London IA on Innovation (the talks)

Richard Rutter

The Future of Web Typography

Glenn Jones

Re-using data people have left around the web

Claire Rowland

The Psychology of Creativity

Andy Budd

The Cult of Innovation

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Nice Grid

Nice grid by Dave Blatherwick

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All About Design Club

There has been much activity and discussion within the design community on the problematic subject of ‘innovation’ and the design challenges it sets in different environments from corporate boardrooms to public services. There have been those of the opinion that one should avoid using the the word (Stop saying innovation, Scott Berkun), to whether innovation in corporate environments is really possible (Andy Budd’s Innovation Trap talk to take place on 30 March), to the opinion that the only real innovation is innovation that is not stymied by concerns for the environment and knows no limits and places ‘human endeavour back at the centre of the universe’ (Big Potatoes: The London Manifesto for Innovation).

Strategies and whitepapers are being launched, agendas begun and set, events and meetups organised and attended, articles written and published, ideas generated in agencies the length and breadth of the country – all with the ambition of getting to the bottom of the widespread design challenges facing our time.

And there are a multitude of approaches but most are in agreement that even though there are many differences of opinion there is a need to openly discuss ideas, approaches and find solutions together. There is a need to bring together the difference of opinion to discuss, debate and understand. For example, to enable full understanding of everyone’s different approaches to design innovation and the acceptance that there is difference of opinion about what it means and what innovation actually is and how it should be handled.

As a community we need to discuss and challenge many opinions and preconceptions in order to reach a position of mutual respect and understanding. In this election year (in the UK), there are many subjects that require analysis and challenging rather than lethargic acceptance (eg healthcare, crime, local communities, transport, the environment). I want to call it the All About Design Club and alongside a host of individuals, agencies, groups, organisations pushing for insight, understanding and change I would like to encourage open and public discussion.

I believe there are wonderful opportunities to bring together the large and dynamic UK design community to discuss, argue and discover about a diverse range of design approaches, subjects and practice.

Please join in.

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London IA on Innovation

London IA supported by Zebra People and Lab49 is very pleased to present London IA on Innovation at The Team on 30 March.

Below are full details of the evening’s activities, how to sign up for a free ticket and the presentation deck for the evening:

The Future of Web Typography

Richard Rutter

For too long typography on the web has been stuck in the dark ages, but web type is now undergoing a renaissance. Richard will take us through recent innovations, revealing the highs and lows of font linking with its minefield of design, technology, ethics and business models. He’ll tell the story of Fontdeck, a proposed solution to these issues, and wax lyrical on the shiny future of fonts and web type.

Richard is production director at web consultancy Clearleft. User experience designer by day, he’s a web typography evangelist by night and runs the much-cited Webtypography.net. Seeking to provide a webfonts solution that works for type foundries and professional web designers alike, Richard co-founded Fontdeck in 2009.

Re-using data people have left around the web

Glenn Jones

Without much conscious thought, most of us have built identities across the web. We fill in profiles, upload photos, videos, reviews and bookmarks.

This session will explore the practical reuse of social media data and how it can create better user experience. How to exact social graphs and profiles information from open data sources like RSS and Microformats to provide a wealth information about your users.

Glenn Jones is the Creative Director and a founder of Madgex. Equally as passionate about interaction design and coding, he is currently addicted to exploring ideas of the semantic web and data portability. His latest project Ident Engine allows front-end developers to create new user experiences from a blend of identity and profile data. Glenn has given talks about data portability at many events and has written for sites such as ALA.

Innovation requires creativity

Claire Rowland

A lot of hot air and expensive business consultancy time is sold in pursuit of facilitating creativity but the creative process is still thought of as a mysterious black box, often the preserve of certain people and not others. But what’s the actual science behind it? Are some of us more creative than others, and if so, why? What can all of us do to help ourselves have more and better ideas?

Claire Rowland is a service design lead at Fjord, where she heads up UX research activities. She’s been working in UX since 1997, when a duff recruiter put a psychology/philosophy and interactive media graduate forward for a software developer role at the Press Association despite her only having 20 minutes of the required 2 years’ Unix experience. Thankfully, a curious manager decided she might be useful to have around anyway, and let her figure out how for herself. The answer quickly turned out to be IA, IXD and UX research, and since then she’s been working on web, mobile, PC and multi-channel services for companies such as Razorfish, Flow Interactive and Seren.

She has conducted hundreds of user research sessions with participants from 8 year old Lego fans to the directors of BP, and these days mainly focuses on finding ways to help her awesome creative design colleagues get inside users’ heads.

The Innovation Trap!

Andy Budd

Businesses constantly strive to gain competitive advantage through “innovation”. However, is innovation a legitimate business strategy or a misguided and often misunderstood buzz-word?

Is it really possible to innovate within a large organisation to a budget and deadline, or is corporate innovation a myth. Can innovation be planned or is it something that grows organically from a particular mind set and way of working?

The myth of innovation is seductive. However, it can often take effort and resources away from the less sexy but more productive task of finessing existing ideas. As industries strive to create new products, are we forgetting that some of the best selling and most iconic designs are actually incremental improvements to existing products?

In this session Andy will argue that innovations isn’t just a bad strategy; it’s no strategy at all. Instead of crossing our fingers and betting the farm on a sudden and uncontrollable burst of luck, we need to be sensitive to the world around us and focus on solving immediate problems in a more intelligent way.

Andy Budd is one of the founding partners at User Experience Design Consultancy, Clearleft. As an interaction design and usability specialist, Andy is a regular speaker at international conferences like The Web 2.0 Expo, SXSW and An Event Apart. Andy curates dConstruct, one of the most popular design conferences in the UK. He’s also responsible for UX London, The UK’s first dedicated Usability, Information Architecture and User Experience Design event.

Get a free ticket

Slides

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Food for thought on handling different behaviours

I love these examples of handling different behaviours in children. As designers preoccupied with a user’s experience of the world around them and the contents of it, I think that we can learn a great deal from these excerpts from the British Journal of Play Therapy Volume 5, Winter 2009.

At present, the pamphlet is not online so I have reproduced a version of them below:

Roland and the pencil

Roland, an 8 year old boy with autistic spectrum disorder is sitting at a table in the classroom with 5 other children. All of them are given a piece of paper and pencil and are asked to draw a picture of themselves playing their favourite game. All children proceed to draw elaborate pictures except for Roland who is more interested in the sound made by tapping the tip of his pencil on his paper and creating a series of dots.

An observer might argue that Roland’s behaviour could be due either to the fact that he was unable to understand the required task or that he was unable to reproduce a picture of a previous event or that he had fine motor difficulties that prevented him from drawing a picture. However, none of them apply to his incessant need to tap his pencil rather than draw a picture. Roland had a compromised sensory system which meant he would easily perseverate on sounds, enjoy repetitive actions, and was drawn to visual images that repeated themselves. The pull of his sensory preferences prevented him from engaging in the task at hand.

According to Piaget’s theory of play, Roland was engaged in a form of object play. However, the teacher quickly realised that since this was a very elementary form of play, and seeing that the tapping pencil began to distract the other children, she seized the opportunity to move Roland to a more sophisticated level of play that involved his peers.

The teacher asked all the other children to stop their drawings and to imitate Roland’s pencil tapping. Roland began to smile at the other children, produced sustained eye contact and also began laughing. He became very excited by their actions and imitation and began to address them with various tapping patterns to follow. He began calling them by name and would ask them to speed up and slow down. They drew shapes, faces, making them happy, mad and sad. The perseverative nature of the pencil tapping became a social form of game playing that included interaction, imitation, communication and reciprocity that was possible with the creative direction of the teacher.

Richard and the rollerblades

Richard, an 11 year old in a large suburban school diagnosed with autistic spectrum disorder, whenever he walked around the tight aisles between the desks in his classroom would involuntarily bump into the other children, sometimes hitting or kicking them.

The initial reaction of the teacher was to ignore this behaviour, to punish it, label it as attention seeking, and curtail it. Richard became used to this cause-effect nature of his behaviour.

In time the conclusion was that Richard had poor body awareness, limited spatial awareness and was frustrated with the structural confines of the classroom. He was also experiencing sensory overload. With outside input it was decided to overhaul the layout of the classroom. Rather than remain in rows, desks were placed together to form pods creating more space. Furthermore, to assist Richard with body awareness and contact him with his surroundings, it was decided that he be placed on rollerblades. In time, Richard’s aggressive behaviour reduced considerably and on the occasion when he did try to lash out he would lose his balance and end up asking for help.

As weeks passed, Richard joined cooperative games and began to recognise the value of friendship and began building relationships with the other children. Then the introduction of a selection of the other children on rollerblades allowed Richard to observe a leadership role and help others.

In time, Richard became a functioning member of the classroom without rollerblades able to work on academic tasks both alone and in groups.

Pencil picture by Visualpanic
Rollerskate picture by Pascal \o/’s

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As little design as possible but as much help as you can get

“Design is the successive application of constraints until only a unique product is left” (Don Norman)

We are all too familiar with the need to minimise complexity, encourage good design and promote accessibility and usability as the core approaches for a successful user experience.

When a UX designer/experience architect/information architect begins a new project we except that their focus is firmly on ensuring that all unnecessay complexity (and particularly perceived complexity) is minimised and that the advantages of good accessibility practice (particularly in terms of clarity and simplification of presentation) are promoted.

To set all on their way (or to help those in need) I have put together a collection of guidelines, quotes, ideas that I have used to retain sanity and keep going in a forward motion (and get to a position of acceptance) on my current UX led Agile project in a large corporate. They remain relevant to any size project and attempt to cast light on the most challenging corners of projects. Plenty of Don Norman and a selection of other recent/relevant inspirations.

I suggest you create flash cards of these and stick them up EVERYWHERE (share withs BAs, Architects, Developers, Testers, PMs, Scrum Masters, Project Sponsors – in fact share with everyone on the project, all will benefit):

1. Design and build for error
2. To produce vision, ensure experience is tangible and the outcome obvious
3. Solve existing problems first
4. Iteration rather than innovation
5. Gimmicks don’t win long term friends: don’t confront user busy in task mode with unnecessary gimmicks
6. Do one thing and do it well
7. The goal is not to make your user interface as realistic as possible. Adding too much realism can cause confusion
8. Many of the worst design decisions are innovative (Jeremy Keith)
9. Keeping up with the Jones’ is not visionary
10. As little design as possible (Dieter Rams)
11. Standardise what has to be kept in the head (use both knowledge in the world and knowledge in the head) (Don Norman)
12. There is no barrier to success if what your GUI is designed upon is rock solid, secure and architectured well
13. Make everything simple not just the destination
14. Hiding complexity is not the same as simplicity
15. Minimise thought required for tasks
16. What are the tasks required to complete X? ensure the minimum of conscious mental activity, understand fully the environment, the personalities, the structure, the hierarchy of the users (there maybe many many different types) (Don Norman)
17. Regular tasks follow patterns: ensure you understand users’ patterns. Especially users of complex instruments, dashboards, systems.
18. Divide between well intentioned and frustrated. Is there a pattern?
19. Align yourself with user needs
20. Always look for simplest route/journey
21. Users can be delighted by simplicity/ease of use of the whole
22. A system that understands the user, allows the user to complete the maximum amount of tasks with the minimum amount of ‘conscious mental activity’
23. Spread out the tools and prioritise the ones that assist but ensure all are part of a seamless experience
24. Sense of working on problem without being aware of environment
25. Group logical tasks together
26. Pay special attention to user errors
27. “Everyone is looking to wow with their products when in reality what they should be looking for is an ‘of course’ reaction” (Christian Lindholm, Fjord)
28. Be sure of having used to the full all that is communicated by immobility and silence (Robert Bresson)
29. Progressive disclosure is your mistress
30. Make accessibility part of your approach to a successful UX
31. Why can’t more design for specific needs be more integrated with design for “normality”? (Ann McMeekin)
32. Don Norman principles: Visibility, Constraints, Affordances, Natural mappings, Feedback
33. Great design doesn’t feel “intuitive”. It feels inevitable.

Inspirations

Design of Everyday Things

Expand the Awesome: Design for a Wider Audience

Minimizing Complexity In User Interfaces

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Best of (recent) iapresentation

Conference feedback (big and small, it effects us all)

My feedback and stuff to learn regarding recent conferences I have attended.

Sketchbooks

My preferred list of sketchbooks readily available.

Pick of the UXLondon Twitter postings

What a grid day

Watching digital readers

‘One of the things our grandchildren will find quaintest about us is that we distinguish the digital from the real‘ William Gibson

1. theories to live by: Milton Glaser

My photography has changed

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Like buying a puff of air

Guest post by Luke Perman

Over the past year I have spent much time, and money, building my digital music collection. As I have been buying music on vinyl since 1990, I have had regularly clear outs by using eBay, Discogs and sometimes Amazon to resell old, less played records. Sometimes vinyl that I have bought has been worth 10-20 times the original price. CDs don’t fare so well, but usually I can get something reasonable back for them if I bundle several good CDs together.

As far as my digital collection goes, which I have lovingly rated, organised and catalogued, I recently started to wonder what to do with the tracks that I no longer want. I’m hesitant to simply delete files I have paid a considerable amount of money for. Often, the purchase cost for the digital version of a popular album is the same as the CD.

Searching the usual avenues of eBay, Discogs and Amazon, there also doesn’t appear to be much call for resold digital media. That which I can find is sold so cheaply to hardly make it worthy. Where I have had to bundle CDs to create a sense of value, I have to do this more so with digital media.

Looking for other avenues where I could sell on my unwanted files I found Bopaboo, a digital media resell service. This is still in private beta and appears to not have had any activity since December 2008. My guess is that they have found it difficult to find a legal business model for mp3 resale that the music industry is happy with. The music industry has always been unhappy with the presence of a second hand music market. When you purchase music, the cost is simply for the rights to own the content for personal consumption. Second hand sales are a grey area where you are selling on that right to someone new without the copyright owner benefitting in any way.

If I was able to sell on my ‘used’ digital media, I have concluded that the value is not so much in the files themselves, moreover, the quality of the selection, organisation, and my reputation as an authority. The big question is once I have created a great library of music and decided to sell it on, what do I do with my backups?

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Suggested reading from The Design Of Everyday Things

Thought it would be useful to put Don Norman’s list of suggested reading from his book The Design Of Everyday Things in a post with links to each book on Amazon (sadly not all the books are readily available but at least one has reference to them and a way of keeping an eye on them whether they become readily available in the future).

Everyday Things

Fernand Braudel’s The Structures of Everyday Life
Charles Panati’s Extraordinary Origins of Everyday Things

Architectural Design

Tom Wolfe’s From Bauhaus to Our House
Peter Blake’s Form Follows Fiasco: Why Modern Architecture Hasn’t Worked

Industrial Design

Henry Dreyfuss’ Designing for People
Raymond Loewy’s Never Leave Well Enough Alone
Ralph Caplan’s By Design: Why There Are No Locks on the Bathroom Doors in the Hotel Louis XIV and Other Object Lessons
Kevin Lynch’s The Image of the City
Kevin Lynch’s What Time is This Place?
Adrian Forty’s Objects of Desire: Design and Society Since 1750
Witold Rybczynski’s Home – A Short History of an Idea
Ivan Illich’s Tools for Conviviality

General Issues in Design

Henry Petroski’s To Engineer is Human: The Role of Failure in Successful Design
Charles Perrow’s Normal Accidents: Living with High Risk Technologies
Robert Sommer’s Social design: Creating buildings with people in mind
Herbert A. Simon’s Sciences of the Artificial
Ted Nelson’s Literary Machines
Understanding Computers and Cognition: A New Foundation for Design by Terry Winograd and Fernando Flores
Lucy A. Suchman’s Plans and Situated Actions: The Problem of Human-Machine Communication

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CV format – is it broken? Does it need fixing (UPDATE)

An update to previous article about CVs is that I have updated the CV Grid Template.

Download a Omnigraffle Template here now or from Graffletopia

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