Mar 21, 2012

On Consistency, Part 3: Cross-Channel Guidelines

In Part 1 I identified three levels of consistency: internal, local, and external (analogous to creature, habitat, and ecosystem). In Part 2 I discussed four types of consistency: functional, behavioral, organizational, and aesthetic.

In this third and final installment, I’d like to offer some very basic guidelines for appropriately aligning consistency across the multiple channels of an ecosystem.

Functional

The function of a channel should be optimized for its own comparative advantage; in other words, what it has the potential of doing better than any other channel in the ecosystem. In this way, its function need not be externally consistent, as much as it should be complimentary to the rest of the ecosystem, yet internally consistent.

Behavioral

There is a behavioral tension between the local habitat—be it website conventions or operating system patterns—and the process flows of the ecosystem. Great effort should be exerted to reconcile these differences. Where perfect integration isn’t possible, erring on the side of local consistency is often the more conciliatory approach.

Organizational

Organizational consistency should almost always favor the external ecosystem over the local or internal. Using a consistent organizational scheme across all channels of the ecosystem is one of the most important factors in delivering a seamless cross-channel experience.

Aesthetic

Aesthetics has major implications across all three levels. It should certainly maintain internal consistency. Yet there is again a tension between the local habitat and external ecosystem that must be carefully negotiated. While the aspects of the look and feel that involve branding, such as color, should be consistent with the ecosystem, the overriding style of the user interface should match its local habitat.

Mar 19, 2012

The Experience Map

Last month when I blogged about the cross-channel blueprint as a tool for planning the tasks and channels of an ecosystem, several people commented that it failed to fully account for user. Indeed, those comments helped me realize that the cross-channel blueprint is itself a system-oriented diagram—useful as a planning tool and for the concise overview it provides—but that it must be paired with a user-centered perspective. One such tool is an obvious companion: the experience map.

What is an experience map?

Sometimes called a customer journey map (a label which is unnecessarily narrow), the experience map is a tool born out of service design. It visually represents not only a user’s interactions with the system, but is also concerned with the emotional state of the user throughout the entire process. Experience maps help everyone involved put themselves in the user’s shoes.

Unlike the cross-channel blueprint that can be created in front of a whiteboard ex nihilo, experience maps rely on user research. Both quantitative measures such as log data and survey results, and particularly qualitative techniques such as field studies should be used to shape an accurate map of the user’s experience. In addition, the experience map can focus either on a group of users—portraying their behavior and attitudes in aggregate—or on an individual user, in which case an accompanying persona is valuable.

Experience maps come in many different forms. Chris Risdon of Adaptive Path uses five dimensions—the lens, the journey model, qualitative insight, quantitative information, and takeaways; Arne van Oosterom describes ten—including the customer journey, moments of truth, and the emotional journey; and James Kalbach has compiled a long list of related resources, each with a slightly different take on the tool.

Creating an experience map

Despite its many varieties, creating a basic experience map involves these three steps:

  • Outline the user’s journey. Start by creating a list of all the occurrences that constitute the user’s experience not just within the ecosystem, but throughout their entire journey from beginning to end. These occurrences can then be arranged horizontally to form a timeline.
  • List the channel and goal for each step of the user’s journey. Channel refers to the medium through which the action is performed. Goal describes the underlying motivation for performing the action. These components should be consistent with the two dimensions of the cross-channel blueprint.
  • Describe the user’s emotion and rate their satisfaction for every step of the process.

Once these basic components have been created, additional analysis can be added as needed. Here’s an example experience map I’ve created following these steps:

An example experience map

In summary, the experience map is an effective tool for understanding how users interact with an ecosystem, and is an ideal companion to the cross-channel blueprint.

Mar 12, 2012

On Optimization: The Division of Labor

In the opening pages of The Wealth of Nations, Adam Smith demonstrates the power of the division of labor through the example of a pin factory. At that time, the process for manufacturing sewing pins consisted of about 18 operations, such as drawing out the wire, straightening it, cutting it, pointing it, sanding it, and so on. Each tasks was sufficiently involved, Smith maintained, that a single individual could perhaps “make one pin in a day, and certainly could not make twenty.” Yet when each operation was distributed to a tradesmen specialized in that task, the team “could make amongst them upwards of 48,000 pins in a day.”

Division of labor and the iPod

Steve Jobs made a similar, though less profound realization around the turn of the millennium: he saw the computer acting as the central hub for digital devices. This strategy would allow both the computer and the device to play to their respective strengths, just as the specialized tradesmen at the pin factory were able to do. Biographer Walter Isaacson summarizes Jobs’ thoughts:

“A lot of the functions that the devices tried to do, such as editing the video or the pictures, they did poorly because they had small screens and could not easily accommodate menus filled with lots of functions. Computers could handle that more easily.”

This insight most notably led to Apple’s introduction of the iPod. Rather than designing the portable music player to be self-sufficient, as their competitors had done, the iPod was designed as part of a symbiotic ecosystem. The iPod was freed to do what it did best—play music—while the computer handled the more complex task of managing the music collection, and the iTunes store enabled users to acquire new songs.

The principle of optimization

The division of labor between the iPod, iTunes, and Mac enabled the three to collectively achieve more than they could have on their own. This is the principle of optimization at work. Each channel within the ecosystem should focus on what it does best. Put another way, each component should be optimized for its unique affordances, that is, the inherent characteristics of an object that communicate its purpose.

“Each component should be optimized for its unique affordances.”

A small handheld device, for instance, lends itself to being used on the go and for short bursts of time; a keyboard-equipped desktop computer, on the other hand, affords more focused attention and a greater amount of data entry.

By optimizing each element of the ecosystem, we can achieve cross-channel experiences that truly empower users in unprecedented ways.

Mar 09, 2012

On Consistency, Part 2: Four Types

In part 1 I outlined three common levels of consistency: internal, local, and external (analogous to creature, habitat, ecosystem). Here I’d like to turn our attention to a second dimension: type.

While level answers the question, “Is object A similar to object B?”, type is concerned with: ”In what way is object A similar with object B?”

Four types of consistency

There are many ways to slice cakes and skin cats, yet these four types of consistency seem most relevant to cross-channel design:

  • Function. Purpose. The purpose of a print catalog is to encourage serendipitous discovery. The purpose of a retailer’s website is to facilitate both discovery and the lookup of known items.
  • Behavior. How it works. The interaction design. The process flow involved in completing a task.
  • Organization. How it’s organized. The taxonomy driving both digital and physical wayfinding. For instance, the way in which products are organized in stores of both the online and brick-and-mortar sort.
  • Aesthetics. How it looks. The visual style.

Putting the pieces together

Breaking consistency down into its component parts is more than just a thought exercise. A careful consideration of the levels and types of consistency is central to designing seamless cross-channel experiences.

In particular, it’s useful to consider which levels and types of consistency should take precedence over others. A retailer creating an iPhone application, for instance, might decide that the behavior should be consistent with its local habitat (in this case, other iPhone apps), whereas the organization scheme should match that of the external ecosystem.

A consistency diagram

A consistency diagram.

Mar 08, 2012

On Consistency, Part 1: Three Levels

Consistency is lauded as a staple ingredient of every good user experience; a fundamental principle of interaction design; a golden rule of the user interface. Yet it’s a heuristic that’s sometimes misunderstood and often oversimplified. Consistency is more complex than intuition would lead us to believe, rife with tension and competing forces, and often seemingly contradictory.

Consistent with what?

We often judge “that’s consistent” or “that’s inconsistent” without specifying the object of our comparison. Yet something may be both consistent and inconsistent at the same time. The question is: consistent with what?

To date, the components of consistency have most often been described as internal, external, functional, and aesthetic (see Universal Principles of Design). I’d like to focus on just the first two in this post. Internal and external occupy two polarities of a single continuum that we can call the level of consistency.

Three levels: internal, local, external

The levels of consistency continuum.

Three levels of consistency

While the traditional continuum is useful, the points along that continuum deserve further exploration. In particular, we need to account for how consistency affects cross-channel experiences. In that light, I suggest that three points—not two—should underpin our thinking:

  • Internal. The creature itself. A specific website, application, or experience in isolation from all others.
  • Local. The immediate habitat in which a website, application, or experience coexists. It could be the web as a whole or a device’s operating system, for instance.
  • External. The ecosystem encompassing the habitats in which the various websites, applications, and experiences reside.
Three levels: internal, local, external

The three levels can be thought of in ecological terms: the creature, the habitat, and the ecosystem.

Let’s be clear

From this vantage point we can rationalize how some forms of consistency should trump others. For instance, certain OS conventions—such as the visual style for buttons—should usually take precedence over ecosystem-wide consistency; the local application, on the other hand, should most often be subservient to ensuring a seamless experience across the ecosystem as a whole.

I hope to discuss a second dimension of consistency in a future post: type.

Mar 07, 2012

UX, CX, and Service Design: Employees Are Customers Too

User experience design is growing up. We’ve finally realized that UX is less about creating end-all-be-all websites, and more about designing cross-channel ecosystems that encompass both the digital and physical.

Multi-disciplinary is Good

As part of this journey, we’ve wisely been reaching out to other disciplines for inspiration. Service design has taught us to consider customer journeys from touchpoint to touchpoint across multiple channels. Customer experience design has encouraged us to put our business hats on and align user experience with business strategy. Both of these disciplines exert a positive influence on user experience design.

Customers aren’t the only users

Yet there is one flaw in all of this. As we’ve been striving towards cross-channel design, mapping customer journeys, and dwelling on customer experience, our thinking has been invariably focused on just that: customers. This is unsurprising—retailers with both online and brick-and-mortar presences are a natural birthplace for such innovation. Yet we must avoid assuming that strategic, cross-channel experiences belong exclusively to the consumer.

“We must avoid assuming that strategic, cross-channel experiences belong exclusively to the consumer.”

Meet Mr. Employee

In particular, seamless cross-channel experiences are vital to employees as well. Imagine a doctor moving between his private office, the clinic hallway, and the patient’s consulting room. Or an engineer moving from the design lab, to the assembly room, to the testing facility. Or a sales person rarely at her desk who stops off at coffee shops between sales calls. Understanding the user’s journey and designing effective cross-channel experiences is just as important for employees as it is for customers.

My point?

It’s not that we have nothing to learn from service design or customer experience design, quite the contrary. However, let’s not turn UX design into a discipline focused solely on customers; let’s keep designing for users of all sorts.

Feb 21, 2012

Cross-Channel Blueprints: A tool for modern IA

The practice of information architecture is undergoing a tectonic shift away from creating individual websites and towards designing cross-channel experiences that span both the digital—from desktop to mobile—and the physical—from print to storefront. While the information architect’s skillset is well-suited for this new challenge, our existing tools are not.

Service blueprints aren’t exactly what we need

Imported from the field of service design, G. Lynn Shostack’s service blueprint is often suggested as a tool for cross-channel planning. Yet it’s not a perfect fit:

  • Too process-oriented. Service blueprints present customer actions sequentially. While desirable for planning specific flows (such as a checkout process), it’s obstructive when trying to outline a comprehensive strategy.

  • Minimal attention to channels. Service blueprints document the “physical evidence” associated with each action, but fail to account for how a single action might be performed on multiple channels.

  • Meant for a different purpose. With their lines of interaction, visibility, and internal visibility, service blueprints simply weren’t intended to be used for planning cross-channel information architecture

A service blueprint by Brandon Schauer

A service blueprint created by Brandon Schauer.

What do we need, then?

Before brainstorming solutions, we should clarify the problem. Andrea Resmini and Lucas Rosati have discussed five principles for designing successful cross-channel experiences; Peter Morville advocates six; to me, these three seem the most fundamental:

  • Consistent. Each channel should enable users to perform a given task in a like manner. For instance, a bank customer experienced in paying bills on the web should find the corresponding smartphone bill-paying facility familiar, even on first use.

  • Optimized. Each channel should play to its strengths. Desktop applications are optimized for large screens; mobile apps for small ones. Optimization is in tension with consistency.

  • Continuous. Each channel must be aware of all the others. Add a bicycle helmet to your shopping cart on the Web, and it should appear in the cart on your phone.

A starting point

What would a tool that aimed to facilitate consistent, optimized, continuous cross-channel planning look like? In Pervasive Information Architecture, Resmini and Rosati presented their CHU cube which places tasks and channels each on their own axes.

The CHU Cube

Resmini and Rosati’s CHU cube plots channels, heuristics, and tasks using three dimensions.

Ammendment: After publishing this post, Gianluca Brugnoli of Frog Design pointed out its resemblence to the Touchpoints Matrix he himself developed in 2009. I hadn’t come across this tool before, but the similarity is striking.

The Touchpoints Matrix by Gianluca Brugnoli

The Touchpoints Matrix by Gianluca Brugnoli

Building on the foundation

Juxtaposing tasks and channels is a useful starting point, though the CHUbe’s multidimensional layers make it a bit unwieldy. For our diagram, let’s do the following:

  1. Identify user tasks—these become the X-axis.
  2. List channels—these become the Y-axis.
  3. Prioritize and describe each per-channel task—these are the table cells
  4. Identify shared components—these are listed in a bottom row
A Cross-Channel Blueprint

I call this a cross-channel blueprint. The exercise can be performed by a lone designer or collaboratively with sticky notes or in front of a whiteboard. It brings about:

  • A global view of important user tasks
  • The possible channels through which users might attempt those tasks
  • A set of task priorities for each channel
  • A set of channel priorities for each task
  • An overview of which components need to be shared across channels

What do you think?

This is but a first attempt at a developing a tool suitable for the new era of cross-channel information architecture. As such, it needs practice, iteration, and experimentation. If you’ve been working in this space, please chime in with how the cross-channel blueprint jives with your own experience.

See my article The Rise of Cross-Channel UX Design on UX Matters for related reading. You can also follow me on Twitter.

BCS IRSG Informer  •  Jan 23, 2012

Three Circles of Collaborative Search

Search often appears personal, introspective, and private; an activity of the individual in isolation. In fact, most researchers depict search as a single-user activity. Yet a 2008 survey found that over half of respondents self-reported having co-operated with other people to search the web, while an impressive 97.1% went on to indicate at least one form of collaborative search activity in which they had engaged (Morris, 2008). It’s safe to say that collaboration is pervasive.

Yet collaborative search is a broad term, encompassing explicit cooperation with others during information seeking, enlisting help from one’s social groups, and implicit collaboration with strangers. We must attain a holistic view of collaboration in order to design socially-aware search applications that support collaboration. I believe that holistic view can be found in a three-circle model: the inner circle, intermediate social circles, and the outer circle.

Read the rest on BCS IRSG Informer.

The TwigKit Blog  •  Jan 13, 2012

Design Principles for Mobile Search

Apple’s iOS Human Interface Guidelines, Google’s Android Design Guidlines, and others such as Luke Wroblewski’s Mobile First book provide valuable guidance for designing general mobile applications. Yet there are a number of design principles unique to crafting mobile search experiences in particular. Namely: prioritizing content over controls, providing answers over results, being sensitive to context, and ensuring cross-channel continuity.

Read the rest on The TwigKit Blog.

Jan 05, 2012

Coping with Sub-pixel Rounding in IE

An old, ugly problem still plagues fluid layouts: sub-pixel rounding. You’ve experienced this nasty issue when elements within your percentage-based layout unexpectedly wrap to the next line in Internet Explorer, or aren’t flush with the right-hand edge in Safari and Chrome.

The culprit? How percentages are rounded into pixel values by the browser. As John Resig documented in 2008, browsers have adopted different rounding strategies:

Webkit and Opera always round down, FireFox and Internet Explorer 8 and 9 round some numbers up, others down, and IE6 & IE7 always round up.

Below is the output of this example page in the major browsers. I’ve extended John Resig’s original demonstration by testing 4 columns, each 25% wide, within three differently sized containers: 49px, 50px, and 51px. The number shown below each container is the theoretical pixel width of one of the columns (e.g. 50px * .25 = 12.5).

The sub-pixel rounding problem

You’ll notice that in Webkit and Opera, which use the rounding-down strategy, there is space leftover. FireFox, IE8, and IE9, on other hand, vary the widths of the boxes so that, in total, they occupy all of the available space. But here’s the catch: when the floating decimal is .5 or greater, our old friends IE6 and 7 stupidly round up, forcing the final column in our example to wrap to the next line since the four columns become collectively wider than their parent container. Facepalm.

This is certainly not a new problem; it’s been the source of head-to-wall bashing for over a decade. Yet it’s an important problem to understand and address in the modern era of fluid, responsive layouts. While it’s true that the problem will mostly go away when IE6 and 7 support is no longer necessary, many of us need a solution now.

The formula

Unfortunately, there’s no silver bullet.

The only way to prevent layouts from breaking in IE6/7 is to fractionally reduce the percentages so that they add up to just under 100%.

In the past this has meant fiddling down the numbers until the elements stop wrapping, an inexact and error-prone art. There is, however, an exact science to it.

The objective is simply to get IE to round numbers down, not up. In the example above, we want 12.5px, 12.75px, or even 12.99px, to be rounded down to 12px, just like it would be in WebKit. The solution is straightforward in principle: just subtract half a pixel. 12.99px would then become 12.49px, and—since the floating decimal is less than .5—IE would round down to the nearest integer.

But the tricky bit is getting from pixels back to percentages. What percentage do we need to subtract in order to produce a half-pixel reduction in the computed pixel value? The answer: it depends on the pixel width of the parent container. Here’s the formula:

O.5 / containerWidth = correctionLevel

ContainerWidth is the pixel width of the container, while correctionLevel represents the percentage that needs to be subtracted in order for IE to round down to the nearest pixel. Thus for our 50px container above, the correctionLevel is 0.5 / 50 = 0.01, or 1%. That means instead of the four columns each being 25%, they would need to be 24% (25 - 1). With that corretion applied, the columns would each be computed as 12px rather than 12.5px, and our layout will display correctly, as shown below.

Sub-pixel rounding with the correction formula applied

But the whole point of using percentages, I hear you saying, is to be pixel-independent. If I have to specify the container’s pixel width, doesn’t that defeat the purpose of using percentages in the first place? It’s painfully inconvenient, to be sure, but the very fact that you’re reading this is evidence enough that we must work around this problem somehow.

Here are two strategies for applying this correction formula.

Do-it-yourself calculations

You can quickly apply the above formula to your existing fluid layouts to fix the sub-pixel rounding issue in IE6 and 7 without adversely affecting other browsers. First, lets assume you have constructed a percentage-based layout that has a set minimum width of 720px. Using this number as our baseline containerWidth, our formula tells us that the correctionLevel is .0694%. Whenever a percentage is used as the value of a width, padding, border, or margin declaration, we’ll use the star hack to add IE6/7-specific declarations which subtract .0694% from the original value. Here’s a simplistic example:

section#sidebar {
  width: 25%;
  *width: 24.93%;
}

CSS frameworks

If you’re using a CSS framework such as LESS.js or SaSS, you can rely on their mathematic operations to save you from having to crunching all the numbers by hand. The LESS/SaSS code below would be compiled to the same output as in the example above.

section#sidebar {
  width: 25%;
  *width: 25%-0.0694%;
}

Updated January 11, 2012. The newly-released version 1.2 of The Semantic Grid System—which uses the power of CSS frameworks to elegantly power fixed, fluid, and responsive layouts—incorporates the above formula. It allows you to specify the minimum width of your layout, from which it then derives the correction level.

@min-width: 960;
@correction: 0.5 / @min-width * 100 * 1%;

It then subtracts the correction level from the IE-specific width and margin declarations of each column in the layout:

width: @computedWidth;
margin: 0 @computedMargin;

*width: @computedWidth-@correction;
*margin: 0 @computedMargin-@correction;

The last word

So there you have it: a predictable formula for correcting the sub-pixel rounding problem in Internet Explorer 6 and 7. It’s just one more reason we can all rejoice when IE6 and 7 go the way of the grave.

The TwigKit Blog  •  Dec 06, 2011

Mobile Information Needs

Mobile information needs can be assed by two criteria: scope and type. Scope describes the sophistication of the information need, the degree of higher-level thinking it involves, and the time commitment required to satisfy it. The lookup, learn, and investigate elements of scope are derived from Gary Marchionini’s work on exploratory search, while the casual component has been more recently advocated by Max Wilson and others.

Read the rest on The TwigKit Blog.

UX Matters  •  Oct 17, 2011

The Rise of Cross-Channel UX Design

A few Saturdays ago, I was walking around Greenwich in southeast London when I decided to peruse the local bookshop. Drawn to a display titled “Utopias and Dystopias,” I noticed the book A Brave New World sitting beside George Orwell’s 1984, which I had read and remembered enjoying. Curious about the association between the two, I picked up A Brave New World and glanced over the back cover. I then pulled out my phone and searched Google to see what others were saying about the book and noted that it is often considered one of the top-100 novels of all time. My mind was settled: I wanted to read this book. But rather than walking, book in hand, to the checkout counter, I instead used my phone to navigate to Amazon’s Kindle Store, where I typed in the name of the book and used their 1-click ordering to purchase the book. Leaving the bookshop empty handed, I caught the next bus home. On the way home, I pulled out my tablet device and started reading page 1 of A Brave New World.

Read the rest on UX Matters.

Oct 11, 2011

From physical to digital to ubiquitous

The invention of the printing press transformed the physical object that is the book from an artefact of human transcription to that of mass production. By 1500, just 40 years after Gutenberg’s invention, an estimated 150 to 200 million copies had rolled off the press; a century later, the by then pervasive technology led to the rise of a new medium: the newspaper. This was the era of information as physical object.

More recently, mass adoption of the world wide web and the plethora of Internet-connected devices has led to digital information augmenting and, to a certain degree, displacing the physical. News was consumed online rather than on paper, new mediums of self expression arose from the blog to the social networks, and a new pair of shoes could be acquired without ever stepping foot in a store.

We are now on the cusp of yet another technological sea change. The pendulum which swung from physical to digital is swinging back to the real world, but this time, information is formless, contextual, and ubiquitous. In their book Pervasive Information Architecture, Andrea Resmini and Luca Rosati describe this brave new world of ubiquitous computing:

“Information is going everywhere. It is bleeding out of the Internet and out of personal computers, and it is being embedded into the real world. Mobile devices, networked resources, and real-time information systems are making our interactions with information constant and ubiquitous. Information is becoming pervasive.”

The future lies in cross-channel experiences. Interactions in which the technology fades to the background and the personal, physical, and social context of the present mediate the devices and methods with which we interact with information.

You know the Hemingway line, “Write all the story, take out all the good lines, and see if it still works”? Well, I’m posting these simple thoughts here because I just deleted them from a longer piece, but still wanted them to see the light of day.

Smashing Magazine  •  Aug 23, 2011

The Semantic Grid System

CSS grid frameworks can make your life easier, but they’re not without their faults. Fortunately for us, modern techniques offer a new approach to constructing page layouts. But before getting to the solution, we must first understand the three seemingly insurmountable flaws currently affecting CSS grids.

Read the rest on Smashing Magazine.

A List Apart  •  Jul 26, 2011

The UX of Learning

Think of the last time you ordered a book, booked a flight, or bought a car. How did you choose which book to read, where to go for vacation, or which car was best for you? You may have searched online, read reviews, or asked others for advice to help you make an informed decision. In a word, you learned. Learning is a complex process with distinct stages, each with corresponding tasks and emotions. Understanding how users learn can help us design experiences that support the user throughout the entire process. To design better learning experiences online, start by learning a thing or two about learning itself.

Read the rest on A List Apart.

Johnny Holland  •  Jun 16, 2011

Learning Styles

You and I are different. It’s obvious, but has a profound impact on fulfilling the needs of disparate users. Not only do you and I have different accents, hairstyles, and musical tastes, but even our cognitive processes — the very building blocks of being human — are substantially different. I recently wrote about individual differences in expertise and cognitive style, but there is a third dimension: learning style. Understanding how people learn is fundamental to delivering desirable content, a prerequisite of any good user experience.

Read the rest on Johnny Holland.

The TwigKit Blog  •  May 20, 2011

A Call for High Quality Demo Data

There is a huge need for a standard corpus of high-quality, free-to-use demo data. When building search applications, for instance, getting your hands on actual data can be near impossible, forcing you to design for unrealistic situations and compromising the end result. Well-rounded demo data would help ensure you’re working towards the right target.

Read the rest on The TwigKit Blog.

UX Magazine  •  May 12, 2011

Cognitive Styles

We pour over analytics, conduct ethnographic studies, and interview users in order to understand the demographics, goals, and tasks of the people using our product. We create personas, write scenarios, and list use cases. And so we should; understanding who our users are and what they want to achieve is foundational to our job as designers.

But how deep does our understanding of users actually go? Sure, we know their socio-economic bracket, what industry they work in, and the top few tasks they want to achieve on our website. But are there deeper, more innately personal characteristics at work? Can we figure out what really makes them tick?

For over a century, psychologists have been trying to account for the range of individual differences people exhibit when interacting with new information. At the heart of their research lie cognitive styles—the stable attitudes, preferences, and habitual strategies that determine how an individual processes information. Understanding cognitive styles will help us design better experiences for users.

Read the rest on UX Magazine.

Boxes & Arrows  •  Apr 20, 2011

Novices Orienteer, Experts Teleport

Would you rather take a photo using your phone, a point-and-shoot camera, or a digital SLR? How you answer this question is probably a good indicator of your photographic expertise. If you snap casual shots, your phone or a point-and-shoot camera will probably suffice. If you’re a professional photographer, on the other hand, you probably prefer using an SLR that gives you control over the focus, aperture, and exposure. Expertise significantly impacts how we seek information online. Just as novice and expert photographers prefer different tools, so novices and experts behave differently when searching for information. Understanding these differences will help us design better search interfaces for both groups of users.

Read the rest on Boxes & Arrows.

The TwigKit Blog  •  Apr 08, 2011

Why Devs Should Become UXers

Why do you code? It’s probably not just for a pay check (lets face it, there are plenty of boring jobs out there that pay the bills). Maybe you code because you like working with the latest technology, or perhaps you take pleasure in crafting concise, elegant solutions to tough problems. Did I hear you say, “I code to deliver value to users”? Hmm, didn’t think so. But you’re not alone: designers have their own set of motivations devoid of the user, from seeking the praise of others to creating a work of art. It’s imperative that both designers and developers fight against our natural inclinations and treat the user as king. Whatever you’re working on, whether it’s an API for a payment gateway or a new request handler for Solr, you’re building it for the people who will use it. Want to become a better developer? Then start designing the user experience.

Read the rest on The TwigKit Blog.

The TwigKit Blog  •  Mar 30, 2011

Why Designers Should Care About Search

Why do you code? It’s probably not just for a pay check (lets face it, there are plenty of boring jobs out there that pay the bills). Maybe you code because you like working with the latest technology, or perhaps you take pleasure in crafting concise, elegant solutions to tough problems. Did I hear you say, “I code to deliver value to users”? Hmm, didn’t think so. But you’re not alone: designers have their own set of motivations devoid of the user, from seeking the praise of others to creating a work of art. It’s imperative that both designers and developers fight against our natural inclinations and treat the user as king. Whatever you’re working on, whether it’s an API for a payment gateway or a new request handler for Solr, you’re building it for the people who will use it. Want to become a better developer? Then start designing the user experience.

Read the rest on The TwigKit Blog.

The TwigKit Blog  •  Feb 09, 2011

Search as a Flow Experience

When was the last time that you were “in the zone”? Do you remember being so absorbed in an activity that you forgot about the outside world, time seemed to fade away, and you felt invigorated? Maybe you’re an avid tennis player and remember a rigorous game when you seemed on fire. Or perhaps you’re a musician and recall feeling as if the notes were flowing through your fingertips. Psychologist Mihaly Csikszentmihalyi calls this state of optimal experience flow. In his research, he found that musicians, composers, athletes, and even chess players all used the same words to explain their enjoyment. Csikszentmihalyi identified 8 elements that contribute to a flow experience.

Read the rest on The TwigKit Blog.

UX Magazine  •  Jan 05, 2011

From Pattern to Component

In 1899 the largest automobile producer in world, Benz & Cie, made a grand total of 572 cars. Few could afford such hand-built luxuries. But in 1908 Henry Ford began to mass-produce the Model T using an assembly line. By distilling the complex process of constructing an automobile into a distinct set of repeatable tasks, Ford reduced the time required to assemble a car down to just 93 minutes. By the 1920s, 10,000 cars were being produced every day, each with a price tag of just $290. Software, too, thrives on the transformation of abstract ideas into concrete, reusable components.

Read the rest on UX Magazine.

The Nutshell Blog  •  Nov 18, 2010

Nutshell Launches in NYC

It’s been an exciting week for the Nutshell team. We’ve been in New York City officially launching the company in front of about 500 of our peers at the Future of Web Design conference. On Monday, Andy Fowler (our lead developer) and I went on stage at the end of the conference to make the big announcement. We shared some of the key tenets of our development strategy including cross-platform design, building the API first, and prototyping on paper.

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Amazon.com  •  Sep 27, 2010

Review of Simple and Usable by Giles Colborne

We’ve all been frustrated by a gadget, from trying to install a printer to spending hours setting up a new mobile phone. Page one of Simple and Usable points out that: “The Technology that is supposed to make our lives easier often feels like it’s on the march against us.” What then is the antidote to confusing products, software, and web sites? The answer is — as one might guess from the title of the book — simplicity. Simple and Usable is both an extremely approachable and an incredibly practical guide to simplicity. Author Giles Colborne compelling shares four fundamental strategies for accomplishing simplicity: remove, organize, hide, and displace.

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The Nutshell Blog  •  Aug 26, 2010

Paper & Ink (Sketching Nutshell)

What does building a brand new CRM for medium-sized businesses look like? Way before pushing our first pixel, we listened to people recount their frustrations with CRMs on the market today. We had long discussions about how we wanted to both empower sales people to do their job more efficiently, and enable the business to control and codify the sales process. We spent long sessions in front of the whiteboard, and days sketching out and talking through these ideas. Now in the final stages of development (eying a launch later this year), we thought it as good a time as any to show you a few of those early sketches.

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Johnny Holland  •  Jul 05, 2010

The Scent of Search

The implications of Information Foraging Theory on designing user-centred websites have not gone unnoticed. Jakob Nielsen and Jared Spool, among others, have put forth considered recommendations on how to enhance information scent on the web. Most of their guidelines, however, tend to assume that the designer has direct control over the explicit words used in the interface. While this is certainly the case for browse-based websites dependent on site-wide navigation and hyperlinks, it breaks down for search interfaces where both content and navigation are completely dynamic.

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UX Booth  •  Jun 29, 2010

Concerning Fidelity in Design

People swear by their design process. Rachel Glaves insists on sketching by hand, Dan Brown urges extensive wireframing, and Ryan Singer goes straight to HTML. Conferences are filled with heated debates as advocates of each staunchly defend their favoured technique. With all of these different methods to choose from, should you be sketching, wireframing, mocking-up, or prototyping? The answer is simply: Yes, you should.

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The TwigKit Blog  •  Apr 01, 2010

ECIR Industry Day 2010

The event consisted of 12 different speakers each presenting for exactly 20 minutes, with about 10 minutes of Q&A after each. I particularly enjoyed the presentations from the major search engines: Yahoo, Google, Bing, and Wolfram Alpha. A topic that seemed to arise in each of those talks was how query reformulation data can provide a feedback loop to make search better. But without further ado, here are my summaries of each talk.

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The TwigKit Blog  •  Feb 08, 2010

Search Suggestions

You used to be expected to type for yourself. But today people have come to expect a reasonable amount of help at even this task. Our phones now help us form correctly-spelled words, our browsers fill in long addresses after we’ve typed only a few characters, and search engines recommend searching for “Humphrey Bogart” after we’ve typed just “boga.” But not all as-you-type search suggests are created equal. Careful observation seems to reveal three different approaches: completion, suggestion, and instant results. These approaches range in cognitive burden on the one hand, and utility on the other. We’ll look at several examples of each and consider when they should be used.

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Smashing Magazine  •  Oct 07, 2009

Minimizing Complexity

Clean. Easy to use. User-friendly. Intuitive. This mantra is proclaimed by many but often gets lost in translation. The culprit: complexity. How one deals with complexity can make or break an application. A complex interface can disorient the user in a mild case and completely alienate them in an extreme case. But if you take measures first to reduce actual complexity and then to minimise perceived complexity, the user will be rewarded with a gratifying experience.

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Usability Post  •  May 29, 2009

The 1KB CSS Grid

Other CSS frameworks try to do everything—grid system, style reset, basic typography, form styles. But complex systems are, well, complex. Looking for a simple, lightweight approach that doesn’t require a PhD? Meet The 1KB CSS Grid.

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