Practitioners-Guide-User-Experience-Design

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Seeing Through <strong>User</strong>s’ Eyes: POINTS TO REMEMBER » Never underestimate how differently various users will respond to a design; the way they interact with your site or app will depend on a wide range of factors, from their age to where they live and their life situations. Your first job is understanding the full range of your users. » Finding bridges between users’ needs and desires and those of the business is vital; and the more business and user goals diverge, the more thought you must put into your design. » Always consider the context in which users will engage with the product; this can lead to important ideas for features to add and ways to tailor your design. » <strong>User</strong> experience does not mean simply usability; usability is only one of the core elements of UX. Always keep the LEMErS in mind: learnability, efficiency, memorability, errors, and satisfaction. » Doing user interviews and surveys and then creating personas is a good core tool kit for user research, and these should be done for every project. » In conducting interviews, be personable and don’t lead the witness. Start off in a friendly way and get to know a little about the interviewee before diving into your questions. This will lead to ideas for unexpected questions. » There is nothing wrong with the familiar; always consider which design patterns you should make use of. » If users have to learn about a feature or gesture, let them perform it. Build learning into your design.
Chapter 2 CREATIVITY LOVES CONSTRAINTS A good friend of mine, Erin Sparling, is one of the most ingenious people I’ve met when it comes to technology. He’s always finding new things to hook up to the web, like the time he connected the front door of his apartment to Foursquare. He programmed the door to unlock when a friend comes over and checks in with the Foursquare app. He’s built a coffee table that doubles as a web server and has connected various appliances to the web and programmed them to turn on when he sends a signal. I’ve asked him to lecture about technology in all the classes I’ve taught at General Assembly, and he never ceases to impress with his ninja presentation skills. He calls the talk that he gives “Boundary Conditions of an Arbitrary Medium.” I love this lecture because it covers one of the most important questions that UX designers are always grappling with: What are the constraints and capabilities of the system we’re designing for? In web design, new technological developments are always coming along, and we’ve got to consider whether they’re appropriate for any given project. But we’re also always facing constraints that mean some of the things we’d love to make a site or app do just aren’t possible, or at least not yet. Erin uses the progression of technology in oil paints to illustrate how the repertoire of current technologies has so much to do with shaping any project. He shows how during the Renaissance and up to the late 1800s, artists had to make their paints from various sources of pigment, like lapis lazuli, which they’d grind into a powder, and some form of binding agent, like tree gum or egg yolk. Paint had to be prepared fresh for every painting session, and this made portability a problem, confining painters largely indoors. Eventually, painting was able to move from the studio to the outdoors with the invention of the metal paint tube. Before long, the impressionist painters were breaking the boundaries of the form with their masterworks capturing the delicate dance of sunlight glistening over seascapes and animating haystacks with an early-morning glow. Probably no domain of human creativity has been tied so closely to technological advances as design in computing, and the pace has been staggering. I’m often working with video, and given the state of the art now, it’s amazing to recall that up until 2009, none of the browser vendors had settled on a video format standard. That forced developers to encode multiple versions of any web-embedded video, which was a real slog. Apple and Microsoft solved this by pushing through the h.264 standard, and video online has boomed. Now we’re in the throes of the shift to mobile, and we’ve got to be totally up to speed with responsive design, geolocation, voice commands, and touch interactions. But as fast as changes evolve in computing, they’re also always incremental. When phones first went mobile, they were fundamentally like landline phones, with large keypads, and they were only voice enabled. They were also about the size of a brick and almost as heavy. The phone that’s widely considered the first smartphone, the IBM Simon, wasn’t invented until twenty years later, and it showcased a retinue of new features, such as a
Page 2 and 3: Also from General Assembly The Prac
Page 4 and 5: CONTENTS ALSO FROM GENERAL ASSEMBLY
Page 6 and 7: INTRODUCTION This is a great time t
Page 8 and 9: goals. And one of the most pressing
Page 10 and 11: YOU’RE NOT DESIGNING FOR YOU The
Page 12 and 13: A I think I spoke to it occasionall
Page 14 and 15: a user is through GPS. This app, wh
Page 16 and 17: I responded. “I care!” I tried
Page 18 and 19: WHAT IS UX, EXACTLY? That experienc
Page 20 and 21: GETTING TO KNOW YOUR USERS The prac
Page 22 and 23: content in the iPhone app according
Page 24 and 25: A Little Listening Goes a Long Way
Page 26 and 27: Sending Out Surveys Surveys aren’
Page 28 and 29: WSJ Live iPad app article continuat
Page 30 and 31: DESIGN FOR CORE USER’S NEEDS With
Page 32 and 33: PRIVILEGE THE USER’S TIME It’s
Page 34 and 35: users at the top of their feeds of
Page 36 and 37: you’ve completed is struck throug
Page 40 and 41: pager, a fax machine, and a persona
Page 42 and 43: advantage of CSS3 to increase respo
Page 44 and 45: UX designers are often not programm
Page 46 and 47: THE NEW SYSTEMS SMORGASBORD These d
Page 48 and 49: A tracing of the Spotify app. Objec
Page 50 and 51: make interactions familiar and acce
Page 52 and 53: AUGMENTED REALITY FOR FINGERNAILS N
Page 54 and 55: Trade-offs Both web and native tech
Page 56 and 57: Top: Desktop navigation module with
Page 58 and 59: Creativity Loves Constraints POINTS
Page 60 and 61: tools for bringing digital products
Page 62 and 63: make decisions with the tools or ut
Page 64 and 65: ehind the weather information. For
Page 66 and 67: GUIDING YOUR EVERY STEP It seems th
Page 68 and 69: DON’T BREAK A STORY’S SPELL Con
Page 70 and 71: personality and storytelling qualit
Page 72 and 73: A rough sketch visualizing an app
Page 74 and 75: User flows of the first time a user
Page 76 and 77: do note if one flow is part of a la
Page 78 and 79: Start with Quick and Dirty Minifram
Page 80 and 81: high-level decisions for the produc
Page 82 and 83: Full wireframe for a video website
Page 84 and 85: MAKING A DESIGN MOVE Prototyping is
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STAKEHOLDERS AND THE SIXTH FINGER A
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A PICTURE IS WORTH A THOUSAND WORDS
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HOW DO YOU TELL SOMEONE THEY’VE M
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Chapter 4 INNOVATION IS NOT FOR INN
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TAKING WORK AWAY One of the few rel
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BUSINESS GOALS WILL OFTEN OVERSHADO
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A SMALLER USER BASE TENDS TO MAKE I
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SOMETIMES IT’S BETTER TO ASK FORG
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and open to changing or abandoning
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of twenty TV stations, shows, and g
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GRAB PEOPLE IN THE HALLWAY During m
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CLARIFYING YOUR PRIORITIES The resu
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TESTING THE COMPETITION Another gre
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RELEASE, FIX, RELEASE There is one
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Chapter 5 GOOD UX COMES FROM BEING
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YOU’RE NOT THE OWNER OF THE UX In
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course, this is just not the way th
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(Courtesy Shutterstock) Well, sure,
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pieces of images peeking out from t
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knowledge that data can have about
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Frequency vs. Importance: Give a se
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COLLABORATION GOES BOTH WAYS Always
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MAKING IT LEAN Fitting the parts of
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SEEK INSPIRATION EVERYWHERE Just as
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screen maps that show where gates a
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SHOW, DON’T TELL In the beginning
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POINTS TO REMEMBER Good UX Comes fr
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November 16, 2012, http://managemen
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Bulwer-Lytton, Edward, 78 business
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size of user base and, 121-22 user
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Qu, Hong, 158 Rams, Dieter, 117-18
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UX design, 1-4, 62, 19, 33, 148, 16
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Practitioners-Guide-User-Experience-Design

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