the 13th SCAD TVfest on February 06, 2025 in Atlanta, Georgia. (Photo by Jason Kempin/Getty Images)
    (L-R ) Jon Hurwitz, Hayden Schlossberg and Josh Heald

    Cobra Kai

    The Karate Kid spinoff Cobra Kai will be riding into the sunset with its final set of episodes set to air on Netflix on February 13 after six seasons of enjoyable martial arts mayhem. It&#8217, s been quite the journey for the YouTube Red survivor and its creators ( Jon Hurwitz, Hayden Schlossberg, and Josh Heald ) and some of its cast ( Tanner Buchanan, Mary Mouser, and Jacob Bertrand ) stopped by the SCAD TVfest red carpet to discuss it all, including whether any crucial Karate Kid characters never made it into Cobra Kai&#8217, s six seasons.

    &#8220, We always tried to tell a modern story and if there was a fun, organic way to bring the original characters back, we did it that way, &#8221, Hurwitz said. &#8220, But believe me, we know every single actor that we didn&#8217, t get, and it &#8217, s either because there was n&#8217, t the right story for them or they &#8217, re just not in acting mode anymore. &#8221,

    ATLANTA, GEORGIA - FEBRUARY 06: Noah Centineo attends "The Recruit" during the 13th SCAD TVfest on February 06, 2025 in Atlanta, Georgia. (Photo by Vivien Killilea/Getty Images)
    Noah Centineo

    The Recruit

    2025 has been quite the year for Noah Centineo&#8230, and we&#8217, re not even through February yet. The Recruit season 2 and a surprise cameo appeared in XO, Kitty season 2 on Netflix, which marked the debut of the To All The Boys trilogy star. The South Korean location for both projects may have been more than a coincidence, Centineo told Den of Geek.

    &#8220, You &#8217, d have to ask Netflix, &#8221, Centineo joked. &#8220, I think maybe it was by design on their end or it was just a really happy coincidence. The team over at Netflix and ACE]Entertainment ] realized I was going to be over there for The Recruit. They hey hit me up and I said &#8216, Of course, I would love to. ‘ &#8221,

    Fresh off winning SCAD&#8217, s Distinguished Performer Award, Centineo is gearing up for another season of The Recruit. &#8220, I have no idea what &#8217, s gonna happen in season three. The only thing I know is that it needs to blow out season two and season one. &#8221,

    ATLANTA, GEORGIA - FEBRUARY 07: (L-R ) D. W. Moffett, Andra Reeve-Rabb, Samiya Allen-Graham, Ian Whitt, Erica Muradi, Aria Brown, Drake Aasen, Kane Innis, Jocelyn Shelfo and Mark Tymchyshyn attend SCAD Presents: 'Lodged' during the 13th SCAD TVfest on February 07, 2025 in Atlanta, Georgia. (Photo by Bryan Bedder/Getty Images)
    (L-R ) D. W. Moffett, Andra Reeve-Rabb, Samiya Allen-Graham, Ian Whitt, Erica Muradi, Aria Brown, Drake Aasen, Kane Innis, Jocelyn Shelfo and Mark Tymchyshyn

    SCAD Presents: Lodged

    The SCAD Atlanta campus itself and the involvement of many of the college&#8217 ;s students is a particularly endearing aspect of SCAD TVfest. Aspiring filmmakers, performers, and artisans not only work many of the panels, junkets, and events, but occasionally get to highlight their own work. One such example is the SCAD-created sitcom Lodged. The series, which is set inside an Aspen ski lodge, follows a young entrepreneur trying to turn the space into a swanky resort. It&#8217, s a real-ass TV show. But it &#8217, s also a learning opportunity for its cast and crew.

    &#8220, Sitcom is a good blend of theater and film. And for me personally ,]Lodged ] came at a perfect time where I had gone my whole life basically doing theater, and now in the last couple years, I&#8217, m transitioning to film and television. This bridges the gap, &#8221, Drake Aasen said.

    &#8220, SCAD just offers such a variety of opportunities &#8211, from improv clubs to sitcoms to short films to plays to everything. We actually have time to work together and collaborate on projects because they offer three-day weekends. &#8221, Jocelyn Shelfo said.

    ATLANTA, GEORGIA - FEBRUARY 07: Walker Scobell attends "Percy Jackson And The Olympians" during the 13th SCAD TVfest on February 07, 2025 in Atlanta, Georgia. (Photo by Bryan Bedder/Getty Images)
    Walker Scobell

    Percy Jackson and the Olympians

    At 16 years old, Percy Jackson and the Olympians star Walker Scobell is n&#8217, t quite old enough to even be a SCAD student yet but that didn&#8217, t stop him from receiving TVfest&#8217, s Rising Star Award. Scott spoke with Den of Geek about the Percy Jackson season 2 moment he’s most looking forward to seeing.

    &#8220, What we did in episode four with Charybdis&nbsp, and&nbsp, Scylla, &#8221, he said. &#8220, I don&#8217, t want to spoil anything but this is probably the biggest]episode]. It&#8217, s its own movie to be honest. That was the first table read we did where we hadn&#8217, t read it beforehand. They wanted us to have it for the first time with them. &#8221,

    The article Stranger Things, Shogun, Cobra Kai, Agatha, and More: What We Learned at SCAD TVfest 2025 appeared second on Den of Geek.

  • Beware the Cut ‘n’ Paste Persona

    Beware the Cut ‘n’ Paste Persona

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

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

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

    Personas: A action up

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

    The decontextualization of personalities

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

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

    People are assumed to be dynamic, according to people.

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

    Modern psychology agree that while persons usually behave according to certain styles, it’s actually a combination of history and culture that determines how people act and take decisions. The context determines the kind of person you are at each particular time, including the environment, the effect of other persons, your mood, and the whole story that led up to a situation.

    Personas present a user as a fixed set of features in an effort to simplify reality, but do so without taking this variability into account. Like personality tests, personas snatch people away from real life. Even worse, people are labeled as” that kind of person” with no means to exercise their natural flexibility. This behavior discredits diversity, perpetuates stereotypes, and doesn’t reflect reality.

    Personas focus on individuals, not the environment

    You’re designing for a context, not an individual, in the real world. There are environmental, political, and social factors to consider when a person lives in a family, a community, or an ecosystem. A design is never meant for a single user. Instead, you create a design for one or more specific situations where a large number of people might use that product. However, personal experiences don’t explicitly describe how a user feels about the environment. Instead, they show the user only.

    Would you always make the same decision over and over again? Despite your pledge to eat vegan, you may still choose to purchase some meat when your relatives visit. Your decisions, including your behavior, opinions, and statements, are not only completely accurate but highly contextual because they vary with various circumstances and variables. The persona that “represents” you wouldn’t take into account this dependency, because it doesn’t specify the premises of your decisions. It doesn’t give a justification for your behavior. People practice the well-known attribution error, which states that they too often attribute others ‘ behavior to their personalities and not to the circumstances.

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

    Personas are meaningless averages

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

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

    But personas go a step further, extracting a decontextualized finding and joining it with another decontextualized finding from somebody else. The resultant set of findings frequently lacks clarity and even contrast because it lacks the fundamental justifications for and how that finding came about. It lacks any significance. And the persona doesn’t give you the full background of the person ( s ) to uncover this meaning: you would need to dive into the raw data for each single persona item to find it. What then is the persona’s purposeful purpose?

    People’s relatability can be deceiving.

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

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

    To conduct effective design research, we must report the actual situation and make it relatable for our audience, so that everyone can use their own empathy and develop their own interpretation and emotional response.

    Dynamic Selves: The alternative to personas

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

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

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

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

    Understand real people in a variety of contexts

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

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

    1. Select the appropriate sample.

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

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

    In fifteen different situations, Susan is not necessary. Once you’ve seen her in a few different settings, you’ve come to understand how Susan responds to various circumstances. Not Susan as an atomic being but Susan in relation to the surrounding environment: how she might act, feel, and think in different situations.

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

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

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

    2. Conduct your research

    After having chosen and recruited your sample, conduct your research using ethnographic methodologies. This will give you more examples and anecdotes to enrich your qualitative data. Given COVID-19 restrictions, we turned an internal ethnographic research project into home-based remote family interviews that were followed by diary research in our example project.

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

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

    3. Analysis: Create the Dynamic Selves

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

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

    At the end of the research analysis, we displayed all of the Selves ‘” cards” on a single canvas, categorized by activities. Each card featured a situation with a quote and a distinctive image. Each participant had a different deck full of self-assessments.

    4. Identify potential design challenges

    You’ll start to notice patterns when you’ve written down all of the key phrases from the interview transcripts and diaries as self-cards. These patterns will highlight the opportunity areas for new product creation, new functionalities, and new services—for new design.

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

    Benefits of Dynamic Selves

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

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

    You can generalize how he would act in a different situation once you have understood Davide in more detail and have fully understood the underlying causes of his behavior for each circumstance. You can infer what he would think and do in the circumstances ( or scenarios ) you design for using your understanding of him.

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

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

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

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

    Conclusion

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

    Design needs to be simplified, but not to be a generalization. You have to look at the research elements that stand out: the sentences that captured your attention, the images that struck you, the sounds that linger. Use those as metaphors for the person in all of their contexts. People and insights are subject to a context, but they cannot be removed because it would detract from the context’s meaning.

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

  • Voice Content and Usability

    Voice Content and Usability

    We’ve been conversing for a long time. Whether to present information, perform transactions, or just to check in on one another, people have yammered aside, chattering and gesticulating, through spoken discussion for many generations. Only recently have conversations started to be written, and only recently have we outsourced them to the system, a device that exhibits a significantly higher affinity for written communications than for the vernacular rigors of spoken language.

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

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

    This pleasure is not available in spoken speech. There are verbal cues and outspoken behaviors that mimic conversation in complex ways, including how something is said, never what. These are the nonverbal cues that ornament conversations with emphasis and emotional context. Whether rapid-fire, low-pitched, or high-decibel, whether satirical, awkward, or groaning, our spoken speech conveys much more than the written word had ever muster. As designers and content managers, we face significant challenges when it comes to words interfaces, the machines with which we speak.

    Voice Compositions

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

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

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

    Most voice interfaces are more gimmicky than captivating in pure prosocial conversations because most people find it difficult to trust their machines to actually understand how we’re doing and to give them the kind of glad-handing we crave. There’s also ongoing debate as to whether users actually prefer the sort of organic human conversation that begins with a prosocial voice interaction and shifts seamlessly into other types. In Voice User Interface Design, Michael Cohen, James Giangola, and Jennifer Balogh advise sticking to user expectations by imitating how they interact with other voice interfaces rather than trying too hard to be human, which could lead to alienation ( ).

    That leaves two different types of conversations we can have with one another that a voice interface can also have easily, including one that is transactional and one that is informational, teaching us something new ( “discuss a musical” ).

    Transactional voice interactions

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

    Alison: Hey, how’s it going?

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

    Alison, can I get a pineapple-onion pizza in Hawaii?

    Burhan: Yes, but what size?

    Alison: Large.

    Burhan: Anything else?

    Alison: No, that’s it.

    Burhan: Something to drink?

    Alison: I’ll have a bottle of Coke.

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

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

    Informational voice interactions

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

    Alison: Hey, how’s it going?

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

    Alison: Can I ask a few questions?

    Burhan: Of course! Continue straight ahead.

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

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

    Alison: What about pizzas that are gluten-free?

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

    Alison: That’s it for the moment. Good to know. Thank you.

    Burhan: Anytime, please.

    This is a very different dialogue. Here, the goal is to obtain a particular set of facts. Informational conversations are research expeditions that seek the truth through information gathering. Voice interactions that are informational might be more long-winded than transactional conversations by necessity. In order for the customer to understand the key takeaways, responses are typically longer, more in-depth, and carefully communicated.

    Voice-to-text interfaces

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

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

    IVR ( interactive voice response ) systems

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

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

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

    Screen readers

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

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

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

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

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

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

    Well-designed voice interfaces can often be more effective than long-winded screen reader monologues in guiding users to their destination. After all, users of the visual interface have the advantage of freely scurrying around the viewport to find information without getting too close to it. Blind users, meanwhile, are obligated to listen to every utterance synthesized into speech and therefore prize brevity and efficiency. Users with disabilities who have long had no choice but to use clumsy screen readers might find that voice interfaces, especially more contemporary voice assistants, provide a more streamlined experience.

    Voice-overseers

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

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

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

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

    As businesses like Amazon, Apple, Microsoft, and Google continue to occupy their positions, they’re also selling and open-sourcing an unheard array of tools and frameworks for designers and developers that aim to make creating voice interfaces as simple as possible, even without code.

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

    Voice Content

    Simply put, voice content is voice-transmitted content. Voice content must be free-flowing and organic, contextless and concise—everything written content isn’t enough to preserve what makes human conversation so compelling in the first place.

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

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

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

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

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

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

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

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

  • Designing for the Unexpected

    Designing for the Unexpected

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

    Flash, Photoshop, and flexible pattern

    Photoshop was my go-to program when I first started creating blogs. I created a 960px paint and set about creating a design that I would eventually lose information in. Set widths, fixed heights, and total placement were the keys to pixel-perfect accuracy during the development phase.

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

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

    a novel architecture process

    Developing flexible or smooth sites has always been about removing limitations, producing material that can be viewed on any system. I first used local CSS and utility classes, but it now relies on percentage-based layouts:

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

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

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

    Media inquiries

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

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

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

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

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

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

    Our rely on multimedia queries resulted in parts that were tied to frequent window sizes. If modify is the goal of part libraries, then this is a real issue because you can just use these components if the devices you’re designing for match the window sizes in the design library, which prevents you from actually achieving the “devices that don’t already exist” goal.

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

    Container queries: A bogus sun or our lord?

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

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

    In other words, responsive components to replace responsive layouts.

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

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

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

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

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

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

    CSS is evolving.

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

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

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

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

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

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

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

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

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

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

    Intrinsic layouts

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

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

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

    —Jen Simmons,” Designing Intrinsic Layouts”

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

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

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

    Another 2010 moment?

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

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

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

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

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

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

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

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

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

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

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

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

    Content first

    Content is variable. After all, to design for the unknown or unexpected we need to account for content changes like our earlier Subgrid card example that allowed the cards to respond to adjustments to their own content and the content of sibling elements.

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

    Instead of the dated markup tricks below,

    First line of text with different styling...

    —we can target content based on where it appears.

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

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

    This flexibility allows for directional changes according to content, a common requirement when we need to present content in multiple languages. This was frequently accomplished with Sass mixins in the past, but it was frequently limited to a switch from a left-to-right to a right-to-left orientation.

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

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

    These variables can be used as values—

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

    —or as properties.

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

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

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

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

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

    Fluid and fixed

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

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

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

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

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

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

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

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

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

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

    With these techniques, we have a content-first approach to responsive design. We can distinguish between markup and content, which means that user modifications will not have an impact on the design. We can start to future-proof designs by planning for unexpected changes in language or direction. Additionally, we can increase flexibility by specifying desired dimensions alongside adaptable alternatives, which will allow for more or less content to be displayed correctly.

    Situation first

    We can address device flexibility by changing our approach, designing around content and space, and responding to what we’ve already discussed. But what about that last bit of Jeffrey Zeldman’s quote,”… situations you haven’t imagined”?

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

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

    Thankfully, we have many options available to you.

    Responsible design

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

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

    Chris Ashton

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

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

    Image alt text

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

      

    Additionally, there is native lazy loading, which indicates that assets should only be downloaded when they are required.

    …

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

    So how can we put users in control?

    The media queries are now being returned.

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

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

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

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

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

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

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

    Expect the Unexpected

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

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

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

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

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

  • Asynchronous Design Critique: Getting Feedback

    Asynchronous Design Critique: Getting Feedback

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

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

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

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

    The query

    Being available to input is important, but we need to be specific about what we’re looking for. Any comments,” What do you think,” or” I’d love to hear your view” at the conclusion of a presentation are likely to generate a lot of divergent thoughts, or worse, to make people follow the lead of the first speaker. And finally, we become irritated because ambiguous queries like those can result in people who won’t comment on the boundaries of switches during a high-level flows review. Which might be a savory matter, so it might be hard at that point to divert the crew to the topics that you had wanted to focus on.

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

    Great questioning helps to guide and concentrate the criticism. It’s even a form of acceptance because it specifies what kind of comments you’d like to receive and how you’re open to them. It puts people in the right emotional state, especially in situations when they weren’t expecting to give opinions.

    There isn’t a second best method to request feedback. Sensitivity can take countless forms, and it just needs to be that. A design for design critique that I’ve found especially helpful in my training is the one of stage over depth.

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

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

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

    The other plane of sensitivity is about how heavy you’d like to go on what’s being presented. For instance, we may have introduced a new end-to-end movement, but you might want to know more about a particular viewpoint you found especially hard. This can be especially helpful when switching between iterations because it’s crucial to identify the changes made.

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

    Eliminating generic finals from your questions like “good,” “well,” “nice,” “bad,” “okay,” and” cool” is a simple technique. For instance, what is the question” When the wall opens and the switches appear, is this contact good”? may seem precise, but you can place the “good” tournament, and transfer it to an even better query:” When the wall opens and the buttons appear, is it clear what the next action is”?

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

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

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

    The iteration

    The most widely visible aspect of the design process is probably the design iteration, which serves as a natural feedback loop. Many design tools have inline commenting, but many of them only display changes as a single fluid stream in the same file. These types of design tools cause conversations to end after they are resolved, update shared UI components automatically, and require designers to always display the most recent version unless these would-be useful features were manually disabled. The implied goal that these design tools seem to have is to arrive at just one final copy with all discussions closed, probably because they inherited patterns from how written documents are collaboratively edited. That’s probably not the most effective way to go about designing critiques, but even if I don’t want to be too prescriptive, it might work for some teams.

    The asynchronous design-critique approach that I find most effective is to make explicit checkpoints for discussion. I’m going to use the term iteration post for this. It refers to a design iteration write-up or presentation followed by some sort of discussion thread. Any platform that can accommodate this type of 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.

    There are many benefits to using iteration posts:

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

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

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

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

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

    This copy-and-paste part introduces another relevant concept: alignment comes from repetition. Therefore, repeating information in posts helps to ensure that everyone is on the same page.

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

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

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

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

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

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

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

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

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

    The evaluation

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

    This shift has some significant advantages, making asynchronous feedback particularly effective, especially around these friction points:

      It lessens the need to respond to everyone.
    1. It reduces the frustration from swoop-by comments.
    2. It lessens our personal stakes.

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

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

    The second friction point is the swoop-by comment, which is the kind of feedback that comes from someone outside the project or team who might not be aware of the context, restrictions, decisions, or requirements —or of the previous iterations ‘ discussions. One thing that one can hope that they might learn is that they could begin to acknowledge that they are doing this and that they could be more aware of where they are coming from. Swoop-by comments frequently prompt the simple thought,” We’ve already discussed this,” and it can be frustrating to have to keep saying the same thing over and over.

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

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

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

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

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

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

  • Asynchronous Design Critique: Giving Feedback

    Asynchronous Design Critique: Giving Feedback

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

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

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

    On the web, we may discover a long history of sequential suggestions: from the early weeks of open source, script was shared and discussed on email addresses. Developers and sprint masters discuss draw requests, designers make comments on their beloved design tools, and other things.

    Design criticism is frequently referred to as a form of collaborative feedback that is used to improve our work. So it shares a lot of the rules with comments in public, but it also has some variations.

    The information

    The content of the feedback is the bedrock of every effective criticism, so where do we need to begin? There are many versions that you can use to design your content. This one from Lara Hogan is the one I privately like best because it’s obvious and actionable.

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

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

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

    Observation for design feedback also refers to providing a perspective that is as specific as possible, not just by pointing out which portion of the interface your feedback refers to. Do you offer the user’s viewpoint? Your expert perspective? From a business perspective? From the perspective of the project manager? A first-time user’s perspective?

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

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

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

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

    For the question approach, consider the difference between the two:

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

    Or, for the request approach:

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

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

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

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

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

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

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

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

    The tone

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

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

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

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

    Attitude is the equivalent of intent, and in the context of person-to-person feedback, it can be referred to as radical candor. Before writing, it’s important to make sure the person we’re writing will actually benefit them and improve the overall project. Sometimes it might be difficult to reflect on this because we might not 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. How would I write if I really cared about them, if you could help you make up for it? How can I stop acting aggressively? How can I be more constructive?

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

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

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

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

    The format

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

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

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

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

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

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

    Depersonalizing the feedback is another way to improve it: comments should always be about the work and never the creator of it. It’s” This button isn’t well aligned” versus” You haven’t aligned this button well”. Just before sending, review your writing to make changes to this.

    One of the best ways to assist the designer who is reading through your feedback in terms of actionability is to divide 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, it’s also possible to include screenshots or indicators for the specific area of the interface you’re referring to.

    Emojis have been a method I’ve personally used to enhance the bullet points in some situations. So a red square � � means that it’s something that I consider blocking, a yellow diamond � � is something that I can be convinced otherwise, but it seems to me that it should be changed, and a green circle � � is a detailed, positive confirmation. A blue spiral is also used for exploration, open alternatives, or just a note when I’m not sure what to make. However, I’d only use this strategy on teams where I’ve already established a high level of trust because it might turn out to be quite demoralizing if I deliver a lot of red squares and change how I communicate that.

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

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

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

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

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

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

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

  • That’s Not My Burnout

    That’s Not My Burnout

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

    What on earth is a passionate stress, then?

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

    This girl seems to need self-care because she has too many going on. But no, she doesn’t have occasion for that. She begins to feel as though she’s dropping pellets. Not enough is achieved. There’s not enough of her to be here and that, she is trying to divide her head in two all the time, all day, every day. She begins to question herself. And as those emotions become more and more real, her domestic tale becomes more and more important.

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

    This pattern is challenging and risky. Hear why? Because when she doesn’t complete that new target, the narrative will only get worse. She immediately starts failing. She isn’t doing much. She is insufficient. She’ll discover more she may do because she might neglect, or perhaps her home. She doesn’t nap as much, proceed because much, all in the attempts to do more. Not succeeds in any objective target despite constantly trying to prove herself to herself. Always feeling “enough”

    But, yeah, that’s what zealous burnout looks like for me. It doesn’t develop immediately in a great gesture; it develops gradually over the course of several weeks and months. Not a man losing concentration, but rather a burning out approach that seems to be speeding up. I rate up and up and up… and therefore I simply stop.

    I am the only person who has the potential.

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

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

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

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

    Why the long story, then? You see, stress is a volatile thing. Over the years, I’ve read and heard a bit about stress. Stress is a real phenomenon. Particularly today, with COVID, many of us are balancing more than we ever have before—all at once! It’s difficult, and so many wonderful professionals are affected by the procrastination, mitigation, and shutting down. There are significant posts that deal with what I believe the majority of people are out there, but no me. That’s not what my fatigue looks like.

    The perilous visibility of passionate burnout

    In many workplaces, extra work, more energy, and general focused commitment are seen as an asset ( and occasionally that’s all it is ). They see anyone trying to rise to difficulties, never people stuck in their anxiety. Some well-intentioned companies have procedures in place to safeguard their teams from burnout. However, in situations like this, those alarms don’t always go off, and some business members are surprised and depressed when the inevitable prevent occurs. And maybe even actually betrayed.

    Parents are praised for being so on top of it all when they may work, participate in the after-school activities, exercise self-care in the form of diet and exercise, and also meet friends for coffee or wines. More but mothers, statistically speaking. Many of us have watched endless streaming episodes of COVID to see how challenging the female hero is, but she is solid and interesting, and can do it. It’s a “very special season” when she breaks down, shouts in the bathroom, terribly admits she needs help, and only stops for a bit. Truth be told, many people are hidden in tears or doom-scrolling to escape. Although we are aware that the internet is a stay to please us, a large portion of society has been perceived as being biased against it.

    People and stress

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

    That said, people are still more frequently at risk of stress than their male counterparts, especially in these COVID stressed days. Mother at work experience the pressure to do all the “mom” items while giving absolutely everything. Mothers who are not employed feel they need to do more to” justify” their lack of traditional employment. People who are not parents generally feel the need to do even more because they don’t have that extra stress at home. We are frequently unaware of the magnitude of the pressures we place on ourselves and others because it is cruel and widespread and a part of our culture.

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

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

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

    That might not be you both. After all, we are all unique, and our responses to pressures are also unique. It’s part of what makes us people. Don’t put too much emphasis on how burning appearance; instead, learn to recognize it in yourself. What are a few questions I occasionally ask my associates if they worry about them.

    Are you glad? This straightforward query ought to be your initial inquiry. Perhaps if you’re burning out doing all the things you love, chances are that as you get closer to fatigue, you’ll only cease consuming as much pleasure from it all.

    Do you feel compelled to say no? I’ve observed in both myself and another that no longer feeling like they can turn down opportunities. Even those who don’t” speed up” feel pressured to say “yes” to avoid apprehension.

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

    Are you using justifications? Many of us make an effort to ignore fatigue. 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 could be just one more thing you need to understand, or it might just be squeeze time. Life happens because of that. BUT if this doesn’t quit, been honest with yourself. If you’ve worked more than 50 hours per week since January, you might be thinking that it’s not squeeze time; rather, it might be a terrible situation you’re finding yourself in.

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

    Take the time to listen to yourself like you would a companion. Be honest, permit yourself to become uneasy, and break the thought cycles that prevent you from recovery.

    So what comes next?

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

    • Getting much sleep.
    • Eat well.
    • Work away.
    • Go around.
    • Take a break, please.
    • Nevertheless, training self-care.

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

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

    I have come up with a few points that I do when I start to feel like I’m going into a passionate stress to help convince myself of the flight attendant advice to put the helmet on yourself first.

    Cook an elaborate meal for someone!

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

    Vent like a sniveling jerk.

    Be careful with this one!

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

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

    Grab a book!

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

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

    Or, another method I enjoy using is to read or listen to a book that is NOTHING to do with my work-life balance. I’ve read the following books, and I think they helped to balance me out because my mind was thinking about the subjects they were interested in rather than whizzing around:

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

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

    Give yourself a break.

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

    This is the most crucial part: give yourself permission to NOT do it all. You never promised to be everything to everyone at all times. We are stronger than the anxieties that motivate us.

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

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

    Look, I get it that none of these concepts will “fix it,” which is not their intention. None of us has complete control over our surroundings, but only how we react to them. These suggestions are to help stop the spiral effect so that you are empowered to address the underlying issues and choose your response. Most of the time, I find these to be effective. They might be able to help you.

    Does this sound familiar?

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

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

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

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

  • A Content Model Is Not a Design System

    A Content Model Is Not a Design System

    Do you recall the days gone by when having a successful site was sufficient? Nowadays, people are getting answers from Siri, Google seek fragments, and mobile applications, not only our websites. Forward-thinking companies have adopted an holistic information strategy whose goal is to reach audiences across a variety of digital channels and platforms.

    But how can a content management system ( CMS ) be set up to reach your current and future audience? I learned the hard way that creating a content model—a concept of information types, attributes, and relationships that let people and systems understand content—with my more comfortable design-system wondering would collapse my patient’s holistic information strategy. By developing willing versions that are conceptual and that also connect related information, you can avoid that result.

    A Fortune 500 company recently tapped me to guide the CMS application. The customer was excited by the benefits of an holistic information plan, including material modify, multichannel marketing, and robot delivery—designing content to be comprehensible to bots, Google knowledge panels, snippets, and voice user interfaces.

    A content type is essential to an holistic content strategy, and it required conceptual types to be given names that don’t depend on how the content is presented. Our aim was to allow writers to produce original content and use it where necessary. However, as the project progressed, I realized that the entire group had to be aware of a new design in order to support material reuse at the level that my customer needed.

    Despite our best purposes, we kept drawing from what we were more common with: design techniques. Unlike web-focused information strategies, an holistic information strategy doesn’t rely on WYSIWYG equipment for design and structure. Our inclination to approach the material model using our well-known design-system thinking consistently stifled our attention from one of the main objectives of a willing model: delivering content to audiences across multiple marketing channels.

    Two fundamental tenets are necessary for a successful information type

    We needed to explain to our designers, developers, and stakeholders that we were doing something completely different from their previous internet projects, where everyone assumed that content would fit into layouts as physical building blocks. Because it made the layouts feel more recognizable, the previous approach was more intuitive, at first, at least initially. We learned two guiding principles that helped the team comprehend how a willing model and the design processes we were familiar with were:

    1. Instead of structure, vocabulary must be used by content versions.
    2. And glad models should connect elements that belong together.

    Lexical material models

    Type and attribute names for semantic articles models are used to represent the content’s intended purpose and not its intended display. For instance, in a nonsemantic design, groups may produce varieties like teasers, press blocks, and cards. These types may simplify the presentation of material, but they do not aid in understanding the meaning of the articles, which would have opened the door to the articles presented in each marketing channel. To allow each distribution channel to comprehend the information and use it as it sees fit, a conceptual content type uses kind names like product, service, and testimonial.

    A great place to start when creating a conceptual content concept is by reviewing the types and qualities that Schema has defined. nonprofit, a community-driven source for type meanings that are comprehensible to platforms like Google search.

    A semantic information model has many advantages:

      A semantic material type decouples information from its presentation but that teams can change the website’s design without having to restructure its content, even if your team doesn’t worry about omnichannel content. In this way, content can withstand disruptive website redesigns.
    • A semantic content model also gives you a competitive advantage. by including schema-based structured data. org’s types and properties, a website can provide hints to help Google understand the content, display it in search snippets or knowledge panels, and use it to answer voice-interface user questions. Potential customers could access your content without ever visiting your website.
    • Beyond those real-world advantages, you’ll also require a semantic content model if you want to deliver omnichannel content. Delivery channels must be able to understand the same content in order to use it across multiple marketing channels. For instance, if your content model provided a list of questions and answers, it could be easily displayed on a frequently asked questions ( FAQ ) page as well as be used by a bot to answer frequently asked questions.

    For example, using a semantic content model for articles, events, people, and locations lets A List Apart provide cleanly structured data for search engines so that users can read the content on the website, in Google knowledge panels, and even with hypothetical voice interfaces in the future.

    Content models that connect

    Instead of slicing up related content across disparate content components, I’ve come to the realization that the best models are those that are semantic and also connect related content components ( such as a FAQ item’s question and answer pair ). Content that needs to be reused by multiple delivery channels can be connected to each other without having to assemble those pieces again in a good content model.

    Write an essay or article about it. An article’s meaning and usefulness depends upon its parts being kept together. Would one of the headings or paragraphs have any significance on their own if the entire article were not included? Our well-versed in designing systems frequently led us to want to develop content models that would break content into smaller pieces to fit the web-centric layout. Similar effects could have been felt to an article that had its headline removed. Because we were dividing content into separate pieces based on layout, content that belonged together became challenging to manage and nearly impossible for multiple delivery channels to comprehend.

    To illustrate, let’s look at how connecting related content applies in a real-world scenario. The client’s design team created a challenging layout for a software product page that included numerous tabs and sections. Our innate preferences were to follow the content model. Shouldn’t we make adding any number of tabs in the future as simple and flexible as possible?

    Because our design-system instincts were so well-known, it appeared that we needed a “tab section” content type so that multiple tab sections could be added to a page. Each tab section would display a variety of content. One tab might provide the software’s overview or its specifications. Another tab might provide a list of resources.

    Our tendency to divide the content model into “tab section” pieces would have resulted in a cumbersome editing process and an unnecessary complexity of the model, as well as content that wasn’t understandable by other delivery channels. How would a different system have been able to determine which “tab section” referred to a product’s specifications or resource list, for instance? Would that system have had to have used tab sections and content blocks to calculate this? This would have prevented the tabs from ever being rearranged, and it would have required adding logic to each other delivery channel to interpret the layout of the design system. Additionally, it would have been difficult to migrate to a new content model in response to the new page redesign if the customer had decided against displaying this content in a tab layout.

    We had a breakthrough when we discovered that our customer had a specific purpose in mind for each tab: it would reveal specific information such as the software product’s overview, specifications, related resources, and pricing. Our desire to concentrate on what was visually and historically significant had obscured the purpose of the designs once implementation began. With a little digging, it didn’t take long to realize that the concept of tabs wasn’t relevant to the content model. What was important was the meaning of the information that was intended to be displayed in the tabs.

    In fact, the customer could have chosen to display this content elsewhere in a different manner, without tabs. In response to this realization, we created content types for the software product based on the meaningful attributes the client wanted to display on the web. There were obvious semantic attributes like name and description as well as rich attributes like screenshots, software requirements, and feature lists. The software’s product information stayed together because it wasn’t sliced across separate components like “tab sections” that were derived from the content’s presentation. Any delivery channel—including future ones—could understand and present this content.

    Conclusion

    In this omnichannel marketing project, we discovered that the best way to maintain the content model’s semantic consistency was by ensuring that it was semantic ( with type and attribute names that reflected the content’s meaning ) and that it maintained content that belonged together ( as opposed to fragmenting it ). These two ideas made it easier for us to shape the content model based on the design. Remember: If you’re developing a content model to support an omnichannel content strategy, or even if you just want to make sure Google and other interfaces understand your content, keep in mind:

    • A design system isn’t a content model. You should maintain the semantic value and contextual structure of the content strategy throughout the entire implementation process because team members might be tempted to combine them and to make your content model resemble your design system. This will enable each delivery channel to consume the content without the need for a magic decoder ring.
    • If your team is having trouble making this transition, Schema can still offer some of the advantages. org–based structured data in your website. The benefit of search engine optimization is a compelling reason on its own, even if additional delivery channels aren’t on the horizon in the near future.
    • Remind the team that removing the content model from the design will allow them to update the designs more quickly because content migration costs won’t be prohibitive. They will be prepared for the upcoming big thing, and they will be able to create new designs without compromising the compatibility between the content and the design.

    By firmly defending these ideas, you’ll help your team view content as the most important component of your user experience and as the most effective way to engage with your audience.

  • Design for Safety, An Excerpt

    Design for Safety, An Excerpt

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

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

    The diverse safety method

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

    • determine the best ways to abuse your solution.
    • style ways to prevent the maltreatment, and
    • offer assistance for users who are prone to regain control and power.

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

    • Conducting study
    • creating themes
    • Pondering problems
    • creating answers
    • Testing for health

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

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

    Be sure to study Chapter 7, which explicitly addresses the situation and should be handled a little different if you’re creating a product especially for a defenseless group or victims of some form of injury, such as an application for survivors of domestic violence, sexual abuse, or drug dependency. The guidelines below are for evaluating safety when designing a more basic product that will have a large customer base ( which, we now know from data, will include specific groups that should be protected from harm ). Chapter 7 concentrates on goods made specifically for those who are most vulnerable and those who have gone through trauma.

    Step 1: Conduct research

    A thorough analysis of how your technology might be used for abuse as well as specialized insights into the experiences of those who have witnessed and perpetrated that kind of abuse should be included in design research. At this stage, you and your team will investigate issues of interpersonal harm and abuse, and explore any other safety, security, or inclusivity issues that might be a concern for your product or service, like data security, racist algorithms, and harassment.

    broad analysis

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

    Survivors as a specific research area

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

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

    Specific research: Abusers

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

    Step 2: Create archetypes

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

    The abuser archetype is someone who will look at the product as a tool to perform harm ( Fig 5.2 ). They may be attempting to harm someone they don’t know by using surveillance or anonymous harassment, or they may be attempting to control, monitor, abuse, or otherwise torment someone they know.

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

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

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

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

    Step 3: Brainstorm problems

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

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

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

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

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

    4. Create solutions

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

    Questions to yourself should you ask yourself to protect your archetypes and to support them

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

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

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

    Step 5: Test for safety

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

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

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

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

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

    testing for abuse

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

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

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

    testing for a Survivor

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

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

    Another goal might be regaining control of the thermostat once the survivor realizes the abuser is remotely changing its settings. Are there any instructions that explain how to remove a user and change the password, and are they simple to find? For your test, you would need to try to figure out how to do this. This might again reveal that more work is needed to make it clear to the user how they can regain control of the device or account.

    Stress testing

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