"experience design" entries

Designing with best practices, principles, and interaction patterns

It's important for designers to see emerging standards and understand how one experience affects expectations for the next.

Download a free copy of “The New Design Fundamentals” ebook, a curated collection of chapters from our Design library. Note: this post is an excerpt from “Designing Social Interfaces,” by Christian Crumlish and Erin Malone, which is included in the curated collection.

With the growing expectation of seamless experiences, it is important for designers to see the emerging standards and to understand how one experience of a site and its interactions affects expectations for the next site. By working with standard and emerging best practices, principles, and interaction patterns, the designer takes some of the burden of understanding how the application works off the user, who then can focus on the unique properties of the social experience she is building.

To start, we do define these three things differently. They live along a continuum, from prescriptive (rules you should follow) to assumptions (a basic generalization that is accepted as true) to process (ways to approach thinking about these concepts).

Principle: A basic truth, law, or assumption

Principles are basic assumptions that have been accepted as true. In interaction design, they can lend guidance for how to approach a design problem, and have been shown to be generally true with respect to a known user experience problem or a set of accepted truths.

For example: be learnable — create systems that are easily learned and provide cues for users to predict how things work from one area to another.

Principles don’t prescribe the solution, though, like an interaction pattern does; instead, they support the rationale behind an interaction design pattern or set of best practices. Read more…

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Golden opportunities for design lie in social-impact projects

Designers can find fertile ground in governmental, philanthropic, and health care domains.

Download the free report “Designing for Social Impact,” by Gretchen Anderson. Editor’s note: this is an excerpt from the report.

During the 2000 United States presidential election, product designers and developers discovered an uncomfortable truth about our nation. American democracy, long held up as a beacon for others to follow, was susceptible to “user error.” As the stories of hanging chads, bad ballot layouts, and unclear instructions unfolded, it became clear that the election process contained quite a few bugs from an end-user perspective. Dana Chisnell, the creator of Field Guides for voting, was inspired to fix such problems the best she knew how — by applying user-entered design practices. Until the 2000 presidential election, she pointed out, a “usable” ballot was one that was readable by the machines that count them. But the “hanging chad” phenomenon brought to everyone’s attention the role that user error (or rather, terrible design) can play in affecting outcomes and a nation at large. This is but one example of how the design of simple things has an impact far beyond its immediate surroundings. It’s part of a clear case that more comprehensive: thoughtful design can have more predictable, measurable effects on our world at large.

More and more, designers of all stripes seek projects and organizations that have a mission to serve the greater good at their core. Partly, it stems from an innate desire to use our skills to their highest potential. It also reflects broader trends in design and tools that make it possible for us to tackle problems that we observe in society, measure their root causes, and more quickly and efficiently test what works to create positive change. The inherent “usability” issues within the systems that surround social impact objectives are becoming more evident. Design increasingly has the ability to run programs at scale that address more systemic issues that arise from a lack of infrastructure or overly complicated regulation. Read more…

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The O’Reilly Design Conference: Design the Future — CFP is now open

The conference will take place January 20-22, 2016, in San Francisco, and we want to hear from you.

Submit a proposal to speak at The O’Reilly Design Conference: Design the Future, our new design conference looking at the convergence of design, programming, and business.

in_article_designconf_logo_smLast year, I had a conversation with Tim O’Reilly about the emergence of design in unexpected places — in the data community, in the programming community, and in the business community. Design has become increasingly important as technology and bandwidth become commoditized. Our conversation initiated what would become a new program for us here at O’Reilly, and our relatively recent focus on design has reached a milestone: I’m thrilled to announce the first O’Reilly Design Conference: Design the Future, coming to San Francisco in January 2016. Read more…

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Designers as data scientists

Data science isn't only the purview of analysts and statisticians; it should be part of a designer's skill set as well.

Download a free copy of “The New Design Fundamentals” ebook, a curated collection of chapters from our Design library. Note: this post is an excerpt from “Designing with Data,” by Rochelle King and Elizabeth F. Churchill, which is included in the curated collection.

It might feel like using data is big news now, but the truth is that we’ve been using data for a long time. For the past 20 years, we’ve been moving and replicating more and more experiences that we used to have in the physical world into the digital world. Sharing photos, having conversations, duties that we used to perform in our daily work have all become digital. We could probably have a separate discussion as to how much the migration from the physical “real” world to the digital world has benefitted or been detrimental to our society, but you can’t deny that it’s happening and only continues to accelerate at a breakneck pace.

Let’s take a look at what it means for these experiences to be moving from the physical to the digital. Not too long ago, the primary way that you shared photos with someone was that you would have to have used your camera to take a photo at an event. When your roll of film was done, you’d take that film to the local store where you would drop it off for processing. A few days or a week later, you would need to pick up your developed photos, and that would be the first time you’d be able to evaluate how well the photos that you took many days prior actually turned out. Then, maybe when someone was at your house, you’d pull out those photos and narrate what each photo was about. If you were going to really share those photos with someone else, you’d maybe order duplicates and then put them in an envelope to mail to them — and a few days later, your friend would get your photos as well. If you were working at a company like Kodak that had a vested interest in getting people to use your film, processing paper, or cameras, then there are so many steps and parts of the experience that I just described which are completely out of your control. You also have almost no way to collect insight into your customers’ behaviors and actions along the process. Read more…

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Real-world interfaces are in an awkward and playful stage

The O'Reilly Radar Podcast: Josh Clark on the world as an interface, avoiding data rash, and the importance of play.

Subscribe to the O’Reilly Radar Podcast to track the technologies and people that will shape our world in the years to come.

World_Alarm_Clock_Bob_Bob_FlickrIn this week’s episode of the Radar Podcast, O’Reilly’s Mary Treseler chats with Josh Clark, founder of design agency Big Medium (formerly known as Global Moxie). Clark talks about the changing nature of his work as the world itself becomes more of an interface, how to avoid “data rash,” and why in this time of rapid technology growth it’s essential for designers to splash in the puddles.

The world is the medium

The influence of the Internet of Things is beginning to touch every aspect of our lives, from how we communicate to how we work to how we play. This fundamental shift away from screens to the real-world around us not only is influencing how designers approach their craft, but is changing the medium itself in which designers work. Clark talked about this shift and how it’s affecting his own work:

Over the last couple of years, I’ve found the nature of my work has been changing as well as my interests. I think the culture of digital design is changing, too, as we start moving off of screens. It felt like an opportunity to redefine my own work, so I also did that with my agency and changed its name to Big Medium. The idea of that being that the Internet itself is a pretty big medium, and in fact starting to expand beyond the bounds that we’ve traditionally associated it with, which is the screen. Increasingly, as we’re seeing connected devices — the smart phones were kind of the leading edge of this, but now we’re starting to see wearables and the Internet of Things — this idea that the Internet is becoming embedded in our environment and in everyday objects means that anything can be an interface.

My work is starting to engage more and more with that truly big medium, which is the world itself. Finally, the world is the interface, which of course it always has been, but now we’re able to create digital experiences that belong to the world that we actually move in instead of us having to dive into the screens.

Read more…

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Toward a damned good information architecture

An IA model informed by an "information ecology" composed of users, content, and context.

Download a free copy of “The New Design Fundamentals” ebook, a curated collection of chapters from our Design library. Note: this post is an excerpt from “Information Architecture,” 4th Edition, by Louis Rosenfeld, Peter Morville, and Jorge Arango, which is included in the curated collection.

Users. Content. Context. You’ll hear these three words again and again throughout this book. They form the basis of our model for practicing effective information architecture design. Underlying this model is a recognition that you can’t design useful information architectures in a vacuum. An architect can’t huddle in a dark room with a bunch of content, organize it, and emerge with a grand solution. It simply won’t hold up against the light of day.

Websites, intranets, apps, and other information environments are not lifeless, static constructs. Rather, there is a dynamic, organic nature to both the information systems and the broader contexts in which they exist. This is not the old world of yellowing cards in a library card catalog. We’re talking complex, adaptive systems with emergent qualities. We’re talking rich streams of information flowing within and beyond the borders of departments, business units, institutions, and countries. We’re talking messiness and mistakes, trial and error, survival of the fittest.

We use the concept of an “information ecology” composed of users, content, and context to address the complex dependencies that exist. And we draw upon our trusty Venn diagram (see Figure 2–6) to help people visualize and understand these relationships. The three circles illustrate the interdependent nature of users, content, and context within a complex, adaptive information ecology. Read more…

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Designing for ecosystems: Making meaningful IoT products and services

Mike Kuniavsky on PARC’s work on IoT and the mindset shift the IoT will require.

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Attend O’Reilly’s Solid Conference, June 23–25, in San Francisco. Mike Kuniavsky will be speaking at Solid, O’Reilly’s conference on the collision of software and hardware, and the Internet of Things.

The emergence of the Internet of Things has prompted the production of thousands of new connected devices. More challenging and interesting in many ways, though, is how to embed intelligence into existing products and services. Corporations are trying to wrap their collective minds around the possibilities the IoT presents, but many don’t have the internal expertise to make sense of the space. Companies like Palo Alto Research Center Incorporated (PARC) are helping these organizations with the transition to the IoT. I recently chatted with Mike Kuniavsky of PARC. Kuniavsky is a user experience designer, researcher, and author. He is a member of the Innovation Services Group at PARC, a strategy consulting team within the research organization, formerly known as Xerox PARC.

Bringing the IoT to Fortune 50 companies

PARC has been around since 1970 and has contributed to the evolution of computing, including laser printing, graphic user interface, and the Ethernet. It should be no surprise that they are working on the next generation of computing with the IoT. Kuniavsky explains a bit more about what he and the team are working on:

The Innovation Services Group is essentially PARC’s consulting arm. Of course Xerox is still PARC’s biggest client because it’s our parent company, but it is no longer our group’s biggest client, for sure. We mostly work with Fortune 50 companies. A lot of what we do is essentially reduce the risk of adopting novel technologies through the use of user experience design and ethnography, and an innovation strategy. These days, a lot of that is in the form of looking at things that are broadly in the Internet of Things. Part of that is because that’s where my expertise is; I’ve been playing with connected hardware for 25 years. Part of it is because that’s where there’s a lot of interest. It’s gotten me to really think about the entire ecosystem that the Internet of Things is. It’s not just hooking up a sensor to the Internet and sticking it somewhere in your house. It’s a much larger ecosystem, from my perspective. That’s what we’ve been exploring a lot because that’s what’s interesting to our customers, is understanding not just how this piece of cheap commodity hardware, which can be replicated very easily by any one of their competitors, is going to create an advantage for them, but how this one specific piece of hardware is going to create an ecosystem that is going to be very competitive and is going to create significant value. Read more…

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How to conduct a Design Sprint

Design Sprints bring clarity to your roadmap to kickstart and obtain initial validation for product design work.

Download a free copy of “The New Design Fundamentals” ebook, a curated collection of chapters from our Design library. Note: this post is an excerpt from “Design Sprint,” by Richard Banfield, C. Todd Lombardo, and Trace Wax, which is included in the curated collection.

A Design Sprint is a flexible product design framework that serves to maximize the chances of making something people want. It is an intense effort conducted by a small team, where the results will set the direction for a product or service.

The Design Sprint consists of five discrete phases:

  1. Understand (review background and user insights)
  2. Diverge (brainstorm what’s possible)
  3. Converge (rank solutions, pick one)
  4. Prototype (create a minimum viable concept)
  5. Test (validate with users)

A Design Sprint reduces the risk of downstream mistakes and generates vision-led goals the team can use to measure their success. For the purpose of this book, we’ll focus on digital products since our direct experience lies in that arena, though the Design Sprint has roots in gaming and architecture, and many industries have employed them successfully. Read more…

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Information architecture’s role in UX design

Jorge Arango discusses the state of IA and the importance of designers' understanding of context and perspective.

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Jorge Arango is an information architect who has been practicing in the user experience field for more than 20 years. Before moving to San Francisco about a year ago, his work was conducted in Panama. Last year, he moved to the San Francisco Bay Area and now works as a partner at Futuredraft, a digital product design consultancy. Arango brings a unique perspective, given his background in architecture prior to becoming an information architect. He is currently finishing up the 4th Edition of Information Architecture — lovingly referred to as “The Polar Bear book” — with Louis Rosenfeld and Peter Morville.

IA’s broadening appeal

Information architecture (IA) has always been an important part of user experience design, though not always acknowledged as such. With the emergence of social, IoT, and mobile, we have watched IA taking on a more dominant role in product development. Arango talked a bit about the evolution:

I’m surprised by how many people actually know about it because I think, frankly, a lot of what we do is fairly esoteric. I’m not just talking about information architects. I’m talking about those of us in technology in general, and in the design professions. On having moved to California, I have this open question in my mind: how much do people know about this stuff here? Is it something that is talked about? I’ve been pleasantly surprised by interactions with clients and prospects … There seems to be a realization. In many cases, they probably don’t know to call it ‘information architecture’ per se, but there seems to be a realization that stuff needs to be easy to find and easy to understand.

Read more…

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Making a business case for design decisions

Key messages to help you communicate design decisions to stakeholders.

Buy Articulating Design Decisions, by Tom Greever, currently in early release. Note: this post is an excerpt from the book.

While every project is different and every client has unique needs, I’ve found that there are some ways of explaining design decisions that I seem to use over and over again. I often say the same kinds of things to defend my projects and, I’ve compiled them here for reference. Some of them are similar or related to one another, but they should give you a good basis for the kinds of responses that are effective in design discussions.

These are the key messages that you need to communicate in order to deliver on your strategy and achieve the objective. So, with your strategy and tactics in mind, find the messages that apply most to your situation and modify them to accommodate your particular context. The goal for this chapter is to give you a list of common ways of describing design decisions that you can use and re-use at each meeting: a set of templates to give you a head start on forming the best response.

I’ve organized them into four categories, in no particular order: business, design, research, and limitations. This is a list of re-usable responses, whether you are appealing to the business, pointing out important design logic, addressing research and data you have, or noting the limitations you face. Use these messages to make your case for a better user experience. Read more…

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