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  • Design Dialects: Breaking the Rules, Not the System

    Design Dialects: Breaking the Rules, Not the System

    Language is a complete system that is dependent on framework and behavior, not just a collection of related sounds, clauses, rules, and meanings. — Kenneth L. Pike

    The internet has voices. Our pattern processes may also.

    Designing methods as living cultures

    Designing languages are living languages, not portion libraries. The elements are phrases, the patterns are phrases, the designs are sentences, and the tokens are phonemes. The conversations we have with customers are what shape the stories that our goods represent.

    The more tones a language you assistance without losing its meaning, the more smoothly it is spoken. English in Sydney and English in Scotland are clearly different, but both are identical. The speech adapts to the situation while maintaining its fundamental significance. As a Brazilian Portuguese speech who learned English with an American highlight and resides in Sydney, this couldn’t be more visible to me.

    Our pattern processes may operate similarly. A rigorous adhesion to physical conventions results in brittle techniques that disintegrate under pressure from the outside. Fluidic devices can bend without bridging.

    Consistent behavior turns into a captivity

    Design systems had a promise that was easy: regular components may speed up development and bring together experiences. But as methods evolved and products developed more sophisticated, that claim has grown to the point of being a prison. Groups submit “exception” calls innumerate. Alternatively of system parts, products start with solutions. Designers devote more time defending regularity than resolving consumer issues.

    Languages must be learned in our layout systems.

    A design pronunciation is a comprehensive adaptation of a design system that maintains its core values while creating novel patterns for particular situations. Languages maintain the state’s necessary language while expanding its vocabulary to fit various people, settings, or constraints, in contrast to one-off customizations or product themes.

    When Perfect Consistency Is A Problem

    I at Booking.com took this teaching without warning. Everything we A/B tested was color, version, button shapes, also logo colors. I found this stunning as a specialist with a background in graphic design and company style manuals. Booking expanded into a huge without ever taking into account physical consistency, despite everyone’s adoration for Airbnb’s flawless design system.

    The panic taught me things that persistence is not ROI, but rather solved problems are.

    At Shopify Our crown jewel was Polyris ( ), a mature design language that worked well for laptop manufacturers. We were expected to follow Polaris as-is as a product staff. Then my accomplishment team slammed” Oh, Ship”! momentous as we had to create an app for inventory pickers using our program on shared, battered Android scanners in dark aisles, wearing heavy gloves, scanning dozens of items per second, some with only minimal English comprehension.

    Polaris ‘ standard completion rate is 0 %.

    Every element that worked flawlessly for merchants entirely failed to satisfy pickers. Bright backgrounds produced light. Click targets for 44px were hidden behind covered fingers. Sentence-case brands took too long to interpret. Non-native listeners were confused by multi-step moves.

    Polaris had to be completely abandoned, or it could be taught to speak inventory.

    The Birth of a Pronunciation

    We favored creation over trend. We developed what we now refer to as a pattern dialect by adhering to Polaris’s key principles of clarity, efficiency, consistency.

    ConstraintFluent ShiftRationale
    Low lighting, brightness, and more.Black text + black areasLow-DP I windows can reduce glare.
    Gloves andamp; Urgency90px tap targets ( ~2cm )Comfortable boots
    MultilingualPlain speech, single-task windowsReduce mental strain

    Results: Task completion increased from 0 % to 100 %. From three days to one change, onboard time was cut.

    This wasn’t slang or theming; this was a rigorous adaptation that maintained Polaris ‘ key grammar while creating new words for a particular context. Polis hadn’t failed; it had picked up the language inventory.

    The Flexibility Framework

    Working on the Jira platform, which is a component of the larger Atlassian method, at Atlassian, I advocated for formalizing this understanding. We needed comprehensive flexibility because dozens of products shared a design language across various codebases, but we built our methods of working directly into our own. The outdated model, which required exception requests and unique approvals, was failing at scale.

    To help creators determine how flexible their elements should remain, we created the Flexibility Framework:

    TierActionOwnership
    ConsistentAdopt as issoftware locks style + script
    OpinionatedAdapt within limitsSystem offers intelligent failures, and products can be modified.
    FlexibleExtend easilySoftware defines conduct, and products define their presentation.

    Every aspect was tied together during a transportation remodel. International search and logo remain constant. The actions of cultural context and breadcrumbs became versatile. Product teams could quickly identify areas where development was advantageous and where regularity was important.

    The Decision Ladder

    Freedom requires restrictions. When guidelines should be broken, we created a straightforward rope.

    Great: Include system parts that already exist. Strong, reliable, and proven.

    Better: somewhat bend a part. Document the shift. Bring changes up to the program so that everyone can use it.

    Best: Create the ideal encounter initially. Update the system to make it compatible if users testing proves the benefit.

    Which solution allows users to achieve the quickest?

    Laws are tools, not replicas.

    Unity Beats Uniformity

    Email, Drive, and Maps all have a distinctive Google voice, but they each speak with their own. They achieve cohesion through shared rules, no copied parts. About$ 30K in engineer time is spent on one additional month of box color debate.

    Competency is a user outcome, while unification is a brand outcome. Part with the customer when the two fight.

    Gates ‘ Gates’ Law:

    How can dialects be enabled while maintaining cohesion? Treat your diction like a life dictionary:

    Document every change, such as dialects or warehouses. director with explanations for the photos and reasoning.

    Promote shared patterns – when three teams adopt a slang individually and independently critique it for key addition.

    Retire old idioms using flags and migration notes; this is never a big-bang cleanse. Degrade with context.

    A living vocabulary performs better than a freezing handbook.

    Your First Dialect: Start Small

    Are you ready to start introducing accents? Start with a bad practice:

    Get one user flow this week where best consistency prevents task completion. Could be that mobile users have trouble with desktop-sized components or mobility issues that your regular patterns don’t handle.

    What causes normal patterns to fail here? Document the context: Economic restrictions? User skills? Task intensity?

    Focus on actions rather than aesthetics, style one systematic change. If gloves are the issue, bigger targets are actually serving the customer rather than “broken the technique.” Create the adjustments and render them purposeful.

    Assess and test: Does implementing the shift make tasks more efficient? Time for performance User happiness

    Present the savings: Competence has already paid off by letting that dialect free perhaps a sprint.

    Beyond the Component Library

    We’re cultivating style languages, never managing design systems anymore. language that develop as they speak. voices without losing their significance in language. cultures that prioritize the needs of people over visual ideals.

    Our buttons breaking the style guide didn’t matter, the warehouse workers who went from 0 % to 100 % of their tasks were satisfied with our work. They were concerned that the knobs would suddenly function.

    Your customers share your concerns. Give your program permission to use their speech.

  • An Holistic Framework for Shared Design Leadership

    An Holistic Framework for Shared Design Leadership

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

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

    Clear lines on an organizational chart have always been the standard solution. The Design Manager handles persons, the Lead Designer handles art. Best, problem is fixed, best? Except that fresh organizational charts are fantasy. In fact, both roles care greatly about crew health, style quality, and shipping great work.

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

    The biology of a good design team

    Here’s what I’ve learned from years of being on both sides of this formula: consider of your design team as a living organism. The style manager is guided by the group dynamics, internal security, and career growth. The Lead Designer is more focused on the body ( the handiwork, the design standards, the hands-on projects that are delivered to users ).

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

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

    Individuals & Psychology: The Nervous System

    Major custodian: Design Manager
    Supporting position: Lead Designer

    Signs, comments, emotional health are all important components of the nervous program. When this technique is good, information flows easily, people feel safe to take risks, and the staff may react quickly to new problems.

    The main caregiver here is the Design Manager. They are making sure the team’s emotional pulse is healthful, creating the ideal environment for growth, and keeping track of the team’s psychological pulse. They’re hosting job meetings, managing task, and making sure no single burns out.

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

    Design Manager tends to:

    • discussions about careers and career development
    • internal security and dynamics of the group
    • Job management and resource allocation
    • Performance evaluations and input mechanisms
    • Providing understanding options

    Direct Custom supports by:

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

    The Muscular System: Design, Design, and Execution

    Major caregiver: Lead Designer
    Supporting position: Design Manager

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

    The Lead Designer is the main caregiver at this place. They are raising the bar for quality work, providing craft instruction, and ensuring that shipping work is done to the highest standards. They’re the ones who can tell you if a design decision is sound or if we’re solving the right problem.

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

    Lead Designer tends to:

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

    Design Manager supports by:

    • ensuring that all members of the team are aware of and adopting design standards
    • Confirming that a direction of experience is being pursued
    • Supporting practices and systems that scale without bottlenecking
    • facilitating design alignment among all teams
    • Providing resources and removing obstacles to outstanding craft work

    The Circulatory System: Strategy &amp, Flow

    Shared caretakers: Lead Designer and Design Manager, respectively.

    The circulatory system is concerned with how the team’s decisions and energy are distributed. When this system is healthy, strategic direction is clear, priorities are aligned, and the team can respond quickly to new opportunities or challenges.

    True partnership occurs in this context. Although both positions bring unique perspectives, keeping the circulation strong is a dual responsibility.

    Lead Designer contributes:

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

    Contributes the design manager:

    • Communication to team and stakeholders
    • Stakeholder management and alignment
    • Team accountability across all levels
    • Strategic business initiatives

    Both parties work together on:

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

    Keeping the Organism Healthy

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

    Be Specific About the System You’re Defending.

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

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

    Create wholesome feedback loops

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

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

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

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

    Handle Handoffs Gracefully

    When something switches from one system to another, this partnership’s most crucial moments occur. This might occur when a design standard ( muscular system ) needs to be implemented across the team ( nervous system ) or when a tactical initiative ( circulatory system ) requires specific craft execution ( muscular system ).

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

    Stay original and avoid being a tourist.

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

    Rather than making assumptions, one must ask questions. ” What do you think about the team’s craft development in this area”? or” How do you think this is affecting team morale and workload?” keeps both viewpoints present in every choice.

    When the Organism Gets Sick

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

    System Isolation

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

    The signs: Mixed messages are sent to team members, poor morale is attained, and there are negative things.

    Reconnect with other people’s goals in the treatment. What are you both trying to achieve? Great design work typically arrives on time from a strong team. Discover how both systems accomplish that goal.

    Poor Circulation

    There is no clear strategic direction, shifting priorities, or accepting responsibility for keeping information flowing.

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

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

    Autoimmune Response

    One person feels threatened by the expertise of the other. The Design Manager thinks the Lead Designer is undermining their authority. The Design Manager is allegedly misunderstanding the craft, according to the Lead Designer.

    The signs: defensive behavior, territorial disputes, team members sucked into the middle.

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

    The Payoff

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

    When both roles are well-balanced and functioning well together, you get the best of both worlds: strong people leadership and deep craft knowledge. When one person is overly sick, on vacation, or overworked, the other can help keep the team’s health. When a decision requires both the people perspective and the craft perspective, you’ve got both right there in the room.

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

    The End result

    The relationship between a Design Manager and Lead Designer isn’t about dividing territories. It’s about multiplying impact. Magic occurs when both roles are aware that they are promoting various aspects of a healthy organism.

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

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

  • From Beta to Bedrock: Build Products that Stick.

    From Beta to Bedrock: Build Products that Stick.

    I’ve lost count of the times I’ve watched promising thoughts go from zero to warrior in a few days before failing to deliver within weeks as a product developer for very long.

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

    The perils of feature-first growth

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

    The concept of Minimum Viable Product ( MVP ) comes into play in this area. Even if Jason Fried doesn’t usually refer to this concept, his book Getting Real and his radio Rework frequently discuss it. An MVP is a product that offers only sufficient value to your users to keep them interested, but not so much that it becomes difficult to keep up. Although the idea seems simple, it requires a razor-sharp eye, a brutal edge, and the courage to stand up for your position because” the Columbo Effect” makes it easy to fall for something when one always says” just one more thing …” to include.

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

    The significance of the foundation

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

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

    The core has to be in and around the standard servicing journeys in the world of retail bank, which is where I work. People only look at their existing account once every blue moon, but they do so every day. They purchase a credit card every year or every other year, but they at least once a month assess their stability and pay their bills.

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

    But how do you reach the foundation? By focusing on the” MVP” strategy, giving ease precedence, and working iteratively toward a clear value proposition. This means avoiding unnecessary functions and putting your customers first, and adding real value.

    It also requires having some nerve, as your coworkers might not always agree with you immediately. And dubiously, occasionally it can even suggest making it clear to customers that you won’t be coming to their house and making their breakfast. Sometimes you need to use the sporadic “opinionated user interface design” ( i .e. clunky workaround for edge cases ) to test a concept or to give yourself some more time to work on something more crucial.

    Functional methods for creating financially successful products

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

    1. What trouble are you trying to solve first and foremost with a distinct “why”? For whom? Before beginning any construction, make sure your vision is completely clear. Make certain it also aligns with the goals of your business.
    2. Avoid putting too many features on the list at after; instead, focus on getting that right first. Choose one that actually adds price, and work from that.
    3. Give clarity the precedence it deserves over difficulty when it comes to financial products. Eliminate unwanted details and concentrate solely on what matters most.
    4. Accept constant iteration as Bedrock is a powerful process rather than a fixed destination. Continuously collect customer feedback, improve your product, and work toward that foundational position.
    5. Cease, look, and listen: You don’t just have to test your product during the delivery process; you must also test it consistently in the field. Use it for yourself. A/B tests are run. User comments on Gatter. Speak to the users of it and make adjustments accordingly.

    The foundational dilemma

    This is an intriguing conundrum: sacrificing some of the potential for short-term growth in favor of long-term stability. But the payoff is worthwhile because products built with a emphasis on bedrock will outlive and surpass their rivals over time and provide users with long-term value.

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

  • Tony Hale: King of the Manchildren

    Tony Hale: King of the Manchildren

    You are familiar with Tony Hale from pretty much everything, really. The humorous actor has been a near-omniscient throughout the existing television and film era. He continued his manchild growth in the numerous Emmy-winning roles as Gary Walsh on Veep after landing his big split as the gentle motherboy Buster Bluth on Arrested Development. Since then he’s ]… ]

    Tony Hale: King of the Manchildren was the first article on Den of Geek.

    Well, you are familiar with Tony Hale from pretty much everything, according to #8230.

    The funny actor has been almost omniscient throughout the current era of film and television. He continued his manchild growth in the numerous Emmy-winning roles as Gary Walsh on Veep after landing his great split as the gentle motherboy Buster Bluth on Arrested Development. Since then, he has taken to voice himself in a number of Pixar projects and has since improved nearly every humorous TV show in existence.

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    But, Hale&#8217, his most recent film, casts him in a new part: manufacturer. In the production of Sketch, Seth Worley both in front and behind the camera, Hale portrays a figuratively rich tale of beautiful doodles.

    We call it” Inside Out meets Jurassic Park” and “ Hale said during his visit to the San Diego Comic-Con Den of Geek workshop that it was a really enjoyable family trip with a concept about processing emotions.

    Then, in his own words, Hale describes his career and how he came to be the ruler of the funny manchildren.

    Growing Up with Buster Bluth on the Arrested Development

    Buster was thus entertaining. He resembles a cartoon character. What does Buster want, I again asked actor-turned-director Mitchell Hurwitz. He claimed that he believes he wants health. Buster usually pulls his neck back in response to this. He’s constantly in this defensive mode. He’s prepared for something to strike him. &nbsp,

    One of my favorite things is when people say,” I love this joke ] from Arrested Development ]” when they walk up to me. And I respond,” Kindly tell me, because I’ve forgotten for the life.” Tobias joining the Blue Man Group because he believed it to be a party for unhappy men is the only joke from the present that sticks with me because it’s my favorite touch. Nothing can compare to that. That was the comic you were using. &nbsp,

    Individuals weren’t used to having to think about watching a show back then. However, people could watch it again and ask,” Do you see that blue handprint on the wall?” due to Netflix ( and DVDs ). That was from three shows before. Do you notice that Buster is seated in front of someone that reads” Arm Away”? Oh, that indicates that he might have his hands bitten off by a seal. All of those layers merely made Mitch [ Hurwitz ] so brilliant in my eyes. &nbsp,

    Being Gary Walsh, President Selina Meyer’s” Bagman,” on Gained

    Gary sewed hands into that case for a long time because everything had to have a position. Because God forbid he always ran out, he had Costco variations of whatever was in his home carrier. In one instance, I believe there was a sport to see how quickly he could get things out of it. That case was his universe, in Gary’s eyes. And that’s why it was therefore difficult to watch that particular season in which Selina gave him a fresh bag. It’s similar to Linus ‘ cover. &nbsp,

    Here’s a excitement point. I watch [the projects I create ] again, but I never watch them again. However, I’m a gaffe on the reels. Every Veep joke reel is stored in my Dropbox, which makes me feel joyous right away. I put them all on a flash drive and distributed them as a pack gift to the throw. I don’t recall a lot of things. But I do recall the outtakes. &nbsp, &nbsp,

    Having a dread of Inside Out 2 from Pixar.

    One of my five favorite films is Inside Out. I can recall seeing that drama and thinking,” How did they conceive this?” They evoked and resounded sensations. Even after voicing” Forky” in [ Toy Story 4], I had to get past that starry-eyed thing toward Pixar. But they are undoubtedly very beautiful. When they told me the tale of Inside Out 2, I asked them,” What’s the difference between fear and anxiety?” They asserted that “fear is a real danger.” Anxiety is viewed as a risk. It is fantastic. &nbsp,

    On NBC Comedy Community&nbsp, playing an Anti-Ghost Pottery Professor

    Joel McHale, a community sun, is one of my friends. Because they were manufacturers on the show and I had worked with them on Arrested Development, I believe Anthony and Joe Russo directed that one. I can recall hitting my feet against the door with great force and preventing it from getting angry. However, it was for artwork!

    Making and starring in the home scene from the movie

    It took eight times for the product to be produced. The concept and text were both written and directed by my friend, Seth Worley, who is the writer-director. We simply exchanged information for a short while while trying to find funding and such things. It’s similar to introducing a child into the universe. It’s a feeling I haven’t had because I haven’t produced many. But I’m so pleased with it. &nbsp,

    I play a single father who is extremely concerned that his daughter’s drawings turn out to be quite mad. We call it” Inside Out meets Jurassic Park.” It’s a truly enjoyable home adventure with a focus on memory-processing. The Goonies was one of my childhood favorites. My kids were made to watch it over and over, and I think they didn’t care because it was a fun experience. I have a child, and there are many shows I have to watch over and over again and I was like,” I can’t see this again.”

    Tony Hale: King of the Manchildren was the first article on Den of Geek.

  • Designing for the Unexpected

    Designing for the Unexpected

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

    Flash, Photoshop, and flexible style

    When I first started designing sites, my go-to technology was Photoshop. I started by making a design for a 960px canvas that I would later add glad to. The growth phase was about attaining pixel-perfect precision using set widths, fixed levels, and absolute setting.

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

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

    A new way to style

    Making articles accessible to all devices a priority when designing responsive or liquid websites has always been the goal. 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 concerns

    The next ingredient for flexible design is press queries. Without them, regardless of whether the information was still readable, may reduce to fit the available space.

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

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

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

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

    Another difficulty arose as I moved from a design firm building websites for tiny- 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 concerns allow components to adapt based on the viewport size, but what if I put a component into a sidebar, like in the figure below?

    Container queries: our savior or a false dawn?

    Container queries have long been touted as an improvement upon media queries, but at the time of writing are unsupported in most browsers. 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 elements should be used to replace responsive layouts.

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

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

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

    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 way, but never make it smaller than the content that is inside.”

    —Jen Simmons,” Designing Intrinsic Layouts”

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

    What 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 to have the same breakpoints or content as in the previous implementation, components and patterns can be removed and reused.

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

    Another 2010 moment?

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

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

    One possible explanation for that is that I now work for a sizable company, which is quite different from the design agency position I held 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 all-new; it’s about applying existing skills and CSS knowledge in a unique way.

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

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

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

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

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

    How do you do that now, with each component responding to content and layouts flexing as and when they need to? Personally, I’m a big fan of this kind of design in the browser.

    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. Still in use? 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, such as in our earlier Subgrid card illustration, which allowed the cards to make adjustments to both their own and sibling elements.

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

    Instead of the dated markup tricks below,

    First line of text with different styling...

    —we can target content based on where it appears.

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

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

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

    Directional variables must be set in the Sass version.

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

    These variables can be used as values—

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

    —or as real estate.

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

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

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

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

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

    Fluid and fixed

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

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

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

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

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

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

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

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

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

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

    With these techniques, we have a content-first approach to responsive design. We can separate content from markup, meaning the changes users make will not affect the design. By 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”?

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

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

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

    Responsible design is important.

    ” 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 disconnects in connectivity in the real world. There is nothing more frustrating than a web page that won’t load, but there are ways we can help users use less data or deal with sporadic connectivity.

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

    Image alt text

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

      

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

    …

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

    So how can we put users in control?

    The media queries are returning.

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

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

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

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

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

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

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

    Expect the unexpected

    In the end, 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 the same way we do for this constantly changing landscape. By putting content first and allowing that content to adapt to whatever space surrounds it, we can create more robust, flexible designs that increase the longevity of our products.

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

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

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

  • Asynchronous Design Critique: Getting Feedback

    Asynchronous Design Critique: Getting Feedback

    ” Any opinion” you might have? is perhaps one of the worst ways to ask for opinions. It’s obscure and unfocused, 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.

    When we realize that receiving input can be seen as a form of design study, it might seem counterintuitive to begin the process with a question. 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 examine what we got up, get to the base of its perspectives, and take action. 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 mind” at the end of a presentation are likely to garner a lot of different ideas, or worse, to make people follow the lead of the first speaker. And next… we get frustrated because vague issues like those you turn a high-level moves review into folks rather commenting on the borders of buttons. Which topic may be important, so it might be difficult to get the team to pay attention to it.

    But how do we get into this scenario? It’s a combination of various aspects. 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’s even a form of acceptance because it specifies what kind of comments you’d like to receive and how you’re open to them. It puts people in the right emotional state, especially in situations when they weren’t expecting to give opinions.

    There isn’t a second best method to request feedback. It simply needs to be certain, and sensitivity can take several shapes. The one of stage over 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 consumer 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 opinions into updated designs as the project has evolved. The layers of user experience could serve as a starting point for future inquiries. What do you want to know: Project objectives? user requirements? Functionality? Content? Interaction design? 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: This page contains two competing pieces of information. Is the structure effective in communicating them both?
    • User interface design: What do you think about the error counter at the top of the page, which makes sure you see the next error even if it 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. Are there any ways to deal with 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 when switching between iterations because it’s crucial to highlight the changes made.

    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 it possible to look specific, but you can identify the “good” qualifier and make the question” When the block opens and the buttons appear, is it clear what the next action is” look like?

    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 getting back into rabbit holes like those that could lead to even more refinement if what’s important right now isn’t.

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

    The iteration

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

    The asynchronous design-critique approach that I find most effective is to 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 every iteration post, I would copy and paste this, so I could do it again. 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 provide all I need to know about the most recent design.

    This copy-and-paste part introduces another relevant concept: alignment comes from repetition. Therefore, repeating information in posts 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.

    Because it makes it easier to refer to the objects, it might also be helpful to have clear names on them. Write the post in a way that helps people understand the work. It’s not very 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. 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 a draft, just a concept to start a discussion, or it might be a cumulative list of all the features that have been added 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. One can quickly say,” This was discussed in i4″ with each project, and everyone knows where to go to review things.
    • Unassuming—It works like versions ( such as v1, v2, and v3 ) but in contrast, versions create the impression of something that’s big, exhaustive, and complete. Exploratory, incomplete, or partial should be the definition of an argument.
    • 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 areas that still need improvement and, in turn, require more iterations, such as” with i8 we reached RC” or “i12 is an RC” to indicate when it is finished.

    The review

    A back-and-forth between two people that can be very productive typically occurs during a design critique. This approach is particularly effective during live, synchronous feedback. However, when we work asynchronously, it is more effective to adopt a different strategy: 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 around these friction points because of this shift’s significant benefits:

    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 point is having to press yourself to respond to each and every comment. Sometimes we write the iteration post, and we get replies from our team. It’s just a few of them, it’s simple, and there isn’t much to worry about. 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. If the respondent is a stakeholder or a person directly involved in the project, this might be especially true. 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. The response is received when the design changes and a follow-up iteration is made. 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. These will be included in the upcoming iteration. In some cases, this could also be just a single top-level comment along the lines of” Thanks for all the feedback everyone—the next iteration is coming soon”!
    • Another option is to provide a quick summary of the comments before moving on. Depending on your workflow, this can be particularly useful as it can provide a simplified checklist that you can then use for the next iteration.

    The 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 has two benefits: first, they might point out something that isn’t clear, and second, they might serve as a reference point for someone who is first viewing the design. 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 up with a conclusion that you can support, 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 has the most background and knowledge to make the best 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.

  • Sustainable Web Design, An Excerpt

    Sustainable Web Design, An Excerpt

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

    However, on May 6, 1956, Roger Bannister caught anyone by surprise. 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 was possible because of this change in the standard. Bannister’s history lasted just forty-six days, when it was snatched aside by American sprinter John Landy. Finally, 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 accomplish a lot more when we think something is possible, and we only think it can be done when we see someone else doing it after all. As for man running speed, we also think there are the strictest requirements for how a website should do.

    Establishing requirements for a green website

    The essential environmental performance indicators for the majority of major industries are pretty well established, such as power per square metre for homes and miles per gallon for cars. The tools and methods for calculating those measures are standardized as well, which keeps everyone on the same site when doing economic evaluations. However, in the world of websites and apps, we aren’t held to any specific environmental standards, and we have only recently developed the tools and methods we need to actually 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 amount of CO2 that a website merchandise produces. We can’t assess the pollutants coming out of the exhaust valves on our laptops. Our websites ‘ emissions are far away, out of mind, and out of sight when fuel and fuel are burned in power plants. We have no way to track the particles from a website or app up to the power station where the light is being generated and really know the exact amount of house oil produced. What then do we do?

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

    1. Transfer of data
    2. Electricity’s carbon 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 great example of how much energy is consumed and how much carbon is released. As a rule of thumb, the more data transferred, the more energy used in the data center, telecoms networks, and end user devices.

    The page weight, or the page’s transfer size in kilobytes, can be most easily calculated for a single visit for web pages. 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 the majority 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 the majority of technologies, including the web’s underlying technology like data centers and transmission networks, become more and more energy-efficient, websites themselves become less effective as time goes on.

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

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

    We can set a page weight budget in reference to a benchmark of industry averages, using data from sources like HTTP Archive. We can also use the page weight to compare it to competitors or the outdated website we’re replacing. 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 are likely to have a high percentage of the files cached in their browser, which means they don’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 beyond the first visit and measuring page weight budgets for scenarios beyond this level of detail 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 actually provide direct information on carbon emissions and energy consumption, 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 carbon 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 have some control over where our projects are hosted, we do not have complete control over the energy supply of web services. With a data center using a significant proportion of the energy of any website, locating the data center in an area with low carbon energy will tangibly reduce its carbon emissions. Danish startup Tomorrow reports and maps the user-provided data, and a look at their map demonstrates how, for instance, choosing a data center in France will 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 energy to transmit data through the telecom’s networks, and the more energy is used. Just like food miles, we can think of the distance from the data center to the website’s core user base as “megabyte miles” —and we want it to be as small as possible.

    We can use website analytics to determine the country, state, or even city where our core user group is located and measure the distance 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 look up the travel distance between London and San Francisco, 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. A tool my team created accomplishes this by measuring the data transfer over the wire when a web page is loaded, calculating the associated electricity consumption, and then converting that data into a CO2 figure ( Fig. 2.4). It also factors in whether or not the web hosting is powered by renewable energy.

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

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

    All of these advances are exciting and open up new possibilities for what the web can do to serve society and create positive experiences. However, more energy is used by the user’s devices as a result of the user’s web browser’s increased computation. This has implications not just environmentally, but also for user experience and inclusivity. Applications that put a lot of processing power on a user’s device unintentionally make them use older, slower devices and make their phones and laptops ‘ batteries discharge 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. This not only hurts the environment, but it also places a disproportionate financial burden on society’s poorest.

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

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

  • Voice Content and Usability

    Voice Content and Usability

    We’ve been conversing for a long time. Whether to present information, perform transactions, or just to check in on one another, people have yammered aside, chattering and gesticulating, through spoken discussion for many generations. Only recently had 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 verbal interpersonal cues.

    In contrast, written language develops its own fossil record of dated terms and phrases as we report it and retain utilization long after they are no longer relevant 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 dialect 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 by:

    • we need something done ( such as a transaction ),
    • we want to hear something, 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 interpersonal, 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 voice interaction is a conversation, but it is not always just one voice interaction.

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

    That leaves two different types of conversations we can have with one another that a voice interface can also have easily, such as one that focuses on a transactional voice interaction ( buying iced tea ) and another on 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?

    Large, Alison.

    Burhan: Anything else?

    Alison: No thanks, that’s it.

    Burhan: Something to drink?

    I’ll have a bottle of Coke, Alison.

    Burhan: You got it. That will cost$ 13.55 and take about fifteen minutes.

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

    Informational voice interactions

    Meanwhile, some conversations are primarily about obtaining information. Alison might visit Crust Deluxe with the sole intention of placing an order, but she might not want to leave with a pizza at all. She might be just as interested in whether they serve halal or kosher dishes, gluten-free options, or something else. We’re after much more than just a prosocial mini-conversation at the beginning, even though we do it once more to establish politeness.

    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.

    Do you have any halal options available on the menu, Alison?

    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 radically different. Here, the goal is to get a certain set of facts. Informational conversations are research expeditions to gather data, news, or facts, or they are investigative quests for 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 to ensure that the customer understands the main ideas.

    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 depend entirely on spoken conversation and lack any visual component, making multimodal voice interfaces much more nuanced and challenging to deal with because they 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 engaged in authentic conversation with the advent of interactive voice response ( IVR ) systems, which were created 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. When you call an airline or hotel company, which is a common practice in the corporate world, these systems were primarily intended as metaphorical switchboards to direct customers to a real phone agent (” Say Reservations to book a flight or check an itinerary” ), which are more likely to happen when you call 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 conversation than we’re used to in real life ( or even in science fiction ), but they are great for highly repetitive, monotonous conversations that typically don’t veer from a single format.

    Screen readers

    The invention of the screen reader, a tool that converts visual content into synthesized speech, was a development of IVR systems in parallel. 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 delivery of content via voice is represented by screen readers.

    Among the first screen readers known by that moniker was the Screen Reader for the BBC Micro and NEEC Portable developed by the Research Centre for the Education of the Visually Handicapped (RCEVH) at the University of Birmingham in 1986 ( ). 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. in A List Apart, writes Aaron Gustafson, “into useful information.” ” At least they do when documents are authored thoughtfully” ( ).

    There’s a big deal with screen readers: they’re difficult to use and relentlessly verbose, despite being incredibly instructive for voice interface designers. 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 before converting it to audio only after that. 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 find that voice interfaces, especially more contemporary voice assistants, provide a more streamlined experience.

    Voice assistants

    Many of us immediately associate voice assistants with the popular subset of voice interfaces found in living rooms, smart homes, and offices with the film A Space Odyssey or with Majel Barrett’s voice as the omniscient computer from 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 gaining more and 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 constrained by the limitations of Siri and Cortana are increasingly using programmable voice assistants that are extensibable and customizable. 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 today have the option to choose from among the thousands of custom-built skills available in the Google Assistant and Amazon Alexa ecosystems.

    As businesses like Amazon, Apple, Microsoft, and Google continue to dominate their markets, they are also selling and open-sourcing an unmatched range of tools and frameworks for designers and developers, aiming to make creating voice interfaces as simple as possible, even without the use of any 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 content in this book being delivered auditorically, not as an option but as a necessity.

    For many of us, our first foray into informational voice interfaces will be to deliver content to users. There is only one issue: 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, colossal vaults of what I call macrocontent: lengthy prose that can last for miles in a browser window, like microfilm viewers of newspaper archives. Back in 2002, well before the present-day ubiquity of voice assistants, technologist Anil Dash defined microcontent as permalinked pieces of content that stay legible regardless of environment, such as email or text messages:

    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. The best way to learn how to stretch your content to the limits of its potential is through microcontent, which will inform both established and new delivery methods.

    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 captive for so long that we can’t quickly evade or skip, a feature that screen reader users are all too familiar with.

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

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

  • A Content Model Is Not a Design System

    A Content Model Is Not a Design System

    Do you recall the days gone by when having a successful site was sufficient? Nowadays, people are getting answers from Siri, Google search fragments, and mobile applications, not only our websites. Companies with forward-thinking goals have adopted an holistic information plan whose goal is to reach people across a variety of digital stations and platforms.

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

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

    A content type is essential for an omnichannel information strategy, and the model needed conceptual types, which are types of types that are categorized according to their meaning rather than their presentation. Our aim was to allow writers to write articles and use it where necessary. But as the job proceeded, I realized that supporting material utilize at the range that my client needed required the whole group to identify a new pattern.

    Despite our best efforts, we remained influenced by what we were more common with: design methods. 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 must be followed in order to create 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, content models must define semantics.
    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 how it will be displayed. For example, in a nonsemantic model, teams might create types like teasers, media blocks, and cards. These types may make it simple to present 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. In contrast, a semantic content model uses type names like “product,”” service,” and “testimonial” to allow for each delivery channel to interpret and use the content as it sees fit.

    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. In this way, content can withstand irrational website redesigns.
    • A semantic content model also gives you an advantage in the market. By adding structured data based on Schema. A website can provide hints to Google to understand the content, display it in search snippets or knowledge panels, and use it to respond to user voice-interface queries. Potential customers could access your content without ever visiting your website.
    • 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-versed in designing systems frequently led us to want to develop content models that would break content into smaller pieces to fit the web-centric layout. Similar effects could have been felt to an article that had its headline removed. Because we were slicing content into standalone pieces based on layout, content that belonged together became difficult to manage and nearly impossible for multiple delivery channels to understand.

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

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

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

    Our customer had a breakthrough when we realized that for each tab, their customer had a specific purpose in mind: it would reveal specific information like the software product’s overview, specifications, related resources, and pricing. Once implementation began, our inclination to focus on what’s visual and familiar had obscured the intent of the designs. It wasn’t long after a little digging that it became clear that the idea of tabs wasn’t applicable to the content model. What was important was the meaning of the information that was intended to be displayed 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 created content types for the software product based on the meaningful attributes the client wanted to display on the web. There were both obvious semantic attributes like name and description and rich ones like screenshots, software requirements, and feature lists. The software’s product information stayed together because it wasn’t sliced across separate components like “tab sections” that were derived from the content’s presentation. Any delivery channel, including those that follow, could comprehend and display this content.

    Conclusion

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

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

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

  • Design for Safety, An Excerpt

    Design for Safety, An Excerpt

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

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

    The procedure for equitable safety

    Your objectives when designing for protection are as follows:

    • determine way your product can be used for misuse,
    • style ways to prevent the maltreatment, and
    • offer assistance for harmed people to regain control and power.

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

    • conducting studies
    • Creating tropes
    • Pondering issues
    • Designing answers
    • Testing for health

    It is intended to be flexible, so teams might not want to apply every action in all circumstances. Use the parts that are related to your special function and environment, this is meant to be something you can put into your existing style process.

    And once you use it, if you have an idea for making it better or simply want to give perspective of how it helped your staff, please get in touch with me. It’s a life report that I hope technicians can use as a practical and useful resource in their day-to-day work.

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

    Step 1: Conduct research

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

    broad research

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

    Specific research: Survivors

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

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

    Specific research: Abusers

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

    Step 2: Create archetypes

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

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

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

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

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

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

    3. Brainstorming issues

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

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

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

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

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

    Step 4: Design solutions

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

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

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

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

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

    Step 5: Test for safety

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

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

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

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

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

    testing for abuse

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

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

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

    Survivor testing

    Survivor testing involves identifying how to give information and power to the survivor. It might not always make sense based on the product or context. The survivor archetype’s goal of not being stalked is satisfied by preventing an attempt by an abuser archetype to stalk someone, so separate testing from the survivor’s perspective wouldn’t be required.

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

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

    Stress testing

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