Author Archive

  • 125 banners, not so much clicking

    I’ve read too many blog posts recently about pay walls and the future (or lack thereof) of journalism. With the debate raging and being nowhere close to resolution, I needed to remind myself of just how much online advertising sucks.
    This chart is based on my browser history from yesterday (Monday 7 June). Over the course of my working day, 125 banners were displayed in my browser, some more than once.
    I can’t say that I saw them, because my eyes filtered out every single one of them – if it weren’t for creating this chart I wouldn’t have a memory of a single one of them. Needless to say I didn’t click on any of the banners either.
    I sometimes think it’s a miracle that online advertising even exists.

    I’ve read too many blog posts recently about pay walls and the future (or lack thereof) of journalism. With the debate raging and being nowhere close to resolution, I needed to remind myself of just how much online advertising sucks.

    adbannerposter

    This chart is based on my browser history from yesterday (Monday 7 June). Over the course of my working day, 125 banners were displayed in my browser, some more than once.

    I can’t say that I saw them, because my eyes filtered out every single one of them (and if it weren’t for creating this poster I wouldn’t be able to remember any of them either).

    Needless to say, but I didn’t click on any of the banners.

    I can’t help but think it’s a miracle that online advertising even exists.

  • Designed by people that hate you. No, really

    Self-service checkout machines. Is there any other machine we interact with in the modern world that is quite so odious?
    As I stand in line to use one of these infernal devices, listening to the sighs of frustration from the customers ahead of me, I debate whether it’s worth. The extra minutes I’ll save from not queuing up for an old-school conveyor belt, or the agony of a vein exploding on my forehead from using one of the damn things…
    Cannot verify your bags
    Whilst I can’t condone shopping in socks and sandals, I try to be a good eco-boy by bringing my own bags to the supermarket each week. Somewhere in the Pacific there’s a baby albatross with one less plastic bag in their stomach who’s thanking me.
    Each week, I duly select ‘using my own bags’ and place my deluxe hessian bag in the bagging area. And each week I’m told my bag can’t be verified and that I’m to wait until an assistant arrives to help me. I’ve tried placing my bag down gently as if it were precious cargo, in the hope of getting the machine to acquiesce. I’ve also tried ramming it down, in the hope that announcing my bag’s presence with a punch will have better results. Neither works and each time an attendant has to be called over.
    What does it take for a bag to verified without calling the work experience boy over? Why not tell me so I can alter my behavior or bring a different bag? If this isn’t possible, then why not just say so? Want to use your own bags? Press here to call an attendant over.
    Transparency. Don’t lie for the sake of sounding technically competent, because God knows the machine is failing at that one.
    Unexpected item in the bagging area
    You’re merrily scanning and bagging, accompanied to the sound of beeps from the bar code reader. Until, unexpectedly, the machine interrupts:
    Unexpected item in the bagging area. Remove this item before continuing.
    WTF? I’ve just scanned that wedge of Parmigiano Reggiano. I live in Islington – buying expensive cheese should hardly be unexpected behavior.
    Hold on, did it scan? Was the scanning beep I heard a false memory? Or…
    Unexpected item in the bagging.
    Ah, the machine was just playing catch-up – it’s found the cheese after all. Thanks for scolding me just because you’re a bit shite.
    Please remove your card
    This being slow doesn’t just extend to playing catch-up, often the machine is downright one step behind. How many times have you been told to remove your card after removing your card from the chip and pin machine? It’s very dull being told to do something that you’ve already done.
    Trying to do too much
    A lot of these problems stem from having to be able to deal with the worse case: yes, items do get dropped into a shopping bag without them being scanned occasionally. Of course, the system needs to be able to deal with every eventuality. But many of these problems stem from the checkout machine trying to do too much.
    Interacting with one of these machines is a nightmare, with slots, swipes and scanners all over the place. Fiddle up here and remove whatever from down below – the interactions are all over the place. What would happen if the experience were concentrated down? If these machines are here for convenience, how about *just* focusing on credit/debit cards and get the shopping experience *right*? Do one thing really well rather than lots of things badly.
    What does this all mean?
    Rants aside, I do have a point to make.
    It baffles me that someone, somewhere has said “yep, this is it, this is good enough to have our name on it.” I know that systems, services and platforms are always a balance between what can be achieved within the time, money and expertise available. I’m also sure that these machines are a huge technical accomplishment: it’s a barcode reader, measuring scale, cash dispenser, payment and touch screen device in one. That’s unbelievable.
    However, that’s all wrapped up in a truly dreadful customer experience. Could some of the time (and money) spent integrating three different payment types into one device been better spent getting the shopping experience right?
    Of course, being able to accept notes, coins and cards was probably part of the brief so the manufacturer isn’t all to blame. However, how much better would it have been if someone had had the confidence to say “we can do it… of course we can do it… but it may not deliver the experience you’re looking for.”
    It would have been a bold move, possibly a courageous one. However, each time a customer uses one of these machines and is frustrated,
    I can’t help but wonder about all the money supermarkets spend each on branding, marketing and creating the perfect store environment. Millions of pounds a year and it comes down to this? My last thought as I walk out of the supermarket isn’t of quality or value for money, it’s of my last experience at the store.
    Unexpected item in the bagging area. Remove item before continuing.

    Self-service checkout machines. Is there any other machine we interact with in the modern world that is quite so odious?

    As I stand in line to use one of these infernal devices, listening to the sighs of frustration from the customers ahead of me, I debate whether it’s worth it. The extra minutes I’ll save from not queuing up for an old-school conveyor belt, or the agony of a vein exploding on my forehead from using one of the damn things…

    Cannot verify your bags

    Cannot verify your bag

    Whilst I can’t condone shopping in socks and sandals, I try to be a good eco-boy by bringing my own bags to the supermarket each week. (Somewhere in the Pacific there’s a baby albatross with one less plastic bag in their stomach who’s thanking me.)

    Read full post

  • Lazy panels and lazy tweeting

    Lazy panels and lazy tweeting
    I’ve just come out of the SXSW Evan Williams keynote. Although there was the odd glimpse of wisdom (and a vaguely interesting announcement about the @anywhere service) I didn’t manage to get to the end of the session. I held out for as long as I could, but I soon joined the flood of people leaving the room.
    @conradlisco sums it up better than I can:
    <tweet>
    The same happened yesterday afternoon. Jon Gruber and Jim Coudal were running a session called ‘Online advertising: the race to the bottom.’ Cool title and a great opportunity to discuss the future of advertising and how we can sell different approaches to display advertising to our clients.
    Unfortunately this isn’t what we heard. Instead we got a rather too cosy fireside chat:
    <tweet>
    Here are two people on stage completely fluffing a panel. An audience that started off as being completely engaged slowly losing interest in the topic and (unfortunately) respect for the people on stage.
    Faux conversations
    The two people having a staged conversation seems to have been very popular this year at SXSW. Well, amongst the panellists at least. To me it comes across as an incredibly lazy way of presenting a session.
    Instead of a carefully disciplined and structured presentation that has a point and a message, the audience are treated to banter and discussion. Often the key themes and over riding message is lost in soporific chat. The advantage seems to be all with the panel – no time consuming keynote slides to prepare, no time spent agonising over which points you want to make or the structure of your presentation. The panellists can just wing it as they go along and see what happens. Usually to the detriment and disappointment to the audience.
    This is a format that *could* be made to work. Imagine if we were to add a dissenting view to the panel. Rather than two friends who are exactly on the same page (desperately feeding each other lines) how about two people from different sides of the argument? In the online advertising panel for example, someone from a big display house ad versus the creator of a small independent ad network. Someone who believes in slapping as may ad formats on a page versus someone who thinks that publishers should put value on their content and limit ad inventory?
    Disagreement, discussion, argument, dissent. Surely more can be learnt (and communicated) through debate than a mere chat?
    Follow that damn #hashtag
    Could Gruber and Coudal have changed the direction of their panel as it happened? Whilst the set up of the panel meant there wasn’t the scope for dissent, could they have least recognised that the audience was getting frustrated?
    Of course an astute presenter has a feel for the mood of the room through all those micro body ticks the audience are sending out – sighs and crossing and re-crossing legs. At an extreme level of course this manifests as people walking out of the room…
    There’s a gapingly obvious way of measuring the audience opinion. I’ve shown a couple of tweets on this page showing the reaction to a panel in real time. Why can’t the panel follow the panel’s hashtag and change the trajectory of the talk as it goes?
    The amount of times that I’ve sat in a session recently and thought the panel are in a different head space from the audience – unfortunately in some cases it’s as if the panellist has their head in a bin, ignoring everything that’s happening around them.
    Why not use Twitter to not only gather questions from the audience but also to gauge the mood and react accordingly? If two people are on stage it doesn’t take long for one of them to scan a twitter stream and act quickly.
    Please, just ask the question
    Panels end with a question and answer session. Actually they end with a ‘personal bio, company spiel, long winded project introduction, question’ and answer session.
    Whilst members of the audience introducing themselves to the floor can provide valuable context to a question, sometimes it comes across as self aggrandisement.  We’re interested in what you have to ask, but at the end of the day, we’re more interested in what the panel has to say…

    I’ve just come out of the SXSW Evan Williams keynote. Although there was the odd glimpse of wisdom (and a vaguely interesting announcement about the @anywhere service) I didn’t manage to get to the end of the session. I held out for as long as I could, but I soon joined the flood of people leaving the room.

    @conradlisco sums it up better than I can:

    Picture 4

    The same happened yesterday afternoon. Jon Gruber and Jim Coudal were running a session called ‘Online advertising: the race to the bottom.’ Cool title and a great opportunity to discuss the future of advertising and how we can sell different approaches to display advertising to our clients.

    Unfortunately this isn’t what we heard. Instead we got a rather too cosy fireside chat:

    Picture 5

    Here are two people on stage completely fluffing a panel. An audience that started off as being completely engaged slowly losing interest in the topic and (unfortunately) respect for the people on stage.

    Faux conversations

    The two people having a staged conversation seems to have been very popular this year at SXSW. Well, amongst the panellists at least. To me it comes across as an incredibly lazy way of presenting a session.

    Instead of a carefully disciplined and structured presentation that has a point and a message, the audience are treated to banter and discussion. Often the key themes and over riding message is lost in soporific chat. The advantage seems to be all with the panel – no time consuming keynote slides to prepare, no time spent agonising over which points you want to make or the structure of your presentation. The panellists can just wing it as they go along and see what happens. Usually to the detriment and disappointment to the audience.

    This is a format that *could* be made to work. Imagine if we were to add a dissenting view to the panel. Rather than two friends who are exactly on the same page (desperately feeding each other lines) how about two people from different sides of the argument? In the online advertising panel for example, someone from a big display ad house versus the creator of a small independent ad network? Someone who believes in slapping as may ad formats on a page versus someone who thinks that publishers should put value on their content and limit ad inventory?

    Disagreement, discussion, argument, dissent. Surely more can be learnt (and communicated) through debate than a mere chat?

    Follow that damn #hashtag

    Could Gruber and Coudal have changed the direction of their panel as it happened? Whilst the set up of the panel meant there wasn’t the scope for dissent, could they have least recognised that the audience was getting frustrated?

    Of course an astute presenter has a feel for the mood of the room through the micro body ticks the audience are sending out – sighs and crossing and re-crossing legs. At an extreme level of course this manifests as people walking out of the room…

    I’ve shown a couple of tweets on this page showing the reaction to a panel in real time. Why can’t the panel follow the panel’s hashtag and change the trajectory of the talk as it goes?

    The amount of times that I’ve sat in a session recently and thought the panel are in a different head space from the audience – unfortunately in some cases it’s as if the panellist has their head in a bin, ignoring everything that’s happening around them.

    Why not use Twitter to not only gather questions from the audience but also to gauge the mood and react accordingly? If two people are on stage it doesn’t take long for one of them to scan a twitter stream and act quickly.

    Please, just ask the question

    Panels end with a question and answer session. Actually they end with a ‘personal bio, company spiel, long winded project introduction, question’ and answer session.

    Picture 9

    Whilst members of the audience introducing themselves to the floor can provide valuable context to a question, sometimes it comes across as self aggrandisement. We *are* interested in what you have to ask, but at the end of the day, we’re more interested in what the panel has to say…

    What are your thoughts of how panels should be run? More debate? Less questions? I’d be interested to know what you think.

  • South by round up Day 1

    How quickly can I fire off a blog post?
    Bag a waste of time. Recycling
    Passion vs process
    Exploring Austin
    Sitting in a talk
    MxM homepage
    Our home page
    The reaction to our Twitter home page take over has been overwhelmingly positive. Thanks everyone for their feedback and comments. It was really fun working on it and seeing it in use in real time has sparked off lots of ideas about how we could use something similar as our permanent home page once we’re back home. Somehow we need to find a way of showing our social presence and network on the web, whilst combining the conversations around us.
    My favourite tweet about our home page?
    <they look beat up>
    Ah, our avatars. Always a source of amusement (or horror) when a new set arrive from our amazing illustrator (Paul Davis). I’ve always felt that their style reflects the Made by Many way – sketching and creating things being a big part of who we are and how we work. However, to clarify, in real life none of have fascinating skin conditions (@saradotdub), badger strips down out forehead (@bobbyc) or bolts sticking out of our neck (@malbonster).
    The SXSW experience
    After registration at 11 yesterday I spent the entire day with a goodie bag slung over my shoulder, just like many attendee. I think the first thing we all did was sit down and throw stuff away:
    <silverlight>
    After getting rid of so much junk I was still left with a heavy bag of newspapers and directories to carry around. If we come next year I won’t bother picking up the bag at all – it’s just a hodge podge of sponsor messages that no one is interested in. Straight into the recycling bin. I just wish they hadn’t bothered to print it in the first place.
    Sitting in a talk
    Watching the rest of the conference crowd in a session is fascinating. We’re all geek boys, so everyone has an iPhone and/or a laptop. This constant connection to the digital world has taken over – no one sits and just listens. Everyone is tweeting, blogging, checking which session they’re going to next, checking which sessions they’re missing out on right now.
    It must be a slightly threatening and interesting measure of engagement. No one was truly paying attention to me talking, but I did get a shed load of tweets!
    Post match shake down
    It sounds from much of Made by Many that we went to quite a varied mix of talks yesterday. Some good, some not so much… However, even the talks that didn’t hit it off became the start of a very interesting debate afterwards. Over a drink of course, this is Austin after all.
    The “Passion vs Process” debate was particularly interesting. Some of the MxMers who went were a tad scathing:
    <tweets>
    The main crux seemed to be that people should focus their careers on their passion. However, no lee way was given for your skill level. Just because you’re passionate about something doesn’t mean that you’re any good at it. (And that certainly isn’t going to bring you happiness!)
    This turned into an interesting post match talk about what passions some of us had followed and whether they had worked out or not. For example, one of the MxMers once went to a virtually deserted island to write a novel for 6 months. Others had started off their college years being amazing at sports, to a near pro level, but knew their passion, whilst strong, wasn’t enough to get them through to the final yard line.
    At this point the conversation became a wider discussion about skill. Most fascinating of all was hearing @shanerichmond (first passion: music journalism, not the brilliant technology editor of the Daily Telegraph) talking about writer’s block. For him as a journalist it’s rarely an issue – if you’re writing a news story you have facts to report, if you’re writing an comment piece you have your opinion. You never ever start off with a blank page.
    As a designer it struck me that at Made by Many we never start off with a blank page either. The way we work and our processes are nearly always intended to lay layer upon layer upon our ideas. That traditional moment of a designer firing up Photoshop for the first time on a project, sitting behind a white screen of empty pixels searching for something to start with rarely happens at MxM. By that stage in the project we have sketches and prototypes to work with. You have the information and service design in your hands – a framework (or in Shane’s case the facts or opinions) to work with.
    Not so much a revelation, but fascinating to view our process from the perspective of anotherOur home page

    The reaction to our Twitter home page take over has been overwhelmingly positive. Thanks everyone for their feedback and comments. It was really fun working on it and seeing it in use in real time has sparked off lots of ideas about how we could use something similar as our permanent home page once we’re back home. Somehow we need to find a way of showing our social presence and network on the web, whilst combining the conversations around us.

    My favourite tweet about our home page?

    Picture 6

    Ah, our avatars. Always a source of amusement (or horror) when a new set arrive from our amazing illustrator (Paul Davis). I’ve always felt that their style reflects the Made by Many way – sketching and creating things being a big part of who we are and how we work. However, to clarify, in real life none of us have fascinating skin conditions (@saradotdub), badger strips down out forehead (@bobbyc) or bolts sticking out of our neck (@malbonster).

    The SXSW experience

    After registration at 11 yesterday I spent the entire day with a goodie bag slung over my shoulder, just like many attendee. I think the first thing we all did was sit down and throw stuff away:

    Picture 7

    After getting rid of so much junk I was still left with a heavy bag of newspapers and directories to carry around. If we come next year I won’t bother picking up the bag at all – it’s just a hodge podge of sponsor messages that no one is interested in. Straight into the recycling bin. I just wish they hadn’t bothered to print it in the first place.

    Sitting in a talk

    Watching the rest of the conference crowd in a session is fascinating. We’re all geek boys, so everyone has an iPhone and/or a laptop. This constant connection to the digital world has taken over – no one sits and just listens. Everyone is tweeting, blogging, checking which session they’re going to next, checking which sessions they’re missing out on right now.

    It must be a slightly threatening and interesting measure of engagement. No one was truly paying attention to me talking, but I did get a shed load of tweets!

    Post match shake down

    It sounds from much of Made by Many that we went to quite a varied mix of talks yesterday. Some good, some not so much… However, even the talks that didn’t hit it off became the start of a very interesting debate afterwards. Over a drink of course, this is Austin after all.

    The “Passion vs Process” debate was particularly interesting. Some of the MxMers who went were a tad scathing:

    Picture 5

    Picture 4

    Picture 3

    The main crux seemed to be that people should focus their careers on their passion. However, no lee way was given for your skill level. Just because you’re passionate about something doesn’t mean that you’re any good at it. (And that certainly isn’t going to bring you happiness!)

    This turned into an interesting post match talk about what passions some of us had followed and whether they had worked out or not. For example, one of the MxMers once went to a virtually deserted island to write a novel for 6 months. Others had started off their college years being amazing at sports, to a near pro level, but knew their passion, whilst strong, wasn’t enough to get them through to the final yard line.

    At this point the conversation became a wider discussion about skill. Most fascinating of all was hearing @shanerichmond (first passion: music journalism, now the brilliant technology editor of the Daily Telegraph) talking about writer’s block. For him as a journalist it’s rarely an issue – if you’re writing a news story you have facts to report, if you’re writing an comment piece you have your opinion. You never ever start off with a blank page.

    As a designer it struck me that at Made by Many we never start off with a blank page either. The way we work and our processes are nearly always intended to lay layer upon layer upon our ideas. That traditional moment of a designer firing up Photoshop for the first time on a project, sitting behind a white screen of empty pixels searching for something to start with rarely happens at MxM. By that stage in the project we have sketches and prototypes to work with. You have the information and service design in your hands – a framework (or in Shane’s case the facts or opinions) to work with.

    Not so much a revelation, but fascinating to view our process from the perspective of another profession.

  • Content design with cojones

    tweet: no groundbreaking experience for magazine or TV content it seems

    Or so I tweeted whilst watching the recent Apple keynote. A month later and I don’t think I could have been more wrong.

    Immediately after the iPad’s reveal, the interweb rippled with an argument between two tribes, those that want a computer that allows them to tinker under the hood, and those that don’t care about getting their hands dirty – they just want to email, surf, watch and listen. For me, this isn’t the interesting debate. It’s how the speed, screen size and controlled environment of the iPad now means that content design on screen can finally come of age and grow some balls. Big ones.

    Or so I tweeted whilst watching the recent Apple keynote. A month later and I don’t think I could have been more wrong.

    Or so I tweeted whilst watching the recent Apple keynote. A month later and I don’t think I could have been more wrong.

    Immediately after the iPad’s reveal, the interweb rippled with an argument between two tribes, those that want a computer that allows them to tinker under the hood, and those that don’t care about getting their hands dirty – they just want to email, surf, watch and listen. For me, this isn’t the interesting debate. It’s how the speed, screen size and controlled environment of the iPad now means that content design on screen can finally come of age and grow some balls. Big ones.

    Your content isn’t the same as my content

    There are some sites that people check two or three times a day. BBC News is one of them for me. However, out of the 50 or so articles on their home page in the morning, I’ll probably only read around ten stories. As I check back during the day, there’s a law of diminishing returns, in fact every time I visit I usually end up reading half as many stories as I did the previous time.

    Read full post

  • King banner

    Like so many, I completely tune out ad banners when I’m viewing the web. It doesn’t matter what format or size they are, whether it’s an animated spectacular or basic text links, I simply don’t pay any attention to banners any more.

    This worries me, as when you start ignoring something it’s a short step to holding it in contempt. Something that’s all too easy when sites resort to obtrusive overlays: having to fiddle around with a flash banner covering up your content wasn’t the reason I came to your site (regardless of how you need to fund it).

    Which is why seeing some of the new formats that sites like Slate and the New York Times are using is such a delight. These aren’t ads that get in the way of the content, they’re a piece of content in themselves. They’re also monumentally huge. So big that you can’t possibly ignore them. In fact they’re so big you almost can’t believe that anyone would have the balls to put an ad banner that enormous on the page.

    New York Times page with Mini advert

    Read full post

  • Less and more. Not so much

    Dieter Rams is big at the moment. His ten principles of good design seemed to explode around the interweb when the new Vitsoe site launched. He’s been profiled by the V&A as part of last year’s Cold War Modern exhibition. And Apple can’t launch a single product without Jonathan Ive’s name being linked to Rams’ time at Braun.

    Reflecting the moment, London’s Design Museum is now showing an exhibition profiling the design ethos of the man himself.

    Exhibition image

    It’s a great exhibition and, as a fan of Rams’ work, it’s wonderful to be able to see so much of his work in one place. Certainly being able to see his designs as physical objects (rather than simply photos in a reference book or blog post) gives a different perspective and appreciation of what he managed to achieve in his time at Braun.

    Scattered throughout exhibition are quotes from Rams. The first time that I read some of these I was slightly awe-struck at how much of his design ethos could be applied to service and interaction design:

    A product must not claim features – more innovative, more efficient, of higher value – it does not have.

    Whilst it’s great to get people excited about features coming tomorrow, those features aren’t a panacea for having a service that doesn’t work today. Transparency and honesty in design can go a long way in helping to create something useful for users from day one.

    Because it is certainly unpleasant and tedious to be confronted day-in, day-out with products which are confusing, which literally get on our nerves, and with which we cannot relate.

    Usability has always been a key part of interaction design, however, the ability to relate to the user is perhaps even more useful. It’s not just about designing something to be as simple as possible to use. It’s about being to empathise with the end user and knowing what their measure of simplicity is.

    More can be found in Rams’ 10 principles of good design:

    Good design is innovative.
    Good design makes a product useful.
    Good design is aesthetic.
    Good design makes a product understandable.
    Good design is unobtrusive.
    Good design is honest.
    Good design is long-lasting.
    Good design is thorough down to the last detail.
    Good design is environmentally friendly.
    Good design is as little design as possible.

    However, the more that I walked around the long, regimented lines of radios, stereos, shavers and kitchen appliances the more I felt that something was missing.

    Passion.

    Not passion for creating the most useful, honest and understandable products. But passion as a response to actually using a Braun appliance.

    Yes, of course it’s great to have something that just works, that fits in your hand just so. That does everything you expect it to do. But that’s where these designs seem to end: they do everything you expect them to do and nothing more. Whilst that’s undoubtedly a big part of being honest, I can’t help but feel that there was something missing.

    Going that little bit further. Surprise and delight the user. Don’t just be beautiful through utility, create passion by crafting an experience that quickens the breath just that little bit. The little intake that when you hear it you know that you’ve got someone hooked.

    T1000 world receiver
    I know that several of my friends would dispute that Braun products don’t elicit a passionate response. One friend in particular purrs like a contented kitten at the thought of owning a T1000 World Receiver. Though I suspect that this response is heavily based upon what Rams’s work now represents rather than the experience of using such a design classic.

    However, now more than ever, creating an experience that quickens the breath – whether it be a product or a service – may be the only way to creating brand loyalty and a relationship that lasts. After all, other than toothbrushes, who buys Braun now?

  • The future of wireframes?

    I have a love hate relationship with wireframes. In the last 10 years they’ve been a part of every web project I’ve worked on. There have been times when I can’t imagine how we would have solved a particular problem without them. Yet there are also times when I’ve been completely exasperated at the amount of time and energy they’ve consumed, seemingly to very little reward.

    This frustration has forced me to change the way that I approach wireframes. And as my approach has changed, I’ve been able to extract more and more value from black key lines and grey boxes…

    From functional to visual

    Functional wireframe

    10 years ago the first wireframes I used were about as functional as you can get – a long list of page elements: static text, dynamic text, input text, radio button and so on. They were universally awful. About the only concession to help people understand how the page worked was to group common functionality into individual tables.

    The wireframes were functional rather than visual as they were used to describe how the page should be built. Certainly, when you consider the screen from a developer’s perspective a list of different functional elements is probably quite logical.

    However, from a user experience point of view this was a killer. Functional wireframes are incredibly difficult to read – the method of presentation gets in the way of being able to translate the information into a real screen, especially at the review stage.

    Side by side comparision

    Looking at this image it seems obvious that wireframes should be visual, however, IA was in it’s infancy ten years ago. Everything was new.

    Wireframes also took a long time to produce. Changes to one wireframe often meant updating countless others. Change to the global nav? Certainly. Just one moment whilst I update 120 wireframes with that one.

    Understandably, this hampered attempts to create wireframes that more closely represented real life screens. To help get around this, when they did become visual, they also become modular.

    Modular wireframes

    The modular approach to wireframes also reflects the reality of building sites. Functionality and snippets of code are built once and then reused over and over again. So why not create wireframes in the same way?

    Visual wireframes also started to break down a belief that information architecture can be considered in isolation to information design. The information is the interface. How can the two possibly be separated? Join them together and you start creating wireframes that can be read and understood by everyone on the team, including the client.

    Of course, this can raise the problem of clients expecting the final screens to be identical to the visual wireframes. “In the wireframes the submit button is on the right of the drop down, but in the designs it’s below. Why?” This requires careful client management, but it can be largely avoided if the wireframes concentrate on getting the ideas and thinking across, rather than just laying out a page.

    Early visual wireframe

    Once wireframes are created using information design as a technique rather than just a visual conceit, they can be used to explain how a site will be experienced by the end user. In the example above the different colours represent different areas of content, targeted at different types of users. The client and the team can then get inside the screen and understand how it works and what the priorities are. It’s a very different world from 1999 – a list of functional elements that only be read by the one person – the author of the original wireframe.

    As wireframes have evolved, the methods behind creating them have changed too.

    Fail fast

    Create wireframes in layers

    Several years ago I can remember working on projects where the wireframes felt as if there were merely a documentation or cataloguing tool. The object was to create as many wireframes as possible, of every screen in the entire site, in big, monolithic and hugely detailed chunks. Rather than exploring different approaches to the information and structure of the site, the emphasis became entirely focused on using all of the time available to build a collection of wireframes, regardless of whether they were the right wireframes.

    At Made by Many we practice a very iterative and rapid approach to wireframes. We create the smallest number of wireframes to explore a concept before stopping and reviewing. Does the idea hold up? If so, add on another layer of information and see whether it still stands. If it doesn’t, change direction and explore another route.

    As we start off by only doing enough to prove the idea (and no more), the cost of change is so small that you can very easily change direction without having lost time or money. Ideas are allowed to grow or fail fast.

    Explore interactions, don’t just specify software

    Prototype

    For many years the primary role of wireframes was to specify software. We now use wireframes to investigate and explore how people will interact with a site. Using a ‘just enough’ approach, we often create a series of simple interactive prototypes to try out a variety of approaches to solving a problem. These prototypes can be made in HTML or they can be as simple as a series of Keynote slide for someone to click through.

    This is a very different approach to wireframing. Rather than simply documenting where a link goes, the goal is to model and start experiencing what moving around a site feels like as quickly as possible. The prototype can then be tested and the results used to iteratively improve the end solution.

    Of course, sites still need to be specified, but wireframes aren’t always the right tool for doing this.

    Nobody likes reading wireframes

    Annotated wireframe

    No matter how much love and attention is poured into a wireframe, they’re cast aside as soon the screens have been designed. Nobody likes reading wireframes, especially when there’s a picture available.

    I’ve yet to meet a developer who would choose to build a screen from a wireframe over a Photoshop document, regardless of how many helpful and important details the wireframes may contain. Realizing this is human nature, we now annotating our PSDs rather than wireframes. Why hold the information in a document that’s no one wants to read?

    The best before date keeps getting shorter

    Revision history

    For a long time wireframes were seen as one a project’s major deliverables. The client was paying for them as part of an agency’s ‘set piece’ best practice. Because of this they were constantly updated throughout the life span of a project, regardless of whether they actually needed to be. I’ve seen perverse instances where a set of wireframes have been updated after the site has been designed, merely to ensure that the wireframes match the finished site. Why update a document that’s never going to be used again?

    As more projects are developed using agile methodologies, where the working software is the spec rather than a set of documents, the useful working life of a wireframe is getting shorter and shorter.

    The right approach

    Sketch and grey wireframe

    In a previous life at a big ‘old style’ new media agency, there often seemed to be a one tool fits all approach to projects. This applied to information architecture too – there was a set way of creating and delivering wireframes, regardless of the individual needs of the client.

    In contrast, we’re now lucky to have a wide range of tools and techniques that allow us to approach a problem from the best angle. A sketch, a grey wireframe or a full on keynote prototype. These tools allow us to develop a solution in iterations, slowly adding on more detail as the solution becomes closer to a design that can be built.

    Whilst there’s a natural progression from sketch to a detailed wireframe, it’s important to never feel constrained by the life cycle of a project. A sketch can be done at any time (and by anyone), regardless of where you are in the process.

    Wireframes aren’t the keystone

    Arch

    In the same way that the guild of stonemasons kept the secret of building arches to themselves, wireframes shouldn’t be the preserve of a select group of information architects. As wireframes have become more visual (and more useful) the number of people able to contribute to their development has increased. This isn’t just a list of designers and developers, it’s also clients and business analysts who are becoming more and more involved with the process.

    We often involve all of these people in collaborative sessions around a whiteboard to gradually ‘build’ the interface of a site. It’s a different way of working that involves people in a very different way to help create a better service. It’s also a way of working that’s slowly demystifying information architecture, changing the way that we interact with it and, ultimately, who creates it.

    The designer as information architect

    Roles are converging

    As wireframes have developed the role and skill set of information architects have developed too. The most effective wireframes are now created by people who can see how a site fits together as a series of connected interactions. Who see the information as the interface, and understand that these two can’t be separated but yet can be affected by time and place.

    The more that I appreciate these skills, the more that I believe that wireframes can (and should) be created by designers.

    The best sites are those where there’s a seamless divide between the look, the content and the experience. Being able to model an interaction and understand how someone moves through a site are crucial skills in this trilogy. It’s time designers stepped up to the plate and claimed wireframes as their own.

  • Behind the scenes of LOVEFiLM’s new product pages

    We’ve been working with LOVEFiLM for some time now. They’re a very exciting client whose business model is built around the internet. They’re also a very successful client, having just passed 1 million subscribers to their DVD rental service.

    One of the projects we’ve been working on recently is the redesign of their film pages. These are absolutely at the heart of the service – they contain all of the information about each title that LOVEFiLM has, including user reviews, recommendations, interviews, news stories and cinema listings. Seeing as LOVEFiLM have over 65,000 titles on offer it’s important that they work hard.

    Rather than simply showing you the great work that one of our Senior Designers, Julia, has created, I thought it might be useful to show the process behind the project…

    1. Requirements wall

    Requirements wall

    Our first step on this project was to get under the hood of the current site. Using the existing film pages as our starting point, we collected together all of the content, interactions and functionality in one place.

    This ‘wall of requirements’ allows us to see everything in one view and therefore helps us gain a better understanding of the problem. The process of breaking down the site, freely annotating and then rearranging and grouping components together is invaluable.

    Having a physical representation of the problem we’re trying to solve also makes it easier to talk around. It’s not long before a requirements wall becomes overlaid with layers of notes, questions and answers – either from ourselves or from the client.

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    2. Block diagrams

    Colour block diagrams

    Once discovered, the finer details then allows us to take a step back. Rather than being constrained by details, we now want to open things up and explore a wide range of approaches.

    Assigning a colour to each block of content (purple = video player, light blue = user reviews, cerise = pack shot etc) we then used Keynote to create a series of block diagrams.

    The simplicity of these diagrams allows us to experiment freely with a wide variety of layouts, without being constrained by time. Keynote is a perfect tool for this approach – we can be creative, quickly.

    We then reviewed these layouts (and an analysis of the competition) with the client. The consistent colours across all the layouts makes it easy to compare the relative merits of one approach against another.

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    3. Photoshop design sketches

    Initial design comp

    Once an initial route had been chosen we start sketching the page in Photoshop. Whilst it may feel unfamiliar to hear the term sketch used in conjunction with a program known for producing highly polished, finished designs, sketching is exactly what we’re doing.

    At this stage we’re not excessively worried about the look and feel, or the details being pixel perfect. It’s all about getting the design to a sufficient level to prove that the chosen approach works and feels right.

    Sketches are created by laying out the new page using found elements and elements of the existing site to save time. Only elements of the page that are specific to the new approach are created from scratch. This ‘just enough design’ method allows us to get to a working proof of concept as quickly as possible. We can then get feedback from the client and continue to develop the page in an iterative way.

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    4. Detail exploration

    Design exploration

    As part of the design, we also wanted to introduce a new type of interaction metaphor that hadn’t been attempted on the existing site. (In this case, using an accordion to hide and reveal the different options for renting, purchasing and/or watching a film).

    As this functionality handles some of the most crucial interactions on the site, we wanted to elaborate our thinking here to prove that the solution would work. We created a series of comps we could use for testing that showed off the interaction and all the different data sets the accordion would have to handle.

    It’s important to note at this stage that the designs we’ve created are still not branded. The designs are polished enough to prove their viability, however, not so polished that we can’t make changes quickly based on the client’s feedback.

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    5. Sketch and fail fast

    Design sketch

    As is often the case with the design process, as the screens become more real so does the understanding of the project’s requirements. Sometimes the very process of design can also uncover requirements that haven’t been fully expressed before.

    Although change can be intimidating, we embrace it. One of the joys of sketching is the ability to visualise ideas quickly and, if necessary, fail fast. By concentrating on idea generation and then adding sequential layers of look and feel, we’re able to adapt and change quickly.

    In this case, as well as our own sketches, the client created some of their own to try out a new idea. This was then added into the designs we’d created so far.

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    6. Production designs

    Production designs

    Once the route had become firmer we started to turn the pages into production designs. As you can see from the above image, the design now begins to take on the shape of LOVEFiLM. Although the look and feel has been at the back of our heads throughout the entire design process, here it really comes to the fore. For example, the black was introduced as a background colour to help the video player feel more cinematic.

    Regular meetings with the client team helped keep the project running smoothly – both to review progress and to collect any specific, detailed requirements and feedback. These continual review points also meant that we were able to hand over the screens in batches throughout the production design phase, rather than in bulk at the end.

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    7. The streaming player

    Streaming player

    The page also includes a streaming media player for trailers, interviews and films. It was very important that this was integrated fully into the design – both from a functional and visual perspective. Using wireframes and requirements from the client, we designed the player at the same time as the film page.

    The designs for the player included all of the rollover states and interactions, such as dialogue boxes and ‘more like this’ recommendations screen that appears at the end of each trailer. These were specified fully and then handed over to another development agency to be built.

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    8. Specification

    specification

    AJAX overlays, message boxes and different rollover states were specified for the film pages as well. Whilst this can be a laborious process, it’s often in these small details that the design comes alive – those finishing touches that can seduce a user into falling in love with a service or product.

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    9. Build, test, iterate…

    final

    The new film pages have been live since the middle of March. (The screenshot above is a pre-release design that uses German for the tabs – the new pages also have to work in Danish, Finish, German, Norwegian and Swedish as well as English.)

    As with all agile projects, new iterations are planned for the future, as well as rolling in any feedback and comments from LOVEFiLM’s active community of subscribers. Hopefully, we can continue to share the process with you as it happens.

  • Have I seen this before?

    Before TV schedules disappear completely, there’s a breed of TV channels that have built their schedules around predictability.

    Audiences know that at 7pm on More4 they’ll be an episode of Grand Designs. And an hour later they’ll be an episode of Top Gear on Dave. These schedules feel unchanging: the only certain things in life are death, taxes and Jeremy Clarkson shouting ‘Power’ at 8pm.

    However, this type of schedule breeds fatigue: have I seen this episode before? God no, not the boring team build on a housing estate in Birmingham. Again.

    Is there anything that my TV could do to help me out this situation? At this point I could of course just run to the shop and buy a PVR, yet a hard disc full of Jeremy would be more than I could bear. One solution would be to update the on-screen TV guide. Here’s a copy of an existing guide:

    Whist the description does provide a nudge as to whether I’ve seen a show before, the on-screen guide could do so much more. Have I seen this before? Did I watch all of it? When?

    Here’s a quick sketch of a on-screen guide that aims to solve these problems:

    The dot shows whether you’ve seen the program before (an outline), watched a portion of it (half full, as demonstrated) or not seen it (fully coloured in). The guide also shows when you’ve watched it and how much you’ve seen.

    In the future you could also add in the ability to rate a program. However, this sketch is an answer to a short term problem only. How long before the iPlayer and on-demand kill the schedule completely?

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