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As a Web designer you’re undoubtedly familiar with CSS, the style sheet language used to format markup on Web pages. CSS itself is extremely simple, consisting of rule sets and declaration blocks—what to style, how to style it—and it does pretty much everything you want, right? Well, not quite.

You see, while the simple design of CSS makes it very accessible to beginners, it also poses limitations on what you can do with it. These limitations, like the inability to set variables or to perform operations, mean that we inevitably end up repeating the same pieces of styling in different places. Not good for following best practices—in this case, sticking to DRY (don’t repeat yourself) for less code and easier maintenance.

Enter the CSS preprocessor. In simple terms, CSS preprocessing is a method of extending the feature set of CSS by first writing the style sheets in a new extended language, then compiling the code to vanilla CSS so that it can be read by Web browsers. Several CSS preprocessors are available today, most notably Sass and LESS.

Less-css in Using the LESS CSS Preprocessor for Smarter Style Sheets

What’s the difference? Sass was designed to both simplify and extend CSS, so things like curly braces were removed from the syntax. LESS was designed to be as close to CSS as possible, so the syntax is identical to your current CSS code. This means you can use it right away with your existing code. Recently, Sass also introduced a CSS-like syntax called SCSS (Sassy CSS) to make migrating easier.

If It Ain’t Broke…?

By now you might be thinking, “So what? Why should I care about these things, and how exactly will they make my life as a Web designer easier?” I’ll get to that in a moment, and I promise it will be worth your time. First, let me clarify the focus of this article.

In this tutorial, I’ll be using LESS to demonstrate how CSS preprocessing can help you code CSS faster. But that doesn’t mean you must use LESS. It’s my tool of choice, but you may find that Sass fits your workflow better, so I suggest giving them both a shot. I’ll talk a bit more about their differences at the end of the article.

I’ll start off by explaining how LESS works and how to install it. After, I’ll list a set of problems that large CSS files pose, one by one, and exactly how you can use LESS to solve them.

Let’s go!

Installing It

There are two parts to any CSS preprocessor: the language and the compiler. The language itself is what you’ll be writing. LESS looks just like CSS, except for a bunch of extra features. The compiler is what turns that LESS code into standard CSS that a Web browser can read and process.

Many different compilers are actually available for LESS, each programmed in a different language. There’s a Ruby Gem, a PHP version, a .NET version, an OS X app and one written in JavaScript. Some of these are platform-specific, like the OS X app. For this tutorial, I recommend the JavaScript version (less.js) because it’s the easiest to get started with.

Using the JavaScript compiler is extremely easy. Simply include the script in your HTML code, and then it will process LESS live as the page loads. We can then include our LESS file just as we would a standard style sheet. Here’s the code to put between the <head> tags of your mark-up:

<link rel="stylesheet/less" href="/stylesheets/main.less" type="text/css" />
<script src="http://lesscss.googlecode.com/files/less-1.0.30.min.js"></script>

Note that I’m referencing the less.js script directly from the Google Code server. With this method, you don’t even have to download the script to use it. The style sheet link goes above the script to ensure it gets loaded and is ready for the preprocessor. Also, make sure that the href value points to the location of your .less file.

That’s it. We can now begin writing LESS code in our .less file. Let’s go ahead and see how LESS makes working with CSS easier.

1. Cleaner Structure With Nesting

In CSS, we write out every rule set separately, which often leads to long selectors that repeat the same stuff over and over. Here’s a typical example:

#header {}
#header #nav {}
#header #nav ul {}
#header #nav ul li {}
#header #nav ul li a {}

LESS allows us to nest rule sets inside other rule sets, as a way to show hierarchy. Let’s rewrite the above example with nesting:

# header {
  #nav {
    ul {
      li {
        a {}
      }
    }
  }
}

I’ve omitted the content from the selectors for simplicity, but you can see how the structure of the code quickly changes. Now you don’t have to repeat selectors over and over again; simply nest the relevant rule set inside another to indicate the hierarchy. It’s also a great way to keep code organized because it groups related items together visually.

Also, if you want to give pseudo-classes this nesting structure, you can do so with the & symbol. Pseudo-classes are things such as :hover, :active and :visited. Your code would look as follows:

a {
  &:hover {}
  &:active {}
  &:visited {}
}

2. Variables For Faster Maintenance

We usually apply a palette of colors across an entire website. Any given color could be used for multiple items and so would be repeated throughout the CSS code. To change the color, you’d have to do a “Find and replace.”

But that’s not quite it. You could also isolate those values into separate rule sets; but with this method, the rule sets would keep growing as you add more colors across the website, leading to bloated selectors. Here’s what I’m talking about:

#header, #sidebar .heading, #sidebar h2, #footer h3, .aside h3 { color: red; }

To make a simple color change, we’re faced with long selectors, all dedicated to that one color. It’s not pretty. LESS allows us to specify variables in one place—such as for brand colors, border lengths, side margins and so on—and then reuse the variables elsewhere in the style sheet. The value of the variable remains stored in one place, though, so making a change is as simple as changing that one line. Variables start with an @ and are written like this:

@brand-color: #4455EE;

#header { background-color: @brand-color; }
#footer { color: @brand-color; }
h3 { color: @brand-color; }

In LESS, variables also have scope, so you could use variables with the same name in various places; when they’re called, the compiler would check for the variable locally first (i.e. is there anything with that name where the declaration is currently nested?), and then move up the hierarchy until it finds it. For example, the following code:

@great-color: #4455EE;

#header {
  @great-color: #EE3322;
  color: @great-color;
}

…compiles to:

#header { color: #EE3322; }

3. Reusing Whole Classes

Variables are great, but we often reuse more than single values. A good example is code that’s different for every browser, like the CSS3 property border-radius. We have to write at least three declarations just to specify it:

-webkit-border-radius: 5px;
-moz-border-radius: 5px;
border-radius: 5px;

If you use a lot of CSS3, then this sort of repeating code adds up quickly. LESS solves this by allowing us to reuse whole classes simply by referencing them in our rule sets. For example, let’s create a new class for the above border-radius and reuse it in another rule set:

.rounded-corners {
  -webkit-border-radius: 5px;
  -moz-border-radius: 5px;
  border-radius: 5px;
}
#login-box {
  .rounded-corners;
}

Now #login-box will inherit the properties of the rounded-corners class. But what if we want more control over the size of the corners? No problem. We can pass along variables to the “mixin” (these reusable classes are called mixins) to get a more specific outcome. First, we rewrite the original mixin to add the variable we want to manipulate:

.rounded-corners(@radius: 5px) {
  -webkit-border-radius: @radius;
  -moz-border-radius: @radius;
  border-radius: @radius;
}

Now we’ve replaced the values for a variable, and we’ve specified the default value inside the parentheses. To give mixins multiple values, you’ll just need to separate them with a comma. Now, if we want our #login-box to have a border radius of three pixels instead of five, we do this:

#login-box {
  .rounded-corners(3px);
}

4. Operations

Variables let us specify things such as common palettes of colors, but what about relative design elements, like text that’s just a bit lighter than the background, or an inner border that’s one pixel thicker than the outer border?

Rather than add more variables, we can perform operations on existing values with LESS. For example, we can make colors lighter or darker or add values to borders and margins. And when we change the value that these operations depend on, they update accordingly. Take the following:

@base-margin: 25px;
#header { margin-top: @base-margin + 10px; }

This gives the #header element a top margin of 35 pixels. You can, of course, also multiply, divide and subtract, and perform operations on colors like #888 / 4 and #EEE + #111.

5. Namespaces and Accessors

What if you want to group variables or mixins into separate bundles? You can do this by nesting them inside a rule set with an id, like #defaults. Mixins can also be grouped in this way:

#defaults {
  @heading-color: #EE3322;
  .bordered { border: solid 1px #EEE; }
}

Then, to call a variable and a mixin from that particular group, we do this:

h1 {
  color: #defaults[@heading-color];
  #defaults > .bordered;
}

We can even access values of other properties in a given rule set directly, even if they’re not variables. So, to give the sidebar heading the same color as your main h1 heading, you’d write:

h1 { color: red; }

.sidebar_heading { color: h1['color']; }

There’s not much difference between variables and accessors, so use whichever you prefer. Accessors probably make more sense if you will be using the value only once. Variable names can add semantic meaning to the style sheet, so they make more sense when you look at them at a later date.
A couple more things to mention: You can use two slashes, //, for single-line comments. And you can import other LESS files, just as in CSS, with @import:

@import 'typography';
@import 'layout';

To Conclude

I hope by now you’ve got a pretty good idea why CSS preprocessors exist, and how they can make your work easier. The JavaScript version of the LESS compiler, less.js, is of course just one way to use LESS. It’s probably the easiest to get started with, but it also has some downsides, the biggest one being that the compiling takes place live. This isn’t a problem on modern browsers with fast JavaScript engines, but it might work slower on older browsers. Note that less.js actually caches the CSS once it’s processed, so the CSS isn’t regenerated for each user.

To use the generated CSS instead of LESS in your markup, you can compile your files using the various other compilers. If you’re on OS X, I suggest trying out the LESS App, a desktop app that watches your LESS files for changes as you work and automatically compiles them into CSS files when you update them. The Ruby Gem has the same watcher functionality but is trickier to install if you’re not familiar with Ruby (see the official website for details on that). There are also PHP and .NET versions.

Finally, LESS isn’t your only option for a CSS preprocessor. The other popular choice is Sass, but there are still more options to check out, such as xCSS. The advantage of LESS is that it uses existing CSS syntax, so getting started is just a matter of renaming your .css file to .less. This might be a disadvantage if you dislike the CSS syntax and curly braces, in which case Sass would probably be a better choice. There is also the Compass framework available for Sass, which is worth checking out if you go with Sass.

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© Dmitry Fadeyev for Smashing Magazine, 2010. | Permalink | Post a comment | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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Advertisement in Designing for Content Management Systems
 in Designing for Content Management Systems  in Designing for Content Management Systems  in Designing for Content Management Systems

Designing and indeed front-end development for a website that will have content edited by non-technical users poses some problems over and above those you will encounter when developing a site where you have full control over the output mark-up. However, most clients these days want to be able to manage their own content, so most designers will find that some, if not all, of their designs end up as templates in some kind of CMS.

By considering the CMS as you design, you can maintain far more control over the final output. If your designs will be implemented and integrated into the CMS by a developer, then taking control at the design phase will help you to keep control over the design as opposed to leaving decisions to the developer or the content editors.

Know your enemy

Content Management Systems vary greatly in how much control they give the designer and the content editors. As a designer, you should first find out how much control over the templating system of your chosen CMS you have. Control may vary from simply being able to edit the existing templates to being able to shape the CMS completely around your designs. In some older CMS products you may find that you have little control over the mark-up that is inserted into the pages.

Where the content editors are concerned you should find out:

  • Will the editors be able to insert any HTML tags into content areas, either by way of a WYSIWYG editor or directly?
  • Is content simply large blocks of marked up content inserted by the editor or does the CMS use any kind of structured content?

Wp-editor in Designing for Content Management Systems
Many people use WordPress as a CMS. In WordPress, users can add any mark-up to the Page content area

If users of the CMS will be able to insert their own HTML, then you need to consider how your design will hold up when that happens. The ideal situation for a designer is where the user has limited ability to enter their own mark-up and the CMS uses blocks of structured content to guide them into adding content in the right way that can then be marked up correctly by the templates. The more freedom a user has, the more defensively you need to design.

Keep it consistent

However flexible your CMS is, it is important to consider the consistency in your design templates. Training content editors is far easier if the elements that they have to work with are consistent across all pages of the site.

If working with any kind of structured content in your design (for example an article listing that displays a list of titles and excerpts from articles on the website), think of each section as a repeating block. With CSS3 we can more easily target every other item, or the last item, but this is not available for older browsers and it may not be possible to edit the back-end code of the CMS to add a class to every other item or the last item. Ensure that the design will hold up if each repeating block is the same — you can always add extra finesse for those browsers that do support CSS3.

When dealing with areas that are essentially large blocks of content where the user has control over the mark-up, don’t assume the user will remember to add lots of different classes to the mark-up to trigger the CSS effects you envisaged. Either keep things simple or use CSS3 selectors to target areas of the design.

Do not assume content length or height of blocks

On the web it is never a good idea to assume you know how tall something will be — as even where you have control of the content, text resizing can blow your assumed heights right out of the water and cause overlaps or text running off background images.

When designing for a CMS, you have the additional issue of more or less text being added to an area that you envisaged. If creating the initial designs in Photoshop or similar, consider how each box and the surrounding content will react to a greater or lesser amount of content. If providing PSD files to someone else to build, ensure that any background images on these boxes are provided with instructions on what happens if the box is taller. For example do we show more background or matt onto a flat color?

Grid type layouts of boxes can be a particular problem in this situation. A common design might have several boxes with header areas. They look lovely and neat in the PSD comp with regular lengths of lorem ipsum. However, once the content editors have added content, we find that some headings are on one line, some on two and the boxes are wildly differing heights leaving the neat grid looking rather messy. Considering this at the design phase may have dictated a different layout here.

Dubbed2 in Designing for Content Management Systems
The lists on the homepage of the Dubbed Creative website do not depend on height of content: some points have more text than others. This type of layout looks tidier than attempting to create equal height boxes with non-equal lengths of content.

If you are handing over to a front-end developer, thinking through these scenarios keeps the control on your side. Decide how you want it to look and explain to the developer how it should react to text resizing, additional content and so on and you don’t run the risk of leaving these decisions to people without an eye for design.

Avoid using image replacement for text

It is possible to generate images on the server side using PHP and other languages, however your CMS is unlikely to offer this capability as a standard feature. Therefore you should consider how any non-standard fonts will be included in your designs if that text needs to be managed by the CMS.

The situation with fonts is becoming far easier as there are now a number of services that allow you to use fonts that are not installed on your user’s computer but that would otherwise be difficult or impossible to license to include on your website. If you need a specific font you may be lucky and find that one of the below services have it available, or they may have something available which is close enough to get the visual effect you want.

Fontdeck in Designing for Content Management Systems
Services such as Fontdeck and Typekit mean that using images for text is not neccessary to use a specific font.

Consider the CMS when designing navigation

The CMS that you are using is likely to dictate the navigation to some extent, so find out by checking the documentation or speaking with the developers what will be possible. It is useful to know what control content editors have over navigation. If they can add elements to the main navigation for example, it may be that you are best to avoid a neat row of tabs at the top of the site as additional tabs added by users may wrap.

Longtabs in Designing for Content Management Systems
An attractive row of tabs such as these on the Long Hollow Church Website may look untidy if editors have access to add new top level navigation elements.

Questions you should get answers to include:

  • How many levels of navigation will be displayed? Is this configurable?
  • Can content editors add to or change the main top-level navigation?
  • Can you highlight the current page or section?
  • Does the CMS offer breadcrumb style navigation?
  • What mark-up will the CMS output for the navigation? Can we change it or add classes?

Design and create CSS rules for all possible HTML elements

In your design and dummy content you may only use two levels of heading and never add an ordered list or blockquote, However, if these elements can be added in the CMS, then at some point someone will use them. If you have used a CSS reset stylesheet you may not have styles defined for these elements at all — which will mean they look rather strange when used. Ensure that you have created CSS for all HTML elements in the content areas of your site.

I find it helpful to start my stylesheet with the default styling for all elements as this then acts as a fallback if I don’t add specific rules for styles later on in the document. I can always overwrite this CSS to make level 2 headings look different when they are in the main content area to when they are the heading of a sidebar box, but if I don’t add any specific CSS and then the user adds these elements, they do have some thought put into them.

Assume HTML elements can be stacked in any order

When creating your design, it is easy to assume that the content will look very much like your structured sample content. The h1 will be followed by a couple of paragraphs, never stacking headings and so on. The reality will be different once content editors get their hands on the design, so test the elements in different combinations.

Ask yourself questions such as:

  • Does the design still hold together well with stacked headings? Is there appropriate spacing between them?
  • What happens if a heading is used inside a list item?
  • What happens if different list types are nested? Is the spacing correct at the bottom of each list?
  • If the user can insert and align an image, what will then happen to the text around that image? Will there be a margin or will the text run right up against it? What happens if they put an image inside a list item?

Use CSS to enforce the style guide and semantics

This is something we tend to see once users become comfortable with their CMS: they begin to realize that, for example, an h1 heading gives them large bold text. You then start to find h1 headings in all kinds of strange places — wherever the user thinks something should be marked as very important. This can include half of the content of some pages. In the first instance we all need to try and educate our users and provide them with a style guide to help them understand the importance of semantics and correct usage of mark-up but the person you originally train will probably not be the person who manages the content forever and ultimately you will find users being creative with their mark-up.

A considered use of CSS can prevent this from happening. For example, we generally only want one h1 per page. If the main page heading is in a container, then you can use CSS selectors only to target that h1 with the main heading styling and reset the browser defaults on all other h1 headings to the same as the main body copy. This means the user has no benefit to using h1 in a non-semantic manner. The advanced selectors found in CSS3 can be very useful here.

Ckeditor in Designing for Content Management Systems
CMS Editors may want to get creative when given a “WYSIWYG” editor such as CKEditor – use CSS to protect your design as much as possible.

Test with real content

Once your design has been developed into (X)HTML and CSS, test your assumptions in terms of how the content will behave. I find it helpful to do this before the templates are incorporated into the CMS. Points to test:

  • Take each headline or small box in the design. Put in three times the amount of content you would expect it to have. How does it look? Does the box expand nicely or do you run off the background image or overlap another element?
  • Grab a chunk of HTML from anywhere — just View Source on some site and grab a bunch of content complete with HTML tags. Paste it into your main content area in the template. How does it look?
  • If using structured mark-up to display an event or similar — does the design hold up if certain items are removed or do you end up with obviously empty areas such as the word “Tel:” with no phone number after it if a phone number was not entered for a contact?

Help your content editors to maintain the design

If you hand over the CMS with little instruction for your users, then you can’t really expect them to read your mind and maintain the design as you would like. Even if your initial content editor is thoroughly trained on how to edit the site, as time passes by they may forget, or decide to get a little bit creative, or the initial editor may leave and someone else takes over with little training. At the end of the project, keep control over the design by helping your editor to do things the right way.

Remove functionality from the editor

The WYSIWYG editor in your CMS may by default give the user the ability to add all kinds of styling, even adding inline CSS. However, with many editors it is possible to trim down the toolbars to just offer a limited subset of icons and therefore functionality that is exposed to the user. If you can trim down the editor to only offer the ability to add basic HTML elements, you will have far fewer problems to deal with.

Add CSS to the WYSIWYG editor

If content editors have access to a WYSIWYG editor when editing content, add the CSS rules used on the site to the editor CSS. That way, editors can see how their changes to the content will actually look. In combination with using CSS to enforce the style guide, this can help users to maintain the consistency on the site.

Create a style guide that also includes semantics

Include a style guide for the site as part of your handover documentation. It is easy to just handover documentation on how the CMS functions and forget to also explain to content editors which elements they should be using when adding their content. This is particularly important if editors have a lot of control over the mark-up which they enter.

By considering how content will be edited on your site and the possible ways in which, over time, that content will grow and change, you can maintain far more control over a CMS website than you might think. If you have any additional tips or would like to discuss problems you have encountered when designing for Content Management Systems, leave a few lines in the comments below.

Further resources

Here are some additional resources that might help with your own CMS based projects:

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© Rachel Andrew for Smashing Magazine, 2010. | Permalink | Post a comment | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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Where Have All The Comments Gone?

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 in Where Have All The Comments Gone?  in Where Have All The Comments Gone?  in Where Have All The Comments Gone?

Years ago, the online design community was a thriving conversationalist — of sorts — through the comment sections across the community. It was through leaving meaningful comments that the thought-provoking ideas presented and discussed in a post were examined by others whose perspective and experiences may have provided them with a slightly different take.

The continued dissection and discussion of the topic expanded the dialog far beyond the initial post, challenging and redirecting ideas and allowing dialog to evolve; it showed a certain level of critical thinking from within the community. We still have sites that are design conversationalists, but unfortunately they are rather exceptions. And it seems that the problem occurs not only in the design community, but in other areas as well.

Since those good old days, things have taken an unexpected turn. Comments are becoming less and less expansions on the ideas presented, and more and more just simple offerings of praise or agreement. Even in articles where solutions are being sought for problem areas within the field, numerous comments show acceptance of this need for action but offer no solution or approach; often, the comments also show that the ideas were not given much consideration by the reader.

This is certainly not indicative of every comment on every post out there across the blogosphere, or a generalization about the community — just an observation of an increasing trend. Once, posts would inspire active discussion and participation with such a wide range of opinions that the post would take on a whole new life. That phenomenon has faded.

What Is This Saying?

The rise of the less-than-conversational commenting can make it look like we are losing our capacity for critical thinking — at least, with regards to the topics being presented for discussion. It can sometimes feel like there are those who rush to throw their support behind the author of the post without considering what is being proposed. Even if you agree with what was said and wish to show your support, there are still ways to comment that indicate a more thoughtful approach.

Sometimes comments can also leave the impression that the commentator just skimmed through the headers and did not read the article in full. The sentiments left behind in such comments, though they may be honest, can impart a hollow feeling rather than the intended encouragement.

So, What Happened?

There is one important aspect of online content that we often tend to forget. With most posts (beyond those intended to offer inspiration and little else), the ideas presented are there to be examined and dissected; they are not the “final word” on the subject, but a perspective presented for consideration. They don’t have to be correct and they don’t have to be accepted “as is”. The current commenting attitude can effectively undercut any potential ongoing discussion that the author of the post set out to have. When, and why, did the dialog die? Perhaps if we can root out the cause, we can better address the problem.

1. It’s a Matter of Time

One obvious consideration is time. Our multiple daily online “obligations” can cause our time to be finely divided; we may opt to leave behind a quick sentiment because our RSS feeds are calling with dozens of other articles that we want to give our attention to; because we have e-mails to attend to; or because any number of time-consuming reasons keep us “running” the whole time we are online.

2. The Social Media Connection

Perhaps the rise of social media shares some blame for the devolving of critical commenting. People started using social media networks more frequently and offering follow-up thoughts mainly when they shared a post, usually limiting their comments to little or nothing; it became easier to simply share a post, rather than to actively formulate a meaningful follow-up comment to leave on the post itself. And as the path of least resistance is often the one traveled most, here we are.

3. Just a Visual Contribution

We also have to consider that for some of the blogosphere populous, commenting is more about visibility than actually contributing to the discussion. At times, the only purpose is to be “seen” on the website or to have their information linked to the website via the comment section — especially if they can be the absolute first to leave a comment. It does not really matter what the post is about; in fact, they may not have even read it. What’s often overseen in these cases is that links next to a meaningful comment are an indicator of author’s competence and as such much more useful and therefore much more valuable than simple link dropping.

As Content Creators, What Can We Do?

What can content creators do to generate more discussion and critical thinking among readers? Many of us are unwilling to adopt a focus on putting out content that does not promote critical thinking; we wish to keep challenging our readers and colleagues. We like to read content which gets us thinking and questioning, so in turn, we like to create the same type of content.

Letters Scattered in Where Have All The Comments Gone?
Photo credit: Ian Muttoo

1. Maximize Engagement

Find creative ways to ensure that the content we are putting out is as engaging or interactive as possible. If you can involve your readers in the post, you are more apt to get them thinking about the ideas being presented. Ask them questions throughout the article to get them into an inquisitive state of mind, so that they may end up reading with a much more critical eye and have more comments to make.

2. Respond in a Timely Manner

Watch the comments that are coming in and reply to them within a day or so. This is not to say that we have to be available at a moment’s notice to respond to each comment; but if readers take the time to consider your ideas and to leave their thoughts, we need to take the time to reply. Most will check back in a day or two to see if you have responded, hoping to keep the discussion going; if we have not gotten back to them by then, they might write off the idea of continuing the dialog and move on.

3. Foster a Conversational Environment

Create an atmosphere that is conducive to dialog. If we are already asking questions to get responses and are responding back, we need to nurture the conversation by being approachable. If your ideas are challenged, you have done well; don’t let that make you feel defensive about your original points as that tone will come across in your replies and might degrade the discussion into a debate, with both sides becoming more entrenched.

4. Adapt the Discussion

If our audience is turning to social media networks with their thoughts and follow-ups, we might have to adjust our approach and adopt an “If you can’t beat them, join them” mentality by moving the conversation there — even if it leads away from the original post. We can then try to later steer the conversation back to the comment section attached to the original article or post.

As Commentators, What Can We Do?

We cannot forget that we end up as both creator, and commentator, in our daily online lives — or at least, we should. Admittedly, having fallen victim to the social media networks, I now tend to comment less on blog posts than I did before. We have to fall back on that golden rule: treat others as we wish to be treated, and seek out other articles to read through and critically consider. When we don this hat, we need to take the responsibility seriously and give as good as we expect to get.

1. Offer Personal Highlights

Even when we are in complete agreement with a post and have nothing to expand on, we can still leave meaningful comments: we can always take the time to let the rest of those participating in the comment thread know what areas resonated with us. By highlighting what connected with us, you allow the author to get some insight into what is landing with the audience, and by default, what is not.

2. Be Constructive

Remain as constructive as possible so the conversation doesn’t get derailed. There is no use in belittling or insulting the points presented even if you disagree with them, especially if you are interested in actual dialog or in getting the author to rethink a position. This does assume that our intention, as readers, is to expand on the ideas presented; if we feel we cannot reasonably or respectfully contribute to the dialog, we should just move along without leaving any comment.

3. Read Fully Before Drawing Conclusions

If we are going to leave a comment, especially one that raises a point of contention, we need to fully read the post. If we are pressed for time and have a “Shoot first, ask questions later” attitude, we may skim through the post, get something out of context, and immediately jump down to the comment section to dispute it — forgetting that the rest of the article could contextualize the point, or even cover what we are about to comment on.

4. Ask Questions

Ask relevant questions about the points that were raised to instigate further discussion. When creating content ourselves, we often lean on queries to spark dialog and to get comments flowing; why not employ the same tactic when we are on the other side of the discussion? Even if all of the ideas in the post were expressed plainly enough, one can always ask follow-up questions. Again we want to keep the tone of our comments in mind, so that our inquiries stand a better chance of being well received and of getting answered.

5. Share Related Experiences

Contributing our own experiences can further the discussion and bring others into that portion of the continuing conversation, but only relevant contributions need apply: it is one thing to offer a story to really accentuate a point made in the article, but quite another to share a story that has nothing to do with the post.

In Conclusion

Many factors could have brought about this uncritical commenting trend, and there are many ways that we can combat diminishing dialog to spark critical thinking in our readers and encourage them to “see” what they read with inquisitive eyes. Most bloggers have no problem receiving praise for their posts, but when the readers are additionally provoked to think more about the topic and to leave a comment that carries on the discussion, the post evolves — a win for both the blogger and the readers.

…So, What Do You Think?


© Robert Bowen for Smashing Magazine, 2010. | Permalink | Post a comment | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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Advertisement in How To Use the “Seven Deadly Sins” to Turn Visitors into Customers
 in How To Use the “Seven Deadly Sins” to Turn Visitors into Customers  in How To Use the “Seven Deadly Sins” to Turn Visitors into Customers  in How To Use the “Seven Deadly Sins” to Turn Visitors into Customers

Since the beginning of time, people have exploited the human desire to sin so that they could achieve their goals. Finding out what causes people to sin helps us understand the triggers which prompt people to take an action. The Web has made it even easier to exploit these tendencies to sin, in order to build user engagement and excitement about your service or product. In this article we’ll show examples of how successful companies exploit the tendency to conduct all the famous Seven Deadly Sins, and in turn generate momentum with their website visitors. Ready? Let’s roll.

Sin #1: Pride

Pride is defined as having an excessively high opinion of oneself. You must remember someone from your school days who had an extremely high sense of their personal appearance or abilities. That’s pride at work. On the Web, this sin will help you sell your product. Every website visitor wants to be associated with a successful service that other people might find impressive.

People want to say: “Yes, Fortune 500 companies use this tool and I use it as well,” or “Yes, I got on the homepage of Dribbble in front of thousands of other designers; that’s the type of work I do.” In all these examples, people are proud of their achievements and the website helps them show their pride. Here are examples of this first sin in action:

Showing off your customers. People want to use tools that big brands use. SEOmoz does a great job of fronting up the logos of famous companies that pay for their tools, with a simple call to action prompting you to be as successful as these top brands. This entices users to try this tool: “I want to use something big brands use.”

Prideseomoz in How To Use the “Seven Deadly Sins” to Turn Visitors into Customers

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Fronting up the top users. People want to be considered the best. You are proud to be nominated or picked to be the best. You brag about it to your friends. You mention your accomplishments to your significant other. You want to to be picked as the best one, over thousands of others. Dribbble fronts up top designs on their homepage. This forces people to use their website more and more, to get to the top. A little pride on your site just might get many more customers to use your service.

Dribble in How To Use the “Seven Deadly Sins” to Turn Visitors into Customers

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Sin #2: Gluttony

Most people think of gluttony in terms of eating. However, the more generic definition of this sin is over-consuming something to the point that it is wasted. It’s a desire to consume more than you can possibly consume. On the Web, companies use this sin to seduce the user into signing up by promising an endless supply of goods.

How many times have you seen “Unlimited” as one of the motivators to get you to buy a tool or service? We are a consumer generation. We want more and more awesome functionality and coolness for our money. The more a website promises us for our money, the more likely you are to sign up. Here are examples of this sin in action:

Glut-flickr in How To Use the “Seven Deadly Sins” to Turn Visitors into Customers

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The unlimited gluttony of features for a cheap price drives people to sign up for a product or service. If you want to attract user’s attention, create a valuable offer and provide unlimited resources for customers to use or collect.

Glut-survey in How To Use the “Seven Deadly Sins” to Turn Visitors into Customers

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Sin #3: Sloth

In the modern view, “sloth” means laziness and indifference. Let’s face it, some of us are extremely lazy by nature. If we don’t have to do something, we’d rather not do it. On the Web, this sin is seen as making tasks overly simple and easy for potential customers. Products and services which “do all the hard work for you” win customers over. Here are some examples of this technique in action:

Making posting a blog post ridiculously easy from anywhere. Posterous is another example of sloth. Don’t want to invest too much time in a blog post? Want to just email or text message your blog post to post it? Solved. Now you don’t have to worry about the formatting, the look and feel, or any other details. You just email the text for your blogs and Posterous takes care of all the details.

Making finances ridiculously easy. Mint is a great example of sloth. Who really wants to spend their time looking for the best interest rates for their savings accounts? Who wants to track their spending? All I have to do is give Mint my financial details and it will tell me where I’m overspending, and also look through thousands of banks to give me the best deals. The tagline reads: “We download and categorize your balances and transactions automatically every day—making it effortless to see graphs of your spending, income, balances, and net worth.” I could do all this on my own, but I’m lazy, and I want someone else to do this for me.

Sin #4: Envy

Envy is when you want something others have. You’re so envious of people that have a status or possession you want, that you’re willing to do what ever it takes to get. On the Web you see this in envy for reward points, followers, friends, and private invites. Here are examples of this in action:

Achieving a status. Mayorship in Foursquare is a great example of this. Ever hear something like this from someone you know: “Who has the mayorship of the Starbucks I go to? Oh, he has only 35 check-ins. I’ll totally beat him next week.” People want that “mayor” status. They’re envious of the person that has it. This drives people to use Foursquare more and more to achieve that status.

Envy-four in How To Use the “Seven Deadly Sins” to Turn Visitors into Customers

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Rockmelt is a web browser that can be downloaded only per invite. The developers portray the browser as “your browser, re-imagined.” They ask folks who want to join, to connect via Facebook and request an invite. Once you’ve done it, your friends on Facebook who already use Rockmelt can see that you asked for an invite and send you one through the browser’s interface.

Rockmelt in How To Use the “Seven Deadly Sins” to Turn Visitors into Customers

You might also check up on whether existing members share invite codes on Twitter. This exclusivity creates envy in people who don’t have invites. This envy fuels their desire to constantly seek an invite to Rockmelt, all the time. Once you actually become a user of the tool, you feel like you’re part of an exclusive club and are strongly encouraged to engage with the tool.

Give people something to envy on your website, and you’ll see more loyal users engaging with your service or product.

Sin #5: Lust

Lust is usually thought of as excessive sexual desire. On the Web, this sin translates into our desire to buy sexy, shiny things which not all of us can afford. Websites use interactivity with large, bold, rotating images to seduce us into buying the gadget. Here is an example of lust in action:

Providing the ability to play around and view the product. In web design, lust is often triggered by professional product photography which appears shining, attractive and exclusive in its own right. Rolex’s website is an example of this. The sliding gallery encourages the site visitors to explore the site which is not just a showcase of Rolex’s products, but rather an exhibition of company’s image, style, philosophy and branding.

Rolex in How To Use the “Seven Deadly Sins” to Turn Visitors into Customers

Rolex tells the story about the quality of its products, their precision and aesthetic appeal. Notice how the designers provide animations and various views for each product, making it more interesting and desireable.

Volkswagen does a good job of seducing people into buying their cars. Its interactive website lets you customize and build your own version of the car you’re interested in. It is even possible to paint the car in whichever color you like. The process of pimping your car in the way you want, makes you lust over the car you’ve just “created.” In this example, our lust for shiny things is exploited. The more we interact with the Volkswagen website, the more we want to buy their product.

Vwlust1 in How To Use the “Seven Deadly Sins” to Turn Visitors into Customers

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Sin #6: Greed

Greed is an overly excessive pursuit of status, power and wealth. It’s the desire to have more than you need or deserve. The pursuit is so strong that one would go through any means necessary to fulfill it. On the Web, this sin is seen in the desire to gain influence, followers and power.

Being hungry for more Twitter followers. Twitter is the perfect example of a website where all of us are hungry for more followers. The famous wars of Ashton Kutcher, Oprah, CNN and Britney Spears for more followers, shows us how greed gets the best of us. The more followers we have, the more influence we have over people. All of us are greedy for these followers.

Getting power through more Digg followers. The original model behind Digg was very simple: you “digg” a specific piece of news, or a website. Your friends see this, and “digg” this same article, moving it to the top. The top articles on the Digg homepage get millions of people checking them out. The more friends you have, the easier it is for you to move any news to the top. A person who has 500,000 friends can move a story to the top of Digg in minutes, as opposed to someone who is just starting out. People at the top have much more power over everyone else. The greed for friends on Digg is what keeps us hungry for more.

In these examples above, we are hungry to gain influence and power and want to engage with the  service to fulfill our goal.

Sin #7: Wrath

Last but not least, wrath is defined as uncontrolled feelings of rage, anger and hatred. On the Web, this sin is used by companies to generate gossip and buzz around their product or service.

Encouraging criticism. Amazon is a perfect example of using wrath to create controversy and more engagement with the product. The website fronts up the most helpful critical review, right beside the most helpful, favorable review. This prompts the shoppers to respond to these reviews and to add their own reviews, as they try the product out.

Amazonwrath in How To Use the “Seven Deadly Sins” to Turn Visitors into Customers

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Catering to frustration. The Consumerist is a perfect example of using consumer frustration to generate content and activity on a website. Giving angry shoppers the ability to vent and to express their frustrations, generates tremendously long discussions and activity on the website. The concept of consumer anger is rooted deep in the Consumerist tagline:

Consumerist in How To Use the “Seven Deadly Sins” to Turn Visitors into Customers

Furthermore, as you use the website and vent your anger about products, you get even more worked up about banners such as these (found on the Consumerist website):

Wrath-Consumerist-2 in How To Use the “Seven Deadly Sins” to Turn Visitors into Customers

Conclusion

You can now see in what way the results sinning on the Web generate for your business. Keep in mind that when companies try to get their customers to sin too hard, it’s usually very apparent and often results in drawing potential customers away. It’s important to maintain a good balance between sin and common sense. Next time you’re creating a website for a product or service, think back to these examples of the Seven Deadly Sins in action and see how you can use them to your advantage. Now go out there and get your customers to sin. What are you waiting for?

(ik)(vf)


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The iPhone 4 features a vastly superior display resolution (614400 pixels) over previous iPhone models, containing quadruple the 153600-pixel display of the iPhone 3GS. The screen is the same physical size, so those extra dots are used for additional detail — twice the detail horizontally, and twice vertically. For developers only using Apple’s user interface elements, most of the work is already done for you.

For those with highly custom, image-based interfaces, a fair amount of work will be required in scaling up elements to take full advantage of the iPhone 4 Retina display. Scaling user interfaces for higher detail displays — or increasing size on the same display — isn’t a new problem. Interfaces that can scale are said to have resolution independence.

In a recent article, Neven Mrgan described resolution independence: “RI [resolution independence] is really a goal, not a technique. It means having resources which will look great at different sizes.” If it’s a goal, not a specific technique, then what techniques exist? How has Apple solved the problem in iOS?

Fluid Layouts

While apps that take advantage of Apple’s native user interface elements require a lot less work when designing for the Retina display, we’re here to talk about highly custom, graphic-driven apps that need a fair amount of work to take full advantage of the Retina display.

While not strictly a resolution-independent technique, using a fluid layout can help an app grow to take advantage of a larger window or screen by adding padding or by changing the layout dynamically. A lot of Mac, Windows and Linux apps use this method, as do some websites.

This is partially how Apple handled the difference in resolution from iPhone to iPad — a lot of UI elements are the same pixel size, but padded to make use of the extra screen real estate. The status bar is a good example of this. It works because the pixel densities of the iPhone 3GS and iPad are similar (163 ppi vs 132 ppi).

Lockscreen in Designing for iPhone 4 Retina Display: Techniques and Workflow
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Fluid layouts work when the change in density is minor, but aren’t any help with the iOS non-Retina to Retina display transition (163 ppi to 326 ppi). The image below demonstrates what would happen if an iPhone app was simply padded to cater for the higher resolution display of the iPhone 4. Buttons and tap areas would be the same size in pixels, but half the physical size due to the higher pixel density, making things harder to read and to tap.

Phone-app-fluid in Designing for iPhone 4 Retina Display: Techniques and Workflow
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Just-in-time Resolution Independence

Another approach to handling widely different resolutions and pixel densities is to draw everything using code or vector-based images (like PDFs) at runtime. Without trying to stereotype anyone, it’s usually the approach engineering-types like. It’s clean, simple and elegant. It lets you design or code once, and display at any resolution, even at fractional scales.

Unfortunately, using vector-based images tends to be more resource-hungry and lacks pixel level control. The increase in resources may not be an issue for a desktop OS, but it is a considerable problem for a mobile OS. The lack of pixel level control is a very real problem for smaller elements. Change an icon’s size by one pixel, and you will lose clarity.

Timer-icon in Designing for iPhone 4 Retina Display: Techniques and Workflow

Neven emphasizes in his article that:

“…it is simply not possible to create excellent, detailed icons which can be arbitrarily scaled to very small dimensions while preserving clarity. Small icons are caricatures: they exaggerate some features, drop others and align shapes to a sharp grid. Even if all icons could be executed as vectors, the largest size would never scale down well.”

Although here he is talking exclusively about icons, his description is apt for most UI elements. The decisions involved in scaling are creative, not mechanical. Vector-based elements aren’t suitable for all resolutions, if you value quality.

Ahead-of-time Resolution Independence

The best quality results — and the method Apple chose for the iPhone 3GS to iPhone 4 transition — comes from pre-rendered images, built for specific devices, at specific resolutions: bespoke designs for each required size, if you will. It’s more work, but pre-rendering images ensures everything always looks as good as possible.

Apple chose to exactly double the resolution from the iPhone 3GS to the iPhone 4, making scaling even easier (different from the approach of Google and Microsoft — notice that this article is not relevant to the latest version of Microsoft’s mobile OS — proving yet again that controlling the entire stack has huge advantages).

Double in Designing for iPhone 4 Retina Display: Techniques and Workflow

Currently, there are three iOS resolutions:

  • 320 × 480 (iPhone/iPod touch)
  • 640 × 960 (iPhone 4 and iPod with Retina display)
  • 768 × 1024 / 1024 × 768 (iPad)

In a few years, it seems highly likely that the line-up will be:

  • 640 × 960 (iPhone/iPod touch with Retina display)
  • 1536 × 2048 / 2048 × 1536 (iPad with Retina display)
  • Some kind of iOS desktop iMac-sized device with a Retina display

There are significant differences between designing iPhone and iPad apps, so completely reworking app layouts seems necessary anyway — you can’t just scale up or pad your iPhone app, and expect it to work well or look good on an iPad. The difference in screen size and form factor means each device should be treated separately. The iPad’s size makes it possible to show more information on the one screen, while iPhone apps generally need to be deeper, with less shown at once.

Building Designs That Scale

Building apps for the iPhone 4 Retina display involves creating two sets of images — one at 163 ppi and another at 326 ppi. The 326 ppi images include @2x at the end of their filename, to denote that they’re double the resolution.

When it comes to building UI elements that scale easily in Adobe Photoshop, bitmaps are your enemy because they pixelate or become blurry when scaled. The solution is to create solid color, pattern or gradient layers with vector masks (just make sure you have “snap to pixel” turned on, where possible). While a little awkward at times, switching to all vectors does have significant advantages.

Before anyone mentions it, I’m not suggesting any of the methods are new; I’m willing to bet that most icon designers have been working this way for years. I’ve been using vector shapes for ages too, but the Retina display has changed my practice from using vector shapes only when I could be bothered, to building entire designs exclusively with vector shapes.

I usually draw simple elements directly in Photoshop using the Rectangle or Rounded Rectangle Tool. Draw circles using the Rounded Rectangle Tool with a large corner radius, because the ellipse tool can’t snap to pixel. Layer groups can have vector masks too, which is handy for complex compositing (option-drag a mask from another layer to create a group mask).

Iconpsd in Designing for iPhone 4 Retina Display: Techniques and Workflow
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More complex objects get drawn in Adobe Illustrator to the exact pixel size, and then pasted into Photoshop as a shape layer. Be careful when pasting into Photoshop, as the result doesn’t always align as it should — it’s often half a pixel out on the x-axis, y-axis or both. The workaround is to zoom in, scroll around the document with the Hand Tool, and paste again. Repeat until everything aligns. Yes, it’s maddening, but the method works after a few attempts. Another option is to zoom in to 200%, select the path with the Direct Selection Tool, and nudge once, which will move everything exactly 0.5px.

Complex in Designing for iPhone 4 Retina Display: Techniques and Workflow
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Even more complex objects requiring multiple colors get drawn in Illustrator to the exact pixel size, and then pasted into Photoshop as a Smart Object. It is a last resort, though — gradients aren’t dithered, and editing later is more difficult.

If you need to use a bitmap for a texture, there are three options: use a pattern layer, a pattern layer style, or build a bitmap layer at the 2× size and turn it into a Smart Object. I prefer to use pattern layer styles in most cases, but be warned: patterns are scaled using bicubic interpolation when you scale the entire document, so they become “softer.” The solution is to create two versions of each pattern, then to manually change pattern layer styles to the correct pattern after scaling — a little tedious, but totally do-able approach.

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Scaling Up

At this point, your document should be able to scale to exactly double the size, without a hitch.

Scaling2 in Designing for iPhone 4 Retina Display: Techniques and Workflow

I have a Photoshop Action set up that takes a History Snapshot, then scales to 200%. That means, previewing at the Retina display’s resolution is only a click away. If you’re feeling confident you’ve built everything well, you should be able to scale up, edit, then scale down and continue editing without degradation. If you run into trouble, a Snapshot is there to take you back. Using one document for both resolutions, means not having to keep two documents in sync — a huge advantage.

Actions2 in Designing for iPhone 4 Retina Display: Techniques and Workflow

A word of warning: layer styles can only contain integer values. If you edit a drop shadow offset to be 1 px with the document at 2× size, and then scale it down, the value will end up as 1 px because it can’t be 0.5 px (a non-integer value). If you do require specific changes to the 2× version of the Photoshop file, you’ll have to save that version as a separate file.

Exporting, Exporting, Exporting

Now for some bad news: exporting all the images to build an app can be extremely tedious, and I don’t have much advice here to assist you. As my documents act as full screen mockups, they’re not set up in a way that Photoshop’s Slice feature is any use. Layer comps don’t help either — I already have folders for each app state or screen, so switching things off and on is easy.

The best export method seems to be: enable the layers you’d like visible, make a marquee selection of the element, then use Copy Merged and paste the selection into a new document — not much fun when you have hundreds of images to export.

The problem is amplified when saving for the Retina display, where there are twice as many images and the 1× images must match the 2× images precisely.

The best solution I’ve come up with so far:

  • Build your design at 1×
  • Use Copy Merged to save all the 1× images
  • Duplicate the entire folder containing the 1× images
  • Use Automator to add @2x to all the filenames
  • Open each @2x image and run the “Scale by 200%” Photoshop action. This gives you a file with the correct filename and size, but with upscaled content
  • Scale your main Photoshop design document by 200%
  • Use Copy Merged to paste the higher quality elements into each @2x document, turn off the lower quality layer, then save for the Web, overwriting the file.

In some cases, Photoshop’s “Export Layers To Files” can help. The script can be found under the File menu.

Mac Actions and Workflows

All the Actions and Workflows that I use myself can be downloaded from the blog post link below. The Automator Workflows can be placed in your Finder Toolbar for quick access from any Finder window, without taking up any space in your Dock.

Download: Retina Actions and Workflows.zip

Promo-2x in Designing for iPhone 4 Retina Display: Techniques and Workflow

Fortunately, Apple chose to exactly double the resolution for the iPhone 4, and for using ahead-of-time resolution independence. As complex as the process is now, things would have been far worse if they had chosen a fractional scale for the display.

Related Posts

You may be interested in the following related posts:

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Gender Disparities in the Design Field

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Walk into any design classroom, at any college in America, and you’ll see a comfortable mix of male and female students. Turn your attention to the front of the classroom, or down the hall to the faculty and staff offices, and that wonderful gender balance starts to skew. Travel outside the campus, and there’s really no balance at all.

But why? If there are design classrooms across the country with a 50/50 blend of men and women — and in many classrooms, there are more females than males — then why doesn’t the design field represent the same ratio? Why does creative employment still showcase a male-dominated presence? What happens to these passionate and educated females? Certainly, there must be more to it than child-bearing — or is there? Is a more gender-balanced field really all that important? Why, or why not?

Mixed in Gender Disparities in the Design Field
Gender disparities in the design field is a controversial as well as a complex topic. Image credit: Choichun Leung

These questions and many others accompanied me to a design and technology conference this past fall. Minnebar, an annual Twin Cities conference that celebrates vision, niche technology and collective wisdom, provided the perfect platform for such inquiries. I hosted a session aptly named “The Equal Sign” to pitch the dilemma of the field not representing the classroom. I played the role of discussion facilitator, and was eager to see where the conversation would go. What I hadn’t realized, was that I wasn’t the only one perplexed by this phenomenon.

First, the Stats

According to Findings From A List Apart Survey 2009, a poll created by and for Web designers, 82.6% of Web designers are male. Ironically, 66.5% of the same respondents stated there is “definitely not” a gender bias in the design field. Web design is just one segment of the design world, but the statistic is nonetheless chilling.

My audience for the session? Predominantly female. It seems the topic itself is more intriguing for women than men. What these women had to say was sobering. One mentioned that it’s foolish to expect a male-dominated field to be able to design interfaces that appeal to how women want to interact with technology. In other words, young girls put off as consumers of technology aren’t likely to desire to create in that arena.

Another common theme during the discussion was that of heroes. So few female designers exist, and of them, few are known superstars in the industry. Of these, even less are known by individuals outside of the industry. Lack of visible female heroes results in lack of female interest. But there are countless male role models in the field; why can’t they be heroes for young girls with computers? The same reason why I’d rather aspire to be Run DMC, than Mariah Carey.

Second, the Perceptions

In the book Unlocking the Clubhouse: Women in Computing, two researchers at Carnegie Mellon University found that “research shows that both males and females believe that males are better than females at computing” (Clarke, 1992; Spertus, 1991). This finding is nearly 20 years old, but this mindset could easily have been held by the parents of today’s college students. Going to college can be hard, but pursuing a degree with little support from mom and dad makes it even harder.

There is also an unspoken expectation that women are very creative and make great print designers, but aren’t wired to splice the intricacies of new and constantly changing software and platforms — as noted in a Fadtastic.net article written by designer Matt Davies. The field generally represents the occurrence of women holding positions in print, illustration and photography, with noticeable scarcity in more technology-dependent roles such as Web design, animation, game design and programming.

Google-she-invented in Gender Disparities in the Design Field
Google used to return the correction “Did You Mean: He Invented” for the search “she invented”. It generated a lot of buzz throughout the Web.

Third, the Conditioning

Conditioning is perhaps the most obvious and potentially controversial (but definitely the most changing) of all the reasons why there aren’t more women designers. Video games and scrapbooks are cliché, but a telling, cultural phenomena. Traditionally, young boys have been fascinated with video games. The constant newness of the technological capacities; the integration with other male stigmas, such as television and computers; and certainly the intense competitive nature of the games, whether against a friend or the software itself, have all catered to masculine characteristics.

Scrapbooking, on the other hand — often a self-involved, self-rewarding, aesthetic, process-oriented affair — has appealed to feminine sensibilities. Great; but what do video games and scrapbooking have to do with gender gaps in creative fields?

Everything. And, it’s changing. In the Newsweek article “’Where’s My Crazy Hot Guy?’ A Female Designer On Women and Videogames,” award-winning female game designer Brenda Brathwaite confessed, “There was a time literally, within this decade, when I knew every single female game designer out there. Personally….” Video games, or more specifically, the video game format, have found their way into almost every media component of our lives.

Log in to Facebook, and in no time you’ll end up fielding requests from friends to play “Farmville.” Shop your favorite store online, and you may be prompted to click a link and dress a sophisticated cartoon character to help you with your purchasing decisions. Save some time at the grocery store by going through the self-checkout line, and you’re confronted with the all too familiar series of buttons, colors and graphics to ease your way through the credit card swipe and out the door.

Video gaming isn’t just something engaged in by teenage football players. It’s a format that is relevant to men and women, boys and girls, and this inclusion of the female population is invariably causing more females to ask themselves how it all works, and how they can be a contributing factor.

Fourth, the Status Quo

All things design — video games, Web design and graphic arts — can bring two genders together and create acceptance and encouragement, which fosters the potential to level the creative employment playing field. You must ask yourself, “Is this a good thing?” There are numerous reasons why more women are needed, and need representation; but is the “female designer dilemma” really all that bad? If a city of people stormed the doors of their school district demanding more male kindergarten teachers, they might be mercilessly scoffed at.

Similarly, few are tooting the horn for more female firefighters, or male nurses. Our culture has built functioning gender-based roles, and has birthed young boys and girls excited to fill them. Why fix it if it ain’t broke? If gender balance is achieved in the creative industry, will it be adding new jobs for females, or replacing jobs that males had? If the latter is the case, what will happen to these men? My audience at Minnebar had blank faces, and empty responses, when I asked them.

All of this matters for one reason: I don’t want to face my female students every day with the thought that more than half of them won’t ever be designers, and of the few that do, what exactly do they have to look forward to? They will have to deal with their peers, employers, clients and families being both impressed and confused when their sisters, friends and coworkers create designs that aren’t “girly” and “cute.”

Lisa Firke, a woman embodying that rare combination of female and Web designer, commented on Zeldman.com: “I’m sure it’s not a coincidence that 90% of my clients are women. Perhaps taking women seriously as designers goes hand-in-hand with taking women seriously as Web consumers.”

Sources

Fisher, A. and Margolis, J. (2002). Unlocking the Clubhouse: Women in Computing. Cambridge, MA. MIT Press.

Editor’s Note

This post is an article from our series of “opinion columns,” in which we give people in the Web design community a platform to raise their voices and present their opinion on something they feel strongly about to the community. Please note that the content in this series is not in any way influenced by the Smashing Magazine’s Editorial team. If you want to publish your article in this series, please send us your thoughts and we’ll get back to you.

— Vitaly Friedman, Editor in Chief of Smashing Magazine

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© John Mindiola for Smashing Magazine, 2010. | Permalink | Post a comment | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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How To Make Innovative Ideas Happen

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In one of his recent presentations, Frans Johansson explained why groundbreaking innovators generate and execute far more ideas than their counterparts. After watching his presentation The Secret Truth About Executing Great Ideas, my thoughts began to surface about how meaningful the presentation was regardless of a persons industry, culture, field or discipline. Anyone can come up with an amazing idea but how you execute the idea will determine your success.

[By the way, did you know we have a free Email Newsletter? Subscribe now and get fresh short tips and tricks in your inbox!]

Ideation: Idea Conception

Coming up with an innovative idea will require some methods of generating ideas from brainstorming to mind mapping that can help conjure up useful ideas. During this process one must make sure to keep focused on a goal. If you have no goal, how will you know when you have reached the finish line and are ready for refinement? Start out with a few thoughts or themes and see what you can come up with.

Don’t get stuck on trying to come up with different variations of the same idea as you will want to develop ideas further later. While there is no exact path in ideation or other creativity techniques from start to finish, creating an idea you are happy with and feel has innovative potential is the key. Believing in your ideas innovative ability will give the confidence you will need later on during pitch time.

Disposable-cup-holder in How To Make Innovative Ideas Happen
Is this new disposable cup holder an improvement or an innovation?

Many people have tried to innovate, but because something similar had already existed, it’s merely an improvement. When designing within familiar bounds, you can still create something amazing but your audience will not likely be astonished at the sight of it. It is easy to see the particular innovative idea as something that was so simple to come up with but if that’s the case, then why didn’t you do it? The trick is to come up with them before. That’s the challenge. Once you find that special seed of an innovative idea, try to avoid key mistakes that will stop your idea from ever seeing the light of day.

As interesting as some ideas may be, that is not always enough for consumers. Getting the message out that your new idea is imperative will gain more consumer attention, especially in more difficult economic times. Always having a short and clear value proposition with an inescapable feeling of necessity can help gain capital, exposure and consumers. Do not wait until everything is “perfect” as they may never be and this will only further delay your ideas release. Act, do not sit idle!

Nurture New Ideas

Think of your typical cup holder from a fast food restaurant or coffee house made of cardboard. They are rigid with no handle and have been cause of drink spills and panic attacks for years. Recently a new cup holder has come about that is more mobile and has a handle (see image above). These changes have made it easier to transport drinks and prevent spills. This idea in itself is only an improvement on what was there previously.

To truly be innovative, you should take opposing thoughts and combine them, which increases the innovative potential of your idea (see image below). Think of the invention of the Burqini that combines the idea of a burqa that Muslim women wear and the flexibility of a swimsuit at the beach. Innovative ideas can sometimes be explosive but many potential barriers will arise and just having an innovative idea is not always enough.

Diagram-innovative-idea in How To Make Innovative Ideas Happen
Groundbreaking and innovative ideas come from combining ideas from different industries, cultures, fields, and disciplines.

In order to take an innovative idea from the embryo of a concept to market, you need to have the determination to push through failure. The odds are against you no matter the idea and statistics say you are going to fail a few times on your road to success. Knowing this, you have to hedge your bets more effectively so you can adjust your path and continue forward.

Don’t be intimidated by the perceived brilliance of innovative designs, because you are typically seeing the last iteration that has changed compared to its original concept. This happens with adjustment through failure. As Johansson mentioned, Picasso had made around 20,000 (as high as 50,000) works of art in his lifetime and Einstein published 240 papers with a short number of successful creations. Innovative success happens in volume (see image below).

Diagram-idea-success-rate in How To Make Innovative Ideas Happen
Stevens, G.A. and Burley, J., “3,000 Raw Ideas = 1 Commercial Success!”

How To Pick A Successful Idea

Don’t put everything behind your first idea! You wouldn’t go to the racetrack and put your life savings on 1/3000 odds, would you? Even though we are taught that all innovations come from a visionary who predicted a need for the future, this is usually not the case. Naturally, most inventions come from necessity and others from creative spark. When executing a creative idea with the resources you have available, you will have to make adjustments along the way that may not have been accounted for originally. Johansson suggests that you take the smallest executable step (smallest bet) so you don’t risk everything on your original idea.

Once you define the smallest step, you know your scope of risk. This is very important because you can then take baby steps to overcome challenges and utilize resources more efficiently on your road to success (see image below). While strategy is paramount, one shouldn’t get lost in planning and take too long to execute. Stay motivated to move forward, because forward motion even through failure is the key to success.

Diagram-idea-pathway-success in How To Make Innovative Ideas Happen
“Nearly every major breakthrough innovation has been preceded by a string of failed or misguided executions.” — Frans Johansson.

When implementing strategy, whether it is used to free up resources or define a path to move forward, do not plan on coming up with the ultimate plan that will carry your idea to the finish line. Coming up with a base and enabling yourself to act will help to get things done and eventually discover the final solution that goes to market. You will need to bring yourself to an idea intersection where you can pick and choose the best ideas. This intersection can be used to generate extraordinary, electrifying and trendsetting ideas.

Exploring Innovation Deeper

Devotion-pablo-picasso in How To Make Innovative Ideas Happen

The Devotion of Pablo Picasso

Pablo Ruiz Picasso was a Spanish artist that had a unique talent in painting by combining different techniques, theories and ideas making him one of the most well-known figures in 20th century art. Picasso had always shown a passion for art from a very young age and was determined to express his passion to the world. Overcoming high and low barriers, he achieved much success and fortune in his life. As Pablo Ruiz Picasso said, “action is the foundational key to all success.” Continuing to move forward by taking action and not sitting idle will create momentum for success.

Early in his life, Pablo Picasso slept during the day, worked at night and persevered through poverty, cold and desperation. He was known to have burned much of his early work just to keep warm at night. Picasso motivated himself through passion to push forward and eventually made luxurious connections. Constantly updating his style from the Blue Period, to the Rose Period, to the African-influenced Period, to Cubism, to Realism and Surrealism, he was a pioneer with a hand in every art movement of the 20th century.

Picasso was extraordinarily abundant throughout his long lifetime. A skillful self-promoter, he used politics, whimsicality, and harassment as a selling tool. The total number of artworks he produced has been estimated at 50,000, comprising 1,885 paintings; 1,228 sculptures; 2,880 ceramics, roughly 12,000 drawings, many thousands of prints, and numerous tapestries and rugs. From all of these works, only a few dozen have been regarded as a great success, leaving thousands in museums for viewing after his death and even more collecting dust. Picassco dedicated his life to art and has very influential with his portrayal of Cubism.

Frank-epperson-popsicle in How To Make Innovative Ideas Happen

Frank Epperson’s Juice on a Stick

Frank Epperson was an average American who at a young age discovered a “frozen drink on a stick” that would later become an innovative idea. In his life he dabbled in real estate before discovering how to take his idea to market.

At the age of 11 Frank Epperson invented the “Epsicle” that is now known as the “Popsicle”. He was mixing powdered soda with water to make soda pop and accidentally left the mixing bucket outside on an unusually cold night. During the night the mixture froze solid, with the wooden stirring stick standing straight up. There was one huge problem: you can’t start an Epsicle production line on your back porch because the weather didn’t allow for such a thing. Epperson overcame this hurdle by gaining access to a commercial freezer, stamped his name on the sticks and wanted to sell his idea.

Unfortunately for Epperson, ice-cream makers were not interested and he did not share his idea again until a fireman’s ball years later. He pushed through rejection and failure without burying all of his resources until he had achieved a solid idea. While he discovered this wonderful treat early on in life, it took him 16 years to introduce the idea and 7 years more to sell his Popsicle patent. The popsicle can be credited for the entrance of tasty frozen deserts into the mainstream and happy children’s faces around the world. Today hundreds of millions of Popsicles are eaten in the United States each year, and there are more than thirty flavors available.

Alexander-graham-bell-telephone in How To Make Innovative Ideas Happen

Alexander Graham Bell’s Modern Communication

Alexander Graham Bell was a scientist from Scotland (originally) that had always had a natural curiosity for the world. This resulted in experimentation with inventing at a young age, most notably a simple dehusking machine at age 12.

Due to the gradual deafness of his mother starting at a young age, he was led to study acoustics which eventually led to the invention of the telephone. Bell’s telephone grew out of improvements he made to the telegraph. He had invented the “harmonic telegraph” which could send more than one message at a time over a single telegraph wire. His path to success was not as clear as one might think and is surrounded by past failures and controversy.

Bell’s first serious work with sound transmission used tuning forks to explore resonance. Unfortunately, this groundbreaking undertaking had already been completed worlds away in Germany. A short change in path led Bell to transmit sound through electrical means. He experimented first by trying to transmit musical notes and articulate speech.

Alexander Graham Bell had not set any clear destination and became overwhelmed with his experiments. After many sleepless nights he created a harmonic telegraph which became the first stepping stone to the creation of the telephone. After entertaining other possibilities such as the phonautograph and sending multiple telegraph messages on a single line, Bell refined the idea of acoustic telegraphy.

By recognizing progress and changing his path, Bell (with the help of Thomas Watson) was able to invent the sound-powered telephone. By starting with the idea of transmitting a voice through electricity, Alexander Graham Bell was able to, through a series of refinements, invent technology that is used around the world even today. Bell continued to test out new ideas involving kites, airplanes, tetrahedral structures, sheep-breeding, artificial respiration, desalinization and water distillation, and hydrofoils.

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Jack Dorsey’s Micro Communication

Jack Dorsey is an American software architect that had an interest in making “instant messenger” updates available for friends to see. This was a refined concept that eventually grew into what we now know as Twitter. Three guiding principles of this innovative idea are simplicity, constraint and craftsmanship.

Jack had an early fascination with cities and how they work, so he would always carry maps around with him. His attraction with mass-transit and how cities function led him to taking advantage of public transit databases in Manhattan. He built off of his original idea that gave meaning to his overall concept. His idea make clear though working on dispatch software, programming real-time messaging systems for couriers, taxis, and emergency vehicles.

Jack Dorsey’s experience helped him see his idea in a completely new perspective. Taking his seedling of an idea that would update friends of his status, Dorsey completed several field tests before recognizing that the technology available didn’t support his innovative idea. There are times when putting off a project is irrefutable. Jack Dorsey originally came up with his idea in the year 2000 but wasn’t able to execute effectively until 8 years later. Jack was effective in not letting his idea sit for too long but instead taking action when technology would let it thrive.

Conclusion

Making ideas happen isn’t easy and requires patience, determination and hard work. The most important part of it is not just coming up with a promising concept, but rather rethinking it over and over again, implementing it and then putting it to practice.

Most inventions come from necessity, so pay attention to small problems in your environment and find simple solutions to these problems. Do not sit idle on the idea — act instead. Take opposing thoughts and resolve them in your innovative designs. And keep innovating all the time, one step at a time. The time will pass, and if you have some luck, you will see your idea growing, flourishing and maybe even turning into a real success. …So what are you waiting for?

Further Resources

Here are further articles and related resources:

  • Five Tips For Making Ideas Happen
    Creative types have a problem. We have so many great ideas, but most of them never see the light of day. Some creative people and teams are able to defy the odds and make their ideas happen, time and again.
  • 99 Excuses For NOT Making Ideas Happen
    If you’re NOT doing something, what does it matter why? See what their readers feel are the most common excuses for NOT making ideas happen.
  • Executing Ideas Often is Difficult for Leaders
    Strategy is too often just a bad joke (with allusions to Dilbert’s pointy-haired boss) among the working-level people who actually produce the products, provide the service and generate the profit.
  • How Do You Keep, Develop and Execute Ideas?
    There are so-called serial entrepreneurs who are fond of jumping from one great execution of an idea to another. And more often than not, they gain much experience–and money–in the process.
  • Ideas Are Not Innovation
    Continuous innovation is critical to most businesses, and your is no exception.  Innovation must be woven into the very fabric of your culture.
  • The 3 Most Common Mistakes When Growing an Idea into a Business
    Sometimes this energy and excitement can be blinding.  Some people are so tremendously passionate, yet lack the ability to take ownership and really get things done.

© Robert Hartland for Smashing Magazine, 2010. | Permalink | Post a comment | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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Organization Tips For Web Designers

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As a web designer, you’re often forced to wear many different hats every day. You’re the CEO, creative director, office manager, coffee fetcher and sometimes even janitor. That’s a lot for anyone, and it certainly makes it difficult to find any time for quality creative thinking. Organization in any operation is important, and for our work as web designers it is important, too. The good news? You don’t have to have been born an organizational machine. Let’s look at what being organized means and a few strategies and tips to help you clean up that messy desk and get your work ducks in a nice neat row.

[Offtopic: by the way, did you know that there is a Smashing eBook Series? Book #1 is Professional Web Design, 242 pages for just $9,90.]

1. Organization 101

What it means to be an organized person or run an organized business is commonly misunderstood. Many people equate being organized with being fussy, which is not the case. Little labeled folders and neatly itemized lists are one way to stay organized, but they are merely tactics. The heart of organization is having a strategy. Being organized is simply a matter of using clearly defined and consistently implemented systems to get things done.

But how do you go about finding and implementing a strategy if you’re starting from square one? It begins with where you want to end up. Think about where you waste the most time or what frustrates you the most on a daily or weekly basis, and start there. Formulate simple clear goals and treat these overarching goals as the finish line in your strategy.

For example, if you have trouble paying all (and I mean every single one) of your bills on time because they are perpetually lost in the mess on your desk, make it a goal to pay every bill before it is due for the entire year. With this broad goal in mind, you can work on cleaning your desk and setting up a routine for paying each of your bills.

2. Building Routines

Very disorganized people tend to do things in a scattershot way, jumping frequently between unrelated activities, wasting time and energy with each switch. So, if you are committed to being more organized, the first things you need to analyze are your daily, weekly and monthly routines. What activities do you do every day, week and month? It helps to make a list for each and add to it over the course of the week or even month.

Clock1 in Organization Tips For Web Designers
Original image by garyknight.

Once you have this list, you should start to notice patterns. You can use those patterns to help you plan your time more efficiently. Arrange your activities by location, type or client to minimize the time you take to switch gears (both mentally and physically) between each activity.

Tips for Building Effective Routines

  1. Group like tasks
    Don’t stop working to answer each email as it arrives. Instead pick two — and only two — times a day to deal with emails. Schedule all of your meetings together during one part of the day, and don’t stray from this time block. If the block is full on any given day, then schedule the meeting for the following day.
  2. Keep the e-mail inbox clean.
    When a bunch of new e-mails arrives, sort and prioritize them right away. You could have three folders — one for important e-mails (“Important”), one that require some work (“Work”) and one for e-mails that aren’t that important and can be replied later on (“Later”). Try hard to keep the first two clean in the end of every day, and set up reminders or to-do-lists for important tasks. If you get way too many e-mails, you could set up a little system that would delete all unreplied e-mails that are older than 10–14 days and send a notification to those who sent these e-mails, so they know that their e-mail wasn’t read. If the e-mail was important, they will follow up eventually.
  3. Standardize your working hours
    Freelancing web designers are blessed with abundant freedom in the hours they work. But this can be a blessing and a curse. If you work a few hours here and there during the day, you force your brain to switch on and off multiple times a day. Try to work roughly the same schedule each day and all in one block. This creates a clear divide in your head between work and free time, and the divide will help you stay efficient and organized.
  4. Schedule time for administrative tasks
    You’re a designer foremost; but if you’re a freelancer, you are also the office manager. Don’t let those administrative tasks pile up. Schedule time each day or week to take care of bills, filing or cleaning.
  5. Time to think
    Similar to the last point, you are also the CEO, and as such you need to think about the overall goals and strategy of your one-person organization. Make sure to leave time (at least some each month) to analyze how business is going and how you are progressing towards your goals.

Important to remember: routines are not (and should not feel) inflexible. You are always free to change the way you do things. Sometimes you may need to put out fires, and sometimes you just need a change. Listen to your instincts.

3. Systems

While being organized is not the same thing as having a mild case of OCD, creating clear and consistent systems that you can use on a daily basis is important. These systems only become more important the busier you get, serving as an anchor to help you remember everyday items and meet critical deadlines.

The Old-Fashioned Way

I’m a big believer in simple solutions, especially for organization. My desk is covered with sticky notes, and I nearly always have a small notebook handy for sudden brainwaves. In addition to creating a written record, the physical act of writing forces you to use another part of your brain, one that ingrains the idea, making you less likely to forget.

Paper in Organization Tips For Web Designers
Original image by shawncampbell.

Another great thing about using something like a notebook is that it doesn’t need charging (unlike all of those electronic gadgets in your pocket), and it doesn’t rely on a good connection to the Internet (unlike a Web-based to-do list). If you’re accident-prone, you can even get a field notebook (the kind biologists use), which has waterproof pages.

Do you remember life before mobile phones? Do you remember how many phone numbers you had memorized? The human brain is capable of remembering vast quantities of information; but like any muscle, it is only effective when actively used. Give your brain a chance to find the answer before turning to those Web calendars and notifications — it might surprise you!

A note about Web apps: these have become big business. And no wonder; a single-purpose app exists to help you do just about anything. But as with email, people get into the bad habit of being completely unable to move forward without checking, updating and mulling over their app of choice. For teams working together, these apps can be a true life-saver; but often you will also (hopefully) be working with only one or two individuals on each project. Why not simplify and drop the Web app altogether. A well-traveled notebook can do most of what an organizational app can do, without eating a portion of your pay check each month!

If you need a little more structure than just a notebook in your pocket, here are a few “analog” organizational systems to look into:

  • Getting Things Done
    Personal organization based on writing down the important stuff.
  • The Hipster PDA
    Notecards in your pocket held together with a clip. How much easier does it get?
  • The Printable CEO
    Printable sheets to help with task management and goal-tracking.

Digital Control

Analog solutions can work wonders if you’re flying solo, but what if you have to collaborate with others on a product? Sometimes there is just no substitute for a good Web app at your fingertips to help you coordinate a project’s different facets. But be sure that you really need a Web app before wasting two days testing different ones, as I’ve recommended several times already. That said, here are a few stand-out apps to help you navigate your next project:

  • Basecamp
    Mentioning Web-based productivity is impossible without a nod in 37signals’ direction. Basecamp is an amazingly mature and powerful app for coordinating teams.
  • Campaign Monitor
    To manage email lists and send well-crafted HTML emails, this app is top of class.
  • Blinksale
    Invoices, plain and simple. It also integrates with Basecamp.

If you’ve decided that a Web app is required for your project, remember that single-purpose apps are generally the way to go. If the app tries to accomplish too much, it will likely only end up frustrating you with features you don’t understand, much less need.

The One That’s With You

Photographers have an old adage: “The best camera is the one that’s with you.” The point is well made. What item do you carry with you everywhere, without fail? Your mobile phone, of course. And with the likes of the iPhone and Google’s Android platform, your phone is as powerful an organizational tool as your computer.

  1. Use the note-taking app.
    If you have a brainwave, write it down. Replace “notebook” with “phone” in the paragraphs above and you’ve got the idea. You can collect and organize your inspirational images, videos and screenshots online with tools such as Zootool.
  2. Voice memo yourself.
    Most smartphones record voice memos. Voice memos are a quick way to get information down without having to type everything out on a small keyboard. Just remember that they only work if you listen to and act on them later. No smartphone? Just call yourself and leave a message: you’re sure to pick it up later.
  3. Exploit the app eco-system.
    Both the iPhone and Android have healthy eco-systems of app builders who create just about everything, especially productivity tools. Check out what’s available for your phone.

Clearing the Clutter

You have a problem: your desk is completely covered. And I mean every square inch. Pens and pencils scattered about, yesterday’s newspaper lying under there somewhere (the sudoku half-finished, of course) and last week’s lunch rotting away quietly in the back corner. Somewhere in there you have work, too. While this surely doesn’t describe you, it illustrates a few points, so it’s a good starting point.

  1. Keep a trash bin next to your desk.
    Having a bin close at hand ensures you will use it. If you can spare the space, add a second one for recycling.
  2. Use your desk for work and work only.
    Just as you shouldn’t work in your bedroom, you shouldn’t read the paper, do the crossword puzzle or eat lunch at your desk either. I know: separating life and work can be hard. But the most successful freelancing designers I know clearly delineate the two and wouldn’t mix them up for anything!
  3. Sort on arrival.
    One way to clear your desk quickly is to sort information as it arrives. Open and sort mail when it arrives each day. Sort those receipts that pile up in your wallet at least once a week. You don’t have to immediately act on these items, but don’t let them pile up around you.
  4. File folders are your friend.
    Yes, they may be a bit dorky and corporate, but file folders are a God-send for staying organized. Give each subject its own folder, and stack the folders neatly in the corner of your desk. You can fill the folders with notes jotted during phone calls, pages from your notebook and designs scrawled on the back on napkins. Just don’t throw them away after using them once. A bit of masking tape allows you to relabel and reuse them until they split apart.
  5. Clean your digital desktop.
    If you don’t already have a system for keeping the files on your computer in order, shame on you. Organization on your computer is paramount in importance. A good way to start: match the folder structure on your computer desktop to the one sitting in the corner of your physical desktop. Use it for all of the digital scraps that accumulate over the course of a project. When you’ve finished the project, move both folders — digital and physical — to an archive. After a year or so, you can trash the archive and only hang on to the deliverables (in case the client ever needs them resent).

Ducks in Organization Tips For Web Designers
Original image by The Wu’s Photo Land.

Remember, consistency is the key to organization, so get into the habit of clearing things away before leaving your desk at the end of the day.

Ditch the Paper

There’s no way around it: paper still exists in the day-to-day running of a business, from receipts and bills to invoices, faxes and letters. Here are a few tips to help you organize all that paper lying around.

  1. Get a document scanner.
    If you’ve got the money, a document scanner (such as the Fujitsu ScanSnap — see this in-depth review) can nearly rid you of that fire hazard growing in your filing cabinet. These scanners can capture both sides at once, scan odd-sized items (such as receipts) and do it quickly. After your documents have been scanned, shred them for security. But now that you’ve digitized your records, you need a very good back-up plan to make sure they aren’t wiped out by a faulty hard drive.
  2. File by month.
    If you don’t have the coin to buy a document scanner, I suggest filing general bills and receipts by month in folders and then archiving them by year once you’ve filed your taxes. Invoices and anything else project-related can go in project folders, again to be archived at the end of the fiscal year.
  3. Go paperless.
    If you haven’t gone to the trouble of making all of your bills and statements paperless, shame on you. Stop everything you’re doing and remedy this right now.

Shredded in Organization Tips For Web Designers
Original image by dawnzy58.

The Long and Winding Road

There is no way to soften the truth: people who are well organized are far more likely to succeed in business and life. But now that you know that organization isn’t an innate skill but one that you can learn and improve upon, you have no excuses. Take the time to analyze what you do and how you do it, and then make small deliberate changes. You’ll be amazed at the difference many small changes make!

Further Resources


© Jeff Gardner for Smashing Magazine, 2010. | Permalink | Post a comment | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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HTML5: The Facts And The Myths

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You can’t escape it. Everyone’s talking about HTML5. it’s perhaps the most hyped technology since people started putting rounded corners on everything and using unnecessary gradients. In fact, a lot of what people call HTML5 is actually just old-fashioned DHTML or AJAX. Mixed in with all the information is a lot of misinformation, so here, JavaScript expert Remy Sharp and Opera’s Bruce Lawson look at some of the myths and sort the truth from the common misconceptions.

[Offtopic: by the way, did you know that there is a Smashing eBook Series? Book #1 is Professional Web Design, 242 pages for just $9,90.]

First, Some Facts

Once upon a time, there was a lovely language called HTML, which was so simple that writing websites with it was very easy. So, everyone did, and the Web transformed from a linked collection of physics papers to what we know and love today.

Most pages didn’t conform to the simple rules of the language (because their authors were rightly concerned more with the message than the medium), so every browser had to be forgiving with bad code and do its best to work out what its author wanted to display.

In 1999, the W3C decided to discontinue work on HTML and move the world toward XHTML. This was all good, until a few people noticed that the work to upgrade the language to XHTML2 had very little to do with the real Web. Being XML, the spec required a browser to stop rendering if it encountered an error. And because the W3C was writing a new language that was better than simple old HTML, it deprecated elements such as <img> and <a>.

A group of developers at Opera and Mozilla disagreed with this approach and presented a paper to the W3C in 2004 arguing that, “We consider Web Applications to be an important area that has not been adequately served by existing technologies… There is a rising threat of single-vendor solutions addressing this problem before jointly-developed specifications.”

The paper suggested seven design principles:

  1. Backwards compatibility, and a clear migration path.
  2. Well-defined error handling, like CSS (i.e. ignore unknown stuff and move on), compared to XML’s “draconian” error handling.
  3. Users should not be exposed to authoring errors.
  4. Practical use: every feature that goes into the Web-applications specifications must be justified by a practical use case. The reverse is not necessarily true: every use case does not necessarily warrant a new feature.
  5. Scripting is here to stay (but should be avoided where more convenient declarative mark-up can be used).
  6. Avoid device-specific profiling.
  7. Make the process open. (The Web has benefited from being developed in the open. Mailing lists, archives and draft specifications should continuously be visible to the public.)

The paper was rejected by the W3C, and so Opera and Mozilla, later joined by Apple, continued a mailing list called Web Hypertext Application Technology Working Group (WHATWG), working on their proof-of-concept specification. The spec extended HTML4 forms, until it grew into a spec called Web Applications 1.0, under the continued editorship of Ian Hickson, who left Opera for Google.

In 2006, the W3C realized its mistake and decided to resurrect HTML, asking WHATWG for its spec to use as the basis of what is now called HTML5.

Those are the historical facts. Now, let’s look at some hysterical myths.

The Myths

“I Can’t Use HTML5 Until 2012 (or 2022)”

This is a misconception based on the projected date that HTML5 will reach the stage in the W3C process known as Candidate Recommendation (REC). The WHATWG wiki says this:

For a spec to become a REC today, it requires two 100% complete and fully interoperable implementations, which is proven by each successfully passing literally thousands of test cases (20,000 tests for the whole spec would probably be a conservative estimate). When you consider how long it takes to write that many test cases and how long it takes to implement each feature, you’ll begin to understand why the time frame seems so long.

So, by definition, the spec won’t be finished until you can use all of it, and in two browsers.

Of course, what really matters is the bits of HTML5 that are already supported in the browsers. Any list will be out of date within about a week because the browser makers are innovating so quickly. Also, much of the new functionality can be replicated with JavaScript in browsers that don’t yet have support. The <canvas> property is in all modern browsers and will be in Internet Explorer 9, but it can be faked in old versions of IE with the excanvas library. The <video> and <audio> properties can be faked with Flash in old browsers.

HTML5 is designed to degrade gracefully, so with clever JavaScript and some thought, all content should be available on older browsers.

“My Browser Supports HTML5, but Yours Doesn’t”

There’s a myth that HTML5 is some monolithic, indivisible thing. It’s not. It’s a collection of features, as we’ve seen above. So, in the short term, you cannot say that a browser supports everything in the spec. And when some browser or other does, it won’t matter because we’ll all be much too excited about the next iteration of HTML by then.

What a terrible mess, you’re thinking? But consider that CSS 2.1 is not yet a finished spec, and yet we all use it each and every day. We use CSS3, happily adding border-radius, which will soon be supported everywhere, while other aspects of CSS3 aren’t supported anywhere at all.

Be wary of browser “scoring” websites. They often test for things that have nothing to do with HTML5, such as CSS, SVG and even Web fonts. What matters is what you need to do, what’s supported by the browsers your client’s audience will be using and how much you can fake with JavaScript.

HTML5 Legalizes Tag Soup

HTML5 is a lot more forgiving in its syntax than XHTML: you can write tags in uppercase, lowercase or a mixture of the two. You don’t need to self-close tags such as img, so the following are both legal:

<img src="nice.jpg" />
<img src="nice.jpg">

You don’t need to wrap attributes in quotation marks, so the following are both legal:

<img src="nice.jpg">
<img src=nice.jpg>

You can use uppercase or lowercase (or mix them), so all of these are legal:

<IMG SRC=nice.jpg>
<img src=nice.jpg>
<iMg SrC=nice.jpg>

This isn’t any different from HTML4, but it probably comes as quite a shock if you’re used to XHTML. In reality, if you were serving your pages as a combination of text and HTML, rather than XML (and you probably were, because Internet Explorer 8 and below couldn’t render true XHTML), then it never mattered anyway: the browser never cared about trailing slashes, quoted attributes or case—only the validator did.

So, while the syntax appears to be looser, the actual parsing rules are much tighter. The difference is that there is no more tag soup; the specification describes exactly what to do with invalid mark-up so that all conforming browsers produce the same DOM. If you’ve ever written JavaScript that has to walk the DOM, then you’re aware of the horrors that inconsistent DOMs can bring.

This error correction is no reason to churn out invalid code, though. The DOM that HTML5 creates for you might not be the DOM you want, so ensuring that your HTML5 validates is still essential. With all this new stuff, overlooking a small syntax error that stops your script from working or that makes your CSS unstylish is easy, which is why we have HTML5 validators.

Far from legitimizing tag soup, HTML5 consigns it to history. Souper.

“I Need to Convert My XHTML Website to HTML5”

Is HTML5′s tolerance of looser syntax the death knell for XHTML? After all, the working group to develop XHTML 2 was disbanded, right?

True, the XHTML 2 group was disbanded at the end of 2009; it was working on an unimplemented spec that competed with HTML5, so having two groups was a waste of W3C resources. But XHTML 1 was a finished spec that is widely supported in all browsers and that will continue to work in browsers for as long as needed. Your XHTML websites are therefore safe.

HTML5 Kills XML

Not at all. If you need to use XML rather than HTML, you can use XHTML5, which includes all the wonders of HTML5 but which must be in well-formed XHTML syntax (i.e. quoted attributes, trailing slashes to close some elements, lowercase elements and the like.)

Actually, you can’t use all the wonders of HTML5 in XHTML5: <noscript> won’t work. But you’re not still using that, are you?

HTML5 Will Kill Flash and Plug-Ins

The <canvas> tag allows scripted images and animations that react to the keyboard and that therefore can compete with some simpler uses of Adobe Flash. HTML5 has native capability for playing video and audio.

Just as when CSS Web fonts weren’t widely supported and Flash was used in sIFR to fill the gaps, Flash also saves the day by making HTML5 video backwards-compatible. Because HTML5 is designed to be “fake-able” in older browsers, the mark-up between the video tags is ignored by browsers that understand HTML5 and is rendered by older browsers. Therefore, embedding fall-back video with Flash is possible using the old-school <object> or <embed> tags, as pioneered by Kroc Camen is his article “Video for Everybody!” (see the screenshot below).

Ipad in HTML5: The Facts And The Myths

But not all of Flash’s use cases are usurped by HTML5. There is no way to do digital rights management in HTML5; browsers such as Opera, Firefox and Chrome allow visitors to save video to their machines with a click of the context menu. If you need to prevent video from being saved, you’ll need to use plug-ins. Capturing input from a user’s microphone or camera is currently only possible with Flash (although a <device> element is being specified for “post-5″ HTML), so if you’re keen to write a Chatroulette killer, HTML5 isn’t for you.

HTML5 Is Bad for Accessibility

A lot of discussion is going on about the accessibility of HTML5. This is good and to be welcomed: with so many changes to the basic language of the Web, ensuring that the Web is accessible to people who cannot see or use a mouse is vital. Also vital is building in the solution, rather than bolting it on as an afterthought: after all, many (most?) authors don’t even add alternate text to images, so out-of-the-box accessibility is much more likely to succeed than relying on people to add it.

This is why it’s great that HTML5 adds native controls for things like sliders (<input type=range>, currently supported in Opera and Webkit browsers) and date pickers (<input type=date>, Opera only)—see Bruce’s HTML5 forms demo)—because previously we had to fake these with JavaScript and images and then add keyboard support and WAI-ARIA roles and attributes.

The <canvas> tag is a different story. It is an Apple invention that was reverse-engineered by other browser makers and then retrospectively specified as part of HTML5, so there is no built-in accessibility. If you’re just using it for eye-candy, that’s fine; think of it as an image, but without any possibility of alternate text (some additions to the spec have been suggested, but nothing is implemented yet). So, ensure that any information you deliver via <canvas> supplements more accessible information elsewhere.

Text in a <canvas> becomes simply pixels, just like text in images, and so is invisible to assistive technology and screen readers. Consider using the W3C graphics technology Scalable Vector Graphics (SVG) instead, especially for things such as dynamic graphs and animating text. SVG is supported in all the major browsers, including IE9 (but not IE8 or below, although the SVGweb library can fake SVG with Flash in older browsers).

The situation with <video> and <audio> is promising. Although not fully specified (and so not yet implemented in any browsers), a new <track> element has been included in the HTML5 spec that allows timed transcripts (or karaoke lyrics or captions for the deaf or subtitles for foreign-language media) to be associated with multimedia. It can be faked in JavaScript. Alternatively (and better for search engines), you could include transcripts directly on the page below the video and use JavaScript to overlay captions, synchronized with the video.

“An HTML5 Guru Will Hold My Hand as I Do It the First Time”

If only this were true. However, the charming Paul Irish and lovely Divya Manian will be as good as there for you, with their HTML5 Boilerplate, which is a set of files you can use as templates for your projects. Boilerplate brings in the JavaScript you need to style the new elements in IE; pulls in jQuery from the Google Content Distribution Network (CDN), but with fall-back links to your server in case the CDN server is down.

Html5-boiler in HTML5: The Facts And The Myths

It adds mark-up that is adaptable to iOS, Android and Opera Mobile; and adds a CSS skeleton with a comprehensive reset style sheet. There’s even an .htaccess file that serves your HTML5 video with the right MIME types. You won’t need all of it, and you’re encouraged to delete the stuff that’s unnecessary to your project to avoid bloat.

Further Resources

HTML5 is a massive topic. Here are a few hand-picked links. Disclosure: the authors have their fingers in some of these pies.

About the Authors

Remy and Bruce are two developers who have been playing with HTML5 since Christmas 2008: experimenting, participating in the mailing list and generally trying to help shape the language as well as learn it.

Book M in HTML5: The Facts And The Myths

Bruce evangelizes Open Web Standards for Opera. Remy is a developer, speaker, blogger and contributing author for jQuery Cookbook (O’Reilly). He runs his own Brighton-based development company called Left Logic, coding and writing about JavaScript, jQuery, HTML5, CSS, PHP, Perl and anything else he can get his hands on. Together, they are the authors of Introducing HTML5, the first full-length book on HTML5 (New Riders, July 2010).

(al)


© Bruce Lawson, Remy Sharp for Smashing Magazine, 2010. | Permalink | Post a comment | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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Smashing-magazine-advertisement in iPhone App Designs Reviewed: Critique Board and Lessons LearnedSpacer in iPhone App Designs Reviewed: Critique Board and Lessons Learned
 in iPhone App Designs Reviewed: Critique Board and Lessons Learned  in iPhone App Designs Reviewed: Critique Board and Lessons Learned  in iPhone App Designs Reviewed: Critique Board and Lessons Learned

Some time ago I started a mobile app design review section on our company’s website. The idea behind this “Crit Board” was simple: if mobile developers want to create apps that people want to buy, they’ll need help with design and usability. But most of the time they can’t afford it. On our Crit Board, developers can send us their mobile apps (iPhone apps, Android apps, Blackberry apps) along with questions and problems, and we (free of charge) will pick apart key usability issues, illustrate our design recommendations and post our findings.

Critboard in iPhone App Designs Reviewed: Critique Board and Lessons Learned

The only condition to get free criticism from us is that you agree for it to be made public, which is why I am able to share several case studies with Smashing’s readers right now. It’s hard to imagine something more relevant: these are real problems facing real developers. I hope these problems and the proposed solutions will benefit others who have similar issues and will be generally relevant to those working in the field.

[Offtopic: by the way, did you know that there is a Smashing eBook Series? Book #1 is Professional Web Design, 242 pages for just $9,90.]

1. Foobi

“Alex,

I am the lead designer and developer of Foobi. Foobi was designed to track your diet in a different way; instead of tracking calories and tapping on many drilled-down lists, it works by simply tracking servings per food group and providing an overview of your food intake balance.

Although I have tried really hard not to over-design it by tracing Apple’s footsteps while building custom UI control elements, I would love to hear from you about this subject.

— Remy”

Foobi 1 New in iPhone App Designs Reviewed: Critique Board and Lessons Learned

Your app is beautiful indeed. And it is also usable and easy, exactly as you describe it: if user knows how to flick, he is already an expert. An expert in what, though?

As stated in the iTunes description, the purpose of this app is to “track and balance your diet.” I understand the two main user goals as follows:

  1. To record what food they consume,
  2. To make sure they stay on the right path with their nutrition, and to have a clear guide to balancing their diet if they veer off that path.

Your app does a good job of fulfilling the first goal: users can easily record what they eat just by selecting the right food group and adding the amount of “servings” consumed.

Foobi 2 New Updated1 in iPhone App Designs Reviewed: Critique Board and Lessons Learned

But what about the second more important goal of tracking progress and adjusting one’s diet? Does the app help customers achieve this goal? Not very well. There is room for big improvement.

There are two main problems with this part of the app.

Summary Information Is Hidden

To access the summary chart, you have to flip the iPhone to the side and view it in landscape mode. But this feature is not communicated through the app’s design, so a user will discover it only by accident. When we talk about fulfilling a major user goal, it is important never to rely on accidents to communicate functionality.

Foobi 3 New Updated in iPhone App Designs Reviewed: Critique Board and Lessons Learned

Summary Information Is Not Well Designed

Additionally, the summary is not informative enough.

The summary chart doesn’t offer too much to the viewer. Here are the main problems:

  • It’s not clear what the different colors mean, and there is no legend to help.
  • The scale is not flexible. You can view the information only by week, which does not allow users to easily see their big-picture eating habits. (Tip: consider incorporating the pinch gesture to allow users to scale in and out.)
  • Tracking consumption of a particular food group is not possible with this chart but would be valuable to users.

Foobi 4 New Updated in iPhone App Designs Reviewed: Critique Board and Lessons Learned

Information design is a vast topic. There are a million ways to address the problems that I’ve highlighted and to increase the visibility of useful information for your audience. I recommend reading Edward Tufte’s books, particularly The Visual Display of Qualitative Information.

And here’s an inspiring display of a lot of information. Of course, it’s not tailored to mobile use, but it has a few great ideas:

4 Foobi in iPhone App Designs Reviewed: Critique Board and Lessons Learned
From Google Finance.

One More Thing

When I purchased and downloaded your app, I didn’t quite understand why it was taking so long to download… until I realized that it had already downloaded. I was fooled by the app icon, which makes it look like it is still downloading:

5 Foobi Updated in iPhone App Designs Reviewed: Critique Board and Lessons Learned

2. Budget Planner

“Alex, please take a look at my app Budget Planner. I have tried everything, and it keeps going up and down. The major issues that people complain about are intuitiveness and slowness. People don’t understand what the software does. But people who do learn it love it.

— Alex Sabonge”

The basic idea of this app is very good, and the App Store description shows off its functionality well:”Budget Planner tracks your bills, budget, calendar and transactions by displaying your balance in a calendar view, letting you know how much money you will actually have on any particular day. Like a balance forecaster.”

Here’s an overview of how Budget Planner works:

  1. Users input their monthly salary info and plug in their fixed monthly expenses (utilities, phone, car payment, etc).

    Budget Planner 1 New in iPhone App Designs Reviewed: Critique Board and Lessons Learned

  2. Using this data, the app allows users to track their cash flow and predict the amount they’ll have in the bank on any given day.

    Budget Planner 2 New in iPhone App Designs Reviewed: Critique Board and Lessons Learned

Most folks would find this extremely useful. So, why are people complaining about the app? Why does it have an average rating of 2.5 out of 5 stars, and why are sales lower than you had hoped?

Let’s look at the main sources of the problem. For now, we’ll set aside lesser (though important) usability factors, such as not following the iPhone UI guidelines and using the standard controls improperly. Let’s start at the beginning. Humans invented money to buy things, right? Your core audience’s main goal is to know what they can afford and when they can afford it, whether it’s a new pair of shoes, a new car or a solid retirement plan.

People don’t prepare a budget just for fun. They make the effort because they hope it will help them make better purchasing decisions (read: buy more stuff that they like), without their rent check bouncing. Your app is getting there. But several key factors are getting in the way of a great user experience. Let’s take a closer look at the app’s “landing screen,” the calendar, the main element that differentiates this app from other budget apps.

First of all, I think the calendar is a great idea. It’s much better than the categorized lists that many other apps have. The calendar is all about how much money you have or will have in future. A list only shows how much you’ve spent. Knowing that your money is gone doesn’t really help achieve a financial goal (purchasing a shiny new laptop, for example).

Here are some downsides to the calendar view:

Budget Planner 3 New Updated2 in iPhone App Designs Reviewed: Critique Board and Lessons Learned

I believe there’s a way to visualize information in the current design so that users are able to uncover “invisible” patterns. Uncovering the details and patterns behind their spending habits enables users to get new ideas, make informed decisions and achieve their financial goals (and praise your app in the process). Users will better understand their bad habits and be able to take steps to correct them.

A graph could provide richer possibilities for visualizing financial information. It’s much more flexible and scalable then a calendar. Using a graph for the landing screen could dramatically increase the density of meaningful data, while reducing visual noise. Here are some ideas we came up with; this is merely a draft we put together to illustrate our points and to get your ideas flowing—it is not a proposal for a final design:

Budget Planner 4 New Updated in iPhone App Designs Reviewed: Critique Board and Lessons Learned

Budget Planner 5 New Updated in iPhone App Designs Reviewed: Critique Board and Lessons Learned

Budget Planner 6 New Updated in iPhone App Designs Reviewed: Critique Board and Lessons Learned

Next Steps

People love apps that help them achieve their goals. What if your app allowed users to input and compare different financial scenarios, shown through several overlaid graphs?

This capability could help users think through their options:

  • If I put my child through this private school, would I still be able to afford the Beemer I’ve always dreamed of?
  • How many hours of overtime would I need to work to be able to afford both?

These are few examples of questions that people ask themselves. If your app can help them get the answers, I think it’ll really catch on, and you’ll soon be driving a shiny new Beemer yourself.

3. Units United

“Unit conversion app, Units United. Yep, yet another one… ;) Can you please review it?

— Meils Dühnforth”

Units United 1 New in iPhone App Designs Reviewed: Critique Board and Lessons Learned

The biggest problem with almost every unit converter I have seen is that they require users to submit their query in a format that the computer (or iPhone in this case) can understand. Most unit converters force people to make double the effort to get what they want.

Consider the following scenario: you’re from the US, and you are recounting yesterday’s baseball game to your Icelandic friend. During their last at bat, the Phillies hit a 456-foot home run. Amazing! You punch the value into your unit converter app, but to get an answer you must translate the query into a format that the application understands:

  1. Go to “Categories,”
  2. Select meters for the “To” unit,
  3. Select feet for the “From” unit,
  4. Type in 456 on the number pad,
  5. Double-check that you are converting 456 feet into metres and not vice versa.

Are all these steps necessary? You just wanted to know “What is 456 feet in meters?” But you had to ask the question in robo-speak. You had to select options from a list to be understood. Good software speaks your language. Among the innumerable unit converters, only Google does it right, allowing you to ask your question in plain English:

Units United 2 New in iPhone App Designs Reviewed: Critique Board and Lessons Learned

Using speech recognition technology is another good idea. Sometimes your hands aren’t free when you need to convert a unit. Say your Icelandic friend is driving on a US highway and needs to convert the 55 miles-per-hour speed limit into kilometers.

Implementing everything described above, your app might look something like this (this quick draft is meant to illustrate the point and is not a design proposal):

Units United 3 New in iPhone App Designs Reviewed: Critique Board and Lessons Learned

This application is much easier to use because there’s no more robo-talk: it doesn’t force users to browse categories and sub-categories, and it accepts questions in everyday language.

Send Your App For A Free Review!

Mobile developers are always welcome to send me their apps for a free review. Just use this form. Please remember that your content will be featured on our Crit Board, allowing developers, designers and users worldwide to join the conversation. If you prefer to speak privately about your design, please feel free to contact us directly.

(al)


© Alex Komarov for Smashing Magazine, 2010. | Permalink | Post a comment | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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