1794: Prototyping a small story

November 21, 2009

The Ignite London challenge of telling the story of my 1794 heroes in five minutes and 20 slides set me thinking about other ways to package up a narrative in the most minimal way.

In parallel with preparing my talk, I used the slides as the starting point for some printed material. My experimental recipe is as follows:

First, catch your story. The idea of 1794 as a focal point struck me while reading, for different reasons, about Joseph Priestley, Camille Desmoulins, John Thelwall and Matthew Murray. Desmoulins led me to the war in France, and Jean-Marie-Joseph Coutelle and Claude Chappe. Antoine Lavoisier formed a further link between Priestley and Coutelle. Soon I had a map spelling out the connections.

Excite the attentions of the ingenious.TM I’d been wondering how to break the all-male line-up of heroes when I saw this tweet:

Turns out Roberta Wedge has been engaging on Twitter on behalf of the mother of feminism for several months now. Thanks to her intervention, Mary Wollstonecraft was in. Read the rest of this entry »


Enter your 16-digit card number folllowed by Arghhh

November 4, 2009

So I got home late last night and opened a letter containing a replacement bank card. To activate it I had to call one of those automated phone lines. It taught me something interesting.

Though standing in the living room just a few feet from a landline phone, I reached for the phone that is always with me, the shiny computer in my pocket, with wifi, a web browser and a touchscreen so slick it has to defend against my disgusting human fingers with a lipophobic coating.

I entered the number (because, yes, this computer also makes calls!) and was greeted by a man from the Nineteen Eighties. This is going to be a breeze, I thought smugly. I’m a confident 24-hour e-banking consumer. I laugh in the face of paper bills. I sweep administrative trivia into the gaps of my a busy lifestyle.

“Now,” demands Nineneen Eighties Man, “using the keypad on your phone, enter your 16-digit card number followed by the hash key”.

The keypad on my phone? The keypad on my phone? My phone has a camera, a compass and an accelerometer. It tells the weather to save me the strain of looking out of the window. It has no need of a keypad!

Read the rest of this entry »


Curiosity saved the service designer

October 20, 2009

Something to watch, something to read, and something to ponder on.

First, I watched my former colleague Clive Grinyer’s TedXLeeds talk on the Democratisation of Design. If you weren’t fortunate enough to be there on the night, you can now catch it on Youtube

“We are all designers. Get used to it,” says Clive. I’d buy the t-shirt if there was one.

In discussion afterwards, I wondered about the growing awareness of service design as a tool for business transformation. It seemed that, apart from designers, some other well-established disciplines – customer service, operations, marketing, for example – had strong pre-existing claims to define and deliver the “end-to-end customer experience” whatever that may be (and if you can find both ends, do please let me know :)

Then I read Peter Merholz’s piece on Harvard Business, Why Design Thinking Won’t Save You. The conclusion struck a chord with me…

what we must understand is that in this savagely complex world, we need to bring as broad a diversity of viewpoints and perspectives to bear on whatever challenges we have in front of us. While it’s wise to question the supremacy of “business thinking,” shifting the focus only to “design thinking” will mean you’re missing out on countless possibilities.

And that set me thinking. Maybe what’s missing in a lot of these conversations isn’t too little design, or too much business. In a complex world companies will prosper where they achieve inter-disciplinary collaboration based on equality and mutual respect – the tolerance and curiosity that I thought were British values until the new President made them America’s too.

You are not a unique snowflake. Get used to Enjoy it.


On newsprint: the potency of cheap paper

October 1, 2009

This post was going to be all about newspapers, but the more I thought about it the more I realised that before writing about the news I have to explain the paper, specifically the cheap, low quality paper we call newsprint.

It’s a fascinating story which, I think, explains why short-run, nichepaper projects such as Newspaper Club are so deliciously disruptive.

After all there have always been easier formats for getting messages out to people. For decades there was the mimeograph, then the photocopier, and desktop publishing, books, leaflets, A4 newsletters and “vanity-published” books. Rarely did the newspaper form get a look-in on anything other than, well, news.

To understand why that is, we should consider the trade-offs. This involves a graph, with no numbers, but stay with me, please.

Read the rest of this entry »


Mobile Gothic: a flight of fancy

August 4, 2009

I’ve always found it strange that Eric S. Raymond chose the cathedral as his metaphor for closed development in free software, because the construction of our great medieval cathedrals must have been a very open process.

Passing peasants were doubtless discouraged from picking up a chisel to hack at the nearest stone, but Gothic buildings like York Minster and Strasbourg Cathedral were certainly the work of many hands, over many generations – not generations of software but generations of people. They were in very public beta for longer than Google News.

And so in chronicling the exciting changes we’re about to see in the mobile user experience it seems appropriate to turn to John Ruskin, Victorian art critic, social theorist, and owner of a magnificent beard.

Read the rest of this entry »


Duck, dive, scribble, spray – now gestural interfaces are within everyone’s reach

January 9, 2009

Lower down this post, you’ll probably find some high-flown stuff about gestural user interfaces going mainstream, but in all honesty the thread that joins together the following two-and-a-half things is that they’ve all left me grinning like a fool. A hand-waving grinning fool. And a bobbing my head up and down like Churchill the nodding dog grinning fool.

Thing 1 – Season’s greetings from friends and former colleagues at Common Agency, in the form of Snowballed - and yes, I know it’s a Flash gimmick from a design agency, but stay with me, please. What makes Snowballed stand out from the crowd is the way it’s controlled using your PC’s video camera. As Karl Marx and Sigmund Freud pop up and hurl snowballs at you (no really), the object is to dodge them just by moving about. Squint carefully at the image below and my face is visible direct from my laptop’s webcam.

snowballed

Move left, and the snowman moves left, move right, and you get the idea.

Now I know this interface isn’t brand new – take Eyetoy for example. What is different is that this just works on any PC with a webcam and Flash installed – no specialist kit required. When HP specced my laptop with a camera built-in, I guess they were thinking of video calling or whatever. I’ve never used my laptop for video calling, but now I have used it to dodge snowballs thrown by dead white men with beards.

Thing 2 – hacking the Wiimote’s built-in IR camera to make  FriiSpray – Open source Infra-red graffiti. From the project site:

FriiSpray is a project thought up by three heads in the North of England, based at the Innovation North co-working space in the Old Broadcasting House, Leeds. The project is based around the Wiimote Whiteboard software, built by Johnny Chung Lee – have a look at his stuff here. We thought that it would be a great idea to take this interface between the Wiimote and the computer and adapt it to allow people to create digital, or virtual grafitti as an interactive media installation.

It’s a fun experience to take round events, and the team already have one booking. They’ll also be presenting the work at the forthcoming O’Reilly Ignite event in Leeds. Again, a great hack of cheaply obtainable stuff to do something wholly different from the original purpose.

Incidentally, Friispray also made me aware of a bit of misdirection by Nintendo: the Wii comes with a “sensor bar” which sits by the TV and interacts with the Wiimote. But the sensor bar, does not sense, it emits two points of infra red light, which the remote senses with its IR camera. At Stuart Childs‘ suggestion I tried pointing the Wiimote at other IR light sources, and it works. I wonder at what point in the product design and marketing process, it was decided that it would be easier to explain this as doing the opposite to how it actually works?

Thing 2.5 - Crayon Physics Deluxe, just because it made me smile and now I can’t wait to test it out on my children. Crayon Physics works a treat on a Tablet PC, and I’ve also seen good reviews by users of Wacom graphics tablets and the like.  In its own words it is:

a 2D physics puzzle / sandbox game, in which you get to experience what it would be like if your drawings would be magically transformed into real physical objects. Solve puzzles with your artistic vision and creative use of physics.

Draw stuff with a pen on a computer screen and they come to life. Brilliant! Video demo here.

Here comes the science bit.

I think in the future using a mouse will feel a bit like painting with your fist. Typing on a keyboard may have more longevity, but is still not so many steps removed in sophistication from writing a ransom note by pasting cutout newspaper letters onto a sheet of paper. Gestural interfaces have been around for a while, and are slowing making headway into mobile devices as well.

What marks out the stuff I’m writing about here is how accessible and natural it can be. Got a webcam? You’ve got motion control. Got £20 for a Wiimote? You’ve got an IR camera. There are so many ways to control our computers, and I sense that this year is the year that some of them will go mainstream. I’ll be grinning from ear to ear.


Play Small: why mobile challenges designers to make a better web

October 6, 2008

In a single Noisy Decent Graphics post, Ben Terrett effortlessly segues between my two preoccupations of the moment – agonised middle-class parenting, and the superiority of mobile web over fixed. How could I resist?

“City kids are not like country kids”, he notes, “… the space available to play is smaller… so they learn to play smaller.” (Whereupon I’m reminded of Christopher Alexander’s delightful Child Cave pattern.) For designers, the resulting constraints can be a Good Thing. We all need to Play Small…

“One thing that really brings home Play Small to me is iPhone web pages.

“Most people would assume that a mobile web page is a compromise. Not as good or as rich as the main page. The thing is, more and more I’m finding I like the mobile pages better than the main pages.

“Stripped of all superfluous content and navigation, devoid of over elobarate graphics, they’re like raw ‘what I came here for’ in one handy pocket sized rectangle.”

Absolutely. The mobile web tends to make for better design, and the small surface display is just one of the reasons.

Design for the PC-based web has been rendered flabby not just by growing screen size, but also the assumption of fast, always-on broadband. This assumption enables two kinds of impositions on the user.

First, with less worry about filesizes, people pack an almost limitless number of links, graphics and styles onto a single page. Can’t decide which of your site’s functions to prioritise? Why not include all 19 of them equally! Above the fold! Can’t fit it all in? Make it dynamic to expand and shrink stuff in new and confusing ways.

Second, since pages appear almost instantaneously, we fall into the trap of assuming that any additional clicks cost nothing of the user’s time. Who cares if they take a few blind alleys? That’s why there’s a back button.

The cost, of course, is in the increased cognitive load. Website owners that work like this are abdicating their responsibility to think through a problem fully. They are offloading the work of understanding onto their users.

Ben’s “‘what I came here for’ in one handy pocket sized rectangle” speaks of the reverse, of care taken and thought for the user. The most popular page on the web also bears this out: earlier this year, Google applied a “one in, one out” rule to the 28 words on its classic homepage.

Which brings me on to another reason that the mobile web has the potential to generate better designs: mobile forces an increased focus on the context of use.

It is too easy in the fixed web world for us to assume that we and our users inhabit the same environment. Maybe this happens because desktop and laptop computers are at once the tools we use to specify the online experience, and  the appliances on which our users will interact with the results.

In contrast, mobile experiences are defined by their external environments as much as by their internal functionality. And in considering the environment we also end up considering our users as different from ourselves, and hopefully better understanding their needs and priorities as a result.

In Paper, Scissors, Phone I suggested getting real with sketches and mobile prototyping as a way to further sharpen this focus on target users and contexts.

Ben concludes with  a beguiling extrapolation of credit crunch chic:

“Make no mistake, we’re currently leaving the era of Baroque brands and moving into a new period of austerity in communication. And as we move towards Depression 2.0 maybe Play Small will become a vital tool for all designers across all forms of media.”

The “austere” bit worries me though, because well-thought-out design doesn’t always have to look like a bank statement (though that’s the noble aesthetic of Dopplr, which earns a special mention in Ben Terrett’s post for being so well designed on the PC that even mobile cannot improve it).

I’m reminded of a video I saw of an iPhone user comparing the full web and made-for-mobile versions of a social networking site. Unlike Ben, he preferred the full version on his phone. He felt the mobile version was “limited”. And as he talked to the researcher’s camera, his fingers danced across the touchscreen. This user so clearly relished the panning and zooming and the satisfying gravitational bounce as he hit on the edges of the page. The made-for-mobile page – one long screen-wide galley of content – was functionally superior but it had much less “bounce” than the full website. It was too austere.

I really hope that a fitter, more fitting web will follow from the widespread adoption of mobile multimedia, and that doesn’t mean there’s no room for delight. Though the space may be small, it can still be a great place for play.

Update 18/10/2010: Stacey Higginbotham on GigaOm tells how “mobile connectivity sets developers free” -  Stop Cramming the Mobile Web Into the PC Box


Brushed chrome – the story of Google’s browser in comic book form

September 2, 2008

What a stroke of genius to commission Scott McCloud to tell the story of Google’s new web browser, Chrome, in comic form.

McCloud’s own books have communicated his enthusiasm for the past, present and future of comics themselves. Now his fluid, conversational style perfectly captures the diverse passions of project team members – passions that gel together to create a finished (well OK, it’s Google, so it must be beta) product.

The Chrome comic is packed with exhibits in support of Google’s claim to have started from scratch with the browser, to “design something based on the needs of today’s web applications and today’s users”. Among them, four in particular struck a chord with me:

The PC and the browser are always on, which has implications for memory usage and management. The fragmentation problem created by current browsers “grows all day, as the lifetime of the browser extends.” “Have you tried turning it off and on again” is no longer an acceptable IT helpdesk solution.

The homepage is dead (long live the new tab!) Web users rely less and less on a single web page as their starting point, instead developing a habit of checking a handful of different sites whenever they go to the browser. Google’s nine-thumbnail “new tab” page is a neat response to the way we now use the web.

Some things are best forgotten. With all this personalisation, Google of all service providers must be ultra-aware of users’ privacy concerns. McCloud diplomatically chooses “Want to keep a surprise gift a secret” as the, ehem, discrete scenario to illustrate their solution to this user requirement.

Mobile is already starting to make the deskbound web a better place. Software engineer Darin Fisher is quoted: “We also knew there was a team at Google working on Android and we asked them, ‘Why did you guys use Webkit?’” So when it came to something as fundamental as the choice of a rendering engine, in a company self-proclaimed to “live on the Internet”, it turned out to be the mobile team that had the inside track. I’ve long believed that the PC-based web experience has lots to gain from applying some of the discipline of mobile.

… and finally a nostalgic aside: seeing Scott McCloud’s technical explanation of the principles behind Chrome reminded me of Donald Alcock’s delightfully hand-drawn and lettered “Illustrating Basic” which helped me get to grips with my BBC Micro as a boy. I’m determined my own Cbeebies-generation children should also have some exposure to programming languages, and make periodic attempts to divert them from iPlayer and AdventureQuest to Scratch!


The unexpected moment of truth: Disney’s $100,000 Salt + Pepper Shaker

July 8, 2008

In the 21st century, few consumer services follow a neat linear model of awareness, consideration, purchase and use. Instead we see a web of customer expectations and perceptions where little things can make a big difference.

It’s the job of service designers to cut through the mass of insight to find the decisive moments where you can make or break a customer relationship. And sometimes you can find those moments in unexpected places.

David Armano recounts a story from Randy Pausch’s “Last Lecture” that sums up one of these moments perfectly. You can read “Disney’s $100,000 Salt + Pepper Shaker” here.


Dementia and Dopplr – how designing for extreme users benefits us all

July 2, 2008

To the RCA for Innovation Night, tied in with the college’s summer show. The evening included awards for students in the Helen Hamlyn Centre, which uses people-centred design to support independent living and working for ageing and diverse populations.

Focusing on the needs of people often ignored by mainstream business and design is obviously a Good Thing, and no matter how young and healthy we may be it comes with a dose of enlightened self-interest. Not for nothing are the awards titled “Design for our Future Selves”.

But designing for “extreme” users can also reveal truths and perspectives highly relevant to the rest of us. Consider, if you please, Matthew Holloway’s Virtual Breadcrumbs project, in collaboration with people with dementia. In the words of the awards website:

This experimental design proposal looked at the problem of memory loss and began to explore means in which information we collect through our lives could be summarised and communicated back in meaningful ways. From key findings visual outputs were designed, such as wallpaper that contained important events in a person’s life. Further experiments were also carried out with travel images reduced into a single strip and tested on people who had been involved in the travel to assess their ability to provoke memories.

… and in this case a picture is almost certainly worth 1000 words…

Virtual Breadcrumbs

So it was a delight to see this theme come through again at an unrelated talk on Dopplr, hosted by the Information Design Association, this time for a different kind of extreme user – the business traveller.

Matts Jones and Biddulph gave us a fascinating insight into the design principles behind their elegant and useful website, where a key piece of the brand identity is the algorithmic use of colour to represent places. As a user builds up a history of travel, the places they’ve been displace Dopplr’s standard “sparklogo” colours. This…

Dopplr logo

… slowly becomes this…

Mattedgar badge

Matt and Matt have stayed true to Dopplr’s laser-focused mission – not to replicate other more general social networking sites, but to be the best in their chosen niche, making the experience of travel more delightful with added serendipity, and helping people look back on their travels afterwards.

Far from making life boring, this clarity of purpose gives them the freedom to play, to make multiple ways of capturing our travel plans, to wallow in the giant ball pool of trips and coincidences that we create. Their enthusiasm for the data is infectious.

It would be easy with all this eye-candy for the human stories to go untold. While the Dopplr crew are painting a model of the world with MD5s and RGB values, their website is making real stuff happen. Coincidences are spotted, meetings are arranged, dinners are eaten, drinks are drunk, people have conversations, and who knows what more. Somewhere in the world, sometime soon (if not already) a Dopplr baby will be born.

What’s the colourful thread running through these two stories? Well I think it has to do with the dividends we all get when design focuses on the needs of a well-defined user-group, even if we’re not part of that group ourselves. Fortunately few of us suffer from dementia, but we’re all forgetful from time to time, and could all do with visual cues to link us back to past experiences. Fortunately few of us travel at the speed of a whippet, but most of us travel a bit, and those who don’t have friends who do.

Naturally there are risks in this: high tech businesses can fall into the trap of designing only for “power users.” But it does mean that only ever looking at the average customer will only ever yield average results. Sometimes it takes the people at the edges to show us the way.


All this rubbish Powerpoint must be telling us something

May 7, 2008

Chris Heathcote’s abstract pointillist Powerpoint toolkit once again reinforces the received wisdom that Microsoft’s near-ubiquitous presentation software presages the end of civilisation.

Unlike the army of total Powerpoint rejecters, Chris’ solution is to fight pixel with pixel, subject to three strictures:

POINT ONE: Presentations are about IDEAS, not TEXT.

POINT TWO: READING from SLIDES is a heinous crime.

POINT THREE: PEOPLE cannot COPE without some kind of visual STIMULATION.

I love the abstract toolkit and hope one day to try this parlour-game in a work context (but not, I promise, at the forthcoming Mobile Internet Portal Strategies conference for which I’m preparing this week.)

However, it set me wondering: if Powerpoint sucks so badly, how come so many people use it? And how come they use it the way they do – densely textual, reading from slides, as a substitute for eye-contact between presenter and audience? It’s not like Steve Ballmer has issued a decree forcing people to do it this way – in fact it’s the reverse: our sucky cut-and-paste Powerpoint culture is the ultimate product of co-creation.

So rather (or at least as well as) decrying rubbish slideware, how about we spend some time trying to understand the deep needs that drive people to it in the first place, and how they might be met better some other way. I don’t have all the answers, but here at least are a few of the forces at work:

  1. You need cue cards – but the 80GSM A4 stock in printers doesn’t cut it. In the old days speakers had palm-sized index cards with hand-written notes, but (a) you won’t find them in the office stationary cupboard any more (I know, I checked), and (b) have you tried to read my hand-writing? I went to school in the Seventies, you know. Result: the cue cards are no longer in the speaker’s hand, they’re up for everyone to see on the big screen.
  2. Your audience speaks a different language – when presenting to people who don’t share the same first language, sending the slides round beforehand isn’t just an administrative nicety, it’s a necessity so that they can make sense of proceedings at their own pace. Powerpoint is to business what subtitles are to art-house cinema.
  3. Your audience is only paying partial attention – gone are the days when the whole family would gather round to listen to a Malcolm Muggeridge lecture on the wireless. These days you’re lucky if anyone peeks up from their laptops and Blackberrys long enough to read a few bullet points, let alone actually listen to a complete sentence, with sub-clauses and everything.
  4. Your audience is somewhere else entirely – and in this respect i’n't the internet brilliant! Chris Heathcote’s modern-day ink-blot test has had almost 4000 views on Slideshare in just four days, so my bet is that more often than not, the presentation document does have to speak for itself. Who then could resist the temptation to reiterate in the slide text every major point they plan to make in person?

In new product development, we often look for “workarounds” – the sub-optimal things that people do as a way of achieving their goals, then we think about how we might help them achieve these goals more elegantly, with less effort. Where are the innovations that meet the subtle communications needs of the Powerpoint-challenged? They must be out there somewhere, but they probably don’t look like presentation software at all.


The Waist-high Shelf

April 16, 2008

A few years ago when we extended our house to create a new entrance hall we greatly enjoyed flicking through the relevant pages in Christopher Alexander’s “A Pattern Language: Towns, Buildings, Construction”. So much of it rang true with those “oh yeah” moments as we looked with fresh eyes at the way we used our home. The book is also just a joy to read. I challenge anyone to read the Entrance Room pattern without smiling and nodding.

Some of the elements, such as the size of the hall, the need to create a defined threshold and reorienting the front door to improve the Intimacy Gradient, were baked into the building itself. Others were to be added by us after the builders had gone, and among this latter sort was the famous Waist-high Shelf pattern, often cited as an example of how Alexander’s system works.

We never got around to putting in that waist-high shelf, but the other day I noticed that a strange thing had happened. We’d taken a delivery of some flat-pack furniture. We were busy, so instead of getting assembled it just got dumped inside the front door. And at once it attracted papers, hats, a school sweatshirt – everything the waist-high shelf was meant to absorb.

So here’s the warning: Find room in your home for the waist-high shelf, or the waist-high shelf will find you, whether you like it or not.


ШITH TШЗИTУ-FIVЗ SФLDIЗЯS ФF LЗДD HЗ HДS CФИQЦЗЯЗD THЗ ШФЯLD

November 15, 2007

Thus somebody – and nobody quite seems to know whom – said of Johannes Gutenberg. But even with the belated arrival of the “w” to make up the Latin alphabet to 26, this once mighty army now seems barely enough to log into Bebo.

Cyrillic? on FLickr, by fil himself

There are forces at work.

  1. Web-based services demand that users have globally unique ids. You know the score – you enter your favoured username on the Web Too Point Oh site du jour only to find that some random namesake got there first.
  2. … but people’s names are not globally unique. I guess I could change my name by deed poll to mattedgar63 but society seems unsympathetic to such innovation.
  3. Fortunately many of the new breed of global web services support Unicode as standard. To force the majority of the World’s population to use only Latin characters would be bad for business, as well as deeply un-PC.
  4. Kids like codes. No sooner could my son write than he was finding ways to write messages in secret. Language can be used as a tool to obfuscate as well as communicate.
  5. Kids (in UK at least) are increasingly exposed to cultures with non-Latin character sets. The Iron Curtain has gone and with it the cosy certainty of Gutenberg’s lead soldiers…

Flickr - Cyrillic in the heart of London - by Happy Dave

And before you know it, it’s come to this. And this. And this…

Bebo Sayings

25 soldiers? Make that 95,221.


Relax, your photos are in the sky (but I’ve burned a CD just in case)

May 30, 2007

The conversation in our household goes like this:

Me: I’m clearing the digital camera. Its memory’s nearly full.

My spouse: I don’t like the idea that all our photos are just on the computer.

Me: Well they’re safer there than in tatty envelopes under the bed…

Spouse: Yes, but why can’t we print them all out?

Me: … and I’ve got them all on Flickr. You can print them off the internet any time you like.

Spouse: You know what, that doesn’t make me feel any better…

I wanted to know where my photos would be safer – “in the sky”, or in a shoebox. 30 minutes of Googling later, I have the answer.

According to my local Fire Service, there were 17.2 “calls to accidental dwelling fires per 10,000 dwellings” in 2005-06. That’s odds of 581 to 1 that we’ll suffer a house fire. Obviously, the shoebox could survive unscathed, but then again it’s subject to other risks such as flooding, theft and shredding by toddlers, so I reckon the fire statistic is a pretty good proxy for the risks to photos stored physically in the home.

As for Flickr, well it’s owned by Yahoo! Inc, a multibillion dollar US company with an exclamation mark in its name. Let’s assume they take good care of our pictures unless they run into serious financial difficulties. Yahoo!’s (or is that “Yahoo’s!”?) corporate credit rating is a just-about-investment-grade BBB-. For this grade, the Average Default Rate Within One Year of Rating (1970-2001) is apparently about 0.15%. Satisfyingly, that works out at a 666 to 1 chance of Yahoo! defaulting on it’s debt and taking my photos down with it.

So actually, the chances are pretty comparable. The sky shades it a little over the shoebox. Better still, I can really keep things safe by doing both. It seems safe to assume the two variables are independent – that is, my house burning down wouldn’t make it any more or less likely that Yahoo! goes! belly! up! In that case there’s only a 387,333 to 1 chance of both catastrophes occuring in the same year. Some back-up dividend!

I’m more likely (370,035 to 1) to die choking on food.

[Scary afterthought: Maybe I'm now destined to be poisoned by fire-raising Yahoo! acolytes enraged by my mockery of their carefree approach to punctuation?]

The logic of online storage seems compelling, but it may not be enough. No matter the hypothetical benefits of having stuff stored in a cloud, people exhibit strong attachments to having personal data in forms they can touch: prints, CDs, DVDs, and so on.

Is this just a hangover of a bygone age, something that will be ironed out as the iPod generation goes totally digital? Or is the need for tangible assets a deeply held one that we need to incorporate into online services to ensure their long-term adoption? What are the chances?


Paper – Scissors – Phone

April 23, 2007

Maybe it’s just me, but as we enter the latest phase of convergence with more and more big web properties moving onto mobile, I’ve noticed a trend for work in progress to be developed and presented mainly on PC screens.

In my (possibly mythical) golden age, presentations and design reviews were stacked full of phones in all shapes and sizes. Now stuff seems to come to me in neatly zipped PDFs and Powerpoint docs, which immediately place the work into the wrong context. They introduce implicit assumptions that were set in stone in the old days of the deskbound internet. The web’s moving on – but sadly many of the ways we design it are not.

So I started wondering: could we have a mobile design process which deliberately avoided deliverables on the PC screen? You can, if you must, use a desktop or laptop as a tool (Mitchell or Webb is up to you, it’s so irrelevant :-) What matters is that the design is presented in more appropriate media. It goes like this…

Paper wraps phone: The big visual canvas of a web page can hide a multitude of sins in site strategy and structure, but on mobile they’ll be painfully laid bare. So spend some time getting straight the objectives of the mobile interface, underpinned by the things you know about your users, their relevant needs, and their existing use of mobile. Write it down in complete sentences, you know, the things they taught you at school with a subject, a verb and an object. Banish any preconceptions about the context of use – for example, 27% of mobile internet-enabled phone users in a Pew Survey had used it in the home. Sketch out the information architecture and user flows on big sheets of paper. Then get out the scissors…

Scissors cut paper. Chop up the sitemap, give the resulting scraps a shuffle and see how a user will experience your work. Yes, mobile really lends itself to paper prototyping. As the small, handheld interface takes shape, how about mocking it up on small, handheld pieces of paper? Take a stack of index cards or PostIt notes and use one per scene on the mobile screen. Or to simulate the act of scrolling, cut a card with a hole in the middle to mask off all but a screenful of content at a time. I saw this trick used really effectively in early stages usability testing on our mobile portal a few years ago. It makes for a more realistic low fi test, and gives the designers an insight into the tunnel view that users have of their mobile interface. Then it’s time to hit the handset…

Phone blunts scissors. As soon as possible, get it mocked up on a mobile device. With XHTML and Flash Lite it’s much easier than it used to be, and immediately helps you get a feel for certain issues: Which buttons will be the main controls? How will the user enter text? How quickly can they scroll up and down the screen. Critically, get the design up and running on a few different kinds of phone that represent the spread of devices your users will have. This is not something that comes naturally to web designers for whom these things come down to narrow choices of screensize and IE/Firefox version, but it’s worth the hassle. If you don’t have all the phones yourself, beg or borrow them from friends, family or colleagues. If you’re doing the work for a big corporate or telco, ask them about access to the target devices. And if it’s a consumer application, make sure you don’t inadvertently introduce a bias towards business devices, which may well have bigger screens and more capabilities than those of your target users.

Now step outside. Stand in broad daylight on a busy street corner, preferably in a slightly dodgy area of town, and most likely realise that the fontsize needs to be even bigger than you thought. And if the fonts are bigger, than means fewer lines of text, which means revisiting those flows. Paper wraps phone once again in our iterative process :)

What do you think? Who is doing mobile design like this already? Who is doing it even better?

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Update – 5 September 2008: Rachel Glaves at Adaptive path tells how she likes to print stuff out to make it real – Designing for Gestures – Lessons From Print