Category: Blog

Your blog category

  • Predator: Badlands SDCC Footage Description and New Connections to 1987’s Dutch

    Predator: Badlands SDCC Footage Description and New Connections to 1987’s Dutch

    Predator: Killer of Killers and Predator: Desert have recently been revealed clues for this article. Anyone attending Hall H at San Diego Comic-Con is currently anticipating great reveals and large taunts. For the most recent installment in the Predator company, Predator: Badlands, producer Dan Trachtenberg apparently outdid all anticipation. In a panel ]… ]

    On Den of Geek, the second article Predator: Badlands SDCC Footage Description and New Connections to 1987’s Dutch appeared.

    James Gunn has been hesitant to respond to too many inquiries regarding the connection between the DC Universe reboot that he and DC Studios co-head Peter Safran co-founded and the earlier world that Zack Snyder launched with Man of Steel in 2013. There are some things from the old world that we refer to in Peacemaker time 2, he just told Den of Geek, but they are not cannon until then.

    We finally getting some good links with SDCC upon us. We catch up with Christopher Smith, aka Peacemaker ( John Cena ), when he reunites with his friends in the 11th Street Kids: Leota Adebayo ( Danielle Brooks ), Emilia Harcourt ( Jennifer Holland ), John Economos ( Steve Agee ), and Adrian Chase aka Vigilante ( Freddie Stroma ), in the most recent trailer for Peacemaker&#8216, the second season of the film.

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

    The same can’t be said for another familiar face, that of new ARGUS director Rick Flag Sr. ( Frank Grillo ), how happy as they are to see one another again. Following the death of his son Rick Flag Jr. ( Joel Kinnaman ), whom Chris murdered at the behest of Amanda Waller ( Viola Davis ) at the conclusion of The Suicide Squad, Gunn&#8217, the first DC film from 2021, Flag plans to use his new position to seek vengeance against Chris.

    So far, we have been given complete assurance that The Suicide Squad‘s events are relevant in the new DCU and that it is also a lore. Of course, that doesn’t address every lingering query ( not even as it does with Peacemaker, which famously featured celebrities from Jason Momoa, Jason Momoa, and Aquaman in the final episode ).

    However, the video did mention something that might explain why those previous DC soldiers were there. We see Chris provide a different world through a unique website throughout the video. Chris is cherished in one of the different challenges we see him discovering, whereas in his house dimension, he is still a laughing stock yet after he and the 11th Street Kids stopped an mysterious invasion in the first year of Peacemaker. In fact, he is loved by Auggie ( Robert Patrick ), his father, whose alternate must be drastically different from the violent white supremacist Chris killed in season 1, and by him as well.

    We see hints that Chris will spend more time in this alternate universe throughout the trailer, even stealing his counterpart’s sleek, cooler uniform ( and less cool silk shirts ). And if the John Cenas ‘ fight-against-one videos are any indication, the alternate Chris has some insight into the perfect Chris’s attempted suicide.

    On the one hand, it’s amazing that the multiverse is only the fourth official entry from the new DC Universe. Gunn&#8217 is no back apart, telling panelists that Peacemaker season 2 may establish the DC Universe’s existence in at least 100 alternative realities. This expands on responses Gunn made abroad, confirming that Chris’s sites for moving between experiences are an expansion of the ones Lex Luthor used in Superman.

    The SDCC board stated that the next season of Peacemaker‘s runtime would begin one month after the movie’s conclusion. That brief arc helps to explain the cameos Chris can audition for the Justice Gang thanks to the contributions of Hawkgirl ( Isabela Merced ), Maxwell Lord ( Sean Gunn ), and Guy Gardner ( Nathan Fillion ). However, Chris&#8217’s conviction that he belongs with the Justice Gang straight stems from his remarkable personal development and achievements in time 1. &#8220, I don&#8217, t want to be a joke again, &#8221, Chris says in voice over in the video. &#8220, I want to get a true hero. &#8221,

    Did Chris be able to develop Peacemaker into a superhero like Superman? If thus, it will likely occur in incidents one, six, and eight of Gunn’s next year, Peacemaker&#8216, which are the three that Gunn himself directs.

    Chris will undoubtedly benefit from some awesome technology from the universe, but he’ll first have to make amends for past transgressions. And if the trailer’s portrayal of Rick Flag Sr. is any indicator, that’s going to be a challenging process. If The Suicide Squad wasn’t a cannon, it might be much easier for Chris.

    On HBO Max, Peacemaker year 2 airs on August 12, 2025.

    The first article Peacemaker Season 2 Video Completes The World and Confirms The Suicide Squad Also Canon appeared initially on Den of Geek.

  • Fantastic Four: The Terrifying Reed Richards Line That Could Affect Avengers: Secret Wars

    Fantastic Four: The Terrifying Reed Richards Line That Could Affect Avengers: Secret Wars

    This article contains spoilers for The Fantastic Four: First Steps. A peaceful moment between a father and son takes a quick and depressing change in The Fantastic Four: First Steps. Reed had been monitoring Franklin for signs of power, similar to the treated powers he shares, ever since the world-devourer Galactus expressed curiosity in the child.

    The first article on Den of Geek: The Terrifying Reed Richards Line That May Alter Avengers: Key War was posted.

    James Gunn has so far been reluctant to respond to too many inquiries regarding the connection between the DC Universe reboot that he and DC Studios co-head Peter Safran co-founded and the earlier world that Zack Snyder launched with Man of Steel in 2013? There are some things from the old world that we refer to in Peacemaker time 2, he just told Den of Geek, but they’re not cannon until next.

    With SDCC upon us, we can expect some trustworthy links. We catch up with Christopher Smith, aka Peacemaker ( John Cena ), when he reunites with his friends in the 11th Street Kids: Leota Adebayo ( Danielle Brooks ), Emilia Harcourt ( Jennifer Holland ), John Economos ( Steve Agee ), and Adrian Chase aka Vigilante ( Freddie Stroma ), in the most recent trailer for Peacemaker&#8216, s second season, set to &#8220, Road to

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

    The same can’t be said for another familiar face, that of new ARGUS director Rick Flag Sr. ( Frank Grillo ), how happy as they are to see one another again. Following the death of his son Rick Flag Jr. ( Joel Kinnaman ), whom Chris murdered at the behest of Amanda Waller ( Viola Davis ) at the conclusion of The Suicide Squad, Gunn&#8217, the first DC film from 2021, Flag plans to use his new position to seek vengeance against Chris.

    So we now have complete assurance that The Suicide Squad is still a cannon and that the events that surround it are relevant in the new DCU. That, of course, doesn’t address every lingering question ( not even as it does with Peacemaker, which famously featured Jason Momoa, Ezra Miller, and Aquaman in the final episode ).

    However, the trailer did point out something that may give some answers to those past DC heroes. We see Chris provide a different world through a unique website throughout the video. Chris is precious in one of the different challenges we see him discovering, whereas in his house dimension, he is still a laughing stock yet after he and the 11th Street Kids stopped an alien conquest in Peacemaker‘s first season. In fact, he is loved by Auggie ( Robert Patrick ), his father, and not just by Chris, who killed him in season 1.

    We see hints that Chris will spend more time in this alternate universe throughout the trailer, even stealing his counterpart’s sleek, cooler uniform ( and less cool silk shirts ). And if the footage of two John Cenas battling one another is any indication, the additional Chris has some thoughts about the perfect Chris’s attempted murder.

    On the one hand, it’s a little surprising that the world is already the sole formal entry in the new DC Universe. Gunn&#8217 is no back apart, telling panelists that Peacemaker season 2 may establish the DC Universe’s existence in at least 100 alternative realities. This expands on earlier assertions made by Gunn that Chris ‘ sites between experiences are an extension of Lex Luthor’s in Superman.

    The SDCC board stated that the next season of Peacemaker‘s runtime would begin one month after the movie’s conclusion. That brief arc helps explain the cameos Chris can audition for the Justice Gang thanks to the contributions of Hawkgirl ( Isabela Merced ), Maxwell Lord ( Sean Gunn ), and Guy Gardner ( Nathan Fillion ). However, Chris&#8217’s conviction that he belongs with the Justice Gang straight stems from his heroic and personal development in time 1. &#8220, I don&#8217, t want to be a joke again, &#8221, Chris says in voice over in the video. &#8220, I want to become a true hero. &#8221,

    Did Chris be able to develop Peacemaker into a superhero like Superman? If so, it will most likely occur in the first, sixth, and eighth bouts of Gunn’s directorial debut, Peacemaker&#8216.

    Chris will undoubtedly benefit from some awesome technology from the universe, but he’ll first have to make amends for past transgressions. And if the trailer’s portrayal of Rick Flag Sr. is any indicator, that’s going to be a challenging task. If Chris didn’t like The Suicide Squad, it might be much easier.

    On HBO Max, Peacemaker winter 2 premieres on August 12, 2025.

    The first article Peacemaker Season 2 Video Completes the Multiverse and Confirms The Suicide Squad Also Canon appeared initially on Den of Geek.

  • Paul Giamatti’s New Star Trek Villain Just Made One Wild Thing Canon

    Paul Giamatti’s New Star Trek Villain Just Made One Wild Thing Canon

    Starfleet Academy is the upcoming major live-action installment of the Star Trek series. And San Diego Comic-Con 2025 provided us with a first glimpse of what the set will be like. The show’s style and aesthetic are very similar to those of Star Trek: Discovery’s after times, which makes sense.

    Den of Geek‘s first article Paul Giamatti’s New Star Trek monster Really Made One Wild Thing Canon appeared initially.

    James Gunn has so far been reluctant to respond to too many inquiries about the connection between the reboot of the DC Universe by Zack Snyder in 2013 and the one he and DC Studios co-head Peter Safran co-founded. There are some things from the old world that we refer to in Peacemaker time 2, he just told Den of Geek, but they’re not cannon until next.

    With SDCC upon us, we can expect some trustworthy links. We catch up with Christopher Smith, aka Peacemaker ( John Cena ), when he reunites with his friends in the 11th Street Kids: Leota Adebayo ( Danielle Brooks ), Emilia Harcourt ( Jennifer Holland ), John Economos ( Steve Agee ), and Adrian Chase aka Vigilante ( Freddie Stroma ), in the most recent trailer for Peacemaker&#8216, the second season of the film.

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

    The same can’t be said for another familiar face, that of new ARGUS director Rick Flag Sr. ( Frank Grillo ), how happy as they are to see one another again. Following the death of his son Rick Flag Jr. ( Joel Kinnaman ), whom Chris murdered at the behest of Amanda Waller ( Viola Davis ) at the conclusion of The Suicide Squad, Gunn&#8217, the first DC film from 2021, Flag plans to use his new position to seek vengeance against Chris.

    So far, we have received full assurance that The Suicide Squad‘s events are still relevant in the new DCU and that it is also cannon. That, of course, doesn’t answer every lingering question ( not even as it does with Peacemaker, which famously featured celebrities from Jason Momoa, Jason Momoa, and Aquaman in the final episode ).

    However, the video did mention something that might explain why those previous DC soldiers were there. We see Chris provide a different world through a unique website throughout the video. Chris is precious in one of the alternative realities he and the 11th Street Kids discovered, despite the fact that he is still laughing in his house aspect despite stopping an alien invasion in Peacemaker‘s first time. In fact, he is loved by Auggie ( Robert Patrick ), his father, and not just by Chris killed in season 1, but also by his father, who must be very different from that person.

    We see hints that Chris will spend more time in this alternate universe throughout the trailer, even stealing his counterpart’s sleek, cooler uniform ( and less cool silk shirts ). And if the footage of two John Cenas battling one another is any indication, the additional Chris has some thoughts about the perfect Chris’s attempted murder.

    On the one hand, it’s a little surprising that the new DC Universe is only its second recognized entry introducing the world. Gunn&#8217 is no back away, telling panelists that Peacemaker season 2 may establish that the DC Universe has at least 100 alternative realities. This expands on responses Gunn made abroad, confirming that Chris’s sites for escaping between experiences are a continuation of those Lex Luthor used in Superman.

    Speaking of Superman, the SDCC board stated that the next season of Peacemaker&#8216 will premiere one fortnight after the movie’s conclusion. That brief arc helps explain the cameos Chris can audition for the Justice Gang thanks to the contributions of Hawkgirl ( Isabela Merced ), Maxwell Lord ( Sean Gunn ), and Guy Gardner ( Nathan Fillion ). However, Chris&#8217’s conviction that he belongs with the Justice Gang straight stems from his heroic and personal development in time 1. &#8220, I don&#8217, t want to be a joke again, &#8221, Chris says in voice over in the video. &#8220, I want to get a true hero. &#8221,

    Did Chris be able to develop Peacemaker into a superhero like Superman? If so, it will most likely occur in incidents one, six, and eight of Gunn’s own directorial debut, Peacemaker&#8216, which are the three episodes.

    Chris will undoubtedly benefit from some great technology from the universe, but he’ll first have to make amends for past transgressions. And if the trailer’s portrayal of Rick Flag Sr. is any indicator, that’s going to be a challenging task. If The Suicide Squad wasn’t a cannon, it might be much easier for Chris.

    On HBO Max, Peacemaker winter 2 airs on August 12, 2025.

    The first article Peacemaker Season 2 Video Completes The World and Confirms The Suicide Squad Also Canon appeared initially on Den of Geek.

  • Peacemaker Season 2 Trailer Goes Full Multiverse, Confirms The Suicide Squad Still Canon

    Peacemaker Season 2 Trailer Goes Full Multiverse, Confirms The Suicide Squad Still Canon

    James Gunn has so far been reluctant to respond to too many inquiries regarding the connection between the DC Universe reboot that he and DC Studios co-head Peter Safran co-hosted and the earlier universe that Zack Snyder launched with Man of Steel in 2013? He just stated to Den of Geek that” there are certain things from the]…] […]

    The first article Peacemaker Season 2 Video Completes the Multiverse and Confirms The Suicide Squad Also Canon appeared initially on Den of Geek.

    James Gunn has been hesitant to respond to too many inquiries regarding the connection between the DC Universe reboot that he and DC Studios co-head Peter Safran co-founded and the earlier world that Zack Snyder launched with Man of Steel in 2013. There are some things from the old world that aren’t lore in Peacemaker time 2, he just told Den of Geek.

    We finally have some credible links now that SDCC is upon us. We catch up with Christopher Smith, aka Peacemaker ( John Cena ), when he reunites with his friends in the 11th Street Kids: Leota Adebayo ( Danielle Brooks ), Emilia Harcourt ( Jennifer Holland ), John Economos ( Steve Agee ), and Adrian Chase aka Vigilante ( Freddie Stroma ), in the most recent trailer for Peacemaker&#8216, the second season of the film.

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

    The same can’t be said for another well-known face, that of new ARGUS director Rick Flag Sr. ( Frank Grillo ), as happy as they are to see one another again. Following the death of his son Rick Flag Jr. ( Joel Kinnaman ), whom Chris murdered at the behest of Amanda Waller ( Viola Davis ), at the conclusion of The Suicide Squad, Gunn&#8217, the first DC film from 2021, Flag plans to use his new position to seek vengeance against Chris.

    So we now have complete assurance that The Suicide Squad is still a cannon and that the situations that surround it are relevant in the new DCU. Of course, that doesn’t address every lingering query ( not even as it does with Peacemaker, which famously featured celebrities from Jason Momoa, Jason Momoa, and Aquaman in the final episode ).

    However, the trailer did point out something that might give some answers to those original DC heroes. Chris is seen entering a different planet through a unique website throughout the trailer. Chris is precious in one of the alternative realities he and the 11th Street Kids discovered, despite the fact that he is still laughing in his house aspect despite stopping an alien invasion in Peacemaker‘s first time. In fact, he is loved by Auggie ( Robert Patrick ), his father, and not just by Chris, who killed him in season 1.

    We see hints that Chris will spend more time in this alternate universe throughout the trailer, even stealing his counterpart’s sleek, cooler uniform ( and less cool silk shirts ). And if the footage of two John Cenas battling one another is any indication, the additional Chris has some thoughts about the perfect Chris’s attempted murder.

    On the one hand, it’s a little surprising that the world is already the sole formal entry in the new DC Universe. Gunn&#8217 is certainly back away, telling panelists that Peacemaker season 2 may establish the DC Universe’s existence in at least 100 alternative realities. This expands on earlier assertions made by Gunn that Chris ‘ sites between experiences are an extension of Lex Luthor’s in Superman.

    Speaking of Superman, the SDCC board stated that the film’s next season of Peacemaker&#8216 will come a month after the film’s conclusion. That brief arc helps to explain the cameos Chris can audition for the Justice Gang thanks to the contributions of Hawkgirl ( Isabela Merced ), Maxwell Lord ( Sean Gunn ), and Guy Gardner ( Nathan Fillion ). However, Chris&#8217’s conviction that he belongs with the Justice Gang straight stems from his remarkable personal development and achievements in time 1. &#8220, I don&#8217, t want to be a joke again, &#8221, Chris says in voice over in the video. &#8220, I want to get a true hero. &#8221,

    Does Chris be able to transform Peacemaker into a warrior deserving of a place in the same way as Superman? If so, it will most likely occur in the first, sixth, and eighth incidents of Gunn’s directorial debut, Peacemaker&#8216.

    Chris will undoubtedly benefit from some amazing technology from the multiverse, but he’ll first have to make amends for past transgressions. And if the trailer’s portrayal of Rick Flag Sr. is any indicator, that’s going to become a challenging task. If Chris didn’t like The Suicide Squad, it might be much easier.

    On HBO Max, Peacemaker year 2 airs on August 12, 2025.

    The first article Peacemaker Season 2 Video Completes the Multiverse and Confirms The Suicide Squad Also Canon appeared initially on Den of Geek.

  • Asynchronous Design Critique: Giving Feedback

    Asynchronous Design Critique: Giving Feedback

    One of the most successful soft skills we have at our disposal is opinions, in whatever form it takes, and whatever it may be called. It helps us collaborate to improve our designs while developing our own abilities and perspectives.

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

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

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

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

    The material

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

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

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

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

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

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

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

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

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

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

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

    Or, for the request approach:

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

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

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

    Choosing the question approach or the request approach can also at times be a matter of personal preference. I did rounds of anonymous feedback and I reviewed feedback with other people a while back when I was putting a lot of effort into improving my feedback. After a few rounds of this work and a year later, I got a positive response: my feedback came across as effective and grounded. Until I changed teams. Quite unexpected, my next round of criticism from one particular person wasn’t very positive. The reason is that I had previously tried not to be prescriptive in my advice—because the people who I was previously working with preferred the open-ended question format over the request style of suggestions. However, there was a member of this other team who preferred specific guidance. So I adapted my feedback for them to include requests.

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

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

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

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

    The atmosphere

    Well-grounded content is the foundation of feedback, but that’s not really enough. The soft skills of the person who’s providing the critique can multiply the likelihood that the feedback will be well received and understood. It has been demonstrated that only positive feedback can lead to sustained change in people, 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 has unique needs. The right timing will make it more likely that your feedback will be well received.

    Attitude is the equivalent of intent, and in the context of person-to-person feedback, it can be referred to as radical candor. That entails checking before writing to see if what we have in mind will actually help the person and improve the project overall. This might be a hard reflection at times because maybe we don’t want to admit that we don’t really appreciate that person. Hopefully that’s not the case, but it can happen, and that’s okay. Acknowledging and owning that can help you make up for that: how would I write if I really cared about them? How can I avoid being passive aggressive? How can I 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 nonnative speakers may not be able to comprehend all thenuances of some sentences, that our brains may be different and that our world may be perceived differently; hence, neurodiversity must be taken into account. Whatever the reason, it’s important to review not just what we write but how.

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

    Something to highlight because it’s quite frequent—especially in teams that have a strong group spirit—is that people tend to beat around the bush. 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. When I shared a comment with someone I knew,” How does this sound,”” How can I do it better,” or even” How would you have written it,” I discovered that the two versions had different meanings.

    The format

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

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

    In terms of clarity, start by grounding the critique that you’re about to give by providing context. This includes specifically describing where you’re coming from: do you have a thorough understanding of the project, or is this your first 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 your feedback? Is the design iteration at a point where it would be okay to ship this, or are there major things that need to be addressed first?

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

    We frequently concentrate on the negatives and attempt to list 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 keep in mind that design is a field with hundreds of possible solutions for each problem. So pointing out that the design solution that was chosen is good and explaining why it’s good has two major benefits: it confirms that the approach taken was solid, and it helps to ground your negative feedback. In the longer term, sharing positive feedback can help prevent regressions on things that are going well because those things will have been highlighted as important. Positive feedback can also help, as an added bonus, prevent impostor syndrome.

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

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

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

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

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

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

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

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

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

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

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

  • Asynchronous Design Critique: Getting Feedback

    Asynchronous Design Critique: Getting Feedback

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

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

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

    And suddenly, as with any great research, we need to review what we got up, get to the base of its perspectives, and take activity. Problem, generation, and analysis. This look at each of those.

    The query

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

    But how do we get into this scenario? A number of elements are involved. One is that we don’t often consider asking as a part of the input approach. Another is how healthy it is to leave the question open and assume that everyone else will agree. Another is that in nonprofessional debate, there’s usually no need to be that exact. In summary, we tend to undervalue the value of the issues, and we don’t work to improve them.

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

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

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

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

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

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

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

    A quick fix is to get rid of the generic qualifiers from questions like “good,” “well,” “nice,” “bad,” “okay,” and” cool.” For example, asking,” When the block opens and the buttons appear, is this interaction good”? is possible to appear specific, but the “good” qualifier can be found in 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. Although that is uncommon, it is possible. In that sense, you might still make it explicit that you’re looking for a wide range of opinions, whether at a high level or with details. Or perhaps just say,” At first glance, what do you think”? so that it’s clear that what you’re asking is open ended but focused on someone’s impression after their first five seconds of looking at it.

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

    Asking specific questions can completely change the quality of the feedback that you receive. People with less refined criticism will now be able to provide more actionable feedback, and even expert designers will appreciate the clarity and effectiveness gained from concentrating solely 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. Many design tools have inline commenting, but many of those methods typically display changes as a single fluid stream in the same file. These methods cause conversations to vanish once they’re resolved, update shared UI components automatically, and require designs to always display the most recent version unless these would-be useful features were manually turned off. The implied goal that these design tools seem to have is to arrive at just one final copy with all discussions closed, probably because they inherited patterns from how written documents are collaboratively edited. That’s probably not the most effective way to go about designing critiques, but even if I don’t want to be too prescriptive, it might work for some teams.

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

    There are many benefits to using iteration posts:

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

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

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

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

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

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

    The design is then the actual series of information-architecture outlines, diagrams, flows, maps, wireframes, screens, visuals, and any other kind of design work that’s been done. It’s any design artifact, in essence. 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 might also be helpful to have clear names on the artifacts so that it is easier to refer to them. Write the post in a way that helps people understand the work. It’s not much different from creating a strong live presentation.

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

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

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

    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 just a concept to start a conversation, or it might be a cumulative list of all the features that have been added gradually over the course of each iteration until the full picture is achieved.

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

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

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

    The review

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

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

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

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

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

    The swoop-by comment, which is the kind of feedback that comes from a member of the project or team who might not be aware of the context, restrictions, decisions, or requirements —or of the discussions from earlier iterations. On their side, there’s something that one can hope that they might learn: they could start to acknowledge that they’re doing this and they could be more conscious in outlining where they’re coming from. It can be annoying to have to repeat the same response repeatedly in swoop-by comments.

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

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

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

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

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

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

  • Designing for the Unexpected

    Designing for the Unexpected

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

    Flash, Photoshop, and flexible pattern

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

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

    My first encounter with flexible design didn’t help my fear. My second project was to get an active fixed-width website and make it reactive. I quickly realized that you didn’t just put responsiveness at the end of a job. To make smooth design, you need to prepare throughout the style phase.

    A new way to style

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

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

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

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

    Media answers

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

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

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

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

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

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

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

    Then there’s the problem of space. Media answers 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. Although there are JavaScript workarounds, they can lead to dependability and compatibility issues. The basic theory underlying container queries is that elements should change based on the size of their parent container and not the viewport width, as seen in the following illustrations.

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

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

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

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

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

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

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

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

    CSS is changing

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

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

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

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

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

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

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

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

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

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

    Intrinsic layouts

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

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

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

    —Jen Simmons,” Designing Intrinsic Layouts”

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

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

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

    Another 2010 moment?

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

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

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

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

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

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

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

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

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

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

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

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

    Content should come first

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

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

    Instead of dated markup tricks like this —

    First line of text with different styling...

    —we can target content based on where it appears.

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

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

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

    Directional variables must be set in the Sass version.

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

    These variables can be used as values—

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

    —or as real estate.

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

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

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

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

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

    Fluid and fixed

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

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

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

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

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

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

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

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

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

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

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

    Situation first

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

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

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

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

    Responsible design

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

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

    Chris Ashton

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

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

    Image alt text

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

      

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

    …

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

    So how can we put users in control?

    The return of media inquiries

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

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

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

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

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

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

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

    Expect the unexpected

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

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

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

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

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

  • Voice Content and Usability

    Voice Content and Usability

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

    Laptops have trouble because between spoken and written speech, talk is more primitive. Machines must wrestle with the chaos of human statement, including the squabbling and pauses, the gestures and body vocabulary, and the dialect variations that can impede even the most skillfully created human-computer conversation. In the human-to-human situation, spoken language also has the opportunity of face-to-face call, where we can easily interpret visual interpersonal cues.

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

    Spoken speech is not a pleasure in this regard. Besides the visual cues that mark conversations with emphasis and personal context, there are also linguistic cues and outspoken behaviors that mimic conversation in complex ways: how something is said, never what. Our spoken speech conveys much more than the written word may actually contain, whether it be rapid-fire, low-pitched, or high-decibel, sarcastic, awkward, or moaning. But when it comes to words interfaces—the devices we conduct spoken discussions with—we experience exciting difficulties as designers and content strategists.

    Voice-to-voice relations

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

    • we need something done ( such as a transaction ),
    • we seek knowledge of anything ( some kind of data ), or
    • we are social people and want someone to talk to ( conversation for conversation’s pleasure ).

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

    Simply interpersonal conversations are more quirky than fascinating in most tone interfaces, because machines don’t yet have the capacity to really want to hear how we’re doing and to do the sort of glad-handing humans crave. Users are also debating whether or not they prefer the kind of organic human conversation that starts with a prosocial voiceover and progresses 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 ( ).

    A voice interface can also have two types of conversations we can have with one another that are both transactional and informational, each learning something new ( “discuss a musical” ).

    Transactional voice interactions

    When you order a Hawaiian pizza with extra pineapple, you’re typically having a conversation and a voice interaction when you’re tapping buttons on a food delivery app. 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 are things going?

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

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

    Burhan: Sure, what size?

    Alison: Big.

    Burhan: Anything else?

    Alison: No, that’s it.

    Burhan: Something to drink?

    Alison: I’ll have a bottle of Coke.

    Burhan: You got it. It will cost about$ 15 and take fifteen minutes to complete.

    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. Conversations that are transactional have certain characteristics: they are direct, precise, and cost-effective. They quickly dispense with pleasantries.

    Informational voice interactions

    Meanwhile, some conversations are primarily about obtaining information. Alison might only want to place an order at Crust Deluxe, but she might not want to leave without a pizza at all. She might be just as interested in whether they serve halal or kosher dishes, gluten-free options, or something else. Even though we have a prosocial mini-conversation once more at the beginning to practice politeness, we are after much more.

    Alison: Hey, how are things going?

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

    Alison: Can I ask a few questions?

    Burhan: Of course! Go right ahead.

    Alison, do you have any menu items that are halal?

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

    Alison: What about gluten-free pizzas?

    Burhan: For both our deep-dish and thin-crust pizzas, we can definitely make a gluten-free crust for you, without a problem. Anything else I can answer for you?

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

    Burhan: Anytime, come back soon!

    This dialogue is a lot different. Here, the goal is to get a certain set of facts. Informational conversations are research expeditions to gather data, news, or facts in search of the truth. Voice interactions that are informational might be more long-winded than transactional conversations by necessity. Responses are typically longer, more in-depth, and carefully communicated so that the customer is aware of the important lessons.

    Voice Interfaces

    Voice-based user interfaces use speech at the core to assist users in accomplishing their objectives. But simply because an interface has a voice component doesn’t mean that every user interaction with it is mediated through voice. We’re most concerned with pure voice interfaces, which are completely dependent on spoken conversation and lack any visual component, making them much more nuanced and challenging to deal with because multimodal voice interfaces can lean on visual components like screens as crutches.

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

    IVR ( interactive voice response ) systems

    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. We became familiar with the first real voice interfaces that could actually be spoken with the help of interactive voice response ( IVR ) systems, which were developed as an alternative to overburdened customer service representatives.

    IVR systems allowed organizations to reduce their reliance on call centers but soon became notorious for their clunkiness. These systems, which are commonplace in the corporate world, were primarily intended as metaphorical switchboards to direct customers to real phone agents (” Say Reservations to book a flight or check an itinerary” ), and it is likely that when you call an airline or hotel conglomerate, you will have the opportunity to have a conversation with one. Despite their functional issues and users ‘ frustration with their inability to speak to an actual human right away, IVR systems proliferated in the early 1990s across a variety of industries (, PDF).

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

    Screen readers

    The screen reader, a program that converts visual information into synthesized speech, was a development that accompanied the development of IVR systems. For Blind or visually impaired website users, it’s the predominant method of interacting with text, multimedia, or form elements. Perhaps the closest thing we have today to an out-of-the-box implementation of content delivered through voice is represented by screen readers.

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

    With the rapid growth of the web in the 1990s, the demand for accessible tools for websites exploded. Screen readers started facilitating quick 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 with the introduction of semantic HTML and especially ARIA roles in 2008, enabling speedy interactions with the pages. In other words, screen readers for the web “provide mechanisms that translate visual design constructs—proximity, proportion, etc. —into useful information,” according to Aaron Gustafson in A List Apart. ” At least they do when documents are authored thoughtfully” ( ).

    Although incredibly instructive for voice interface designers, screen readers have a major flaw: they’re challenging to use and consistently verbose. 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. Working with web-based interfaces takes a cognitive toll for many screen reader users.

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

    I disliked the operation of Screen Readers from the beginning. Why are they designed the way they are? It makes no sense to present information visually and then only to have that information translated into audio. All 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, users of the visual interface have the advantage of freely scurrying around the viewport to find information without worrying about it. Blind users, meanwhile, are obligated to listen to every utterance synthesized into speech and therefore prize brevity and efficiency. Users with disabilities who have long had no choice but to use clumsy screen readers might benefit from more streamlined user interfaces, especially more advanced voice assistants.

    Voice assistants

    Many of us immediately associate voice assistants with the subset of voice interfaces that are now commonplace in living rooms, smart homes, and offices with the film HAL from 2001: A Space Odyssey or 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 because of their assistive potential, they are quickly receiving more attention from accessibility advocates.

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

    There is a significant variation in how programmable and customizable some voice assistants are compared to others due to the sheer number of voice assistants available today ( Fig. 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. There are no other means by which developers can interact with Siri at a low level, aside from predefined categories of tasks like sending messages, hailing rideshares, making restaurant reservations, and other things, so even now it isn’t possible to program Siri to perform arbitrary functions.

    At the opposite end of the spectrum, voice assistants like Amazon Alexa and Google Home offer a core foundation on which developers can build custom voice interfaces. For this reason, developers who feel stifled by the limitations of Siri and Cortana are increasingly using programmable voice assistants that are capable of customization and extensibility. 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. Users of the Amazon Alexa and Google Assistant ecosystems can choose from among the thousands of custom-built skills available today.

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

    Often by necessity, voice assistants like Amazon Alexa tend to be monochannel—they’re tightly coupled to a device and can’t be accessed on a computer or smartphone instead. In contrast, many development platforms, such as Google’s Dialogflow, have omnichannel capabilities that allow users to create a single conversational interface that then becomes 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. Voice content must be free-flowing and organic, contextless and concise—everything written content isn’t enough to preserve what makes human conversation so compelling in the first place.

    Our world is replete with voice content in various forms: screen readers reciting website content, voice assistants rattling off a weather forecast, and automated phone hotline responses governed by IVR systems. We’re most concerned with the audiobook content being delivered as a requirement rather than an option.

    For many of us, our first foray into informational voice interfaces will be to deliver content to users. One issue is that any content we already have isn’t in any way suitable for this new environment. So how do we make the content trapped on our websites more conversational? And how do we create fresh copy that works with voice-recognition?

    Lately, we’ve begun slicing and dicing our content in unprecedented ways. Websites are, in many ways, massive vaults of what I call macrocontent: lengthy prose that can last for miles in a browser window while being viewed in microfilm format in 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:

    An example of microcontent can be a day’s weather forecast [sic], an airplane flight’s arrival and departure times, an abstract from a lengthy publication, or a single instant message. ( )

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

    As microcontent, voice content is unique because it’s an example of how content is experienced in time rather than in space. We can instantly see when the next train is coming from a digital sign underground, but voice interfaces keep our attention occupied for so long that screen reader users are all too familiar.

    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.

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

  • Sustainable Web Design, An Excerpt

    Sustainable Web Design, An Excerpt

    In the 1950s, some members of the elite running group had come to accept the idea that it was impossible to run a hour in less than four hours. 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 all 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 today knew that the four-minute hour could be accomplished thanks to this change in the criterion. 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 all managed to cross the four-minute challenge. 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 do a lot more when we think something is possible, and we only think it can be done when we see someone else doing it once more. As for human running speed, we also think there are strict guidelines for how a website should do.

    Establishing requirements for a green website

    The key indicators of climate performance in most big sectors 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 certain 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. The pollution coming from power plants that burn coal and oil are far apart, out of sight, and out of mind. 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. So what do we accomplish then?

    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 coal pollution gauges:

    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 reliable indicator of how much power is being consumed and how much coal is being 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 easiest way to calculate data transfer for a single visit for web pages is to measure the page weight, which is the page’s transfer size in kilobytes when someone first visits the page. It’s fairly easy to measure using the developer tools in any modern web browser. Statistics for the total data transfer of any web application are frequently included in your web hosting account ( Fig. 2.1 ).

    The nice thing about page weight as a metric is that it allows us to compare the efficiency of web pages on a level playing field without confusing the issue with constantly 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 might be aware of the project team’s focus on creating faster user experiences using the concept of performance budgeting. 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 in 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, but web performance is frequently more about the subjective perception of load times than it is about the underlying system’s true 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 weight to compare the new website to the old one. 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. Moving away from the first visit and allowing us to determine page weight budgets for scenarios other than this one can help us learn even more about how to optimize efficiency for users who regularly visit our pages.

    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 energy from a variety of sources is combined with various levels of carbon intensity. 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. This user-provided data is reported and mapped by Danish startup Tomorrow, and a look at their map demonstrates how, for instance, choosing a data center in France will result in 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 a lot of energy to transmit data through the telecom’s networks, and the more energy is used, the further the data travels. 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 from that location to the data center used by our hosting company by using the distance itself 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 to the next level and tailor the data more accurately to the individual aspects of your project.

    We could even expand our page weight budget by establishing carbon budgets as well with the ability to calculate carbon emissions for our projects. 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 an air of abstraction, carbon budgets do focus our minds on the main issue we’re trying to reduce, which also 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 burden is increasingly shifting from the data center to the 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 allow us 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 data is processed in a web browser, which means more energy is used by the user’s devices. 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 developer console of the Safari browser is one of the tools we currently have ( Fig. 2.5 ).

    You know 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 based on the percentage of CPU used and how long it took the web page to load. 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.

  • A Content Model Is Not a Design System

    A Content Model Is Not a Design System

    Do you recall the days gone by when having a successful site was sufficient? Today, 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 content strategy that aims to reach people across a range of digital programs and platforms.

    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 conceptual information models that also connect related content, you can avoid that result.

    I just had the opportunity to direct the CMS application for a Fortune 500 company. 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 semantic types, which are names given based on their meaning rather than their presentation. This is crucial for an multichannel content strategy. Our goal was to allow writers to create original content that could be used wherever they felt was most useful. 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 systems, which we were more comfortable with. An holistic content strategy cannot rely on WYSIWYG equipment for design and layout, 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 discovered 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. These types may simplify the presentation of content, but they do not aid in understanding the meaning of the content, which would have opened the door to the content presented in each marketing channel. To allow each delivery channel to comprehend the content and use it as it sees fit, a semantic content model uses type names like product, service, and testimonial.

    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 .org

    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. Content can withstand obtrusive website redesigns in this way.
    • A competitive advantage can also be gained by a semantic content model. 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 piece of an article’s meaning and usefulness depend on how well it is organized. 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. Similar effects could have been felt to an article that 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 take a look at how connecting related content works in a real-world 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 as flexible as possible?

    We felt like we needed a “tab section” content type because our design-system instincts allowed for the addition of multiple tab sections to a page because they were so well-versed. Each tab section would display various types of content. One tab might contain the software’s information or specifications. A second tab might provide a list of sources.

    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 logic would have had to be added 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 each tab’s specific information, such as the software product’s overview, specifications, related resources, and pricing, was intended to reveal a specific purpose. 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. In response to this realization, we decided to create content types for the software product based on the meaningful qualities the client wanted to display on the web. 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 Google and other interfaces understand your content, keep in mind:

    • A design system isn’t a content model. You should maintain the semantic value and contextual structure of the content strategy throughout the entire implementation process because team members might be drawn to conflate them and force your content model to resemble your design system. Without the use of a magic decoder ring, every delivery channel will be able to consume the content.
    • If your team is struggling to make this transition, you can still reap some of the benefits by using Schema. structured data from org–based on your website. The advantage of search engine optimization is a compelling argument on its own, even if additional delivery channels are not in the works.
    • 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 the compatibility between the content and the design.

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