Cooper Journal: Design principles

Brainstorm without snapping branches

by Dana Smith on August 13, 2008 | Comments

Ah, the rumble of an impending brainstorm. In some organizations, it is a prized tool that puts a sparkle in the eye and wind in the sails. In others, it's a feared term and a necessary evil.

And what exactly is a brainstorm anyway? Many disciplines, whether design, business, technology, or otherwise, have their own brainstorming voodoo, though it can seem like this vision is transported via secret handshakes and smoke signals. Everyone knows something is going on, but no one really articulates what. After all, it's really just the time when we get together and come up with stuff (hopefully of the clever variety), right?

I've found myself brainstorming to many tunes over the years, from industrial design rock-fests to a modern interaction design synthpop, a visual design rumba to a change management cha-cha. And this often little-understood microcosm of society has an uncanny way of pushing buttons and exposing long-held beliefs right when they're on the way to the chopping block. It's the place where the skeletons come out, and can remain fraught with quicksand no matter how long you've been doing it.

So why bother? Sure, they can be challenging. But they are also where the magic happens. Where the mish-mash of life experiences come together to create something from nothing. And the principles that make this magic happen don't change.

This is what I've learned along the way...

Be present — Put it away.

A single person checking their email or starring out the window can have a ripple effect on the whole room. This is your time! The time for the great idea. Be there for it.

Be the dynamic — Say it, show it, repeat.

Make explicit the desired group dynamic alongside the goals for the session outcome. Discuss the goals with the room, get agreement, and then keep those goals in sight. While focusing on a new idea, people can easily forget themselves and relax into old (sometimes less constructive) habits; it's only human. So stick up those dynamic and outcome goals (to your forehead if you have to) as an ever-present target.

Be a good citizen — Build a community with your bricks.

A highly-functioning brainstorm participant is both an individual contributor and advocate for the group at the same time. Each of their ideas serves a dual purpose - to contribute to the output of the session, as well as to act as a springboard for someone else's next idea. Do both with intention.

Be positive — See the good, and say so (and don't throw those bricks.)

See the good in your own ideas, and articulate the positive in the ideas of others. This is how the momentum gets started, and how to keep it going. Make "Yes, and also..." your favorite phrase.

Be safe — Keep the wolf at bay.

Ask clarifying questions if you need to, but keep those ideas away from judgment or analysis; Try setting aside a separate time for processing later. One wacky idea is all it takes to ignite the twinkle of the idea in someone's eye. Analysis and judgment are the big-idea-stealers in disguise, and guarantee discord will break the momentum before you ever get to the REALLY BIG idea.

Be flexible — Keep the energy up.

Once you have the momentum going, be flexible and go with the flow. And don't forget to pause for the occasional office Nerf gun battle if you're stuck. (You do have an office Nerf gun, don't you?) Sometimes there's nothing better to shake loose those brain cells or energize the room than a little silliness and a good laugh.

So what's the result of all this? You're ready to...

Be highly generative — Have more and better ideas, and have them fast!

Brainstorming is as much about intuition and free-association as it is about brainpower or knowledge. Speed and quantity help break through the 'low-hanging fruit' ideas, and get the brain-juice flowing. The result? You push through to new combinations and insights that will surprise and enlighten you, pointing the way. You'll get to better places than you ever thought you'd go, and I bet you'll win the day.

So what brainstorming voodoo have you picked up along the way? What works for you? What doesn't?

The power of rich visual modeless feedback

by Nick Myers on August 7, 2008 | Comments

One of my favorite aspects of product design is the feedback mechanism. When I think of feedback, I think fundamentally about the car dashboard. Nearly every action that a driver makes in a car is responded to with one or more forms of feedback whether audible, tactile or visual.

Car Dashboard

When turning into a left lane, the driver will (hopefully) use the turn signal lever to indicate the change of lanes. Pulling the lever anti-clockwise will activate the turn signal on the exterior of the car, but will also offer the following feedback:

Audible: The dashboard will emit a clicking sound
Visual: A green arrow will flash on and off in the dashboard
Tactile: The lever will click or nudge over

All of these feedback mechanisms work in tandem to communicate with the driver that the turn signal is active and working. As a side note, if you’ve ever activated your turn signal and it emitted a clicking sound at double the normal rate, it usually means that one of your lights is dead (this is considered negative audible feedback). That’s great design when you consider how impossible it would be to turn on your signal indicator, get out of the car, run around it to check all the lights are working and then jump back in again, all at 30 miles an hour!

Beautiful Monsters: Be the change

by David Fore on July 29, 2008 | Comments

The Market Street grid, Courtesy: bricoleurbanism.

This week, San Francisco started choosing sides for another Market Street Mêlée, which we fight once every ten years or so. On one side of the double-yellow line are arrayed various assorted starry-eyed, bipedal dreamers who propose closing down the main artery of our fair city to most carbon-emitting traffic so as to give pedestrians and bicyclists a break, reduce pollution, and increase the beauty and overall mellow vibe of the grid. On the other side stand the self-styled hard-nosed rationalists who see in this as a pedal-powered economic and moral calamity in the making.

Book review: Web Form Design

by Nate Fortin on July 8, 2008 | Comments

I view Luke Wroblewski's latest level-headed work titled Web Form Design as a book nobody really wanted to write, but somebody had to do it. Luke makes the point that in more and more cases, it is web forms that stand between your customers and the products and or services they want from you. Anybody who has spent any time at all filling in the blanks knows firsthand that there is plenty of room for improvement here.

Personally, I appreciate that the book begins with "Forms suck." (I appreciate it because it's true). The rest of the book sets out the terminology, principles and patterns necessary to design forms that suck less. Finally, for those of you who have spent more time than you care to admit arguing about label alignment, you'll find a reasonably well considered analysis of the various options that should put an end to the squabbling.

Three books to spark your design thinking

by Dave Cronin on March 2, 2007 | Comments

For the past several months, I've been working with Alan Cooper and Robert Reimann on the latest version of About Face, Alan's classic book on interface and interaction design. One of the major objectives with this new third edition has been to bring the book up to date with current conversations about the design of interactive products, which has been a great excuse for me to dig into the growing body of literature on the subject.

In particular, the last year saw the publication of three very worthwhile tomes written explicitly on the subject of interaction design. (Those of you who have been in the field for a while probably share my shock to have such a wealth of discourse.) Despite the almost comic similarity in their titles, the three books each cover different ground but are really quite complementary. These three books, along with Mullet and Sano's Designing Visual Interfaces and About Face (naturally) would be a fantastic curriculum for someone interested in interaction design.

Typography and the User Interface

by Daniel Kuo on September 1, 2005 | Comments

There is a quiet issue that nags at the computer industry. While processing speed and computational flexibility have grown at incredible rates, our displays, the most human-facing elements of our digital lives, lag behind.

Addressing an audience of information designers, Edward Tufte once explained that the fundamental challenge with presenting information is that the world we live in is high-resolution and multi-dimensional, yet all of our displays are most decidedly not. And while Tufte was initially referring to the problems of displaying rich data on paper, he was quick to point out that digital displays suffer the same problem but to an even greater degree. It may be tricky to map multiple axes of information (time, temperature, dollars, color, widgets sold, etc.) onto a two dimensional representation, but your difficulties are only compounded when you add the considerable handicap of reducing the target display resolution to a fraction of that of an equally sized piece of paper¹.

Well-Designed Products

by Dave Cronin on September 1, 2004 | Comments

A common affliction plaguing many of us interaction designers is the propensity to complain and kvetch about every piece of software on our computers, cell-phones and cars. And it's true—there is a lot of bad software out there.

To offset this sometimes irritating tendency to critique and redesign everything we see, I'd like to offer a selection of software that I consider to be truly well-designed. To avoid creating a list that is simply an expression of my personal taste (which of course it is, to some extent), I devised some criteria as necessary aspects of a well-designed software product.

Branding and the User Interface, Part 2: Tips on New Media Branding: Behavior and Color

by Nate Fortin on July 1, 2003 | Comments

In the April 2003 newsletter, we introduced a new series devoted to exploring the opportunities and challenges related to branding technology-based products. The first installment presented a handful of basic, high-level brand concepts. In part two of our series, we will take a closer look at how branding differs between traditional applications, like printed corporate collateral, and emerging new media applications, such as software user interfaces, with a focus on behavior and color. If there are particular topics you are interested in, feel free to submit them, and I will try to address them in upcoming articles.

Why is Software Significant to Branding?

Everyday, more and more customer touch-points traditionally facilitated by human representatives are instead administered by computers. This is the case even in the most common experiences. For instance, when you check out of most grocery stores, whom do you pay? You may think you’re paying Patty, the human checkout clerk, but I bet many of you are actually sliding a card through a computer (you know, the one that asks, “credit or ATM?”).

These days, you can no sooner operate your business without computers and their software than you can without people. Your company may sell auto parts, vacuum cleaners, or fine wine, but if you have a Web site or B2B e-commerce system, you’d better believe you’re in the software business, too. Because of its increasingly significant impact on your company’s brand, the quality of software’s behavior is a crucial factor in your organization’s success.

Branding & the User Interface: Part 1

by Nate Fortin on April 1, 2003 | Comments

This article introduces a new series devoted to exploring the opportunities and challenges related to branding technology-based products. The first installment develops a foundation for future, more detailed discussions by introducing several key brand concepts. Forthcoming articles will present a variety of brand-related topics including the differences between traditional media and new media, how to solve common branding challenges, and several case studies that characterize successful technology-focused brand strategies. If there are particular topics you are interested in, feel free to submit them and I will try to address them in upcoming articles.

What is brand?

In tangible terms, brand is a name, a symbol/sign, and typically a system of fundamental visual, verbal, and written characteristics; however, the true essence of a brand extends beyond what we can see and hear. The significance of your company’s brand is also defined by the sum of its interactions with people.

Do U SMS? Text Messaging is Not the Hassle it Once Was

by Doug LeMoine on March 1, 2003 | Comments

Few modes of communication burden the user with as much interaction hassle as text messaging on mobile phones. Without help from word-prediction assistants, the word "Hello" requires 13 button-presses, not including an additional 5 to get from the start screen to the messaging app. Nevertheless, the clear benefits of short text message services (SMS) have lured untold millions into uncomfortable, not to say unsatisfying, partnerships with their mobile phones.

Don´t Get Burned by Bad Mapping

by Wayne Greenwood on May 1, 2002 | Comments

Have you ever tried to use a kitchen stove and ended up turning the wrong burner on by mistake? Yeah, us too. Just about everyone who cooks has run into this minor annoyance at some point in their life, if not repeatedly. So what do naughty stoves have to do with software? You may be surprised to learn that your digital products may suffer from the same fundamental problem that makes these stoves annoying and counterintuitive.

The problem with these stoves is poor or unnatural mapping. The term mapping describes the relationship between a control, the thing it affects, and the intended result. Poor mapping is evident when a control does not relate visually or symbolically with the object it affects, requiring the user to stop and think, "what's going to happen when I turn this knob?"

Always Have a Backup Plan

by Gretchen Anderson on October 2, 2001 | Comments

I've been thinking about how things can go wrong lately.

At Cooper, we have a design principle that suggests that designers should "hide the ejector seat levers," meaning: make sure users can't inadvertently cause their software to fail. By the same token, we also encourage designers to "make errors impossible" by designing software that anticipates the actions of its users.

Nevertheless, things will go wrong. By anticipating failures, and designing backup plans like those described below, you can minimize the impact of unexpected problems on the user.

Navigating isn't fun

by Alan Cooper on October 1, 2001 | Comments

The artless Websites created during the Web's infancy were of necessity built only with simple HTML tags, and were forced to divide up their functionality and content into a maze (a web?) of separate pages. This made a navigation scheme an unavoidable component of any Website design, and of course, a clear, visually arresting navigation scheme was better than an obscure or hidden one. But many Web designers have incorrectly deduced from this that users want navigation schemes. Actually, they'd be happy if there were no navigation at all.