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  • I am a creative.

    I am a creative.

    I have a creative side. What I do is alchemy. It is a puzzle. Instead of letting it get done by me, I do it.

    I am imaginative. This brand is never appropriate for all creatives. No everyone sees themselves in this way. Some innovative people practice scientific in their work. I value their assertion, which is true. Perhaps I also have a little bit of envy for them. However, my method is different; my being is unique.

    Apologizing and qualifying in progress is a diversion. That’s what my head does to destroy me. I’ll leave it alone for today. I may forgive and be qualified at any time. After I’ve said what I should have. Which is too difficult.

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

    Sometimes it does. Often I have to create something right away. I’ve learned to avoid saying it right away because they think you don’t work hard enough when you realize that sometimes the thought just comes along and it is the best plan and you know it is the best idea.

    Maybe I just keep working until the thought strikes me. It occasionally arrives right away, but I don’t remind people for three weeks. Maybe I get so excited about something that just happened that I blurt it out and didn’t stop myself. like a child who discovered a prize in one of his Cracker Jacks. I occasionally manage to escape this. Yes, that is the best idea, but sometimes another persons disagree. The majority of the time, they don’t, and I regret that joy has faded.

    Passion should only be saved for the meet, when it matters. not the informal gathering that two different gatherings precede that appointment. Nobody understands why these discussions occur. We keep saying we’re going to get rid of them, but we end up merely trying to. They occasionally yet are good. But occasionally they are a hindrance to the actual labor. Depending on what you do and where you do it, the ratio between when conferences are valuable and when they are a sad distraction vary. And who you are and how you go about doing it. I’ll go over it once more. I have a creative side. That is the style.

    Sometimes, despite many hours of diligent effort, someone is hardly useful. Maybe I have to take that and move on to the next task.

    Don’t inquire about the procedure. I have a creative side.

    I am imaginative. I have no power over my goals. And I have no control over my best tips.

    I can chisel aside, surround myself with information or photos, and occasionally that works. I can go for a move, which occasionally works. There is a Eureka, which has nothing to do with boiling pots and sizzling oil, and I may be making dinner. I frequently have a plan for action when I wake up. The idea that may have saved me disappears almost as frequently as I become aware and a part of the world once more as a thoughtless wind of oblivion. For imagination, in my opinion, comes from that other planet. The one that we enter in goals, and possibly before and after death. I’m not a writer, so that’s up to writers to think about. I have a creative side. Theologians are encouraged to build massive armies in their artistic world, which they insist is true. But that is yet another diversion. And a sad one. Possibly on a much bigger issue than whether or not I am creative. But that’s not how I came around, though.

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

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

    Artists acknowledge their work.

    Disadvantages know cons, just like real rappers recognize true rappers, just like queers recognize queers. Designers are highly revered by people in the world. We respect, follow, and nearly deify the excellent ones. Of course, it is dreadful to revere any person. We have been given warning. We are more knowledgeable. We are aware that people are really people. Because they are clay, like us, they squabble, they are depressed, they regret making the most important decisions, they are weak and hungry, they can be cruel, and they can be as ridiculous as we can. But. But. However, they produce this incredible issue. They give birth to something that was unable to occur before them or otherwise. They are the inspirations ‘ mother. And I suppose I should add that they are the mother of technology because it’s just lying it. Ba ho backside! Okay, that’s all done. Continue.

    Because we compare our personal small accomplishments to those of the great ones, designers denigrate our own. Wonderful video! I‘m not Miyazaki, though. Greatness is then that. That is brilliance directly from God’s heart. This meagre much creation that I made? It essentially fell off the pumpkin truck’s again. And the carrots weren’t actually new.

    Artists is aware that they are at best Salieri. Also Mozart’s original artists believe that.

    I am imaginative. I haven’t worked in advertising in 30 times, but my former artistic managers are the ones who make my nightmares. They are correct to do that. When it really matters, my brain goes flat because I am too stupid and complacent. There is no treatment for innovative mania.

    I am imaginative. Every project I create has a goal that makes Indiana Jones appear to be a retiree snoring in a balcony head. The more I pursue creativity, the faster I can finish my work, and the longer I brood and circle and gaze aimlessly before I can finish that work.

    I can move ten times more quickly than those who aren’t innovative, those who have just been creative for a short while, and those who have just had a short time of creative work. Only that I work twice as quickly as they do, putting the work away, just before I do it, When I put my mind to it, I am so confident in my ability to do a fantastic task. I am completely dependent on the excitement rush of delay. I’m also so scared of jumping.

    I am hardly a painter.

    I am imaginative. never a performer. Though as a boy, I had a dream that I would one day become that. Some of us criticize our abilities and fear our own accomplishments because we are not Michelangelos and Warhols. That is narcissism, but at least we don’t practice elections.

    I am imaginative. Despite my belief in reason and science, I make decisions based on my own senses and instincts. And bear witness to what comes next, both the successes and the disasters.

    I am imaginative. Every word I’ve said these may irritate other artists who see things differently. Ask a question to two artists, and three thoughts will be formed. No matter how we perhaps think about it, our debate, our passion for it, and our responsibility to our own truth, at least in my opinion, are the best indications that we are artists.

    I am imaginative. I lament my lack of taste in almost all of the areas of human understanding, which I know very little about. And I put my taste before everything else in the things that are most important to me, or perhaps more precisely, to my obsessions. Without my passions, I had probably have to spend time staring living in the eye, which almost none of us can do for very long. No actually. No truly. Because so much in existence is intolerable if you really look at it.

    I am imaginative. I think that when I am gone, some of the good parts of me will stay in the head of at least one additional person, just like a family does.

    Working frees me from worrying about my job.

    I am imaginative. I fear that my little product will disappear.

    I am imaginative. I spend way too much time making the next thing, given that almost nothing I create did achieve the level of brilliance I conceive of.

    I am imaginative. I think method is the most amazing secret. I think it is so important that I’m actually foolish enough to publish an essay I wrote into a small machine without having to go through or edit it. I swear I didn’t accomplish this frequently. But I did it right away because I was even more scared of forgetting what I was saying because I was as scared as I might be of you seeing through my sad gestures toward the gorgeous.

    There. I believe I’ve said it.

  • Humility: An Essential Value

    Humility: An Essential Value

    Humility, a writer’s most important quality, has a great circle to it. What about sincerity, an business manager’s necessary value? Or a doctor’s? Or a teacher’s? They all have fantastic sounds. When humility is our guiding light, the course is usually available for fulfillment, development, relation, and commitment. We’re going to speak about why in this book.

    That said, this is a guide for developers, and to that conclusion, I’d like to begin with a story—well, a voyage, actually. Along the way, I’m going to render myself a little vulnerable. I call it:

    The Ludicrous Pate of Justin: A Tale

    When I was coming out of arts school, a long-haired, goateed novice, write was a known quantity to me, design on the web, however, was riddled with complexities to understand and learn, a problem to be solved. Although I had formal training in typography, layout, and creative design, how could these fundamental skills be applied to a developing electric landscape was what piqued my interest. This theme may eventually form the rest of my job.

    So I devoured HTML and JavaScript novels into the wee hours of the morning and self-taught myself how to code during my freshman year rather than student and go into print like many of my companions. I wanted—nay, needed—to better understand the underlying relevance of what my design decisions may think when rendered in a website.

    The so-called” Wild West” of website layout existed in the late 1990s and early 2000s. Manufacturers at the time were all figuring out how to use layout and visual connection to the online environment. What were the guidelines? How may we break them and also engage, entertain, and present information? How was my values, which include modesty, respect, and connection, coincide with that on a more general level? I was eager to find out.

    Those are amazing factors between non-career relationships and the world of design, even though I’m talking about a different time. What are your main passions, or ideals, that elevate medium? The main themes are the same, basically the same as what we previously discussed on the primary parallels between what fulfills you, independent of the physical or digital realms.

    First within tables, animated GIFs, Flash, then with Web Standards, divs, and CSS, there was personality, raw unbridled creativity, and unique means of presentment that often defied any semblance of a visible grid. Splash screens and “browser requirement” pages aplenty. Usability and accessibility were typically victims of such a creation, but such paramount facets of any digital design were largely (and, in hindsight, unfairly) disregarded at the expense of experimentation.

    For instance, this iteration of my personal portfolio site (” the pseudoroom” ) from that time was experimental if not a little overt with regard to how the idea of a living sketchbook was conveyed visually. Quite skeuomorphic. On this one, we would first picture and then slip a Photoshop record back and forth to trap things up and play with various user interactions. I co-founded the creative project organizing app Milanote and my dear friend, fellow designer Marc Clancy. Then, I’d break it down and code it into a digital layout.

    Along with design folio pieces, the site also offered free downloads for Mac OS customizations: desktop wallpapers that were effectively design experimentation, custom-designed typefaces, and desktop icons.

    GUI Galaxy was a design, pixel art, and Mac-centric news portal that graphic designer friends and I developed from the beginning.

    Design news portals were incredibly popular at the time, and they now considered Tweet-sized, small-format snippets of relevant news from the categories I previously covered. If you took Twitter, curated it to a few categories, and wrapped it in a custom-branded experience, you’d have a design news portal from the late 90s / early 2000s.

    We as designers had changed and developed a bandwidth-sensitive, award-winning, much more accessibility-conscious website. Still ripe with experimentation, yet more mindful of equitable engagement. There are a few content panes here, with both Mac-focused news and general news (tech, design ) to be seen. We also offered many of the custom downloads I cited before as present on my folio site but branded and themed to GUI Galaxy.

    The presentation layer of the website’s backbone was made up of global design + illustration + news author collaboration. The backbone was a homegrown CMS. And the collaboration effort here, in addition to experimentation on a’ brand’ and content delivery, was hitting my core. We were creating something bigger than just one of us and establishing a global audience.

    Collaboration and connection transcend medium in their impact, immensely fulfilling me as a designer.

    Why am I taking you on this journey of design memory lane, now? Two reasons.

    First of all, there’s a reason for the nostalgia for that design era ( the” Wild West” era, as I put it ): the inherent exploration, personality, and creativity that dominated many design portals and personal portfolio websites. Ultra-finely detailed pixel art UI, custom illustration, bespoke vector graphics, all underpinned by a strong design community.

    The web design industry has experienced a period of stagnation in recent years. I suspect there’s a strong chance you’ve seen a site whose structure looks something like this: a hero image / banner with text overlaid, perhaps with a lovely rotating carousel of images ( laying the snark on heavy there ), a call to action, and three columns of sub-content directly beneath. Perhaps there are selections that vaguely relate to their respective content in an icon library.

    Design, as it’s applied to the digital landscape, is in dire need of thoughtful layout, typography, and visual engagement that goes hand-in-hand with all the modern considerations we now know are paramount: usability. accessibility. Load times and bandwidth- sensitive content delivery. A user-friendly presentation that is relevant wherever they are. We must be mindful of, and respectful toward, those concerns—but not at the expense of creativity of visual communication or via replicating cookie-cutter layouts.

    Pixel Issues

    Websites during this period were often designed and built on Macs whose OS and desktops looked something like this. Although Mac OS 7.5 is available, 8 and 9 are not very different.

    How could any single icon, at any point, stand out and grab my attention? This fascinated me. In this example, the user’s desktop is tidy, but think of a more realistic example with icon pandemonium. Or, let’s say an icon was a part of a larger system group ( fonts, extensions, control panels ): how did it maintain cohesion within the group as well?

    These were 32 x 32 pixel creations, utilizing a 256-color palette, designed pixel-by-pixel as mini mosaics. This seemed to me to be the embodiment of digital visual communication under such absurd restrictions. And often, ridiculous restrictions can yield the purification of concept and theme.

    So I started doing my homework and conducting research. I was a student of this new medium, hungry to dissect, process, discover, and make it my own.

    I wanted to see how I could use that 256-color palette to push the boundaries of a 32×32 pixel grid while expanding the concept of exploration. Those ridiculous constraints forced a clarity of concept and presentation that I found incredibly appealing. The challenge of throwing the digital gauntlet had been thrown at me. And so, in my dorm room into the wee hours of the morning, I toiled away, bringing conceptual sketches into mini mosaic fruition.

    These are some of my creations that made use of ResEdit, the only program I had at the time, to create icons. ResEdit was a clunky, built-in Mac OS utility not really made for exactly what we were using it for. Research is at the center of all of this work. Challenge. solving problems. Again, these core connection-based values are agnostic of medium.

    There’s one more design portal I want to talk about, which also serves as the second reason for my story to bring this all together.

    This is the Kaliber 1000, or K10k, short for. K10k was founded in 1998 by Michael Schmidt and Toke Nygaard, and was the design news portal on the web during this period. It was the place to be, my friend, with its pixel art-fueled presentation, ultra-focused care given to every aspect of every detail, and many of the more influential designers of the time who were invited to be news authors on the site. With respect where respect is due, GUI Galaxy’s concept was inspired by what these folks were doing.

    For my part, the combination of my web design work and pixel art exploration began to get me some notoriety in the design scene. K10k eventually added me as one of their very select group of news writers to the website’s content.

    Amongst my personal work and side projects —and now with this inclusion—in the design community, this put me on the map. Additionally, my design work has started to appear on other design news portals, as well as be published in various printed collections, in domestic and international magazines, and in various printed collections. With that degree of success while in my early twenties, something else happened:

    I actually changed into a colossal asshole in about a year of school, not less. The press and the praise became what fulfilled me, and they went straight to my head. They inflated my ego. I actually felt somewhat superior to my fellow designers.

    The casualties? My design stagnated. Its evolution, which is what I evolved, has stagnated.

    I felt so supremely confident in my abilities that I effectively stopped researching and discovering. When I used to lead myself to iterate through concepts or sketches, I leaped right into Photoshop. I drew my inspiration from the smallest of sources ( and with blinders on ). Any criticism of my work from my fellow students was frequently vehemently dissented. The most tragic loss: I had lost touch with my values.

    Some of my friendships and blossoming professional relationships almost ended up being destroyed by my ego. I was toxic in talking about design and in collaboration. But thankfully, those same friends gave me a priceless gift: candor. They called me out on my unhealthy behavior.

    It was a gift I initially did not accept but which I, on the whole, was able to reflect on in depth. I was soon able to accept, and process, and course correct. Although the re-awakening was necessary, the realization let me down. I let go of the “reward” of adulation and re-centered upon what stoked the fire for me in art school. Most importantly, I regained my fundamental values.

    Always Students

    Following that temporary regression, I was able to advance in both my personal and professional design. And I could self-reflect as I got older to facilitate further growth and course correction as needed.

    Let’s use the Large Hadron Collider as an example. The LHC was designed” to help answer some of the fundamental open questions in physics, which concern the basic laws governing the interactions and forces among the elementary objects, the deep structure of space and time, and in particular the interrelation between quantum mechanics and general relativity”. Thank you, Wikipedia.

    Around fifteen years ago, in one of my earlier professional roles, I designed the interface for the application that generated the LHC’s particle collision diagrams. These diagrams are often regarded as works of art unto themselves because they depict what is actually happening inside the Collider during any given particle collision event.

    Designing the interface for this application was a fascinating process for me, in that I worked with Fermilab physicists to understand what the application was trying to achieve, but also how the physicists themselves would be using it. In order to accomplish this, this role requires,

    I cut my teeth on usability testing, working with the Fermilab team to iterate and improve the interface. To me, their language and the topics they discussed seemed to me to be foreign languages. And by making myself humble and working under the mindset that I was but a student, I made myself available to be a part of their world to generate that vital connection.

    I also had my first ethnographic observational experience, where I observed how the physicists used the tool in their own environments, on their own terminals. For example, one takeaway was that due to the level of ambient light-driven contrast within the facility, the data columns ended up using white text on a dark gray background instead of black text-on-white. They were able to focus on their eyes while working during the day while poring over enormous amounts of data. And Fermilab and CERN are government entities with rigorous accessibility standards, so my knowledge in that realm also grew. Another crucial form of connection was the barrier-free design.

    So to those core drivers of my visual problem-solving soul and ultimate fulfillment: discovery, exposure to new media, observation, human connection, and evolution. I checked my ego before entering those values, which opened the door for those values.

    An evergreen willingness to listen, learn, understand, grow, evolve, and connect yields our best work. I want to pay attention to the words “grow” and “evolve” in particular in that statement. If we are always students of our craft, we are also continually making ourselves available to evolve. Yes, we have years of practical design experience behind us. Or the focused lab sessions from a UX bootcamp. Or the monogrammed portfolio of our creative work. Or, ultimately, decades of a career behind us.

    However, remember that “experience” does not equate to “expert.”

    As soon as we close our minds via an inner monologue of’ knowing it all’ or branding ourselves a” #thoughtleader” on social media, the designer we are is our final form. There will never be a designer like us.

  • User Research Is Storytelling

    User Research Is Storytelling

    I’ve been fascinated by shows since I was a child. I loved the heroes and the excitement—but most of all the stories. I aspired to be an artist. And I believed that I’d get to do the things that Indiana Jones did and go on fascinating experiences. Perhaps my friends and I had movie ideas to make and sun in. But they never went any farther. However, I did end up working in user experience ( UI). Today, I realize that there’s an element of drama to UX— I hadn’t actually considered it before, but consumer research is story. And to get the most out of customer studies, you must tell a compelling story that involves stakeholders, including the product team and decision-makers, and piques their interest in learning more.

    Think of your favorite film. It more than likely follows a three-act construction that’s frequently seen in movies: the layout, the conflict, and the resolution. The second act shows what exists now, and it helps you get to know the figures and the challenges and problems that they face. Act two sets the scene for the fight and the activity begins. Here, difficulties grow or get worse. The solution comes in the third and final work. This is where the issues are resolved and the figures learn and change. This structure, in my opinion, is also a fantastic way to think about consumer research, and it might be particularly useful for introducing user research to others.

    Use story as a framework for conducting research

    It’s sad to say, but many have come to see studies as being inconsequential. Research is typically one of the first things to go when expenses or deadlines are tight. Instead of investing in study, some goods professionals rely on manufacturers or—worse—their personal judgment to make the “right” options for users based on their experience or accepted best practices. That may get groups a little bit out of the way, but that approach is therefore easily miss out on resolving people ‘ real issues. To be user-centered, this is something we really avoid. User study improves style. It keeps it on trail, pointing to problems and opportunities. You can keep back of your competition by being aware of the problems with your goods and fixing them.

    In the three-act structure, each action corresponds to a part of the process, and each part is important to telling the whole story. Let’s take a look at the various functions and how they relate to customer research.

    Act one: layout

    The rig consists entirely in comprehending the history, and that’s where fundamental research comes in. Basic research ( also called relational, discovery, or preliminary research ) helps you understand people and identify their problems. Like in the movies, you’re learning about the problems users face, what options are available, and how they are affected by them. To do basic research, you may conduct situational inquiries or journal studies ( or both! ), which may assist you in identifying both prospects and problems. It doesn’t need to get a great investment in time or money.

    Erika Hall writes about the most effective anthropology, which can be as straightforward as spending 15 hours with a customer and asking them to” Walk me through your morning yesterday.” That’s it. Provide that one ask. Opened up and listen to them for 15 days. Do everything in your power to protect both your objectives and yourself. Bam, you’re doing ethnography”. According to Hall, “[This ] will definitely prove quite fascinating. In the very unlikely event that you didn’t learn anything new or helpful, carry on with increased confidence in your way”.

    I think this makes sense. And I love that this makes consumer studies so visible. You can simply attract individuals and carry out the recruitment process without having to make a lot of paperwork! This can offer a wealth of knowledge about your customers, and it’ll help you better understand them and what’s going on in their life. That’s what work one is really all about: understanding where people are coming from.

    Maybe Spool talks about the importance of basic research and how it may type the bulk of your research. If you can complement what you’ve heard in the basic studies by using any more user data that you can obtain, such as surveys or analytics, or if you can identify areas that need more investigation. Together, all this information creates a clearer picture of the state of things and all its deficiencies. And that’s the start of a gripping tale. It’s the place in the story where you realize that the principal characters—or the people in this case—are facing issues that they need to conquer. This is where you begin to develop compassion for the heroes and support their success, much like in the movies. And maybe partners are now doing the same. Their business may lose money because users can’t finish specific tasks, which may be their love. Or probably they do connect with people ‘ problems. In either case, work one serves as your main strategy to pique the interest and interest of the participants.

    When partners begin to understand the value of basic research, that is open doors to more opportunities that involve users in the decision-making approach. And that can help item team become more user-centric. This gains everyone—users, the goods, and partners. It’s similar to winning an Oscar for a film because it frequently results in a favorable and productive outcome for your item. And this can be an opportunity for participants to repeat this process with different products. The secret to this method is storytelling, and knowing how to tell a compelling story is the only way to entice partners to do more research.

    This brings us to work two, where you incrementally examine a design or idea to see whether it addresses the problems.

    Act two: fight

    Act two is all about digging deeper into the problems that you identified in operate one. This typically involves conducting lateral study, such as accessibility tests, where you evaluate a potential solution ( such as a design ) to see if it addresses the problems you identified. The issues may include unfulfilled needs or problems with a circulation or procedure that’s tripping users off. More issues may come up in the process, much like in action two of a movie. It’s here that you learn more about the figures as they grow and develop through this work.

    Usability tests should generally consist of five participants, according to Jakob Nielsen, who found that that number of users can usually identify the majority of the issues:” As you add more and more users, you learn less and less because you will keep seeing the same things again and again… After the second user, you are wasting your time by observing the same findings regularly but hardly learning much new.”

    There are parallels with storytelling here too, if you try to tell a story with too many characters, the plot may get lost. With fewer participants, each user’s struggles will be more easily recalled and shared with other parties when discussing the research. This can help convey the issues that need to be addressed while also highlighting the value of doing the research in the first place.

    Usability tests have been conducted in person for decades, but you can also conduct them remotely using software like Microsoft Teams, Zoom, or other teleconferencing software. This approach has become increasingly popular since the beginning of the pandemic, and it works well. You might consider in-person usability tests like attending a play and remote sessions as more of a movie watching experience. There are advantages and disadvantages to each. Much more in-depth research is conducted on user experience. Stakeholders can experience the sessions with other stakeholders. Additionally, you get real-time reactions, including surprises, disagreements, and discussions about what they’re seeing. Much like going to a play, where audiences get to take in the stage, the costumes, the lighting, and the actors ‘ interactions, in-person research lets you see users up close, including their body language, how they interact with the moderator, and how the scene is set up.

    If conducting usability testing in the field is like watching a play that is staged and controlled, where any two sessions may be very different from one another. You can take usability testing into the field by creating a replica of the space where users interact with the product and then conduct your research there. Or you can conduct your research by meeting users at their locations. With either option, you get to see how things work in context, things come up that wouldn’t have in a lab environment—and conversion can shift in entirely different directions. You have less control over how these sessions end as researchers, but this can occasionally help you understand users even better. Meeting users where they are can provide clues to the external forces that could be affecting how they use your product. In-person usability tests add a level of detail that is frequently absent from remote usability tests.

    That’s not to say that the “movies” —remote sessions—aren’t a good option. Remote training sessions can reach a wider audience. They allow a lot more stakeholders to be involved in the research and to see what’s going on. Additionally, they make the doors accessible to a much wider range of users. But with any remote session there is the potential of time wasted if participants can’t log in or get their microphone working.

    You can ask real users questions to understand their thoughts and understanding of the solution as a result of usability testing, whether it is done remotely or in person. This can help you not only identify problems but also glean why they’re problems in the first place. You can also test your own ideas and determine whether they are true. By the end of the sessions, you’ll have a much clearer picture of how usable the designs are and whether they work for their intended purposes. The excitement is in the second act, but there are also potential surprises in the third. This is equally true of usability tests. Unexpected things that participants say frequently alter the way you look at things, and these unexpected revelations can lead to unexpected turns in the narrative.

    Unfortunately, user research is sometimes seen as expendable. Usability testing is frequently the only method of research that some stakeholders believe they ever need, and it’s too frequently the case. In fact, if the designs that you’re evaluating in the usability test aren’t grounded in a solid understanding of your users ( foundational research ), there’s not much to be gained by doing usability testing in the first place. That’s because you’re narrowing down the area of focus on without considering the needs of the users. As a result, there’s no way of knowing whether the designs might solve a problem that users have. In the context of a usability test, it’s just feedback on a particular design.

    On the other hand, if you only do foundational research, while you might have set out to solve the right problem, you won’t know whether the thing that you’re building will actually solve that. This demonstrates the value of conducting both directional and foundational research.

    In act two, stakeholders will—hopefully—get to watch the story unfold in the user sessions, which creates the conflict and tension in the current design by surfacing their highs and lows. And in turn, this can encourage stakeholders to take action on the issues that arise.

    Act three: resolution

    The third act is about resolving the issues from the first two acts, whereas the first two acts are about understanding the context and the tensions that can compel stakeholders to act. While it’s important to have an audience for the first two acts, it’s crucial that they stick around for the final act. That includes all members of the product team, including developers, UX experts, business analysts, delivery managers, product managers, and any other parties who have a say in the coming development. It allows the whole team to hear users ‘ feedback together, ask questions, and discuss what’s possible within the project’s constraints. Additionally, it enables the UX design and research teams to clarify, suggest alternatives, or provide more context for their decisions. So you can get everyone on the same page and get agreement on the way forward.

    This act is primarily told in voiceover with some audience participation. The researcher is the narrator, who paints a picture of the issues and what the future of the product could look like given the things that the team has learned. They provide the stakeholders with their suggestions and suggestions for how to create this vision.

    Nancy Duarte in the Harvard Business Review offers an approach to structuring presentations that follow a persuasive story. The most effective presenters employ the same methods as great storytellers: By reaffirming the status quo and then revealing a better way, they create a conflict that needs to be resolved, writes Duarte. ” That tension helps them persuade the audience to adopt a new mindset or behave differently”.

    This type of structure aligns well with research results, and particularly results from usability tests. It provides proof for “what is “—the issues you’ve identified. And “what could be “—your recommendations on how to address them. And so forth and forth.

    You can reinforce your recommendations with examples of things that competitors are doing that could address these issues or with examples where competitors are gaining an edge. Or they can be as visual as quick sketches of a potential solution to a problem. These can help generate conversation and momentum. And this continues until the session is over when you’ve concluded by bridging the gaps and offering suggestions for improvement. This is the part where you reiterate the main themes or problems and what they mean for the product—the denouement of the story. The stakeholders will now have the opportunity to take the next steps, and hopefully the will-power to do so!

    While we are nearly at the end of this story, let’s reflect on the idea that user research is storytelling. The three-act structure of user research contains all the components for a good story:

      Act one: You meet the protagonists ( the users ) and the antagonists ( the problems affecting users ). This is the plot’s beginning. In act one, researchers might use methods including contextual inquiry, ethnography, diary studies, surveys, and analytics. These techniques can produce personas, empathy maps, user journeys, and analytics dashboards as output.
      Act two: Next, there’s character development. The protagonists encounter problems and difficulties, which they must overcome, and there is conflict and tension. In act two, researchers might use methods including usability testing, competitive benchmarking, and heuristics evaluation. Usability findings reports, UX strategy documents, usability guidelines, and best practices can be included in the output of these.
      Act three: The protagonists triumph and you see what a better future looks like. Researchers may use techniques like storytelling, presentation decks, and digital media in act three. The output of these can be: presentation decks, video clips, audio clips, and pictures.

    The researcher performs a number of tasks: they are the producer, the director, and the storyteller. The participants have a small role, but they are significant characters ( in the research ). And the audience is one of the stakeholders. But the most important thing is to get the story right and to use storytelling to tell users ‘ stories through research. By the end, the parties should have a goal and a desire to solve the product’s flaws.

    So the next time that you’re planning research with clients or you’re speaking to stakeholders about research that you’ve done, think about how you can weave in some storytelling. User research is ultimately a win-win situation for everyone, and all you need to do is pique stakeholders ‘ interest in how the story ends.

  • An Holistic Framework for Shared Design Leadership

    An Holistic Framework for Shared Design Leadership

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

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

    The conventional solution has been to create a table with clear lines. The Design Manager handles persons, the Lead Designer handles art. Best, problem is fixed, right? Except that fresh organizational charts are dream. In fact, both roles care greatly about crew health, style quality, and shipping great work.

    When you begin to think of your design organization as a design species, the magic happens when you accept collide rather than fight it.

    The biology of a good design team

    Here’s what I’ve learned from years of being on both flanks of this formula: think of your design team as a living organism. The Design Manager concentrates on the emotional security, career advancement, team dynamics, and other factors. The Lead Designer is more focused on the body ( the handiwork, the design standards, the hands-on projects that are delivered to users ).

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

    When we look at how good team really function, three critical devices emerge. Each role must coexist, but one must assume primary responsibility for maintaining a solid structure.

    Individuals & Psychology: The Nervous System

    Major caregiver: Design Manager
    Supporting position: Lead Designer

    The anxious system is all about mental health, comments, and signals. When this technique is good, information flows easily, people feel safe to take risks, and the staff may react quickly to new problems.

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

    However, the Lead Designer has a vital enabling position. They provide visual feedback on build development requirements, identifying stagnant design skills, and assisting with the Design Manager’s potential growth opportunities.

    Design Manager tends to:

    • development planning and profession conversations
    • emotional stability and dynamics of the team
    • Overhead management and resource allocation
    • Systematic evaluations and input
    • Providing opportunities for learning

    Direct Custom supports by:

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

    The Muscular System: Design, Design, and Execution

    Major caregiver: Lead Designer
    Design Manager supporting part

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

    The Lead Designer is the main caregiver at this place. They are establishing design standards, offering craft instruction, and making sure that shipping work meets the required standards. They’re the ones who can tell you if a design decision is sound or if we’re solving the right problem.

    However, the Design Manager has a significant supporting role. They’re making sure the team has the resources and support they need to perform their best work, such as proper nutrition and time for an athlete recovering.

    Lead Designer tends to:

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

    Design Manager supports by:

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

    The Circulatory System: Strategy &amp, Flow

    Shared caretakers: Lead Designer and Design Manager, respectively.

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

    This is the true partnership that occurs. Although both positions bring unique perspectives, keeping the circulation strong is a dual responsibility.

    Lead Designer contributes:

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

    Contributes the design manager:

    • Communication to team and stakeholders
    • Management of stakeholders and alignment
    • Team accountability across all levels
    • Strategic business initiatives

    Both parties work together on:

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

    Keeping the Organism Healthy

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

    Be Specific About the System You’re Defending.

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

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

    Create Positive Feedback Loops

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

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

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

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

    Handle Handoffs Gracefully

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

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

    Stay original and avoid being a tourist.

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

    This entails asking questions rather than making assumptions. ” What do you think about the team’s craft development in this area”? or” How do you think this is affecting team morale and workload”? keeps both viewpoints present in every choice.

    When the Organism Gets Sick

    Even with clear roles, this partnership can go wrong. What are the most typical failure modes I’ve seen:

    System Isolation

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

    The signs: Team members receive conflicting messages, work conditions suffer, and morale declines.

    Reconnect around common goals in the treatment. What are you both trying to achieve? It’s typically excellent design work that arrives on time from a capable team. Discover how both systems accomplish that goal.

    Poor Circulation

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

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

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

    Autoimmune Response

    The other person’s expertise makes them feel threatened. The Design Manager thinks the Lead Designer is undermining their authority. The Design Manager is alleged to believe that the Lead Designer doesn’t understand craft.

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

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

    The Payoff

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

    The best of both worlds can be found in the combination of strong people leadership and deep craft expertise. When one person is overly sick, on vacation, or overworked, the other can help keep the team’s health. When a decision requires both the people perspective and the craft perspective, you’ve got both right there in the room.

    The framework has a balance, which is crucial. You can use the same system thinking to new challenges as your team grows. Need to launch a design system? Both the muscular system and the nervous system are more prevalent in the work environment and communication, and the design manager is more focused on the implementation and change management.

    Bottom Line

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

    The mind and body work together. The team receives both the craft excellence and strategic thinking they need. And most importantly, users benefit from both perspectives when they receive the work.

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

  • From Beta to Bedrock: Build Products that Stick.

    From Beta to Bedrock: Build Products that Stick.

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

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

    The perils of feature-first creation

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

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

    The issue with most funding apps is that they frequently turn out to be reflections of the company’s internal politics rather than an experience created exclusively for the customer. Instead of offering a distinct value statement that is focused on what people in the real world want, the focus should be on delivering as some features and functionalities as possible to satisfy the needs and wants of competing inside sections. These products may therefore quickly become a muddled mess of confusing, related, and finally unlovable client experiences—a feature salad, you might say.

    The significance of the foundation

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

    The concept of “bedrock” comes into play in this context. Rock is the main feature of your solution that really matters to customers. It’s the fundamental building block that creates benefit and maintains relevance over time.

    The core has to be in and around the standard servicing journeys in the world of retail bank, which is where I work. People only look at their existing account once every blue sky, but they do so daily. They sign up for a credit card every year or two, but they check their balance and pay their bill at least once a quarter.

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

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

    It also requires some fortitude, as your coworkers might not always agree on your vision at first. And in some cases, it might even mean making it clear to consumers that you won’t be coming over to their home to prepare their meal. Sometimes you need to use “opinionated user interface design” ( i .e., clumsy workaround for edge cases ) to test a concept or to give yourself some more time to work on something else.

    Functional methods for creating stick-like economic items

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

    1. What trouble are you trying to solve first, and make a distinct “why”? Who is it for? Before beginning any project, make sure your vision is completely clear. Make certain it also complies with the goals of your business.
    2. Avoid putting too many features on the list at again; instead, focus on getting that right first. Choose one that actually adds price, and work from that.
    3. When it comes to financial items, clarity is often over richness. Eliminate unwanted details and concentrate on what matters most.
    4. Accept constant iteration as Bedrock is a powerful process rather than a fixed destination. Continuously collect customer feedback, improve your product, and work toward that foundational position.
    5. Stop, look, and listen: Don’t just go through with testing your product as part of the delivery process; test it frequently in the field. Use it for yourself. A/B tests are run. User opinions on Gear. Speak to those who use it, and change things up correctly.

    The core dilemma

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

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

  • These Wii U Classics (Yes, Really) Need a Switch 2 Re-Release

    These Wii U Classics (Yes, Really) Need a Switch 2 Re-Release

    In the perfect world, Nintendo would devote all of its resources to developing new Switch 2 editions. They’ve done a good job of that in their defense so much. Between Switch 2 and Donkey Kong Bananza, there is also a Mario Kart World and a forthcoming Metroid Prime 4: Beyond game.

    The first post on Den of Geek was These Wii U Classics ( Yes, Really ) Need a Switch 2 Re-Release.

    One word best describes the initial video for The Mandalorian and Grogu: joy. In rainy pools, neon signs appear. Ships are seen racing through skies and shooting beams at one another at one another. Even Grogu, a.k .a., is present. Baby Yoda dropping a one-liner in the vein of Arnold Schwarzenegger. In summary, we experience a true dose of narrative excitement, which isn’t exactly what we anticipated from a movie version of The Mandalorian.

    The Mandalorian was undoubtedly familiar and fresh when it first debuted on Disney + in 2019. The Mandalorian Din Djarin, who is voiced by Pedro Pascal and performed by Fit Crowder and Brendan Wayne, enters a cantina full of filth and evilness to get a wanted man in the very first scene of the captain episode. The action looks like it could come right out of a European, in which John Wayne or some other swaggering rules man removes a robber from a bar, despite the aliens and light guns present.

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

    Cowboys have always been a component of the original sauce that George Lucas created Star Wars, along with samurai, fighter aircraft, and many other things. However, those simple tissue pleasures have faded following the prequel trilogy’s world-building and the thematic expectations dissatisfying of The Last Jedi, the final mainline Star Wars movie released before The Mandalorian‘s debut.

    The Mandalorian followed in the footsteps of the original company over the course of its second and third conditions. The bounty hunter Din Djarin, who had no idea what competition was involved in the creation of Master Yoda, swore to guard the young Grogu, who had already become a member of the same race. However, the series became more about calls to earlier shows and films as Dave Filoni, who has a co-writing record on The Mandalorian and Grogu, along with director Jon Favreau, developed. To pack in some gaps between Return of the Jedi and The Force Awakens, we have an AI enjoyment of Luke Skywalker. Bo-Katan ( Katee Sackhoff ) from Filoni’s animated series The Clone Wars replaced Djarin as the real lead. We have Lizzo and Jack Black.

    In summary, The Mandalorian delivered exactly the opposite of what the second scene had promised. The Mandalorian turned into a moving Wikipedia passage with allusions to the company rather than a back-to-basics party of the tissue adventure that made Star Wars so popular.

    In the first Mandalorian and Grogu truck, there were some references to references both within and outside the world. It&#8217 is difficult to ignore Sigourney Weaver’s appearance in a shabby sci-fi environment and Ellen Ripley. And indeed, we do get a glimpse of an Anzellan, which species includes Babu Frik, a standout from Rise of Skywalker.

    However, these nods and winks are small. The truck plays more like a party of style pleasures, though. The trailer is full of robots, lasers, fights, and force powers, all of which made Star Wars so fantastic and Ludwig Göransson’s joyful score.

    Does the film live up to the chirpy delights the trailer promises? Or is all this a sarcastic hoax to entice people who didn’t practice religion when watching The Clone Wars as children? We&#8217, ill find out soon.

    On May 22, 2026, The Mandalorian and Grogu will be in venues.

    The Mandalorian and Grogu Trailer Promised Star Wars Is Reuniting with its Roots initially appeared on Den of Geek.

  • Doctor Who Season 9 Is Steven Moffat’s High-Water Mark

    Doctor Who Season 9 Is Steven Moffat’s High-Water Mark

    For the better, and for the worse, Steven Moffat’s day as the director for Doctor Who was defined by passion. No one has any strong opinions about the famously unambiguous figure of the Scotsman, but the playful Scotsman worked hard, albeit warmly, to challenge pre-existing notions of what the show may be. If you were purchasing what he]…]

    The initial episode of Doctor Who Season 9 Is Steven Moffat’s High-Water Mark ran on Den of Geek.

    One word best describes the initial video for The Mandalorian and Grogu: joy. We see neon signs in the pools of weather. Spacecraft race through skies while firing beams at one another. Even Grogu, a.k .a., is present. Baby Yoda dropping a one-liner in the vein of Arnold Schwarzenegger. In summary, we experience a true dose of narrative excitement, which isn’t exactly what we anticipated from a movie version of The Mandalorian.

    The Mandalorian certainly had a clean and comfortable feel when it first debuted on Disney + way back in 2019. The Mandalorian Din Djarin (voiced by Pedro Pascal and performed by Fit Crowder and Brendan Wayne ) steps into a tavern full of filth and villany to get a wanted person in the very first image of the captain event. The action looks like it could come right out of a European, in which John Wayne or some other swaggering rules man removes a robber from a bar, despite the aliens and light guns present.

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

    Cowboys have always been a component of the original sauce from which George Lucas drew the Star Wars universe, along with samurai, fighter aircraft, and so much more. These straightforward pulp pleasures have faded following the prequel trilogy’s world-building and the postmodern expectations that governed The Last Jedi, the final mainline Star Wars movie made before The Mandalorian‘s debut.

    The Mandalorian followed the main franchise’s feet in its second and third conditions. The main plot of the show was the bounty hunter Din Djarin, who vowed to protect the young Grogu, who was a descendant of the same culture that gave rise to Master Yoda. However, the series evolved into more of a creative force as Dave Filoni, who co-wrote The Mandalorian and Grogu, and Jon Favreau, the show’s chairman, began to use references to earlier shows and films. To complete in some gaps between Return of the Jedi and The Force Awakens, we have an AI enjoyment of Luke Skywalker. Bo-Katan ( Katee Sackhoff ) from Filoni&#8217’s animated series The Clone Wars replaced Djarin as the de facto lead. We have Lizzo and Jack Black.

    In summary, The Mandalorian delivered exactly the opposite of what the second picture had promised. The Mandalorian turned into a moving Wikipedia passage with allusions to the company rather than a back-to-basics party of the tissue adventure that made Star Wars so popular.

    In the first Mandalorian and Grogu video, there were some references to references both within and outside the world. It&#8217 is difficult to ignore Sigourney Weaver’s appearance in a shabby sci-fi building and Ellen Ripley. And yes, we do get a glimpse of an Anzellan, which includes Babu Frik, a standout types from Rise of Skywalker.

    However, these nods and winks are slight. The truck rather plays primarily like a party of genre joys. The trailer is full of robots, lasers, fights, and force powers, all of which made Star Wars so fantastic and Ludwig Göransson’s joyful score.

    Does the film live up to the chirpy delights the truck promises? Or is all this a sarcastic ruse intended to entice people who didn’t, at the very least, view The Clone Wars as a child? We&#8217, ill find out soon.

    On May 22, 2026, The Mandalorian and Grogu will be in venues.

    Star Wars Returns to its Roots, a teaser for The Mandalorian and Grogu, first appeared on Den of Geek.

  • The Mandalorian and Grogu Trailer Promises Star Wars Is Returning to its Roots

    The Mandalorian and Grogu Trailer Promises Star Wars Is Returning to its Roots

    The second video for The Mandalorian and Grogu has just one phrase to sum up: fun. In rainy pools, bright symptoms appear. Spacecraft are spotted racing through sky and firing beams at one another. Even Grogu, a.k .a., is available. Baby Yoda dropping a one-liner in the vein of Arnold Schwarzenegger. In essence, we experience a whole accept of […]…

    The Mandalorian and Grogu Trailer Promises Star Wars Is Returning to its Roots initially appeared on Den of Geek.

    The second video for The Mandalorian and Grogu: joy is only one syllable. In rainy ponds, bright symptoms appear. Spacecraft are spotted racing through sky and firing beams at one another. Even Grogu, a.k .a., is available. Baby Yoda dropping a one-liner in the vein of Arnold Schwarzenegger. In summary, we experience a true dose of narrative excitement, which isn’t what we expected from a movie version of The Mandalorian.

    Yes, The Mandalorian was familiar and fresh when it first debuted on Disney + in 2019. The Mandalorian Din Djarin (voiced by Pedro Pascal and performed by Fit Crowder and Brendan Wayne ) steps into a tavern full of filth and villany to get a wanted person in the very first image of the captain event. The action looks like it could come right out of a American, with John Wayne or another strutting law man removing a bandit from a saloon, despite the presence of aliens and laser weapons.

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

    Cowboys have always been a component of the original sauce from which George Lucas drew the Star Wars universe, along with samurai, fighter aircraft, and so much more. These basic pulp pleasures have since faded following the prequel trilogy’s world-building and the thematic expectations that defied The Last Jedi, the final mainline Star Wars movie released before The Mandalorian‘s debut.

    The Mandalorian followed in the footsteps of the original brand over its second and third conditions. The main plot of the show was the bounty hunter Din Djarin, who vowed to protect the young Grogu, who was a descendant of the same culture that gave rise to Master Yoda. However, the series became more about calls to earlier shows and films as Dave Filoni, who has a co-writing record on The Mandalorian and Grogu, along with director Jon Favreau, developed. There are some gaps between Returning of the Jedi and The Force Awakens, so we have an AI enjoyment of Luke Skywalker. Bo-Katan ( Katee Sackhoff ) from Filoni’s animated series The Clone Wars replaced Djarin as the real lead. Jack Black and Lizzo are here.

    In summary, The Mandalorian delivered exactly the opposite of what the second picture had promised. The Mandalorian turned into a moving Wikipedia access with allusions to the company rather than a back-to-basics party of the tissue adventure that made Star Wars a hit.

    In the first Mandalorian and Grogu truck, there were some references to references both to the world and the world itself. It&#8217 is difficult not to understand Ellen Ripley and Sigourney Weaver sitting in a filthy sci-fi setting while wearing a clean coat. And indeed, we do get a glimpse of an Anzellan, which species includes Babu Frik, a standout from Rise of Skywalker.

    However, these nods and winks are minimal. The video otherwise functions more like a party of genre joys. The preview is full of robots, lasers, fights, and force powers, all of which made Star Wars but excellent. It is set to Ludwig Göransson’s triumphant score.

    Does the film live up to the chirpy delights the truck promises? Or is all this a sarcastic hoax to entice people who didn’t practice religion when watching The Clone Wars as children? We&#8217, ill find out soon.

    On May 22, 2026, The Mandalorian and Grogu will be in venues.

    The Mandalorian and Grogu Trailer Promises Star Wars Is Returning to its Roots initially appeared on Den of Geek.

  • Asynchronous Design Critique: Giving Feedback

    Asynchronous Design Critique: Giving Feedback

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

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

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

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

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

    The material

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

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

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

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

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

    I anticipate that one of these two buttons will go forward and the other will go back when I see them.

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

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

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

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

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

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

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

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

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

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

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

    The tone

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

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

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

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

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

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

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

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

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

    The format

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

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

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

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

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

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

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

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

    One approach that I’ve personally used effectively in some contexts is to enhance the bullet points with four markers using emojis. A red square indicates that it is something I consider blocking, a yellow diamond indicates that it should be changed, and a green circle indicates that it is fully confirmed. I also use a blue spiral � � for either something that I’m not sure about, an exploration, an open alternative, or just a note. However, I’d only use this strategy on teams where I’ve already established a high level of trust because it might turn out to be quite demoralizing if I deliver a lot of red squares and 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 that one of these two buttons will go forward and the other will go back when I see them. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Let’s make sure that all screens have the same two forward and back buttons so that users don’t get confused.
    • � � Overall— I think the page is solid, and this is good enough to be our release candidate for a version 1.0.
    • � � Metrics—Good improvement in the buttons on the metrics area, the improved contrast and new focus style make them more accessible.
    • Button Style: Using the green accent in this context gives the impression that it’s a positive action because green is typically seen as a confirmation color. Do we need to explore a different color?
    • Given the number of items on the page and the overall page hierarchy, it seems to me that the tiles should use Subtitle 2 instead of Subtitle 1. This will keep the visual hierarchy more consistent.
    • � � Background—Using a light texture works well, but I wonder whether it adds too much noise in this kind of page. What is the purpose of using that?

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

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

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

    Content, tone, and format. Although each of these subjects offers a useful model, improving eight of the subjects ‘ observation, impact, question, timing, attitude, form, clarity, and actionability is a lot of work to put in all at once. One effective approach is to take them one by one: first identify the area that you lack the most (either from your perspective or from feedback from others ) and start there. Then the second, 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 Brie Anne Demkiw and Mike Shelton for reviewing the first draft of this article.

  • Designing for the Unexpected

    Designing for the Unexpected

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

    Flash, Photoshop, and flexible style

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

    All of this was altered by Ethan Marcotte’s 2010 content in A List Off entitled” Responsive Web Design.” I was sold on responsive pattern as soon as I heard about it, but I was even terrified. The pixel-perfect models full of special figures that I had formerly prided myself on producing were no longer good enough.

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

    A new way to style

    Making flexible or liquid websites has always been about removing restrictions and creating content that can be viewed on any system. It relies on the use of percentage-based design, which I immediately achieved with local CSS and power groups:

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

    Therefore using Sass to re-use repeated slabs of code and transition to more semantic premium:

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

    Media concerns

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

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

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

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

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

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

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

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

    Container queries: our savior or a false dawn?

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

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

    In other words, responsive layouts are to be replaced by responsive components.

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

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

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

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

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

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

    CSS is changing

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

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

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

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

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

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

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

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

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

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

    Intrinsic layouts

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

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

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

    —Jen Simmons,” Designing Intrinsic Layouts”

    Additionally, intrinsic layouts can mix and match both fixed and flexible units, letting the content choose how much space is taken up.

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

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

    Another 2010 moment?

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

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

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

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

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

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

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

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

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

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

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

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

    Content should come first

    Content is not constant. After all, to design for the unanticipated or unexpected, we must take into account changes in content, like in our earlier Subgrid card illustration, which allowed the cards to modify both their own content and that of their sibling components.

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

    Instead of dated markup tricks like this —

    First line of text with different styling...

    —we can target content based on where it appears.

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

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

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

    Directional variables must be set in the Sass version.

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

    These variables can be used as values—

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

    —or as real estate.

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

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

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

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

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

    Fluid and fixed

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

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

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

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

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

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

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

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

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

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

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

    Situation first

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

    It’s a completely different design process for someone using a mobile phone and moving through a crowded street in glaring sunshine from a person 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.

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

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

    Responsible design

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

    On a 50 MB budget, I spent a day surfing the web.

    Chris Ashton

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

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

    Image alt text

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

      

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

    …

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

    So how can we put users in control?

    The media queries are now being returned.

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

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

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

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

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

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

    Media concerns 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 anticipate is that things will change. Devices in particular change faster than we can keep up, with foldable screens already on the market.

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

    A lot of the CSS discussed here is about moving away from layouts and putting content at the heart of design. There is 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 need to make sure our goods are usable when people need them, whenever and wherever that may be. We can move closer to achieving this by involving users in our design decisions, by creating choice via browsers, and by giving control to our users with user-preference-based media queries.

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