I’ve said some of these things in the past, so I understand the knee-jerk impulse that lead to these sorts of reactions.
However, something’s usually missing from these assessments of the situation: The actual customer’s motivation. How motivated is the customer to solve their problem? What are they here for?
Excellent post, though I’m a bit disconcerted that Fried just realized designers have to factor in the viewer’s motivation when assessing dropoff rates.
West: There is a whole class of gesture-based functionality, basically, that mobile apps are trying to take advantage of, which is fantastic. Now on Foursquare, when you pull down on a venue, it checks you in without you having to tap the screen. It’s a power user feature we tell people about—it’s very rare you accidentally do it. Plus, a little bit of a learning curve isn’t that bad. A lot of web gurus say it’s bad if there’s any kind of learning curve or tutorial needed, but I disagree. We’re making the standards. This is the time when we’re figuring out what the best practice is.
Disabato: It’s funny, I’ll see people much younger than myself having no problem learning totally new interaction models on these interfaces when they aren’t given any help. I’ll see people my age or older, I’m 31, they’ll struggle and won’t be able to do anything on it, and they’ll need help.
West: We already have a mental model, or muscle memory, tripping us up. I have an Xbox, and I always had Nintendo before, so I keep wanting to hit A and B all the time. If I was a five year old, I would have no issues.
Disabato: I think you might start seeing apps that are experimental for their own sake. They do very weird things with gestures, they’re not really serious labored endeavors, but they’re something you can play with and understand the limitations of the medium. You see that a lot with game design and sound apps, music generation apps, that sort of stuff, where it’s just this weird set of graphics you play around with, like [sound toy app] Pluto Pluto. The more people actually use them, the more you’ll start to understand there’s way more to design than what Apple proscribes in their interface guidelines.
Patrick Sisson interviewed Nick Disabato and I for Interview: New Trends in Mobile Design / Features / Nothing Major.
…I’ve had a bit of trouble wrapping my head around what it is a UX Designer actually does for some time now, and I keep coming back to the same conclusion; a User Experience Designer doesn’t do anything special. They’re just a designer.
…A great designer should have a solid understanding of the psychological effects of their designs on top of all the typographic, colour, and layout techniques they use on a daily basis. Each decision in those categories will have an effect on the overall user experience, and we should be conscious of those effects. User experience is not something that should be considered separately from any design processes, let alone given a separate job description or department. User experience design is just design. Whether you’re designing a static mockup for a website, or considering the psychological effect of a particular user flow, you’re designing.
A couple of weeks ago, I was using the latest version of the Rdio app and realized that I had no idea how to put a song into a playlist. After hopelessly tapping around, I got a bit annoyed and posted a tweet asking if anyone had figured it out, which is my standard reaction when things aren’t immediately obvious in apps.
But then I thought about an interaction that we’d recently put into place at Foursquare, the long tap checkin. So, curious, I held down my finger on the song title. Lo and behold, a whole set of song action options popped up, including Add to Playlist. Excellent! I added the song and went on my merry way.
Fast-forward a couple of weeks and my friend Keith is also complaining on Twitter about how he can’t find key features in Rdio. People mention the long tap, but it’s obvious there’s a problem; the menu is undiscoverable. The long tap is a graceful solution, but it’s a hidden solution: Rdio needs to teach us.
This illustrates an interesting tension in interaction design. On the one hand, designers want to make obvious interfaces—on some level, in fact, we’re looking to create the Holy Grail of interaction design: apps so fluid, so intuitive, that people naturally have an ‘a-ha’ moment, and there’s never a sense of frustration during onboarding. And that’s great; that’s an amazing goal, and I hope we achieve it.
But at this point in technology, especially with gestural-based stuff, we’re not only working out the kinks, we’re working with a lot of technological, physical disadvantages. For example, there’s no mass commercial computer interface as simple, light, and high-fidelity as pen and paper. The iPad is a solid start, and we can reasonably expect the technology to improve dramatically over the coming decades. But fine, delicate movements and gestures just aren’t supported by technology at this time.
And aside from the technology constraints, we simply do have to create a new set of interactions for new interfaces. Screens have things you can move around, unlike drawings on a sheet of paper, so you’ll be covering up content at some point. Screens can be positioned in a wide variety of spaces, sizes and contexts; if you’re presenting information, you’ll be using more than just your hands but your entire arms and perhaps entire body. So there’s a whole set of interactions, not only you interacting with elements on the screen, but you interacting with the screen, that simply haven’t been standardized yet.
But that’s okay! Here’s the important part: don’t feel like every single action you design right now, in this Wild West time of interaction design, has to be completely intuitive. There are things we think are intuitive now that we learned using tutorials decades ago. Andrei Herasimchuk pulled up a great old Apple tutorial on how to use a mouse. Do you remember those? Probably not, even if you’re above a certain age, and your kids or siblings (or maybe even you) have likely never seen them. They learned how to use a mouse by watching people instead. People don’t come out of the womb knowing how to use a mouse—they do learn it, at some point—but once the information is out there they can learn so seamlessly it doesn’t matter.
So don’t be afraid. The interactions we have to teach now may be the new standards for the next generation, and they may be much better than what we had before, even if they’re slightly less intuitive to start. Don’t be too hard on yourself, and don’t stop from doing something interesting just because you have to show someone else how to use it. Don’t stifle innovation and interesting gestures. Explain them, and people will remember.
- Does your job title have “design” somewhere?
- How many uninterrupted hours a day do you get for doing “design” work?
- When was the last time you produced the best work you know you are capable of with that number of hours and that level of focus?
Even if the user is an absolute expert, able to remember almost everything, I’m always interested in the difference between what you might call stark meaning and adjustable meaning.
I did quite a bit of study on that over the years to understand the influence of having something that you can read. It’s known that our basic language mechanism for both reading and hearing has a fast and a slow process. The fast process has basically a surface phrasal-size nature, and then there’s a slower one. This is why jokes require pauses; the joke is actually a jump from one context to another, and the slower guy, who is dealing with the real meanings, has to catch up to it.
Technology courses for the student designer should deal with the principles and methods of computer program construction. Topics would include computer systems architecture, microprocessor architectures, operating systems, network communications, data structures and algorithms, databases, distributed computing, programming environments, and object-oriented development methodologies.
Designers must have a solid working knowledge of at least one modern programming language (C or Pascal) in addition to exposure to a wide variety of languages and tools, including Forth and Lisp.