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  • Marvel Movies Ranked From Worst to Best (Including Captain America Brave New World)

    Marvel Movies Ranked From Worst to Best (Including Captain America Brave New World)

    This article contains spoilers for the entire Marvel Cinematic Universe. The Fox-Verse to. When Captain America throws his mighty weapon, people show up in venues. At least, that’s the lesson from the box office for the open weekends of Captain America: Brave New World. [ ] Anthony Mackie’s first appearance as the Sentinel of Liberty has met.

    The first article on Den of Geek was titled Marvel Movies Ranked From Worst to Best ( Including Captain America Brave New World ).

    When one becomes a part of the Saturday Night Live community, it takes a lot to find excommunicated.

    The most infamous case of a innovative not being invited back to NBC &#8217, s long-running comedic establishment is, of course, Sinéad O&#8217, Connor. In a 1992 show of SNL, the British singer, songwriter, and advocate concluded a handle of Bob Marley &#8217, s &#8220, War&#8221, by tearing a portrait of then-Pope John Paul II to pieces. Though O&#8217, Connor&#8217, s stated goal of protesting the Catholic Church&#8217, s story of physical, sexual and emotional abuse of adolescent congregation was also reasoned, it was perhaps to ahead of its time. She would then be criticized by numerous companies before possibly being denied SNL‘s ability to return.

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

    Following O&#8217, Connor&#8217, s dying in 2023, SNL began to loosen its attitude towards her provocative performance. The best mea culpa arrived on February 16, 2025, during the present &#8217, s sprawling, three-hour-long spread SNL50: The Celebration Special, in which Miley Cyrus and Brittany Howard covered O&#8217, Connor&#8217, s typical &#8220, Nothing Compares 2 U. &#8221, While that was probably the biggest time of peace in SNL50, there was another, much person, example of a banished entertainer getting a cry near the end of the exclusive.

    When Adrien Brody hosted Saturday Night Live for the first and only day in May 2003, he was on top of the world. Brody was eager to take any challenge SNL had put his manner, having just won the Best Artist Oscar for his amazing change in The Pianist two months prior. Unfortunately, he was too ready and too game as the committed SNL creator Lorne Michaels &#8217, cardinal sin: he went off script.

    When the time came to welcome musical guest Sean Paul &#8211, which is typically a straightforward, tedious task for the host &#8211, Brody made the decision to spice things up a little. He staged himself in a dreadlocked wig and extensively vamped in a hostile Jamaican patois about &#8230, people dubbed Sean. And said &#8220, respeck mah neck&#8221, a couple of times? It was at least a little bit racist, a lot of bit incomprehensible, and most damningly for the live show, completely unplanned.

    Brody has criticized the claim that he was barred from SNL in recent interviews to promote The Brutalist ( for which he will likely receive another Oscar ). He told Vulture that Lorne wasn’t happy with me embellishing a little, but they allowed me to. Whether or not there was a ban, Brody joined the ranks of people like O &#8217 and Connor, who were pointlessly never contacted back to Studio 8H.

    Important dates like anniversaries have a way of healing old wounds, of course. Because, while Brody didn&#8217, t receive as touching a shoutout as O&#8217, Connor did in SNL50, his inexplicable Rastaman improv did make an appearance in a hilarious compilation. Introduced by Tom Hanks, SNL50: The Anniversary Special took some time out for a special &#8220, In Memorium&#8221, segment of canceled SNL characters and moments that were no longer appropriate for the modern world.

    The reasoning for many of these canceled artifacts were clear from &#8220, ethnic stereotypes &#8221, to &#8220, body shaming &#8221, to &#8220, sexual harassment. &#8221, Adrien Brody &#8217, s rasta moment, however, was accompanied by a simple &#8220, woah. &#8221, All these years later, there seems no better way to describe whatever it was that was than &#8220, woah. &#8221,

    The post SNL50 Referenced Saturday Night Live&#8217, s Strangest Hosting Controversy appeared first on Den of Geek.

  • American Murder: Gabby Petito – The Most Important Takeaways from Netflix’s Docuseries

    American Murder: Gabby Petito – The Most Important Takeaways from Netflix’s Docuseries

    As a family of youth, I usually worry about the consequences of raising my kids in a world filled with celebrities, social media, and extraordinary texting. Gabby Petito, who was just 22 when killed by her boyfriend, Brian Laundrie, in 2021, was among the first generations to grow up watching YouTube and counting “likes” on ]… ]

    The first episode of Den of Geek was titled” American Murder: Gabby Petito– The Most Important Restaurants from Netflix’s Docuseries.”

    When one becomes a part of the Saturday Night Live community, it takes a lot to find excommunicated.

    The most infamous case of a innovative not being invited back to NBC &#8217, s long-running comedic organization is, of course, Sinéad O&#8217, Connor. In a 1992 show of SNL, the British singer, songwriter, and advocate concluded a handle of Bob Marley &#8217, s &#8220, War&#8221, by tearing a picture of then-Pope John Paul II to pieces. Though O&#8217, Connor&#8217, s stated goal of protesting the Catholic Church&#8217, s story of physical, sexual and emotional abuse of adolescent congregation was also reasoned, it was perhaps to ahead of its time. She would then be criticized by numerous businesses before ever being denied SNL‘s ability to return.

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

    Following O&#8217, Connor&#8217, s dying in 2023, SNL began to loosen its attitude towards her provocative performance. The best mea culpa arrived on February 16, 2025, during the present &#8217, s sprawling, three-hour-long spread SNL50: The Celebration Special, in which Miley Cyrus and Brittany Howard covered O&#8217, Connor&#8217, s traditional &#8220, Nothing Compares 2 U. &#8221, While that was probably the biggest time of peace in SNL50, there was another, much person, example of a banished entertainer getting a cry near the end of the exclusive.

    When Adrien Brody hosted Saturday Night Live for the first and only time in May 2003, he was at the top of the universe. Brody was eager to take any challenge SNL had put his manner, having just won the Best Artist Oscar for his amazing change in The Pianist two months prior. Unfortunately, he was very ready and to activity as the dedicated SNL creator Lorne Michaels &#8217, saint sin: he went off script.

    When the time came to welcome musical guest Sean Paul &#8211, which is typically a straightforward, tedious task for the host &#8211, Brody made the decision to spice things up a little. He staged himself in a dreadlocked wig and extensively vamped in a obscene Jamaican patois about Sean, who were they? And said &#8220, respeck mah neck&#8221, a couple of times? It was at least a little bit racist, a lot of bit incomprehensible, and most damningly for the live show, completely unplanned.

    Brody has criticized the claim that he was barred from SNL in recent interviews to promote The Brutalist, telling Vulture that Lorne wasn’t happy with me embellishing a little, but they gave it my permission. Whether or not there was a ban, Brody joined the ranks of people like O &#8217 and Connor, who were pointlessly never contacted back to Studio 8H.

    Important dates like anniversaries have the ability to heal old wounds, of course. Because, while Brody didn&#8217, t receive as touching a shoutout as O&#8217, Connor did in SNL50, his inexplicable Rastaman improv did make an appearance in a hilarious compilation. Introduced by Tom Hanks, SNL50: The Anniversary Special took some time out for a special &#8220, In Memorium&#8221, segment of canceled SNL characters and moments that were no longer appropriate for the modern world.

    The reasoning for many of these canceled artifacts were clear from &#8220, ethnic stereotypes &#8221, to &#8220, body shaming &#8221, to &#8220, sexual harassment. &#8221, Adrien Brody &#8217, s rasta moment, however, was accompanied by a simple &#8220, woah. &#8221, All these years later, there seems no better way to describe whatever it was that was than &#8220, woah. &#8221,

    The post SNL50 Referenced Saturday Night Live&#8217, s Strangest Hosting Controversy appeared first on Den of Geek.

  • Daisy Ridley on Facing Her Real-Life Fear of Heights in Cleaner

    Daisy Ridley on Facing Her Real-Life Fear of Heights in Cleaner

    Daisy Ridley has not loved levels. For some people who erroneously believe a Jedi can experience fear, that might surprise them. But more realistically, it’s simply impressive since her new action-movie, director Martin Campbell’s Cleaner, stars Ridley as a window-cleaner … who must dangle precariously off the side of a building for much of the film’s taut ]…]

    The second article on Den of Geek was Daisy Ridley on Facing Her Real-Life Fear of Heights in Cleaner.

    When one becomes a part of the Saturday Night Live community, it takes a lot to find excommunicated.

    The most infamous case of a innovative not being invited back to NBC &#8217, s long-running comedic establishment is, of course, Sinéad O&#8217, Connor. In a 1992 show of SNL, the British singer, songwriter, and advocate concluded a handle of Bob Marley &#8217, s &#8220, War&#8221, by tearing a picture of then-Pope John Paul II to pieces. Though O&#8217, Connor&#8217, s stated goal of protesting the Catholic Church&#8217, s story of physical, sexual and emotional abuse of adolescent congregation was also reasoned, it was perhaps to ahead of its time. She would later receive widespread condemnation, and SNL finally forbids her from ever returning.

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

    Following O&#8217, Connor&#8217, s dying in 2023, SNL began to loosen its attitude towards her provocative performance. The best mea culpa arrived on February 16, 2025, during the present &#8217, s sprawling, three-hour-long spread SNL50: The Celebration Special, in which Miley Cyrus and Brittany Howard covered O&#8217, Connor&#8217, s traditional &#8220, Nothing Compares 2 U. &#8221, While that was probably the biggest time of peace in SNL50, there was another, much person, example of a banished entertainer getting a cry near the end of the exclusive.

    When Adrien Brody hosted Saturday Night Live for the first time in May 2003, he was the face of the world. Brody was eager to handle whatever SNL had put his manner, having just won a Best Professional Oscar for his amazing turn in The Pianist two months prior. Unfortunately, he was too ready and too game as the committed SNL creator Lorne Michaels &#8217, cardinal sin: he went off script.

    Brody chose to spice things up a little when it came time to welcome musical guest Sean Paul &#8211, which is typically a straightforward, trivial task for the host &#8211. He staged himself in a dreadlocked wig and extensively vamped in a obscene Jamaican patois about Sean, who were they? And said &#8220, respeck mah neck&#8221, a couple of times? It was at least a little bit racist, a lot of bit incomprehensible, and most damningly for the live show, completely unplanned.

    Brody has criticized the claim that he was barred from SNL in recent interviews to promote The Brutalist ( for which he will likely win another Oscar ), telling Vulture that Lorne wasn’t happy with me embellishing a little, but they allowed me to. Whether or not there was a ban, Brody joined the ranks of people like O &#8217 and Connor, who were pointlessly never contacted back to Studio 8H.

    Important dates like anniversaries have a way of healing old wounds, of course. Because, while Brody didn&#8217, t receive as touching a shoutout as O&#8217, Connor did in SNL50, his inexplicable Rastaman improv did make an appearance in a hilarious compilation. Introduced by Tom Hanks, SNL50: The Anniversary Special took some time out for a special &#8220, In Memorium&#8221, segment of canceled SNL characters and moments that were no longer appropriate for the modern world.

    The reasoning for many of these canceled artifacts were clear from &#8220, ethnic stereotypes &#8221, to &#8220, body shaming &#8221, to &#8220, sexual harassment. &#8221, Adrien Brody &#8217, s rasta moment, however, was accompanied by a simple &#8220, woah. &#8221, All these years later, there seems no better way to describe whatever it was that was than &#8220, woah. &#8221,

    The post SNL50 Referenced Saturday Night Live&#8217, s Strangest Hosting Controversy appeared first on Den of Geek.

  • Ambessa: Chosen of the Wolf Sheds Light on Arcane Origins and Possible Future Storylines

    Ambessa: Chosen of the Wolf Sheds Light on Arcane Origins and Possible Future Storylines

    Ambessa Medarda is unlikely to be the first decision of the Arcane lineup of fans to ask which figure they wanted to learn more about in a full-length tale. She definitely wouldn’t even be among the top third of those who desired more background information. Yet here we are with C. L. Clark’s Ambessa: ]… ]

    On Den of Geek, a blog titled” Ambessa: Chosen of the Wolf Sheds Light on Arcane Origins and Possible Future Storylines appeared first.

    When one becomes a part of the Saturday Night Live community, it takes a lot to find excommunicated.

    The most infamous case of a innovative not being invited back to NBC &#8217, s long-running comedic establishment is, of course, Sinéad O&#8217, Connor. In a 1992 show of SNL, the British singer, songwriter, and advocate concluded a handle of Bob Marley &#8217, s &#8220, War&#8221, by tearing a portrait of then-Pope John Paul II to pieces. Though O&#8217, Connor&#8217, s stated goal of protesting the Catholic Church&#8217, s story of physical, sexual and emotional abuse of adolescent congregation was also reasoned, it was perhaps to ahead of its time. She would later receive widespread condemnation, and SNL eventually forbids her from ever returning.

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

    Following O&#8217, Connor&#8217, s dying in 2023, SNL began to loosen its attitude towards her provocative performance. The best mea culpa arrived on February 16, 2025, during the present &#8217, s sprawling, three-hour-long spread SNL50: The Celebration Special, in which Miley Cyrus and Brittany Howard covered O&#8217, Connor&#8217, s traditional &#8220, Nothing Compares 2 U. &#8221, While that was probably the biggest time of peace in SNL50, there was another, much person, example of a banished entertainer getting a cry near the end of the exclusive.

    When Adrien Brody hosted Saturday Night Live for the first and only day in May 2003, he was on top of the world. Brody was ready and eager for something SNL had put his manner, having just won a Best Artist Oscar for his amazing change in The Pianist two months prior. Unfortunately, he was very ready and to match as the dedicated SNL inventor Lorne Michaels &#8217, saint sin: he went off script.

    Brody chose to spice things up a little when it came time to welcome music host Sean Paul &#8211, which is typically just a simple, passing chore for the sponsor &#8211. He staged himself in a bearded wig and heavily vamped during a hostile Jamaican patois, dubbed Sean, by the audience. And said &#8220, respeck mah neck&#8221, a couple of times? It was at least a little bit racist, a lot of little inexplicable, and most glaringly for the life present, fully unplanned.

    Brody has criticized the claim that he was barred from SNL in recent interviews to promote The Brutalist ( for which he will likely win another Oscar ), telling Vulture that Lorne wasn’t happy with me embellishing a little, but they allowed me to. &#8221, Ban or no ban, Brody joined the ranks of people like O&#8217 and Connor, who were pointlessly never invited back to Studio 8H.

    Important dates like anniversaries have the ability to heal old wounds, of course. Because, while Brody didn&#8217, t receive as touching a shoutout as O&#8217, Connor did in SNL50, his inexplicable Rastaman improv did make an appearance in a hilarious compilation. Introduced by Tom Hanks, SNL50: The Anniversary Special took some time out for a special &#8220, In Memorium&#8221, segment of canceled SNL characters and moments that were no longer appropriate for the modern world.

    The reasoning for many of these canceled artifacts were clear from &#8220, ethnic stereotypes &#8221, to &#8220, body shaming &#8221, to &#8220, sexual harassment. &#8221, Adrien Brody &#8217, s rasta moment, however, was accompanied by a simple &#8220, woah. &#8221, All these years later, there seems no better way to describe whatever it was that was than &#8220, woah. &#8221,

    The post SNL50 Referenced Saturday Night Live&#8217, s Strangest Hosting Controversy appeared first on Den of Geek.

  • The White Lotus Season 3 Ratings Reveal Appointment TV Is Alive and Well

    The White Lotus Season 3 Ratings Reveal Appointment TV Is Alive and Well

    There’s also nothing better than sitting down to watch a present life and knowing that millions of people around the world are doing the same thing even though the binge-watching model of television that was popularized in the streaming period has changed how people watch TV. Whereas people used to collect around water cooler in their offices to […]

    On Den of Geek, the second article The White Lotus Season 3 Ratings Reveal Appointment Television Is Alive and Effectively.

    When one becomes a part of the Saturday Night Live community, it takes a lot to find excommunicated.

    The most infamous case of a innovative not being invited back to NBC &#8217, s long-running comedic organization is, of course, Sinéad O&#8217, Connor. In a 1992 show of SNL, the British singer, songwriter, and advocate concluded a handle of Bob Marley &#8217, s &#8220, War&#8221, by tearing a portrait of then-Pope John Paul II to pieces. Though O&#8217, Connor&#8217, s stated goal of protesting the Catholic Church&#8217, s story of physical, sexual and emotional abuse of adolescent congregation was also reasoned, it was perhaps to ahead of its time. She would then continue to receive harsh criticism from numerous companies before being permanently prohibited from ever returning to SNL.

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

    Following O&#8217, Connor&#8217, s dying in 2023, SNL began to loosen its attitude towards her provocative performance. The best mea culpa arrived on February 16, 2025, during the present &#8217, s sprawling, three-hour-long spread SNL50: The Celebration Special, in which Miley Cyrus and Brittany Howard covered O&#8217, Connor&#8217, s traditional &#8220, Nothing Compares 2 U. &#8221, While that was probably the biggest time of peace in SNL50, there was another, much person, example of a banished entertainer getting a cry near the end of the exclusive.

    When Adrien Brody hosted Saturday Night Live for the first and only time in May 2003, he was at the top of the universe. Brody was eager to take any challenge SNL had put his manner, having just won the Best Artist Oscar for his amazing change in The Pianist two months prior. Unfortunately, he was very ready and to match as the dedicated SNL inventor Lorne Michaels &#8217, saint sin: he went off script.

    When the day came to welcome musical host Sean Paul &#8211, which is typically a straightforward, tedious task for the number &#8211, Brody made the decision to spice things up a little. He staged himself in a bearded wig and heavily vamped during a hostile Jamaican patois, dubbed Sean, by the audience. And said &#8220, respeck mah neck&#8221, a couple of times? It was at least a little bit racist, a lot of little inexplicable, and most glaringly for the life present, fully unplanned.

    Brody has criticized the claim that he was barred from SNL in recent interviews to promote The Brutalist ( for which he will likely receive another Oscar ). He told Vulture that Lorne wasn’t happy with me embellishing a little, but they allowed me to. ”Ban or no ban, Brody joined the ranks of people like O’Connor who were pointlessly never invited back to Studio 8H.

    Important dates like anniversaries have a way of healing old wounds, of course. Because, while Brody didn&#8217, t receive as touching a shoutout as O&#8217, Connor did in SNL50, his inexplicable Rastaman improv did make an appearance in a hilarious compilation. Introduced by Tom Hanks, SNL50: The Anniversary Special took some time out for a special &#8220, In Memorium&#8221, segment of canceled SNL characters and moments that were no longer appropriate for the modern world.

    The reasoning for many of these canceled artifacts were clear from &#8220, ethnic stereotypes &#8221, to &#8220, body shaming &#8221, to &#8220, sexual harassment. &#8221, Adrien Brody &#8217, s rasta moment, however, was accompanied by a simple &#8220, woah. &#8221, All these years later, there seems no better way to describe whatever it was that was than &#8220, woah. &#8221,

    The post SNL50 Referenced Saturday Night Live&#8217, s Strangest Hosting Controversy appeared first on Den of Geek.

  • SNL50 Referenced Saturday Night Live’s Strangest Hosting Controversy

    SNL50 Referenced Saturday Night Live’s Strangest Hosting Controversy

    When one becomes a part of the Saturday Night Live community, it takes a lot to find excommunicated. The most renowned instance of a creative no being invited again to NBC’s long-running humorous organization is, of course, SinéadO’Connor. In a 1992 episode of SNL, the Irish singer, songwriter, and activist concluded a cover of]… ]

    The first article on Den of Geek was SNL50 Referenced Saturday Night Live’s Strangest Hosting Controversy.

    When one becomes a part of the Saturday Night Live community, it takes a lot to find excommunicated.

    The most infamous case of a innovative not being invited back to NBC &#8217, s long-running comedic establishment is, of course, Sinéad O&#8217, Connor. In a 1992 show of SNL, the British singer, songwriter, and advocate concluded a handle of Bob Marley &#8217, s &#8220, War&#8221, by tearing a portrait of then-Pope John Paul II to pieces. Though O&#8217, Connor&#8217, s stated goal of protesting the Catholic Church&#8217, s story of physical, sexual and emotional abuse of adolescent congregation was also reasoned, it was perhaps to ahead of its time. She would then continue to receive harsh criticism from numerous companies before being permanently prohibited from ever returning to SNL.

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

    Following O&#8217, Connor&#8217, s dying in 2023, SNL began to loosen its attitude towards her provocative performance. The best mea culpa arrived on February 16, 2025, during the present &#8217, s sprawling, three-hour-long spread SNL50: The Celebration Special, in which Miley Cyrus and Brittany Howard covered O&#8217, Connor&#8217, s traditional &#8220, Nothing Compares 2 U. &#8221, While that was probably the biggest time of peace in SNL50, there was another, much person, example of a banished entertainer getting a cry near the end of the exclusive.

    When Adrien Brody hosted Saturday Night Live for the first and only day in May 2003, he was on top of the world. Brody was ready and eager for something SNL had put his manner, having just won a Best Artist Oscar for his amazing change in The Pianist two months prior. Unfortunately, he was very ready and to match as the dedicated SNL inventor Lorne Michaels &#8217, saint sin: he went off script.

    Brody chose to spice things up a little when it came time to welcome music host Sean Paul &#8211, which is typically just a simple, passing chore for the sponsor &#8211. He staged himself in a bearded wig and heavily vamped in a obscene Jamaican patois about Sean, who were they? And said &#8220, respeck mah neck&#8221, a couple of times? It was at least a little bit racist, a lot of little inexplicable, and most glaringly for the life present, fully unplanned.

    Brody has criticized the claim that he was barred from SNL in subsequent conversations to encourage The Brutalist, telling Vulture that Lorne wasn’t happy with me embellishing a little, but they gave it my permission. ”Ban or no restrictions, Brody joined the ranks of people like O’Connor who were pointlessly not invited up to Studio 8H.

    Critical dates like birthdays have a way of healing old scars, of course. Because, while Brody didn&#8217, t receive as touching a shoutout as O&#8217, Connor did in SNL50, his unfathomable Rastaman improvisation did make an appearance in a brilliant compilation. Introduced by Tom Hanks, SNL50: The Celebration Special took some time out for a particular &#8220, In Memorium&#8221, portion of canceled SNL figures and times that were no longer suitable for the modern world.

    The reasoning for many of these canceled artifacts were clear from &#8220, ethnic stereotypes &#8221, to &#8220, body shaming &#8221, to &#8220, sexual harassment. &#8221, Adrien Brody &#8217, s rasta moment, however, was accompanied by a simple &#8220, woah. &#8221, All these years later, there seems no better way to describe whatever it was that was than &#8220, woah. &#8221,

    The post SNL50 Referenced Saturday Night Live&#8217, s Strangest Hosting Controversy appeared first on Den of Geek.

  • Beware the Cut ‘n’ Paste Persona

    Beware the Cut ‘n’ Paste Persona

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

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

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

    A step up, identities

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

    The decontextualization of identities

    Personalities are well-known because they make “dry” research information more realistic and people. However, this approach places a cap on the author’s ability to analyze the data in a way that excludes the subjects from their particular contexts. As a result, personalities don’t describe important factors that make you realize their decision-making method or allow you to connect to users ‘ thoughts and behavior, they lack stories. You are aware of the persona’s actions, but you lack the knowledge to know why. You end up with user images that are in reality less man.

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

    People are assumed to be stable, according to people.

    Here’s a painfully obvious truth: people are not a fixed set of characteristics, despite the fact that many businesses still try to recruit and retain their employees and customers using outdated personality tests ( referring to you, Myers-Briggs ). You act, think, and feel different according to the situations you experience. You may work helpful to some people, or you might act rude to others because you appear distinct to different people. And you constantly refute the selections you’ve made.

    Modern psychology agree that while persons usually behave according to certain styles, it’s actually a combination of history and culture that determines how people act and take decisions. The type of person you are at each precise moment depends on the context, the impact of other people, your mood, and the whole history that preceded it.

    Personas do not account for this variation in their attempt to improve reality; instead, they present a consumer as a set of features. Like personality tests, personas seize people away from real existence. Even worse, persons are labeled as” that kind of individual” with no means to practice their natural freedom. This behavior defies stereotypes, diminishes diversity, and doesn’t reveal reality.

    Personas rely on people, not the setting

    In the real world, you’re creating content for a situation, no an entity. There are economic, political, and cultural factors to consider when a person lives in a home, a community, or an ecosystem. A pattern is not meant for a single customer. Instead, you create a design for one or more specific situations where a large number of individuals may use that product. But, personas don’t explicitly explain how a person feels about the environment, rather than show the user.

    Do you generally make the same decision over and over again? Despite your pledge to eat vegan, you may still choose to purchase some meat when your friends visit. Your decisions, including your behavior, opinions, and statements, are not only completely accurate but greatly contextual because they vary with various circumstances and variables. The image that “represents” you wouldn’t take into account this interdependence, because it doesn’t explain the grounds of your choices. It doesn’t offer a explanation for why you act in the way you do. People practice the well-known attribution error, which states that they too often attribute others ‘ behavior to their personalities and not to the circumstances.

    As mentioned by the Interaction Design Foundation, identities are often placed in a situation that’s a” specific environment with a problem they want to or have to solve “—does that mean environment actually is considered? Sadly, it’s common to pick a fictional character and build a character’s behavior around a particular circumstance based on the literature. How could you possibly comprehend how someone you want to represent behave in new circumstances given that you haven’t yet thoroughly investigated and understood the present context of the people you want to represent?

    Personas are irrelevant statistics

    A image is depicted as a specific individual but is not a real people, as stated in Shlomo Goltz’s introduction post on Smashing Magazine; instead, it is made up of observations from numerous people. The popular example of the USA Air Force designing flights based on the average of 140 of their aircraft ‘ physical dimensions and not a single pilot truly fit within that average seat is a well-known criticism of this aspect of personalities.

    The same limitation applies to mental aspects of people. Have you ever heard a famous person say something like,” They took what I said out of context!” I didn’t mean it that way when they used my words. The celebrity’s statement was reported literally, but the reporter failed to explain the context around the statement and didn’t describe the non-verbal expressions. In the end, the intended meaning was lost. You collect someone’s statement ( or goal, need, or emotion ) into which its meaning can only be understood if it is provided with its own specific context, and then report it as an isolated finding.

    But personas go a step further, extracting a decontextualized finding and joining it with another decontextualized finding from somebody else. Because it lacks the underlying causes for and how that finding came about, the results of the analysis frequently fail to make sense. It’s unclear or even contradictory. It lacks any significance. And the persona doesn’t give you the full background of the person ( s ) to uncover this meaning: you would need to dive into the raw data for each single persona item to find it. What then is the persona’s purposeful purpose?

    People’s relatability can be deceiving.

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

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

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

    Dynamic Selves: The alternative to personas

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

    Designit suggests using mindsets rather than personas. Each Mindset is a” spectrum of attitudes and emotional responses that different people have within the same context or life experience”. It challenges designers to avoid getting fixated on just one person’s way of being. Unfortunately, despite being a step in the right direction, this proposal disregards the fact that people are influenced by how their personality, behavior, and, yes, mindset are shaped by their surroundings. Therefore, Mindsets are also not absolute but change in regard to the situation. What determines a certain Mindset, is the question still unanswered.

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

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

    Understand real people in a variety of contexts

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

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

    1. Select the appropriate sample.

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

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

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

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

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

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

    2. Conduct your research

    After having chosen and recruited your sample, conduct your research using ethnographic methodologies. This will give you more examples and anecdotes to enrich your qualitative data. Given COVID-19 restrictions, we transformed an internal ethnographic research project into remote family interviews conducted at home and accompanied by diary research for our example project.

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

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

    3. Analysis: Create the Dynamic Selves

    You begin to represent each individual as a series of dynamic selves during the research analysis, each” Self” representing a particular context. A quote serves as the foundation of each Dynamic Self, which is supported by a photo and a few relevant demographics that help to illustrate the larger context. The research findings themselves will show which demographics are relevant to show. The key demographics were family type, number and type of homes owned, economic status, and technological maturity in our case because our research focused on families and their way of life to understand their needs for thermal regulation. To facilitate the stakeholders ‘ transition from personas and be able to connect multiple actions and contexts to the same person, we also included the individual’s name and age, but they are optional.

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

    At the end of the research analysis, we displayed all of the Selves ‘” cards” on a single canvas, categorized by activities. A quote and a unique photo were displayed on each card, each illustrating a situation. Each participant had a different deck full of self-assessments.

    4. Identify potential designs

    You will start to notice patterns once you have taken all of the main quotes from the interview transcripts and diaries and written them down as self-cards. These patterns will highlight the opportunity areas for new product creation, new functionalities, and new services—for new design.

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

    Benefits of Dynamic Selves

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

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

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

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

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

    Another significant benefit of Dynamic Selves is that it raises the stakes of your work: if you ruin your design, someone you and the team know and have met will suffer the consequences. It might prompt you to perform daily design checks and may prevent you from taking shortcuts.

    And finally, real people in their specific contexts are a better basis for anecdotal storytelling and therefore are more effective in persuasion. Real research documentation is necessary to obtain this result. The circumstances of your design proposals resound in your mind when you encounter Alessandra. Noise, bad ergonomics, lack of light, you name it. I’m afraid that if we choose to use this functionality, we’ll add complexity to her life.

    Conclusion

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

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

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

  • Asynchronous Design Critique: Giving Feedback

    Asynchronous Design Critique: Giving Feedback

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

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

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

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

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

    The information

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

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

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

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

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

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

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

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

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

    For the question approach, the difference between the two can be demonstrated as an illustration:

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

    Or, for the request approach:

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

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

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

    Choosing between the request and question approaches can occasionally be influenced by one’s personal preferences. I did rounds of anonymous feedback and reviewed feedback with other people before putting a lot of effort into improving it a while ago. After a few rounds of this work and a year later, I got a positive response: my feedback came across as effective and grounded. until I switched teams. Surprise surprise, my next round of criticism from a specific person wasn’t very positive. The reason is that I had previously tried not to be prescriptive in my advice—because the people who I was previously working with preferred the open-ended question format over the request style of suggestions. However, there was a person in this other team who had always preferred specific guidance. So I changed my feedback so that it included requests.

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

    No, this style of feedback is actually efficient because the length here is a byproduct of clarity, and spending time giving this kind of feedback can provide exactly enough information for a good fix. Additionally, if we zoom out, it may lessen misunderstandings and back-and-forth conversations in the future, thereby increasing overall effectiveness and efficiency of collaboration beyond the single comment. Consider the example above where the feedback would be simply,” Let’s make sure that all screens have the same two forward and back buttons.” The designer receiving this feedback wouldn’t have much to go by, so they might just apply the change. The interface might change in later iterations or new features might be introduced, and perhaps the change won’t make sense anymore. The designer might assume that the change is about consistency without the explanation, but what if it wasn’t? So there could now be an underlying concern that changing the buttons would be perceived as a regression.

    Yes, this type of feedback is not always effective because some comments don’t always need to be thorough, some times because some changes are made because they don’t always follow our instructions, and others because the team may have extensive internal knowledge, which makes some of the whys possible be implied.

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

    The tone

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

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

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

    Timing refers to when the feedback happens. When given at the wrong time, to-the-point feedback has little chance of receiving favorable reception. When a new feature’s entire high-level information architecture is about to go on sale, it might still be relevant if the questioning raises a significant blocker that no one saw, but those concerns are much more likely to have to wait for a later revision. So in general, attune your feedback to the stage of the project. Iteration in the early stages? Iteration later? Polishing work in progress? Each of these has unique needs. Your feedback will be received favorably if the right timing is chosen.

    Attitude is the equivalent of intent, and in the context of person-to-person feedback, it can be referred to as radical candor. That entails checking before writing to see if what we have in mind will actually help the person and improve the project overall. Sometimes it might be difficult to reflect on this because we might not want to admit that we don’t really appreciate that person. Hopefully that’s not the case, but that can happen, and that’s okay. How would I write if I really cared about them, aside from acknowledging and having that to help you make up for it? What can I do to stop being passive-aggressive? How can I be more constructive?

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

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

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

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

    The format

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

    Let’s imagine that someone shared a design iteration for a project. You are re-reading it and leaving a comment. Let’s try to think about some factors that might be helpful to consider, as there are many ways to accomplish this, and context is of course a factor.

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

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

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

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

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

    One of the best ways to assist the designer who is reading your feedback is to divide it into bullet points or paragraphs, which are simpler to review and analyze one by one, in terms of actionability. For longer pieces of feedback, you might also consider splitting it into sections or even across multiple comments. Of course, it can also be particularly helpful to include screenshots or indicators of the specific area of the interface you’re referring to.

    I’ve personally used emojis to enhance the bullet points in some situations. So a red square � � means that it’s something that I consider blocking, a yellow diamond � � is something that I can be convinced otherwise, but it seems to me that it should be changed, and a green circle � � is a detailed, positive confirmation. A blue spiral is also used for either something I’m uncertain about, an exploration, an open alternative, or just a note. However, I’d only use this strategy on teams where I’ve already established a high level of trust because it might turn out to be quite demoralizing if I deliver a lot of red squares and change how I communicate that.

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

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

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

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

    Another benefit of asynchronous feedback is that written feedback automatically monitors decisions. Why did we do this, especially in large projects? could be a question that pops up from time to time, and there’s nothing better than open, transparent discussions that can be reviewed at any time. I advise using software to save these discussions so they can be hidden once they are resolved, for this reason.

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

    Thanks to Mike Shelton and Brie Anne Demkiw for their initial review of this article.

  • That’s Not My Burnout

    That’s Not My Burnout

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

    What on earth does ardent stress actually mean?

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

    This girl seems to need self-care because she has too much going on. But no, she doesn’t have occasion for that. She begins to feel as though she’s dropping balloons. Not enough is accomplished. There’s not enough of her to be here and that, she is trying to divide her head in two all the time, all day, every day. She begins to question herself. And her domestic narrative grows more and more critical as those feelings grow in.

    Instantly she KNOWS what she needs to accomplish! She ought to do more.

    This is a challenging and risky pattern. Hear why? Because when she doesn’t complete that new target, the story will only get worse. She instantly starts failing. She isn’t doing much. She is insufficient. She’ll discover more she may do because she might neglect, or perhaps her home. She doesn’t nap as much, proceed because much, all in the attempts to do more. caught in this pattern of attempting to prove herself to herself without ever succeeding. Always feeling “enough”

    But, yeah, that’s what zealous burnout looks like for me. It develops gradually over the course of several weeks and months rather than immediately as a big sign. My using operation appears to be moving more quickly than I have lost my focus. I rate up and up and up… and therefore I simply quit.

    I am the only person who has the ability.

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

    Growing up, I didn’t feel shame when my mom gave me food postcards; in fact, I would have likely sparked debates about the subject, orally eviscerating anyone who dared to criticize the disabled person who was attempting to ensure all of our needs were met with so little. As a child, I watched the way the worry of not making those ends meet impacted persons I love. Because I was” the one who was” make our lives a little easier, I would take on many of the physical things in my house as the non-disabled people. I soon realized that putting more of myself into it was linked to fears or doubt; I am the one who does. I learned first that when something frightens me, I may double down and work harder to make it better. I am capable of taking on the problem. I’ve been told that I seem courageous when people have seen this in me as an adult, but truth be told, I’m not. If I seem courageous, it’s because this behavior was forged from another people’s worries.

    And here I am, more than 30 years later, also feeling the urge to aimlessly force myself forward when faced with daunting tasks in front of me, assuming that I am the one who is and consequently does. I feel more motivated to show that I may make things happen if I put in more effort, put on more responsibilities, and do more.

    I do not see people who struggle financially as problems, because I have seen how powerful that tide is be—it takes you along the way. I really believe I have had the opportunity to avoid many of the difficulties that came with my children. Having said that, I am also” the one who can” who believes she should, so I would think I had failed if I had to struggle to make ends meet for my own home. Though I am supported and educated, most of this is due to great riches. But, I’ll give myself the haughtiness of claiming that my choices were wise and that they had sparked that success. My sense of self is the result of the notion that I am” the one who can” and feel compelled to accomplish the most. I can choose to halt, and with some pretty precise warm water splashed in my face, I’ve made the choice to previously. However, I don’t always choose to stop, instead, I move forward, driven only by a fear, which I barely notice until I’m completely worn out.

    Why the long history, then? You see, burnout is a fickle thing. Over the years, I’ve read and heard a lot about burnout. Burnout is present. Especially now, with COVID, many of us are balancing more than we ever have before—all at once! It’s difficult, and so many amazing professionals are affected by the procrastination, avoidance, and shutting down. There are significant articles that, in my opinion, relate to the majority of people around, but not me. That’s not what my burnout looks like.

    The perilous invisibility of zealous burnout

    The extra hours, extra work, and overall focused commitment are often viewed as assets in many workplaces ( and occasionally that’s all they are ). They see someone trying to rise to challenges, not someone stuck in their fear. Many well-intentioned organizations have procedures in place to safeguard their teams from burnout. However, in situations like this, those alarms don’t always ring, and some organization members are surprised and depressed when the inevitable stop happens. And sometimes maybe even betrayed.

    When it comes to parenting, which is more so for mothers, statistically speaking, are praised for being so on top of it all when they can work, participate in after-school activities, practice self-care in the form of diet and exercise, and still meet friends for coffee or wine. Many of us have watched countless streaming COVID episodes to see how challenging it is for the female protagonist, but she is strong and funny and can do it. It’s a “very special episode” when she breaks down, cries in the bathroom, woefully admits she needs help, and just stops for a bit. Truth be told, countless people are avoiding tears or doomscrolling to flee. Although we are aware that the media is a lie to amuse us, the perception that it’s what we should strive for frequently permeates much of society.

    Women and burnout

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

    That said, women are still more often at risk of burnout than their male counterparts, especially in these COVID stressed times. Mothers at work feel the pressure to do everything while giving absolutely everything. Mothers who are not employed feel they must do more to” justify” their discontinuance from traditional employment. Women who are not mothers often feel the need to do even more because they don’t have that extra pressure at home. It’s systemic and vicious, and it’s so embedded in our culture that we frequently are unaware of how much pressure we place on ourselves and others.

    And there are costs that go beyond happiness. Harvard Health Publishing released a study a decade ago that “uncovered strong links between women’s job stress and cardiovascular disease”. According to the CDC,” Heart disease is the leading cause of death for women in the United States, killing 299,578 women in 2017—or roughly 1 in every 5 female deaths,”

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

    But what if your burnout isn’t like that either?

    That might not be you either. After all, we are all unique, and our responses to stressors are also unique. It’s part of what makes us human. Don’t put too much emphasis on how burnout manifests; rather, learn to recognize it in yourself. Here are a few questions I occasionally ask friends if I’m worried about them.

    Are you happy? You should ask yourself this straightforward question first. Even if you’re burning out doing all the things you love, chances are that as you get closer to burnout, you’ll just stop consuming as much joy from it all.

    Do you feel empowered to say no? I’ve observed in both myself and others that no longer feel like they can turn down opportunities. Even those who don’t” speed up” feel pressured to say yes to not let the people around them be disappointed.

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

    Are you using justifications? Many of us make an effort to ignore burnout. Over and over I have heard,” It’s just crunch time”,” As soon as I do this one thing, it will all be better”, and” Well I should be able to handle this, so I’ll figure it out”. And it might actually be crunch time, a single objective, or a set of skills you need to master. Life happens because of that. BUT if this doesn’t stop, be honest with yourself. If you’ve worked more than 50 hours of work since January, then perhaps it’s not crunch time; perhaps it’s a bad situation you’re finding yourself in.

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

    Take the time to listen to your friend in the same way. Be honest, allow yourself to be uncomfortable, and break the thought cycles that prevent you from healing.

    So what do we do now?

    Although what I just described is a different path to burnout, it is still burnout. There are well-established approaches to working through burnout:

    • Get enough sleep.
    • Eat well.
    • Work out.
    • Go outside.
    • Take a break.
    • Overall, practice self-care.

    These are challenging for me because they seem like more tasks. Doing any of the above for me feels like a waste if I’m in the burnout cycle. The narrative is that if I’m already failing, why would I take care of myself when I’m dropping all those other balls? People need me, don’t they?

    Your inner voice might be pretty bad by now if you’re deeply in the cycle. If you need to, tell yourself you need to take care of the person your people depend on. Use your roles to help facilitate healing by justifying the amount of time you spend working on you if they are making you burn out.

    I have come up with a few suggestions for me to help me remember the airline attendant’s advice to put on your face first when I feel burned out.

    Cook an elaborate meal for someone!

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

    Vent like a sniveling jerk.

    Be careful with this one!

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

    When that is required, approach a trusted friend and express your concerns verbally. You must rely on this friend to not judge you, to feel your pain, and, most importantly, to instruct you to get your rectal cavity removed. Seriously, it’s about getting a reality check here! One of the things that I admire most about my husband is how he manages to simplify things down to the simplest. We’re spending our lives together, and I can’t wait to get over it. I’m so grateful for his words of dedication, love, and acceptance of me. It also, of course, has meant that I needed to remove my head from that rectal cavity. Again, those instances are typically appreciated in retrospect.

    Grab a book, please!

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

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

    Or, a tactic I enjoy using is to read or listen to a book that is NOT related to my work-life balance. I’ve read the following books, and I think they helped to balance me out because my mind was thinking about the subjects they were interested in rather than whizzing around:

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

    Choose a topic on YouTube or subscribe to a podcast if you don’t enjoy reading. In addition to learning about raising chickens and ducks, I’ve watched a lot of gardening and permaculture topics. For the record, I do not have a particularly large food garden, nor do I own livestock of any kind… yet. Nothing about my life needs anything from me, and I just find the subject interesting.

    Give yourself a break.

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

    The most crucial thing to remember is to grant yourself permission to NOT do it all. You never promised to be everything to everyone at all times. We have greater power than the repressed fears that motivate us.

    It’s challenging. It is hard for me. That it’s acceptable to stop is what inspired me to write this. It’s acceptable that you have to stop an unhealthy habit that could even help you and those around you. You can still be successful in life.

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

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

    Does this sound familiar?

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

    Do you recall the Winnie the Pooh cartoon in which Pooh ate so much at Rabbit’s house that his buttocks couldn’t fit through the door? Well, I already have a strong connection to Rabbit, so it was surprising when he unexpectedly declared that this was unacceptable. But do you recall what happened next? The big butt in his kitchen was made up of poor Pooh’s ankles and decorations, and he made the most of it.

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

    So, wherever you are at this moment, take a deep breath. Do what you need to do to get out of your head. Give thanks and be considerate.

  • Designing for the Unexpected

    Designing for the Unexpected

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

    Flash, Photoshop, and flexible pattern

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

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

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

    a novel style process

    Developing flexible or smooth sites has always been about removing limitations, producing material that can be viewed on any system. It relies on using percentage-based layouts, which I immediately achieved using native CSS and power courses:

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

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

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

    internet inquiries

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

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

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

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

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

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

    Our rely on multimedia queries resulted in parts that were tied to frequent window sizes. If part libraries are intended to be reused, this is a real problem because you can just use these components if the devices you’re designing for match the style library’s screen sizes, which prevents you from actually achieving the “devices that don’t yet exist” purpose.

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

    Container queries: a false sun or our lord?

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

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

    In other words, responsive components to replace responsive layouts.

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

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

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

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

    In this instance, the container’s dimensions are not what should be used to dictate the design; rather, the image is.

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

    CSS is evolving.

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

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

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

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

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

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

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

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

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

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

    Intrinsic layouts

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

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

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

    —Jen Simmons,” Designing Intrinsic Layouts”

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

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

    They now have the ability to adapt to the content both inside and outside of them. With an intrinsic approach, we can construct responsive components without depending on container queries.

    Another 2010 moment, perhaps?

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

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

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

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

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

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

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

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

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

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

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

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

    Content first

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

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

    Instead of the dated markup tricks below,

    First line of text with different styling...

    —we can target content based on where it appears.

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

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

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

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

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

    These variables can be used as values—

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

    —or as properties.

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

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

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

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

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

    Fluid and fixed

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

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

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

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

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

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

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

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

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

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

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

    Situation first

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

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

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

    Thankfully, we have many options available to you.

    Responsible design

    There are places in the world where mobile data is prohibitively expensive and where there is little or no broadband infrastructure.

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

    Chris Ashton

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

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

    Image alt text

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

      

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

    …

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

    So how can we put users in control?

    The media queries are returning.

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

    We’ve long been able to check for media types like print and speech and features such as hover, resolution, and color. Because of these checks, we can offer options that work for multiple situations, not just one-size-fits-all.

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

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

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

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

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

    Expect the unanticipated

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

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

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

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

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