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Posts about Visual design
Designing a product with the intention of being “white labelled” means that you are creating a software for a client to incorporate into their existing (visual language) system. Every now and then design consultants are hired by another consultant to work on a third party’s existing system. This what you call a super white label. Here, you not only have to consider your client’s needs, but your client’s client’s needs, too. It can be easy to start designing with everyone’s goals in mind and eventually lose focus, leaving no one satisfied in the end. These are some basic tips I’ve found that to help start and manage a white labelled project.
It can be easy to start designing with everyone’s goals in mind and eventually lose focus, leaving no one satisfied in the end.
Last year at Cooper U, we took the plunge and completely redesigned our Visual Interface Design course to better serve the design community. By applying the same user-centered design approach that Cooper U is built upon, the redesign became an interesting case study for how teaching and practice influence each other.
The impetus for the redesign came from student feedback and a sense that the course didn’t fully convey critical parts of Cooper’s visual design process. Though the former course was successful in many ways, it tried to do too much and appeal to too many to fully reach its potential. This resulted in an overwhelming, lecture-heavy classroom experience that felt out of place compared to our other workshop/activity driven courses. And while students left with a lot of great information, they didn’t have a clear direction on how to apply what they learned back at their workplace.
At Cooper we design products that empower and delight the people who use them. Design documentation is integral to our process because it communicates the design itself, the rationale for decisions we made, and the tools for clients to carry on once the project wraps up.
Good design documentation doesn’t just specify all the pixel dimensions and text styles and interaction details (which it must). It can also tell the high-level story, stitch together the big picture, and get internal stakeholders excited about the vision. One of our primary goals as outside consultants is to build consensus and momentum around the design—documentation can speak to executives as well as developers. After all, we’re usually leaving a lot of the hard work of design implementation on the client’s doorstep, and building great software starts with getting all the stakeholders on board.
Design documentation should create trust and provide consistency for future iterations of the design thinking. We believe it’s important to give the rationale and context behind design decisions. Answering the “why?” of design helps new team members get on board down the road, prevents wasted effort later when old questions get rehashed, and provides the starting point for prioritization and roadmap discussions. This facet of the process is too often overlooked or omitted for expediency, but trust us: clients will thank you later.
The best design documentation gives the client a unified design language, a framework for talking about the design, and a platform for improving the design over time. Static documentation is quickly becoming a thing of the past—we’re always looking for new documentation techniques and delivery mechanisms because we want to equip our clients with the most approachable and actionable information possible. Delivering design documentation marks the beginning of the client’s journey, not the end.
At Cooper we design products that empower and delight the people who use them. Design documentation is integral to our process because it communicates the design itself, the rationale for decisions we made, and the tools for clients to carry on once the project wraps up.Good design documentation doesn’t just specify all the pixel dimensions and text styles and interaction [...]
There’s a lot of writing out there on how to run a productive critique.
One of my favorites is by Jake Knapp of Google Ventures where he lays out nine rules to follow. For example, one great rule is to write it before you say it - this requires 5-10 minutes of silent time to look at the work and write down your initial reactions. It allows you to respond to the work individually – eliminating groupthink. Scott Berkun also wrote a great guide on setting up a critique and goes into the details of specific questions to ask and what materials you’ll need.
So you’ve followed the best practices and just had a super productive critique.
There’s a lot of writing out there on how to run a productive critique.One of my favorites is by Jake Knapp of Google Ventures where he lays out nine rules to follow. For example, one great rule is to write it before you say it - this requires 5-10 minutes of silent time to look at the work and write [...]
I’m OK with fashion in interaction design. Honestly I am. It means that the field has grappled with and conquered most of the basics about how to survive, and now has the luxury of fretting over what scarf to wear this season. And I even think the flat design fashion of the day is kind of lovely to look at, a gorgeous thing for its designers’ portfolios.
But like corsets or foot binding, extreme fashions come at a cost that eventually loses out to practicality. Let me talk about this practicality for a moment.
In The Design of Everyday Things, Donald Norman distinguished between two ways that we know how to use a thing: information in the world, and information in your head.
Information in the world is stuff a user can look at to figure out. A map posted near the subway exit is information in the world. Reference it when you need it, ignore it when you don’t.
Information in the head is the set of declarative and procedural rules that users memorize about how to use a thing. That you need to keep your subway pass to exit out of the subway is information in your head. Woe be to the rider to throws their ticket away thinking they no longer need it.
For flat design purists, skeuomorphism is something akin to heresy, but it’s valuable because it belongs to this former category of affordance: it is information in the world. For certain, the faux-leather and brushed-aluminum interfaces that Apple had been pumping out were just taking things way too far in that direction, to a pointless mimicry of the real world. But a button that looks like a thing you can press with your finger is useful information for the user. It’s an affordance based on countless experiences of living in a world that contains physical buttons.
Pure, flat design doesn’t just get rid of dead weight. It shifts a burden. What once was information in the world, information borne by the interface, is now information in users’ heads, information borne by them. That in-head information is faster to access, but it does require that our users become responsible for learning it, remembering it, and keeping it up to date. Is the scroll direction up or down this release? Does swipe work here? Well I guess you can damned well try it and see. As an industry now draped in flat design, we’ve tidied up our workspace by cluttering our user’s brains with memorized instruction booklets for using our visually sparse, lovely designs.
So though the runways of interaction design are just gorgeous right now, I suspect there will be a user-sized sigh of relief when things begin to slip a bit back the other way (without the faux leather, Apple). Something to think about as we gear up our design thinking for the new year.
Illustration built on creative commons 2.0 Portrait of a Man by Flickr user and photographer Yuri SamoilovI’m OK with fashion in interaction design. Honestly I am. It means that the field has grappled with and conquered most of the basics about how to survive, and now has the luxury of fretting over what scarf to wear this season. And I [...]
Old School Radio Meets the Digital Age
Take a look inside Cooper's June, 2013 UX Boot Camp with American Public Media’s Marketplace Money radio show, where students explored the next horizon of audio programming—a paradigm shift from broadcast to conversation-based platforms.
Students rolled up their sleeves to help the show respond to the trend away from traditional radio by finding the right mix of alternative distribution platforms. Marketplace Money came equally ready to take a radical departure from their current format in order to create a new model that redefines the roles of host, show, and audience in the digital age. To reach this goal, students focused on designing solutions that addressed three big challenges:
- Engage a new, younger audience that is tech savvy, and provide easy access to content via new platforms, such as podcasts, satellite radio shows, and the Internet.
- Inspire audience participation and contribution. Facilitate conversations and inspire people to share their personal stories so that listeners can learn from each other.
- Design ways for the host to carry an influential brand or style that extends beyond the limits of the show and engage with the audience around personal finance, connecting with listeners in ways that are likeable, useful, and trustworthy, making the topic of personal finance cool, fun and approachable.
At the end of the four-day Boot Camp, student teams presented final pitches to Marketplace Money, and a panel of experienced Cooper designers offered feedback on their ideas and presentations. In the following excerpts from each day, you can test your own sensory preferences for receiving content as you see, hear and read how design ideas evolved at the Boot Camp, inspiring new relationships between people and radio.
Old School Radio Meets the Digital AgeTake a look inside Cooper's June, 2013 UX Boot Camp with American Public Media’s Marketplace Money radio show, where students explored the next horizon of audio programming—a paradigm shift from broadcast to conversation-based platforms.The ChallengeStudents rolled up their sleeves to help the show respond to the trend away from traditional radio by finding the [...]
Guest post by Francesca Di Mari at Sketchin, a Swiss user experience design firm based in Lugano.At Sketchin we strongly believe that design can improve lives and foster social good. We first heard of Cooper’s UX Boot Camp when we visited Cooper in September, 2012, and we fell in love with their idea of using design to educate and foster social good by bridging design students with non-profits. This idea was conceived of and developed by Kendra Shimmell, the Managing Director at Cooper U, and it launched our determination to be part of a design revolution for social good. Our first step was to create our own UX Boot Camp modeled after what we experienced at Cooper. So in May of 2013, together with Talent Garden Milano and Frontiers of Interaction, we organized the first Italian UX Boot Camp in Milan, modeled after the Cooper UX Boot Camp. Here is a look back at what we created and discovered in the process.
Guest post by Francesca Di Mari at Sketchin, a Swiss user experience design firm based in Lugano.At Sketchin we strongly believe that design can improve lives and foster social good. We first heard of Cooper’s UX Boot Camp when we visited Cooper in September, 2012, and we fell in love with their idea of using design to educate and foster [...]
Today we launched the new Cooper.com. It’s a work in progress. Agile in action: ship it, learn something, change it. But we’re enormously proud to reach this milestone. cooper.com, through the yearsA long and winding roadCooper.com has been on a bit of a roller coaster ride over the past couple years. In 2011, we introduced an interesting and innovative design [...]
The other night I attended a presentation/panel discussion about visual science communication. Well, I should say I had a terrific dinner at Wexler's first, then attended a presentation/panel discussion. These panels are better with a cocktail in you.The event took place at swissnex. I think they like their name uncapitalized. I'm still a bit unclear about what swissnex is. The [...]
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