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  • Seven Remains Morgan Freeman’s Best Performance

    Seven Remains Morgan Freeman’s Best Performance

    Morgan Freeman is a legend. His message is immediately recognized. He has a image on screen that instantly grabs attention from supervillain films like Batman Begins to Oscar contenders of Invictus. In The Lego Movie, Freeman also maintains respect while playing a funny wizard and pitching payment cards. Despite being as well-liked as]…

    Den of Geek initially published Seven Bones Morgan Freeman’s Best Achievement.

    Although it’s popular these days to condemn Dwayne” The Rock” Johnson’s acting choices, there was a time when the wrestler-turned-actor’s organic charisma attracted slightly different attentions. Although he was never acknowledged as a potential nominee for an Oscar, he was also praised on SNL as “franchise viagra,” and if critics did not, he was undoubtedly respected for his boundless charisma and sunny nature. Yet when he’s not grinning, his facial muscles still carry the ghost of one. &#8221,

    That is what makes Benny Safdie’s latest video for The Smashing Machine‘s latest trailer seem strange and haunted.

    In the fresh trailer, Johnson’s Mark Kerr states,” For me, a moment without pain is like a day without sunshine.” A day without pain or sunshine feels like anathema to Johnson &#8217, the onscreen persona of the past 20 or so years, which may be why the position is already receiving rave reviews from Venice, where the movie also received the Silver Lion for Safdie&#8217, s manner. It seems that the moon has apparently set in that laugh. It has been replaced by a piece of metal unlike anything since Pain &amp, Gain. &nbsp,

    In the 2002 HBO video of the same name, Johnson stars as Kerr, a two-time UFC Heavyweight champion and previous fighter. Kerr appears to be a favorable subject matter for Safdie, a mixed martial artist who admitted to dealing with substance misuse and specialized losses. Good Time and Uncut Gems, two of the movies he co-directed with his brother Josh, were unflaggingly dark in their dealings with the sports industry, and together they deliver a picture that is likely to be more complex than the standard sports movie trailer Crushing System offers.

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

    Johnson undoubtedly exhibits a part in this sing clip, which is something we haven’t seen from him in over a century. Here is the strong and quirky character actor who could imitate John Travolta’s scenes in popular culture’s Be Great and form the basis for the more enigmatic Southland Tales. In Pain & Gain, Michael Bay would paint his obscene painting of American ambition and haughtiness using clay that he had already given himself. &nbsp,

    Johnson has shown to have a lot of charisma and an untapped, more confusing reserve of skill since starting his transition from wrestling to film acting. Yet in humorous but upbeat smut like The Rundown, Arnold Schwarzenegger seemed to identify him as the heir visible. &nbsp,

    Johnson has chosen not to fully exploit that ability over the past 12 years, but it was there in vain when riffing on Big in Jumanji, and it might have been that when playing same Emily Blunt. In fact, the two collaborated on Jungle Cruise in 2021, a by-the-numbers theater production that requested that Johnson and Blunt upgrade Bogie and Hepburn, but in reality amounted to exalted cast members on a theme garden ride. &nbsp,

    However, the piece in this new Smashing System video suggest substantial chemistry when Blunt’s Dawn tenderly treats a maimed boyfriend with compassion but even a controlled weariness. Johnson and Blunt both make appearances outside of their respective milieus when they are filmed in edgier gyms or dark dramas. Given that we’ve seen Blunt switch functions and genres before, including Benny Safdie in Christopher Nolan’s Oppenheimer, a film with a completely different cast, Blunt’s genuine, painful sparks with Johnson is something entirely new. With any luck, it will strike the octagon as difficult as Kerr.

    Smashing Equipment is available on A24 on October 3rd.

    The first article on Den of Geek: View Dwayne Johnson and Emily Blunt Like Never Before in the The Smashing Machine Trailer was titled,” View Dwayne Johnson and Emily Blunt Like Never Before.”

  • Asynchronous Design Critique: Getting Feedback

    Asynchronous Design Critique: Getting Feedback

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

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

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

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

    The question

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

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

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

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

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

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

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

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

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

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

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

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

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

    The iteration

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

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

    Using iteration posts has many advantages:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    The review

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

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

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

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

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

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

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

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

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

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

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

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

  • Asynchronous Design Critique: Giving Feedback

    Asynchronous Design Critique: Giving Feedback

    Feedback, in whichever form it takes, and whatever it may be called, is one of the most powerful sweet skills that we have at our disposal to jointly get our models to a better position while growing our own skills and ideas.

    Feedback is also one of the most underestimated equipment, and generally by assuming that we’re now great at it, we settle, forgetting that it’s a skill that can be trained, grown, and improved. Bad feedback can make confusion in projects, send down confidence, and change faith and team collaboration over the long term. 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 basic aspects of giving excellent feedback? And how can comments be adjusted for rural and distributed job settings?

    On the web, we can discover a long history of sequential suggestions: from the early days of open source, script was shared and discussed on email lists. Today, developers engage on pull requests, designers comment in their favorite design tools, project managers and scrum masters exchange ideas on tickets, and so on.

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

    The content

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

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

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

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

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

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

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

    When I see these two buttons, I expect one to go forward and one to go back. This is the only instance of this occurring, as it was before when we only used a single button and an”” to close. This seems to be breaking the consistency in the flow.

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

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

    When I see these two buttons, I expect one to go forward and one to go back. This is the only instance of this occurring, as it was before when we only used a single button and an”” to close. This seems to be breaking the consistency in the flow. Would it make sense to unify them?

    Or, for the request approach:

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

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

    When I see these two buttons, I expect one to go forward and one to go back. This is the only instance of this occurring, as it was before when we only 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. Surprise surprise, one particular person gave me a lot of negative feedback. The reason is that I had previously tried not to be prescriptive in my advice—because the people who I was previously working with preferred the open-ended question format over the request style of suggestions. However, there was a person in this other team who had always 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”. Since the designer receiving this feedback wouldn’t have much to go by, they might just make the change. In later iterations, the interface might change or they might introduce new features—and maybe that change might not make sense anymore. 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, and tone alone can determine 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. I’ve tried to summarize the necessary soft skills over the years using a formula that resembles that of the content receptivity equation.

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

    The term “timing” describes 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. When a new feature’s entire high-level information architecture is about to go live, it might still be relevant if the questioning raises a significant blocker that no one saw, but those concerns are much more likely to have to wait for a later revision. So in general, attune your feedback to the stage of the project. Early iteration? Iteration that was later? Polishing work in progress? Each of these needs a different one. 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. Before writing, it’s important to make sure the person we’re writing will actually benefit them and improve the overall project. This might be a hard reflection at times because maybe we don’t want to admit that we don’t really appreciate that person. Hopefully that’s not the case, but it can happen, which is fine. 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, including the fact that occasionally certain words may cause specific reactions, that non-native speakers may not be able to comprehend all thenuances of some sentences, that our brains may be different, and that we may perceive the world differently. Neurodiversity is a requirement. 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’s not what I meant to say! I felt really bad, and I just realized that I provided feedback to them for months, and every time I might have made them feel stupid. I was horrified … but also thankful. I quickly changed my situation by adding “oh” to my list of replaced words (your choice between aText, TextExpander, or others ) so that when I typed “oh,” it was immediately deleted.

    Something to 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 you give it constructive and respectful feedback, whether it be difficult or positive. 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. Let’s try to think about some factors that might be helpful to consider, as there are many ways to accomplish this, and context is of course a factor.

    In terms of clarity, start by grounding the critique that you’re about to give by providing context. This includes specifically describing where you’re coming from: do you have a thorough understanding of the project, or is this your first encounter with 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 background information on the project, providing context is helpful. And context is absolutely essential when giving cross-team feedback. If I were to review a design that might be indirectly related to my work, and if I had no knowledge about how the project arrived at that point, I would say so, highlighting my take as external.

    We frequently concentrate on the negatives and attempt to list every possible improvement. 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. This is powerful because there is a big difference between a critique of a design that is already in good shape and one that is critiqued for a design that isn’t quite there yet.

    Another way that you can improve your feedback is to depersonalize the feedback: the comments should always be about the work, never about the person who made it. It’s” This button isn’t well aligned” versus” You haven’t aligned this button well”. This 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 want to break up the feedback into sections or even between several comments for longer pieces. 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 needs to be changed, and a green circle provides a thorough, positive confirmation. I also use a blue spiral � � for either something that I’m not sure about, an exploration, an open alternative, or just a note. However, I’d only use this strategy on teams where I’ve already established a high level of trust because it might turn out to be quite demoralizing if I deliver a lot of red squares, and I’d have to reframe how I’d communicate that.

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

    • 🔶 Navigation—When I see these two buttons, I expect one to go forward and one to go back. This is the only instance of this occurring, as it was before when we only 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. Sometimes we might feel good or bad about something, so we don’t say it. Or sometimes we might have a doubt that we don’t express because the question might sound stupid. Say it, that’s 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, and this could be a question that arises from time to time. For this reason, I recommend using software that saves these discussions, without hiding them once they are resolved.

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

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

  • Voice Content and Usability

    Voice Content and Usability

    We’ve been having conversations for thousands of years. Whether to convey information, conduct transactions, or simply to check in on one another, people have yammered away, chattering and gesticulating, through spoken conversation for countless generations. Only in the last few millennia have we begun to commit our conversations to writing, and only in the last few decades have we begun to outsource them to the computer, a machine that shows much more affinity for written correspondence than for the slangy vagaries of spoken language.

    Computers have trouble because between spoken and written language, speech is more primordial. To have successful conversations with us, machines must grapple with the messiness of human speech: the disfluencies and pauses, the gestures and body language, and the variations in word choice and spoken dialect that can stymie even the most carefully crafted human-computer interaction. In the human-to-human scenario, spoken language also has the privilege of face-to-face contact, where we can readily interpret nonverbal social cues.

    In contrast, written language immediately concretizes as we commit it to record and retains usages long after they become obsolete in spoken communication (the salutation “To whom it may concern,” for example), generating its own fossil record of outdated terms and phrases. Because it tends to be more consistent, polished, and formal, written text is fundamentally much easier for machines to parse and understand.

    Spoken language has no such luxury. Besides the nonverbal cues that decorate conversations with emphasis and emotional context, there are also verbal cues and vocal behaviors that modulate conversation in nuanced ways: how something is said, not what. Whether rapid-fire, low-pitched, or high-decibel, whether sarcastic, stilted, or sighing, our spoken language conveys much more than the written word could ever muster. So when it comes to voice interfaces—the machines we conduct spoken conversations with—we face exciting challenges as designers and content strategists.

    Voice Interactions

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

    • we need something done (such as a transaction),
    • we want to know something (information of some sort), or
    • we are social beings and want someone to talk to (conversation for conversation’s sake).

    These three categories—which I call transactional, informational, and prosocial—also characterize essentially every voice interaction: a single conversation from beginning to end that realizes some outcome for the user, starting with the voice interface’s first greeting and ending with the user exiting the interface. Note here that a conversation in our human sense—a chat between people that leads to some result and lasts an arbitrary length of time—could encompass multiple transactional, informational, and prosocial voice interactions in succession. In other words, a voice interaction is a conversation, but a conversation is not necessarily a single voice interaction.

    Purely prosocial conversations are more gimmicky than captivating in most voice interfaces, because machines don’t yet have the capacity to really want to know how we’re doing and to do the sort of glad-handing humans crave. There’s also ongoing debate as to whether users actually prefer the sort of organic human conversation that begins with a prosocial voice interaction and shifts seamlessly into other types. In fact, in Voice User Interface Design, Michael Cohen, James Giangola, and Jennifer Balogh recommend sticking to users’ expectations by mimicking how they interact with other voice interfaces rather than trying too hard to be human—potentially alienating them in the process ().

    That leaves two genres of conversations we can have with one another that a voice interface can easily have with us, too: a transactional voice interaction realizing some outcome (“buy iced tea”) and an informational voice interaction teaching us something new (“discuss a musical”).

    Transactional voice interactions

    Unless you’re tapping buttons on a food delivery app, you’re generally having a conversation—and therefore a voice interaction—when you order a Hawaiian pizza with extra pineapple. Even when we walk up to the counter and place an order, the conversation quickly pivots from an initial smattering of neighborly small talk to the real mission at hand: ordering a pizza (generously topped with pineapple, as it should be).

    Alison: Hey, how’s it going?

    Burhan: Hi, welcome to Crust Deluxe! It’s cold out there. How can I help you?

    Alison: Can I get a Hawaiian pizza with extra pineapple?

    Burhan: Sure, what size?

    Alison: Large.

    Burhan: Anything else?

    Alison: No thanks, that’s it.

    Burhan: Something to drink?

    Alison: I’ll have a bottle of Coke.

    Burhan: You got it. That’ll be $13.55 and about fifteen minutes.

    Each progressive disclosure in this transactional conversation reveals more and more of the desired outcome of the transaction: a service rendered or a product delivered. Transactional conversations have certain key traits: they’re direct, to the point, and economical. They quickly dispense with pleasantries.

    Informational voice interactions

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

    Alison: Hey, how’s it going?

    Burhan: Hi, welcome to Crust Deluxe! It’s cold out there. How can I help you?

    Alison: Can I ask a few questions?

    Burhan: Of course! Go right ahead.

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

    Burhan: Absolutely! We can make any pie halal by request. We also have lots of vegetarian, ovo-lacto, and vegan options. Are you thinking about any other dietary restrictions?

    Alison: What about gluten-free pizzas?

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

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

    Burhan: Anytime, come back soon!

    This is a very different dialogue. Here, the goal is to get a certain set of facts. Informational conversations are investigative quests for the truth—research expeditions to gather data, news, or facts. Voice interactions that are informational might be more long-winded than transactional conversations by necessity. Responses tend to be lengthier, more informative, and carefully communicated so the customer understands the key takeaways.

    Voice Interfaces

    At their core, voice interfaces employ speech to support users in reaching their goals. But simply because an interface has a voice component doesn’t mean that every user interaction with it is mediated through voice. Because multimodal voice interfaces can lean on visual components like screens as crutches, we’re most concerned in this book with pure voice interfaces, which depend entirely on spoken conversation, lack any visual component whatsoever, and are therefore much more nuanced and challenging to tackle.

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

    Interactive voice response (IVR) systems

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

    IVR systems allowed organizations to reduce their reliance on call centers but soon became notorious for their clunkiness. Commonplace in the corporate world, these systems were primarily designed as metaphorical switchboards to guide customers to a real phone agent (“Say Reservations to book a flight or check an itinerary”); chances are you will enter a conversation with one when you call an airline or hotel conglomerate. Despite their functional issues and users’ frustration with their inability to speak to an actual human right away, IVR systems proliferated in the early 1990s across a variety of industries (, PDF).

    While IVR systems are great for highly repetitive, monotonous conversations that generally don’t veer from a single format, they have a reputation for less scintillating conversation than we’re used to in real life (or even in science fiction).

    Screen readers

    Parallel to the evolution of IVR systems was the invention of the screen reader, a tool that transcribes visual content into synthesized speech. For Blind or visually impaired website users, it’s the predominant method of interacting with text, multimedia, or form elements. Screen readers represent perhaps the closest equivalent we have today to an out-of-the-box implementation of content delivered through voice.

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

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

    Though deeply instructive for voice interface designers, there’s one significant problem with screen readers: they’re difficult to use and unremittingly verbose. The visual structures of websites and web navigation don’t translate well to screen readers, sometimes resulting in unwieldy pronouncements that name every manipulable HTML element and announce every formatting change. For many screen reader users, working with web-based interfaces exacts a cognitive toll.

    In Wired, accessibility advocate and voice engineer Chris Maury considers why the screen reader experience is ill-suited to users relying on voice:

    From the beginning, I hated the way that Screen Readers work. Why are they designed the way they are? It makes no sense to present information visually and then, and only then, translate that into audio. All of the time and energy that goes into creating the perfect user experience for an app is wasted, or even worse, adversely impacting the experience for blind users. ()

    In many cases, well-designed voice interfaces can speed users to their destination better than long-winded screen reader monologues. After all, visual interface users have the benefit of darting around the viewport freely to find information, ignoring areas irrelevant to them. Blind users, meanwhile, are obligated to listen to every utterance synthesized into speech and therefore prize brevity and efficiency. Disabled users who have long had no choice but to employ clunky screen readers may find that voice interfaces, particularly more modern voice assistants, offer a more streamlined experience.

    Voice assistants

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

    Before the earliest IVR systems found success in the enterprise, Apple published a demonstration video in 1987 depicting the Knowledge Navigator, a voice assistant that could transcribe spoken words and recognize human speech to a great degree of accuracy. Then, in 2001, Tim Berners-Lee and others formulated their vision for a Semantic Web “agent” that would perform typical errands like “checking calendars, making appointments, and finding locations” (, behind paywall). It wasn’t until 2011 that Apple’s Siri finally entered the picture, making voice assistants a tangible reality for consumers.

    Thanks to the plethora of voice assistants available today, there is considerable variation in how programmable and customizable certain voice assistants are over others (Fig 1.1). At one extreme, everything except vendor-provided features is locked down; for example, at the time of their release, the core functionality of Apple’s Siri and Microsoft’s Cortana couldn’t be extended beyond their existing capabilities. Even today, it isn’t possible to program Siri to perform arbitrary functions, because there’s no means by which developers can interact with Siri at a low level, apart from predefined categories of tasks like sending messages, hailing rideshares, making restaurant reservations, and certain others.

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

    As corporations like Amazon, Apple, Microsoft, and Google continue to stake their territory, they’re also selling and open-sourcing an unprecedented array of tools and frameworks for designers and developers that aim to make building voice interfaces as easy as possible, even without code.

    Often by necessity, voice assistants like Amazon Alexa tend to be monochannel—they’re tightly coupled to a device and can’t be accessed on a computer or smartphone instead. By contrast, many development platforms like Google’s Dialogflow have introduced omnichannel capabilities so users can build a single conversational interface that then manifests as a voice interface, textual chatbot, and IVR system upon deployment. I don’t prescribe any specific implementation approaches in this design-focused book, but in Chapter 4 we’ll get into some of the implications these variables might have on the way you build out your design artifacts.

    Voice Content

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

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

    For many of us, our first foray into informational voice interfaces will be to deliver content to users. There’s only one problem: any content we already have isn’t in any way ready for this new habitat. So how do we make the content trapped on our websites more conversational? And how do we write new copy that lends itself to voice interactions?

    Lately, we’ve begun slicing and dicing our content in unprecedented ways. Websites are, in many respects, colossal vaults of what I call macrocontent: lengthy prose that can extend for infinitely scrollable miles in a browser window, like microfilm viewers of newspaper archives. Back in 2002, well before the present-day ubiquity of voice assistants, technologist Anil Dash defined microcontent as permalinked pieces of content that stay legible regardless of environment, such as email or text messages:

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

    I’d update Dash’s definition of microcontent to include all examples of bite-sized content that go well beyond written communiqués. After all, today we encounter microcontent in interfaces where a small snippet of copy is displayed alone, unmoored from the browser, like a textbot confirmation of a restaurant reservation. Microcontent offers the best opportunity to gauge how your content can be stretched to the very edges of its capabilities, informing delivery channels both established and novel.

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

    Because microcontent is fundamentally made up of isolated blobs with no relation to the channels where they’ll eventually end up, we need to ensure that our microcontent truly performs well as voice content—and that means focusing on the two most important traits of robust voice content: voice content legibility and voice content discoverability.

    Fundamentally, the legibility and discoverability of our voice content both have to do with how voice content manifests in perceived time and space.

  • Designing for the Unexpected

    Designing for the Unexpected

    I’m not sure when I first heard this quote, but it’s something that has stayed with me over the years. How do you create services for situations you can’t imagine? Or design products that work on devices yet to be invented?

    Flash, Photoshop, and responsive design

    When I first started designing websites, my go-to software was Photoshop. I created a 960px canvas and set about creating a layout that I would later drop content in. The development phase was about attaining pixel-perfect accuracy using fixed widths, fixed heights, and absolute positioning.

    Ethan Marcotte’s talk at An Event Apart and subsequent article “Responsive Web Design” in A List Apart in 2010 changed all this. I was sold on responsive design as soon as I heard about it, but I was also terrified. The pixel-perfect designs full of magic numbers that I had previously prided myself on producing were no longer good enough.

    The fear wasn’t helped by my first experience with responsive design. My first project was to take an existing fixed-width website and make it responsive. What I learned the hard way was that you can’t just add responsiveness at the end of a project. To create fluid layouts, you need to plan throughout the design phase.

    A new way to design

    Designing responsive or fluid sites has always been about removing limitations, producing content that can be viewed on any device. It relies on the use of percentage-based layouts, which I initially achieved with native CSS and utility classes:

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

    Then with Sass so I could take advantage of @includes to re-use repeated blocks of code and move back to more semantic markup:

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

    Media queries

    The second ingredient for responsive design is media queries. Without them, content would shrink to fit the available space regardless of whether that content remained readable (The exact opposite problem occurred with the introduction of a mobile-first approach).

    Media queries 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.

    Row markup was a staple of early responsive design, present in all the widely used frameworks 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 problem arose as I moved from a design agency building websites for small- to medium-sized businesses, to larger in-house teams where I worked across a suite of related sites. In those roles I started to work much more with reusable components. 

    Our reliance on media queries resulted in components that were tied to common viewport sizes. If the goal of component libraries is reuse, then this is a real problem because you can only use these components if the devices you’re designing for correspond to the viewport sizes used in the pattern library—in the process not really hitting that “devices that don’t yet exist”  goal.

    Then there’s the problem of space. Media queries 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 JavaScript workarounds, but they can create dependency 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 components to replace responsive layouts.

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

    My concern is that we are still using layout 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? 

    A component library removed from context and real content is probably not the best place for that decision. 

    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.

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

    CSS is changing

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

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

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

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

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

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

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

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

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

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

    Intrinsic layouts 

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

    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.

    fr units is a way to say I want you to distribute the extra space in this way, but…don’t ever make it smaller than the content that’s inside of it.

    —Jen Simmons, “Designing Intrinsic Layouts”

    Intrinsic layouts can also utilize a mixture of fixed and flexible units, allowing the content to dictate the space it takes 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. Components and patterns can be lifted and reused without the prerequisite of having the same breakpoints or the same amount of content as in the previous implementation. 

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

    Another 2010 moment?

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

    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 reason for that could be that I now work in a large organization, which is quite different from the design agency role I had 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 could be that I feel more prepared for change now. In 2010 I was new to design in general; the shift was frightening and required a lot of learning. Also, an intrinsic approach isn’t exactly all-new; it’s about using existing skills and existing CSS knowledge in a different way. 

    You can’t 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. 

    Responsive grid systems were all over the place ten years ago. With a framework like Bootstrap or Skeleton, you had a responsive design template at your fingertips.

    Intrinsic design and frameworks do not go hand in hand quite so well because the benefit of having a selection of units is a hindrance when it comes to creating layout templates. 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, at some point in our careers, used Photoshop templates for desktop, tablet, and mobile devices to drop designs in and show how the site would look at all three stages.

    How do you do that now, with each component responding to content and layouts flexing as and when they need to? This type of design must happen in the browser, which personally I’m a big fan 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. To do this in a graphics-based software package is far from ideal. In code, we can add longer sentences, more radio buttons, and extra tabs, and watch in real time as the design adapts. Does it still work? 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 first 

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

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

    Instead of old markup hacks 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.

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

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

    These variables can be used as values—

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

    —or as properties.

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

    However, 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.

    Fixed and fluid 

    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 but never less than 300px and never more than 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. We can start to future-proof designs by planning for unexpected changes in language or direction. 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 very different thing to design for someone seated at a desktop computer as opposed to someone using a mobile phone and moving through a crowded street in glaring sunshine. Situations and environments are hard to plan for or predict because they change as people react to their own unique challenges and tasks.

    This is why choice is so important. 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.”

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

    Chris Ashton

    One of the biggest assumptions we make is that people interacting with our designs have a good wifi connection and a wide screen monitor. But in the real world, our users may be commuters traveling on trains or other forms of transport using smaller mobile devices that can experience drops in connectivity. 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 return of media queries 

    Media queries 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. 

    As of this writing, the Media Queries Level 5 spec is still under development. It introduces some really exciting queries that in the future will help us design for multiple other unexpected situations.

    For example, there’s a light-level feature that allows you to modify styles if a user is in sunlight or 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 queries like this go beyond choices made by a browser to grant more control to the user.

    Expect the unexpected

    In the end, the one thing we should always expect is for things to change. Devices in particular change faster than we can keep up, with foldable screens already on the market.

    We can’t design the same way we have for this ever-changing landscape, but we can design for content. 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. From responsive components to fixed and fluid units, there is so much more we can do to take a more intrinsic approach. 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 situations, we need to make sure our products are usable when people need them, whenever and wherever that might 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.

  • A Content Model Is Not a Design System

    A Content Model Is Not a Design System

    Do you recall the days when having a fantastic site was sufficient? Nowadays, people are getting answers from Siri, Google search fragments, and mobile applications, not only our websites. Organizations with forward-thinking goals have adopted an holistic articles strategy that aims to reach people across a range of digital programs and platforms.

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

    I just had the opportunity to lead a Fortune 500 company’s CMS application. The customer was excited by the benefits of an holistic information plan, including material modify, multichannel marketing, and robot delivery—designing content to be comprehensible to bots, Google knowledge panels, snippets, and voice user interfaces.

    For our information to be understood by many systems, the unit needed conceptual types, which are names given based on their meaning rather than their presentation. This is crucial for an multichannel content strategy. Our aim was to allow writers to write articles and use it where necessary. But as the job proceeded, I realized that supporting material utilize at the range that my client needed required the whole group to identify a new pattern.

    Despite our best efforts, we remained influenced by design techniques, which we were more comfortable with. An holistic content strategy cannot rely on WYSIWYG design and layout tools, unlike web-focused material strategies. Our tendency to approach the material model with our common design-system thinking frequently led us to veer away from one of the main purposes of a material model: delivering content to audiences on various marketing channels.

    Two fundamental tenets govern a successful content model

    We needed to explain to our designers, developers, and stakeholders that we were undertaking a very different task from their earlier web projects, where it was common for everyone to view content as visual building blocks that fit into layouts. The previous approach was not only more familiar but also more intuitive—at least at first—because it made the designs feel more tangible. We learned two guiding principles that helped the team understand how a content model and the design processes we were familiar with were:

    1. Instead of layout, semantics must be used by content models.
    2. And content models should connect content that belongs together.

    Semantic content models

    A semantic content model uses type and attribute names that reflect the content’s intended purpose and not its intended display. For example, in a nonsemantic model, teams might create types like teasers, media blocks, and cards. Although these types might make it simple to present content, they don’t aid in understanding the meaning of the content, which would have opened the door to the content presented in each marketing channel. In contrast, a semantic content model employs type names like product, service, and testimonial to allow for each delivery channel to interpret the content and use it as necessary.

    When you’re creating a semantic content model, a great place to start is to look over the types and properties defined by Schema. a community-driven resource for type definitions that are understandable on platforms like Google search.

    A semantic content model has a number of advantages:

      Even if your team doesn’t care about omnichannel content, a semantic content model decouples content from its presentation so that teams can evolve the website’s design without needing to refactor its content. In this way, content can withstand irrational website redesigns.
    • A semantic content model also gives you an advantage in the market. By adding structured data based on Schema. A website can provide hints to Google to understand the content, display it in search snippets or knowledge panels, and use it to respond to user voice-interface queries. Without ever visiting your website, potential visitors could easily find your content.
    • Beyond those practical benefits, you’ll also need a semantic content model if you want to deliver omnichannel content. Delivery channels must be able to comprehend the same content in order to use it across multiple marketing channels. For instance, if your content model provided a list of questions and answers, it could be easily displayed on a frequently asked questions ( FAQ ) page as well as be used by a bot to answer frequently asked questions.

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

    Content models that connect

    Instead of slicing up related content across disparate content components, I’ve come to the realization that the best models are those that are semantic and also connect related content components ( such as a FAQ item’s question and answer pair ). A good content model connects content that should remain together so that multiple delivery channels can use it without needing to first put those pieces back together.

    Consider creating an essay or article. The unity of an article’s parts determines its meaning and usefulness. Would one of the headings or paragraphs be meaningful on their own without the context of the full article? Our well-known design-system thinking on our project frequently led us to want to develop content models that would divide content into distinct chunks to fit the web-centric layout. This had a similar effect to an article that had had its headline removed. Because we were slicing content into standalone pieces based on layout, content that belonged together became difficult to manage and nearly impossible for multiple delivery channels to understand.

    Let’s examine how connecting related content can be used in a practical setting to illustrate. A complex layout for a software product page that included multiple tabs and sections was presented by the client’s design team. Our instincts were to follow suit with the content model. Shouldn’t we make adding any number of tabs in the future as simple and flexible as possible?

    Because our design-system instincts were so well-known, it appeared that we needed a “tab section” content type so that multiple tab sections could be added to a page. Each tab section would display various types of content. The software’s overview or specifications might be available in one tab. A list of resources might be found under another tab.

    Our inclination to break down the content model into “tab section” pieces would have led to an unnecessarily complex model and a cumbersome editing experience, and it would have also created content that couldn’t have been understood by additional delivery channels. How would a different system have been able to determine which “tab section” referred to a product’s specifications or resource list, for instance? Would that system have had to have used tab sections and content blocks to calculate this? This would have prevented the tabs from ever being rearranged, and it would have required adding logic to each other delivery channel to interpret the layout of the design system. Furthermore, if the customer were to have no longer wanted to display this content in a tab layout, it would have been tedious to migrate to a new content model to reflect the new page redesign.

    Our customer had a breakthrough when we realized that for each tab, a specific purpose in mind would be revealed, such as the software product’s overview, specifications, related resources, and pricing. Once implementation began, our inclination to focus on what’s visual and familiar had obscured the intent of the designs. It wasn’t long after a little digging that it became clear that the idea of tabs wasn’t applicable to the content model. What was important was the meaning of the information that they intended to display in the tabs.

    In fact, the customer could have decided to display this content in a different way—without tabs—somewhere else. Based on the meaningful attributes the customer had desired to display on the web, we created content types for the software product. There were rich attributes like screenshots, software requirements, and feature lists as well as obvious semantic attributes like name and description. The software’s product information stayed together because it wasn’t sliced across separate components like “tab sections” that were derived from the content’s presentation. Any delivery channel, including those that follow, could comprehend and display this content.

    Conclusion

    In this omnichannel marketing project, we discovered that the best way to keep our content model on track was to ensure that it was semantic ( with type and attribute names that reflected the meaning of the content ) and that it kept content together that belonged together ( instead of fragmenting it ). These two ideas made it easier for us to decide what to do with the content model based on the design. Remember: If you’re developing a content model to support an omnichannel content strategy, or even if you just want to make sure that Google and other interfaces understand your content, keep in mind:

    • A design system isn’t a content model. Team members may be persuaded to combine them and have their content model resemble their design system, so you should guard the semantic and contextual integrity of the content strategy throughout the entire implementation process. Without the use of a magic decoder ring, every delivery channel can now consume the content.
    • If your team is struggling to make this transition, you can still reap some of the benefits by using Schema. Your website uses structured data from org. The benefit of search engine optimization is a compelling reason on its own, even if additional delivery channels aren’t on the horizon in the near future.
    • Additionally, remind the team that decoupling the content model from the design will let them update the designs more easily because they won’t be held back by the cost of content migrations. They will be prepared for the upcoming big thing, and they will be able to create new designs without compromising compatibility between the design and the content.

    You’ll help your team understand these principles by firmly defending them in their efforts to give content the attention it deserves as both your most valuable resource and your most effective way to engage with your audience.

  • Design for Safety, An Excerpt

    Design for Safety, An Excerpt

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

    This section will provide you with that plan of action. It covers how to incorporate safety principles into your design work in order to make tech that’s secure, how to persuade your stakeholders that this work is important, and how to respond to the critique that what we really need is more diversity. ( Spoiler: we do, but diversity alone is not the solution to fixing unethical, unsafe technology. )

    The method for equitable safety

    Your objectives when designing for protection are as follows:

    • discover ways your solution can be used for abuse,
    • style ways to prevent the maltreatment, and
    • offer assistance for harmed people to regain control and power.

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

    • conducting studies
    • Creating themes
    • Pondering issues
    • Designing options
    • Testing for health

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

    And once you use it, if you have an idea for making it better or simply want to give perspective of how it helped your staff, please get in touch with me. It’s a dwelling document, and I want to use it as a practical and useful application for engineers in their day-to-day tasks.

    If you’re working on a product especially for a resilient team or survivors of some form of injury, such as an application for survivors of domestic violence, sexual abuse, or drug addiction, be sure to read Section 7, which covers that position directly and should be handled a bit different. The purpose of this design is to prioritize safety when creating a more general product with a broad user base ( which, as we already know from statistics, will include some groups who need to be protected from harm ). Chapter 7 is focused on products that are specifically for vulnerable groups and people who have experienced trauma.

    Step 1: Conduct research

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

    broad-based research

    Your project should begin with broad, general research into similar products and issues around safety and ethical concerns that have already been reported. For example, a team building a smart home device would do well to understand the multitude of ways that existing smart home devices have been used as tools of abuse. If you’re creating an AI product, be aware of the potential for racism and other issues that have been reported in other AI products. Nearly all types of technology have some kind of potential or actual harm that’s been reported on in the news or written about by academics. Google Scholar is a useful resource for locating these studies.

    Specific research: Survivors

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

    It is important to pay people for their knowledge and lived experiences, especially when interviewing survivors of any kind of trauma. Don’t ask survivors to share their trauma for free, as this is exploitative. While some survivors may not want to be paid, you should always make the offer in the initial ask. Donating to a cause that combated the kind of violence the interviewee experienced is an alternative to paying for. We’ll talk more about how to appropriately interview survivors in Chapter 6.

    Abusers specific research

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

    Step 2: Create archetypes

    Use your research’s findings to create the archetypes of abuser and survivor once you’ve finished your research. Archetypes are not personas, as they’re not based on real people that you interviewed and surveyed. Instead, they’re based on your research into likely safety issues, much like when we design for accessibility: we don’t need to have found a group of blind or low-vision users in our interview pool to create a design that’s inclusive of them. Instead, we base those designs on already-existing research to satisfy the requirements of this audience. Personas typically represent real users and include many details, while archetypes are broader and can be more generalized.

    The abuser archetype is someone who views a product as a means of harm ( Fig. 5.2 ). They may be trying to harm someone they don’t know through surveillance or anonymous harassment, or they may be trying to control, monitor, abuse, or torment someone they know personally.

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

    You may want to make multiple survivor archetypes to capture a range of different experiences. They may be aware of the abuse is occurring but not be able to stop it, such as when a stalker keeps figuring out where they are from ( Fig. 5.4), or they may be aware that it is happening but are unable to stop it ( such as when an abuser locks them out of IoT devices ). Include as many of these scenarios as you need to in your survivor archetype. These will be used later when you create solutions to help your survivor archetypes achieve their goals of preventing and ending abuse.

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

    And while the “abuser/survivor” model fits most cases, it doesn’t fit all, so modify it as you need to. For example, if you uncovered an issue with security, such as the ability for someone to hack into a home camera system and talk to children, the malicious hacker would get the abuser archetype and the child’s parents would get survivor archetype.

    Step 3: Remind yourself of your issues

    After creating archetypes, brainstorm novel abuse cases and safety issues. You’re trying to identify entirely new safety issues that are unique to your product or service by using the term” Novel” in terms of things that are not discovered in your research. The goal with this step is to exhaust every effort of identifying harms your product could cause. You aren’t worrying about how to prevent the harm yet—that comes in the next step.

    How else could your product be used for any kind of abuse besides what you’ve already found in your research? I recommend setting aside at least a few hours with your team for this process.

    Try conducting a Black Mirror brainstorming session if you want to start somewhere. This exercise is based on the show Black Mirror, which features stories about the dark possibilities of technology. Try to figure out how your product would be used in an episode of the show—the most wild, awful, out-of-control ways it could be used for harm. Participants typically have a lot of fun when I lead Black Mirror brainstorms ( which is great because having fun when designing for safety! ). I recommend time-boxing a Black Mirror brainstorm to half an hour, and then dialing it back and using the rest of the time thinking of more realistic forms of harm.

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

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

    Step 4: Design solutions

    You should now be aware of the ways your product can be used for harm as well as survivor and abuser archetypes describing opposing user objectives. The next step is to identify ways to design against the identified abuser’s goals and to support the survivor’s goals. This is a good addition to existing design processes where you’re making recommendations for solutions to the various issues your research has identified.

    Some questions to ask yourself to help prevent harm and support your archetypes include:

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

    It’s possible to anticipate harm from occurring in some products. For example, a pregnancy app might be modified to allow the user to report that they were the victim of an assault, which could trigger an offer to receive resources for local and national organizations. Although it’s not always possible to be this proactive, it’s worthwhile to spend an hour discussing whether any kind of user activity would indicate harm or abuse and how your product could help them in a secure manner.

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

    Step 5: Test for safety

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

    Ideally, safety testing happens along with usability testing. If you work for a company that doesn’t conduct usability testing, you might be able to use safety testing to deftly perform both. A user who uses your design while trying to use it against someone else can also be encouraged to point out interactions or other aspects of the design that don’t make sense to them.

    You’ll want to conduct safety testing on either your final prototype or the actual product if it’s already been released. It’s okay to test an existing product that wasn’t created with safety goals in mind right away; “etrofitting” it for safety is a good thing to do.

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

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

    Abuse testing

    The goal of this testing is to understand how easy it is for someone to weaponize your product for harm. Unlike with usability testing, you want to make it impossible, or at least difficult, for them to achieve their goal. Use your product to try to accomplish the objectives in the abuser archetype you created earlier.

    For example, for a fitness app with GPS-enabled location features, we can imagine that the abuser archetype would have the goal of figuring out where his ex-girlfriend now lives. You’d make every effort to track down another user’s location who has their privacy settings turned on with this in mind. You might try to see her running routes, view any available information on her profile, view anything available about her location ( which she has set to private ), and investigate the profiles of any other users somehow connected with her account, such as her followers.

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

    testing for a Survivor

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

    However, there are cases where it makes sense. A survivor archetype’s goal would be to discover who or what causes the temperature change when they aren’t doing it themselves, for instance. You could test this by looking for the thermostat’s history log and checking for usernames, actions, and times, if you couldn’t find that information, you would have more work to do in step 4.

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

    Stress testing

    To make your product more inclusive and compassionate, consider adding stress testing. This concept comes from Design for Real Life by Eric Meyer and Sara Wachter-Boettcher. The authors noted that personas typically focus on those who are having a good day, but that real users are frequently anxious, stressed out, having a bad day, or even going through tragedy. These are called” stress cases”, and testing your products for users in stress-case situations can help you identify places where your design lacks compassion. More information about how to incorporate stress cases into your design can be found in Design for Real Life, as well as in many other effective methods for designing with compassion.

  • Sustainable Web Design, An Excerpt

    Sustainable Web Design, An Excerpt

    Some wealthy runners had come to the conclusion that it was impossible to run a mile in less than four hours in the 1950s. Riders had been attempting it since the later 19th century and were beginning to draw the conclusion that the human body just wasn’t built for the job.

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

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

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

    Establishing requirements for a green website

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

    The main objective in green web layout is to reduce carbon emissions. However, it’s nearly impossible to accurately assess the CO2 output of a online product. We can’t assess the pollutants coming out of the exhaust valves on our laptops. Our sites produce far-away, invisible, and unremarkable emissions when they leave fuel and gas-burning power plants. We have no way to track the particles from a website or app up to the power station where the light is being generated and really know the exact amount of house oil produced. What then do we do?

    If we can‘t measure the actual carbon emissions, then we need to get what we can estimate. The following are the main elements that could be used as measures of coal pollutants:

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

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

    Transfer of data

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

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

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

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

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

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

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

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

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

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

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

    Electricity’s coal power

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

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

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

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

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

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

    Reverting it to carbon emissions

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

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

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

    Browser Energy

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

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

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

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

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

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

  • Breaking Out of the Box

    Breaking Out of the Box

    CSS involves creating containers. In fact, the whole website is made of containers, from the website viewport to components on a webpage. However, every now and then a new function emerges that prompts us to reevaluate our design philosophy.

    Square features, for instance, make it fun to play with round picture areas. Mobile display holes and electronic keyboards offer issues to best manage content that stays clear of them. Additionally, dual-screen or portable devices force us to consider how to make the most of the available room in various device configurations.

    The design of products has become more challenging and interesting as a result of new changes to the online platform. They’re wonderful opportunities for us to break out of our triangular containers.

    I’d like to talk about a new feature similar to the above: the Window Controls Overlay for Progressive Web Apps ( PWAs ).

    Democratic Web Apps are bridging the gap between websites and apps. They combine the best of both worlds. On the one hand, they’re flexible, shareable, and stable, just like sites. On the other hand, they provide more effective features, work online, and read documents just like local apps.

    As a style area, PWAs are really exciting because they challenge us to think about what mixing online and device-native user interface can get. We have more than 40 years of experience telling us what software may look like, especially on desktop computers, and it’s challenging to get out of this psychological design.

    At the end of the day though, PWAs on desktops are constrained to the glass they appear in: a square with a name bar at the top.

    What a standard pc PWA app looks like:

    Sure, as the author of a PWA, you get to choose the color of the title bar (using the Web Application Manifest theme_color home ), but that’s about it.

    What if we could assume differently and regain the full glass of the app? Doing so would give us a chance to create our programs more wonderful and feel more included in the operating system.

    The Window Controls Overlay offers precisely this. This innovative PWA operation makes it possible to take advantage of the full floor area of the app, including where the name bar usually appears.

    About the subject bar and glass controls

    Let’s get started with an explanation of what the window and name handles are.

    The title bar is the place displayed at the top of an game windows, which frequently contains the phone’s name. The buttons or buttons that are displayed at the top of an app’s window allow you to reduce, increase, or close it.

    Window Controls Overlay removes the actual requirement of the name bar and windows controls areas. It frees up the entire game window’s height, allowing the overlay of the title club and window control buttons on top of the application’s web content.

    If you are reading this article on a desktop computer, get a quick glance at another software. Odds are they’re currently doing something similar to this. In reality, the internet browser you are using uses the major area to display tabs.

    Spotify displays album artwork to the top of the application window at the very top.

    Microsoft Word uses the available title bar space to display the auto-save and search functionalities, and more.

    The whole point of this feature is to allow you to make use of this space with your own content while providing a way to account for the window control buttons. And it makes it possible to offer this modified experience across a variety of platforms without having a negative impact on browsers or other devices that don’t support Window Controls Overlay. After all, PWAs are all about progressive enhancement, so this feature is a chance to enhance your app to use this extra space when it’s available.

    Let’s use the feature.

    For the rest of this article, we’ll be working on a demo app to learn more about using the feature.

    The demo app is called 1DIV. Users can create designs using only CSS and a single HTML element in this straightforward CSS playground.

    The app has two pages. The first lists the CSS designs you’ve already created:

    The second page enables you to create and edit CSS designs:

    We can install the app as a PWA on desktop because I added a straightforward web manifest and service worker. Here is what it looks like on macOS:

    And on Windows:

    Our app is looking good, but the white title bar in the first page is wasted space. It would be really nice if the design area extended to the top of the app window on the second page.

    Let’s use the Window Controls Overlay feature to improve this.

    enabling overlay for window control

    The feature is still experimental at the moment. To try it, you need to enable it in one of the supported browsers.

    It has currently been implemented in Chromium as a result of a collaboration between Microsoft and Google. We can therefore use it in Chrome or Edge by going to the internal about: //flags page, and enabling the Desktop PWA Window Controls Overlay flag.

    Using Window Controls Overlay

    To use the feature, we need to add the following display_override member to our web app’s manifest file:

    { "name": "1DIV", "description": "1DIV is a mini CSS playground", "lang": "en-US", "start_url": "/", "theme_color": "#ffffff", "background_color": "#ffffff", "display_override": [ "window-controls-overlay" ], "icons": [ ... ]}

    On the surface, the feature is really simple to use. The only thing required is for the title bar to disappear and the window controls to become an overlay as a result of this manifest change.

    However, to provide a great experience for all users regardless of what device or browser they use, and to make the most of the title bar area in our design, we’ll need a bit of CSS and JavaScript code.

    Here is how the app currently looks:

    Our logo, search field, and NEW button are now partially covered by the window controls, but the title bar has been removed, which is what we wanted.

    It’s similar on Windows, with the difference that the close, maximize, and minimize buttons appear on the right side, grouped together with the PWA control buttons:

    Screenshot of the Windows operating system’s Window Controls Overlay-enabled 1DIV app thumbnail display. The separate top bar area is gone, but the window controls are now blocking some of the app’s content.

    Using CSS to keep clear of the window controls

    New CSS environment variables have also been added to the feature:

    • titlebar-area-x
    • titlebar-area-y
    • titlebar-area-width
    • titlebar-area-height

    You use these variables with the CSS env ( ) function to position your content where the title bar would have been while ensuring it won’t overlap with the window controls. In our case, we’ll position our header, which includes the logo, search bar, and NEW button, using two of the variables.

    header { position: absolute; left: env(titlebar-area-x, 0); width: env(titlebar-area-width, 100%); height: var(--toolbar-height);}

    The titlebar-area-x variable gives us the distance from the left of the viewport to where the title bar would appear, and titlebar-area-width is its width. (Remember, this is not equivalent to the width of the entire viewport, just the title bar portion, which as noted earlier, doesn’t include the window controls.)

    By doing this, we make sure our content remains fully visible. We’re also defining fallback values (the second parameter in the env() function) for when the variables are not defined (such as on non-supporting browsers, or when the Windows Control Overlay feature is disabled).

    Now our header adapts to its surroundings, and it doesn’t feel like the window control buttons have been added as an afterthought. The app appears much more like a native app.

    Changing the window controls background color so it blends in

    Now let’s take a closer look at our second page: the CSS playground editor.

    Not very good. Our CSS demo area does go all the way to the top, which is what we wanted, but the way the window controls appear as white rectangles on top of it is quite jarring.

    We can fix this by changing the app’s theme color. There are a few ways to define it:

      PWAs can define a theme color in the web app manifest file using the theme_color manifest member. The OS then uses this color in a variety of ways. On desktop platforms, it is used to provide a background color to the title bar and window controls.
    • Websites can use the theme-color meta tag as well. It’s used by browsers to customize the color of the UI around the web page. For PWAs, this color can override the manifest theme_color.

    In our case, we can set the manifest theme_color to white to provide the right default color for our app. The OS will read this color value when the app is installed and use it to make the window controls background color white. This color works great for our main page with the list of demos.

    The theme-color meta tag can be changed at runtime, using JavaScript. So we can do that to override the white with the right demo background color when one is opened.

    What will we do with this function:

    function themeWindow(bgColor) { document.querySelector("meta[name=theme-color]").setAttribute('content', bgColor);}

    With this in place, we can imagine how using color and CSS transitions can produce a smooth change from the list page to the demo page, and enable the window control buttons to blend in with the rest of the app’s interface.

    Dragging the window

    Now, getting rid of the title bar entirely does have an important accessibility consequence: it’s much more difficult to move the application window around.

    Users can drag and click their way to a sizable area in the title bar, but when using the Window Controls Overlay feature, they are limited to where the control buttons are, and must carefully place their fingers in between these buttons to move the window.

    Fortunately, this can be fixed using CSS with the app-region property. This property is, for now, only supported in Chromium-based browsers and needs the -webkit- vendor prefix. 

    We can use the following to make any feature of the app a dragging target for the window:

    -webkit-app-region: drag;

    It is also possible to explicitly make an element non-draggable:

    -webkit-app-region: no-drag; 

    These choices might be beneficial to us. We can make the entire header a dragging target, but make the search field and NEW button within it non-draggable so they can still be used as normal.

    However, because the editor page doesn’t display the header, users wouldn’t be able to drag the window while editing code. So let’s take a different strategy. We’ll create another element before our header, also absolutely positioned, and dedicated to dragging the window.

    ...
    .drag { position: absolute; top: 0; width: 100%; height: env(titlebar-area-height, 0); -webkit-app-region: drag;}

    With the above code, we’re making the draggable area span the entire viewport width, and using the titlebar-area-height variable to make it as tall as what the title bar would have been. This way, our draggable area is aligned with the window control buttons as shown below.

    And, now, to make sure our search field and button remain usable:

    header .search,header .new { -webkit-app-region: no-drag;}

    Users can click and drag where the title bar used to be using the above code. It is an area that users expect to be able to use to move windows on desktop, and we’re not breaking this expectation, which is good.

    Adapting to window resize

    It may be useful for an app to know both whether the window controls overlay is visible and when its size changes. The search field, logo, and button would need to be pushed down a little bit if the user made the window very narrow.

    The Window Controls Overlay feature comes with a JavaScript API we can use to do this: navigator.windowControlsOverlay.

    Three intriguing things are provided by the API:

    • navigator.windowControlsOverlay.visiblelets us know whether the overlay is visible.
    • navigator.windowControlsOverlay.getBoundingClientRect()lets us know the position and size of the title bar area.
    • navigator.windowControlsOverlay.ongeometrychangelets us know when something changes in size or visibility.

    Let’s use this to be aware of the size of the title bar area and move the header down if it’s too narrow.

    if (navigator.windowControlsOverlay) { navigator.windowControlsOverlay.addEventListener('geometrychange', () => { const { width } = navigator.windowControlsOverlay.getBoundingClientRect(); document.body.classList.toggle('narrow', width < 250); });}

    In the example above, we set the narrow class on the body of the app if the title bar area is narrower than 250px. We could do something similar with a media query, but using the windowControlsOverlay API has two advantages for our use case:

    • It’s only fired when the feature is supported and used, we don’t want to adapt the design otherwise.
    • The title bar area is different for different operating systems, which is great because Mac and Windows have different title bar sizes. Using a media query wouldn’t make it possible for us to know exactly how much space remains.
    .narrow header { top: env(titlebar-area-height, 0); left: 0; width: 100%;}

    When the window is too small, we can use the above CSS code to move our header down and move the thumbnails down in accordance with this.

    Thirty pixels of exciting design opportunities


    Our straightforward demo app was transformed into something that felt much more connected to desktop devices by using the Window Controls Overlay feature. Something that reaches out of the usual window constraints and provides a custom experience for its users.

    In reality, this feature only gives us about 30 more pixels of room, and it presents challenges for using the window controls. And yet, this extra room and those challenges can be turned into exciting design opportunities.

    More devices of all shapes and forms get invented all the time, and the web keeps on evolving to adapt to them. New features are added to the web platform to make it easier for web authors to integrate more and more fully with those devices. From watches or foldable devices to desktop computers, we need to evolve our design approach for the web. We can now think outside the rectangular box when building for the web.

    So let’s embrace this. Let’s use the standard technologies already at our disposal, and experiment with new ideas to provide tailored experiences for all devices, all from a single codebase!


    If you have the chance to try the Window Controls Overlay feature and have feedback on it, you can open issues in the spec’s repository. It’s still early in the development of this feature, and you can help make it even better. You can also look at this demo app and the source code, the feature’s existing documentation, or the feature’s existing documentation.

  • How to Sell UX Research with Two Simple Questions

    How to Sell UX Research with Two Simple Questions

    Do you find yourself designing screens with only a vague idea of how the things on the screen relate to the things elsewhere in the system? Do you leave stakeholder meetings with unclear directives that often seem to contradict previous conversations? You know a better understanding of user needs would help the team get clear on what you are actually trying to accomplish, but time and budget for research is tight. When it comes to asking for more direct contact with your users, you might feel like poor Oliver Twist, timidly asking, “Please, sir, I want some more.” 

    Here’s the trick. You need to get stakeholders themselves to identify high-risk assumptions and hidden complexity, so that they become just as motivated as you to get answers from users. Basically, you need to make them think it’s their idea. 

    In this article, I’ll show you how to collaboratively expose misalignment and gaps in the team’s shared understanding by bringing the team together around two simple questions:

    1. What are the objects?
    2. What are the relationships between those objects?

    A gauntlet between research and screen design

    These two questions align to the first two steps of the ORCA process, which might become your new best friend when it comes to reducing guesswork. Wait, what’s ORCA?! Glad you asked.

    ORCA stands for Objects, Relationships, CTAs, and Attributes, and it outlines a process for creating solid object-oriented user experiences. Object-oriented UX is my design philosophy. ORCA is an iterative methodology for synthesizing user research into an elegant structural foundation to support screen and interaction design. OOUX and ORCA have made my work as a UX designer more collaborative, effective, efficient, fun, strategic, and meaningful.

    The ORCA process has four iterative rounds and a whopping fifteen steps. In each round we get more clarity on our Os, Rs, Cs, and As.

    I sometimes say that ORCA is a “garbage in, garbage out” process. To ensure that the testable prototype produced in the final round actually tests well, the process needs to be fed by good research. But if you don’t have a ton of research, the beginning of the ORCA process serves another purpose: it helps you sell the need for research.

    In other words, the ORCA process serves as a gauntlet between research and design. With good research, you can gracefully ride the killer whale from research into design. But without good research, the process effectively spits you back into research and with a cache of specific open questions.

    Getting in the same curiosity-boat

    What gets us into trouble is not what we don’t know. It’s what we know for sure that just ain’t so.

    Mark Twain

    The first two steps of the ORCA process—Object Discovery and Relationship Discovery—shine a spotlight on the dark, dusty corners of your team’s misalignments and any inherent complexity that’s been swept under the rug. It begins to expose what this classic comic so beautifully illustrates:

    This is one reason why so many UX designers are frustrated in their job and why many projects fail. And this is also why we often can’t sell research: every decision-maker is confident in their own mental picture. 

    Once we expose hidden fuzzy patches in each picture and the differences between them all, the case for user research makes itself.

    But how we do this is important. However much we might want to, we can’t just tell everyone, “YOU ARE WRONG!” Instead, we need to facilitate and guide our team members to self-identify holes in their picture. When stakeholders take ownership of assumptions and gaps in understanding, BAM! Suddenly, UX research is not such a hard sell, and everyone is aboard the same curiosity-boat.

    Say your users are doctors. And you have no idea how doctors use the system you are tasked with redesigning.

    You might try to sell research by honestly saying: “We need to understand doctors better! What are their pain points? How do they use the current app?” But here’s the problem with that. Those questions are vague, and the answers to them don’t feel acutely actionable.

    Instead, you want your stakeholders themselves to ask super-specific questions. This is more like the kind of conversation you need to facilitate. Let’s listen in:

    “Wait a sec, how often do doctors share patients? Does a patient in this system have primary and secondary doctors?”

    “Can a patient even have more than one primary doctor?”

    “Is it a ‘primary doctor’ or just a ‘primary caregiver’… Can’t that role be a nurse practitioner?”

    “No, caregivers are something else… That’s the patient’s family contacts, right?”

    “So are caregivers in scope for this redesign?”

    “Yeah, because if a caregiver is present at an appointment, the doctor needs to note that. Like, tag the caregiver on the note… Or on the appointment?”

    Now we are getting somewhere. Do you see how powerful it can be getting stakeholders to debate these questions themselves? The diabolical goal here is to shake their confidence—gently and diplomatically.

    When these kinds of questions bubble up collaboratively and come directly from the mouths of your stakeholders and decision-makers, suddenly, designing screens without knowing the answers to these questions seems incredibly risky, even silly.

    If we create software without understanding the real-world information environment of our users, we will likely create software that does not align to the real-world information environment of our users. And this will, hands down, result in a more confusing, more complex, and less intuitive software product.

    The two questions

    But how do we get to these kinds of meaty questions diplomatically, efficiently, collaboratively, and reliably

    We can do this by starting with those two big questions that align to the first two steps of the ORCA process:

    1. What are the objects?
    2. What are the relationships between those objects?

    In practice, getting to these answers is easier said than done. I’m going to show you how these two simple questions can provide the outline for an Object Definition Workshop. During this workshop, these “seed” questions will blossom into dozens of specific questions and shine a spotlight on the need for more user research.

    Prep work: Noun foraging

    In the next section, I’ll show you how to run an Object Definition Workshop with your stakeholders (and entire cross-functional team, hopefully). But first, you need to do some prep work.

    Basically, look for nouns that are particular to the business or industry of your project, and do it across at least a few sources. I call this noun foraging.

    Here are just a few great noun foraging sources:

    • the product’s marketing site
    • the product’s competitors’ marketing sites (competitive analysis, anyone?)
    • the existing product (look at labels!)
    • user interview transcripts
    • notes from stakeholder interviews or vision docs from stakeholders

    Put your detective hat on, my dear Watson. Get resourceful and leverage what you have. If all you have is a marketing website, some screenshots of the existing legacy system, and access to customer service chat logs, then use those.

    As you peruse these sources, watch for the nouns that are used over and over again, and start listing them (preferably on blue sticky notes if you’ll be creating an object map later!).

    You’ll want to focus on nouns that might represent objects in your system. If you are having trouble determining if a noun might be object-worthy, remember the acronym SIP and test for:

    1. Structure
    2. Instances
    3. Purpose

    Think of a library app, for example. Is “book” an object?

    Structure: can you think of a few attributes for this potential object? Title, author, publish date… Yep, it has structure. Check!

    Instance: what are some examples of this potential “book” object? Can you name a few? The Alchemist, Ready Player One, Everybody Poops… OK, check!

    Purpose: why is this object important to the users and business? Well, “book” is what our library client is providing to people and books are why people come to the library… Check, check, check!

    As you are noun foraging, focus on capturing the nouns that have SIP. Avoid capturing components like dropdowns, checkboxes, and calendar pickers—your UX system is not your design system! Components are just the packaging for objects—they are a means to an end. No one is coming to your digital place to play with your dropdown! They are coming for the VALUABLE THINGS and what they can do with them. Those things, or objects, are what we are trying to identify.

    Let’s say we work for a startup disrupting the email experience. This is how I’d start my noun foraging.

    First I’d look at my own email client, which happens to be Gmail. I’d then look at Outlook and the new HEY email. I’d look at Yahoo, Hotmail…I’d even look at Slack and Basecamp and other so-called “email replacers.” I’d read some articles, reviews, and forum threads where people are complaining about email. While doing all this, I would look for and write down the nouns.

    (Before moving on, feel free to go noun foraging for this hypothetical product, too, and then scroll down to see how much our lists match up. Just don’t get lost in your own emails! Come back to me!)

    Drumroll, please…

    Here are a few nouns I came up with during my noun foraging:

    • email message
    • thread
    • contact
    • client
    • rule/automation
    • email address that is not a contact?
    • contact groups
    • attachment
    • Google doc file / other integrated file
    • newsletter? (HEY treats this differently)
    • saved responses and templates

    Scan your list of nouns and pick out words that you are completely clueless about. In our email example, it might be client or automation. Do as much homework as you can before your session with stakeholders: google what’s googleable. But other terms might be so specific to the product or domain that you need to have a conversation about them.

    Aside: here are some real nouns foraged during my own past project work that I needed my stakeholders to help me understand:

    • Record Locator
    • Incentive Home
    • Augmented Line Item
    • Curriculum-Based Measurement Probe

    This is really all you need to prepare for the workshop session: a list of nouns that represent potential objects and a short list of nouns that need to be defined further.

    Facilitate an Object Definition Workshop

    You could actually start your workshop with noun foraging—this activity can be done collaboratively. If you have five people in the room, pick five sources, assign one to every person, and give everyone ten minutes to find the objects within their source. When the time’s up, come together and find the overlap. Affinity mapping is your friend here!

    If your team is short on time and might be reluctant to do this kind of grunt work (which is usually the case) do your own noun foraging beforehand, but be prepared to show your work. I love presenting screenshots of documents and screens with all the nouns already highlighted. Bring the artifacts of your process, and start the workshop with a five-minute overview of your noun foraging journey.

    HOT TIP: before jumping into the workshop, frame the conversation as a requirements-gathering session to help you better understand the scope and details of the system. You don’t need to let them know that you’re looking for gaps in the team’s understanding so that you can prove the need for more user research—that will be our little secret. Instead, go into the session optimistically, as if your knowledgeable stakeholders and PMs and biz folks already have all the answers. 

    Then, let the question whack-a-mole commence.

    1. What is this thing?

    Want to have some real fun? At the beginning of your session, ask stakeholders to privately write definitions for the handful of obscure nouns you might be uncertain about. Then, have everyone show their cards at the same time and see if you get different definitions (you will). This is gold for exposing misalignment and starting great conversations.

    As your discussion unfolds, capture any agreed-upon definitions. And when uncertainty emerges, quietly (but visibly) start an “open questions” parking lot. 😉

    After definitions solidify, here’s a great follow-up:

    2. Do our users know what these things are? What do users call this thing?

    Stakeholder 1: They probably call email clients “apps.” But I’m not sure.

    Stakeholder 2: Automations are often called “workflows,” I think. Or, maybe users think workflows are something different.

    If a more user-friendly term emerges, ask the group if they can agree to use only that term moving forward. This way, the team can better align to the users’ language and mindset.

    OK, moving on. 

    If you have two or more objects that seem to overlap in purpose, ask one of these questions:

    3. Are these the same thing? Or are these different? If they are not the same, how are they different?

    You: Is a saved response the same as a template?

    Stakeholder 1: Yes! Definitely.

    Stakeholder 2: I don’t think so… A saved response is text with links and variables, but a template is more about the look and feel, like default fonts, colors, and placeholder images. 

    Continue to build out your growing glossary of objects. And continue to capture areas of uncertainty in your “open questions” parking lot.

    If you successfully determine that two similar things are, in fact, different, here’s your next follow-up question:

    4. What’s the relationship between these objects?

    You: Are saved responses and templates related in any way?

    Stakeholder 3:  Yeah, a template can be applied to a saved response.

    You, always with the follow-ups: When is the template applied to a saved response? Does that happen when the user is constructing the saved response? Or when they apply the saved response to an email? How does that actually work?

    Listen. Capture uncertainty. Once the list of “open questions” grows to a critical mass, pause to start assigning questions to groups or individuals. Some questions might be for the dev team (hopefully at least one developer is in the room with you). One question might be specifically for someone who couldn’t make it to the workshop. And many questions will need to be labeled “user.” 

    Do you see how we are building up to our UXR sales pitch?

    5. Is this object in scope?

    Your next question narrows the team’s focus toward what’s most important to your users. You can simply ask, “Are saved responses in scope for our first release?,” but I’ve got a better, more devious strategy.

    By now, you should have a list of clearly defined objects. Ask participants to sort these objects from most to least important, either in small breakout groups or individually. Then, like you did with the definitions, have everyone reveal their sort order at once. Surprisingly—or not so surprisingly—it’s not unusual for the VP to rank something like “saved responses” as #2 while everyone else puts it at the bottom of the list. Try not to look too smug as you inevitably expose more misalignment.

    I did this for a startup a few years ago. We posted the three groups’ wildly different sort orders on the whiteboard.

    The CEO stood back, looked at it, and said, “This is why we haven’t been able to move forward in two years.”

    Admittedly, it’s tragic to hear that, but as a professional, it feels pretty awesome to be the one who facilitated a watershed realization.

    Once you have a good idea of in-scope, clearly defined things, this is when you move on to doing more relationship mapping.

    6. Create a visual representation of the objects’ relationships

    We’ve already done a bit of this while trying to determine if two things are different, but this time, ask the team about every potential relationship. For each object, ask how it relates to all the other objects. In what ways are the objects connected? To visualize all the connections, pull out your trusty boxes-and-arrows technique. Here, we are connecting our objects with verbs. I like to keep my verbs to simple “has a” and “has many” statements.

    This system modeling activity brings up all sorts of new questions:

    • Can a saved response have attachments?
    • Can a saved response use a template? If so, if an email uses a saved response with a template, can the user override that template?
    • Do users want to see all the emails they sent that included a particular attachment? For example, “show me all the emails I sent with ProfessionalImage.jpg attached. I’ve changed my professional photo and I want to alert everyone to update it.” 

    Solid answers might emerge directly from the workshop participants. Great! Capture that new shared understanding. But when uncertainty surfaces, continue to add questions to your growing parking lot.

    Light the fuse

    You’ve positioned the explosives all along the floodgates. Now you simply have to light the fuse and BOOM. Watch the buy-in for user research flooooow.

    Before your workshop wraps up, have the group reflect on the list of open questions. Make plans for getting answers internally, then focus on the questions that need to be brought before users.

    Here’s your final step. Take those questions you’ve compiled for user research and discuss the level of risk associated with NOT answering them. Ask, “if we design without an answer to this question, if we make up our own answer and we are wrong, how bad might that turn out?” 

    With this methodology, we are cornering our decision-makers into advocating for user research as they themselves label questions as high-risk. Sorry, not sorry. 

    Now is your moment of truth. With everyone in the room, ask for a reasonable budget of time and money to conduct 6–8 user interviews focused specifically on these questions. 

    HOT TIP: if you are new to UX research, please note that you’ll likely need to rephrase the questions that came up during the workshop before you present them to users. Make sure your questions are open-ended and don’t lead the user into any default answers.

    Final words: Hold the screen design!

    Seriously, if at all possible, do not ever design screens again without first answering these fundamental questions: what are the objects and how do they relate?

    I promise you this: if you can secure a shared understanding between the business, design, and development teams before you start designing screens, you will have less heartache and save more time and money, and (it almost feels like a bonus at this point!) users will be more receptive to what you put out into the world. 

    I sincerely hope this helps you win time and budget to go talk to your users and gain clarity on what you are designing before you start building screens. If you find success using noun foraging and the Object Definition Workshop, there’s more where that came from in the rest of the ORCA process, which will help prevent even more late-in-the-game scope tugs-of-war and strategy pivots. 

    All the best of luck! Now go sell research!