Style Tiles are a design deliverable consisting of fonts, colors and interface elements that communicate the essence of a visual brand for the web.

Recently I started testing how proportional scaling of bigger layouts would work in reality and if it makes any sense. It’s possible when using EM units and then changing body’s font-size when viewport’s height grows above certain point. Basically that means, that I have to change only one or two css properties between @media queries which are targeting larger screen sizes.

It’s a typical design problem: it can’t be heavy and light and big and small. Neither decision will satisfy everyone all the time or cover every edge case: if Apple implemented Mute in Ihnatko’s preferred way, millions of people would be just as irritated when their scheduled alarms didn’t wake them up.

There’s plenty of prior evidence that design can come late to a company and still succeed, of course; there’s less evidence that design can come late to a platform and still win over that platform’s whole ecosystem.

In a sector where financial resources are relatively low, effective prototyping fills the innovation gap, reducing the risk of innovation practice and solving the problem of the innovation funding calls, which ask for detailed project proposals but often do not provide the guidance or tools needed to come up with the good idea that makes a great proposal.

I’ve know lots of people who got into services thinking that they can use the income from clients to bankroll their own product ideas. That is not an impossible scenario — it’s been done before more than a few times, and it’s a beautiful thing when it happens. But it’s very, very difficult to pull off. To do services, you need to wake up in the morning with a different approach to life from the way you wake up in the morning to do products, and only a few people have the skill — and stamina — to juggle both at once.

Shouldn’t everything be obvious? Unless you’re making a product that just does one thing – like a paperclip, for example – everything won’t be obvious. You have to make tough calls about what needs to be obvious, what should be easy, and what should be possible.

Features don’t matter. Products don’t matter. Outcomes matter. People matter. How does your product benefit the people? What’s the outcome of using your product?

What does "craft" mean for designers who work exclusively on problems of services, software, or organizational change and political influence? And how can schools change their foundational focus without abandoning the obvious rigor of traditional craft-based learning?

And speaking of booze, how come there's a field for declaring I'm an alcoholic (opensocial.Enum.Drinker.HEAVILY) but no way to tell people I smoke pot? Why are the only genders male and female? Have the people who designed this protocol really never made the twenty mile drive to San Francisco?

It's an ultramodern CSS-Framework which comes with common magazine design elements such as pagination, gutters and of course a basic grid.

Halftone is a beautiful historic printing process that uses dots to reproduce the tones of an image. Using some custom hand-drawn type, I’ll share my methods to blend distressed vectors with experimental halftones to create a unique textured, layered look.

TileMill is a modern map design studio
powered by open source technology.

Skeleton is a small collection of CSS & JS files that can help you rapidly develop sites that look beautiful at any size, be it a 17" laptop screen or an iPhone. Skeleton is built on three core principles

Cambridge Consultants released the findings of a study which examines how device usability impacts patient acceptance, dosage compliance and ultimately health outcomes. Looking at the role lifestyle factors and device features play in patient compliance for drug and device combination products, the research supports the idea that pharmaceutical companies could improve the market share of their drugs if the emphasis was shifted to the broader patient user experience.
Participants in the survey included healthcare providers, which play critical roles in determining a drug’s market success, and over 240 diabetes patients who used combination products daily, such as injection pens, auto-injectors or insulin pumps.

Responses indicated that patient compliance directly influences patient health and drug efficacy, suggesting that delivery device design should be focussed on supporting compliance on multiple levels.

Read article

  


The differences between designers and developers often erupt in pointed jabs on the Web or at conferences. Jokes or not, the jabs create friction whose consequences are real.

I am a designer, and by no elaborate means of job-title-rejigging do I consider myself a developer, but I see the cruelty of designer and developer egos going both ways. So, what happens if someone throws a pair into a sack to hash it out? How do we emerge? Our projects, careers and maturing industry rely on our ability to learn to work together instead of against each other, and looking at what we have in common is one way to begin addressing interdisciplinary cat fights.

Shared Priorities
A belief that design and development have competing interests is an obstacle to successful collaboration. There are, of course, developers who design and designers who code (I’ll return to this point later on), but the tension referred to here is between the designer and developer who believe that their respective discipline is more important. Conquering this belief is crucial to avoiding a clogged workflow, low team morale and, ultimately, limited project success.

Design is not completely an aesthetic concern, nor is development an entirely technical one; designers must consider how functionality affects form, and developers must be creative in building out functionality. Similarly, if we look closely at design and development, we find that principles of good design are often similar in good development. Focusing on these overarching ideas reveals a large pool of reciprocal interests.

Harmony of Parts
Paul Rand, a designer’s designer, creator of the IBM, ABC and UPS logos, wrote in A Designer’s Art:

Copy, art, and typography should be seen as a living entity; each element integrally related, in harmony with the whole, and essential to the execution of an idea.

He wrote this in 1985. Today, the principles remain mostly the same, but one component is sorely missing from Rand’s statement: technology. Copy, art, typography — and technology — are the bones of a project, where design and development are the joints and skin that connect and hold together the parts. When all of these elements fit together well, you essentially have design and development working together as the support structure for the user experience and overarching concept, the so-called “living entity.”

While far too simplistic a metaphor to cast a strong light on the process (building a website in fact looks much messier), Harmony of Parts does illustrate how design and development should ultimately work towards the same goal.

It is also worth mentioning that development, like design, encourages the harmony of parts in programming concepts like polymorphism and encapsulation. These ideas quite broadly mean that pieces of functionality should work well when placed inside or beside other pieces, another way of saying, “each element integrally related, in harmony with the whole.”

Teachability
Both design and programming are teachable, and where there are talented individuals there is also hard work, discipline, teachers, mentors, standards, taste, ruthless editing and constructive criticism, all of which are cultivated. There is bad work and breathtaking work. There is the scrap heap, the slush pile, the useless code: all evidence of learning.

This commonality between disciplines is important because it presents an opportunity: designers can learn about development, and developers can learn about design. The democratization of resources in this information age (which some would argue we’ve already passed) means that we have little excuse not to obtain, or teach, at least a basic understanding of each other’s crafts. Not doing so will work to the detriment of the team. And when there are gaps in knowledge, rather than reprimanding, we should encourage an open dialogue to protect our most valuable learning tool: the ability to ask questions.

Elegance and Efficiency
Chris Coyier, self-described Web craftsman, blogger, author and speaker, writes in “What Beautiful HTML Code Looks Like”:

Code? Beautiful? Sure. After all, code is poetry. This is just HTML, so it can’t be quite as intricate and elegant as a dynamic language, but it still bears the brush strokes of its creator.

What is elegance? It could mean restrained beauty and grace, as in art and fashion. But in design as well as math and science, something elegant typically embodies simplicity and effectiveness, sometimes solving two or more problems at once or by an unexpected insight. Elegance, then, refers to underlying content or an underlying process.

Design may rely on aesthetics for its medium, and development may rely on code, but both draw on theories of efficiency (perhaps a synonym for elegance) to create effective output: elegant code is efficient code, and elegant design is efficient design. This means that design and development share some core values of process.

Shipping
In his article “Design Is Not the Goal,” Francisco Inchauste writes:

The end product (website or application) should always be the focus.

Inchauste goes on to say that too often, process insists on polishing irrelevant deliverables; for example, over-updating wireframes instead of moving on to the build and user testing. The true deliverable is the final product that we launch and that people interact with. Jeff Gothelf goes more in depth in his article “Lean UX and getting out of the deliverables business.”

In a healthy team environment, we designers, developers, copywriters, user experience designers and project managers are all shippers. Bigger agencies tend to lump design and development teams into the Production Department, for better or worse, and this is telling. It demonstrates that both “creative” and “technical” professionals share a predominant interest: they must ship.

Correcting The Workflow
It may be that designers and developers are perfectly capable of collaborating effectively, and that management and process are the biggest hurdles or frustrations within a team.

Good Ideas Intersect
The logistics of securing work often mean that the earlier a great idea is identified for the project, the happier and more secure the client will be, resulting in a better working environment for everyone. However, it also means that stakeholders will come together early in the process to come up with ideas. This can occur to the preclusion of the very people who will produce the final work, especially in hierarchical agencies. This undermines the designer or developer’s ownership and discourages self-direction and personal investment in the project.

One solution to this problem is to ensure that great ideas are universally respected, wherever their origin. Michael Lebowitz of Big Spaceship famously preaches an agile workflow, saying in a New York Times interview:

We also invite people from all of our disciplines into all of our brainstorms. Great ideas come from everywhere.

A policy like this opens communication channels in a team framework and dispels departmental inequalities. When something goes wrong, finger-pointing is no longer an option if everyone’s had an opportunity to provide input, and collaborators are forced to learn from mistakes. This is not to say that responsibility is evenly distributed, but allowing teammates and workspaces to intersect in unexpected ways will allow great ideas to surface.

Waterfall vs. Agile Thinking
In waterfall-structured processes, where development is held up by unfinished designs, developers are the ones who end up staying late to finish the project on time. Not only is this unfair to developers, it is complicated, because pointing the finger at designers for taking too long is too easy an answer. Responses to a design can be so subjective and cryptic (“I don’t know why I don’t like purple, I just don’t”); true insights require time to unearth and can result in unpredictable delays in the process.

Hold-ups are best avoided not by keeping design and development separate but by bringing them closer together via an iterative workflow. This agile methodology distributes responsibility and assigns value to each team member. Furthermore, departments are not tied to an inflexible plan. All of these attributes of agile thinking help to alleviate designer-developer tension.

Giving Credit
In the fable “The Lion, the Bear and the Fox,” a lion and bear fight over prey until they can fight no more and fall over exhausted. Meanwhile, a fox who has been watching the fight sneaks up and steals away with the prize. The moral is this:

Saepe alter alterius fruitur labribus.
From the labors of others, it is often another who profits.

Giving credit where credit is due and sharing the rewards is better, but unfortunately, in a fast-paced digital environment, whoever is left sitting at the table is often the one who gets the final praise. It is up to that last team member (the project or account manager, art director or tech lead) to pass feedback onto the rest of the team in a meaningful context. The cost is minimal (however long it takes to shoot an email or walk to someone’s desk), but the shared joy (or misery) will bond design and development teams because they will see the end product as the force that unites them.

Work Habits: Playing Nice
Sometimes playing nice is as simple as extending a courteous email; other times it is as complex as learning a new skill set. There are many concrete ways, big and small, for designers and developers to become more compatible colleagues. Let’s first look at efforts that can be shared, then at tasks more specific to designers and to developers.

Both Designers and Developers
Despite being in separate disciplines, our greatest commonality is that we are human. So, many of these shared tasks demonstrate how to play nice with anyone:

Keep an eye on the big picture.
Pre-established goals[…]

I consider myself lucky that I have some modest respect from among my peers in the design industry, and I also consider myself fortunate that many of these designers like to keep me abreast of their recent works and new projects. As a result, I get a fair amount of posters, pamphlets, books, magazines and assorted other promotional stuff, usually mailed to me but occasionally pressed upon me in person, too.

Many of these items are very creative and quite stunning, and I’m often impressed by the time, labor and expense that goes into them. But I also find them somewhat bewildering and, if I’m honest, burdensome.

From the Printing Press to My Garbage Can

I’ll spend a second or two looking at a lot of these items, but for the most part I really don’t know what to do with them and would rather be rid of them. Most I’ll simply toss right into the trash because there’s nowhere for me to file them away, and even if there was, I’d probably never look at them again anyway. The ones that are particularly elaborate or impressive I’ll keep around for a bit — maybe a few days or a few months — but I usually just stack them up in a pile with assorted other items that are low on my attention meter, until such time as I feel less guilty about tossing them out.

Sending items through the postal service might seem like a great way to grab someone’s attention and to sidestep the huge volume of competing signals online, but to me it feels more like an expensive and elaborate method of getting something from a printing press into my garbage can. In spite of the sheer magnitude and noise of online promotions, I’m much more likely to pay attention to things that I’ve seen on the Web. Similarly, I’m far more likely to blog about things I’ve found on the Internet than I would about things handed to me physically.

A lot of designers are devoted to the notion of actual objects and their superiority over digital transmissions, but in truth, a lot of the collateral that designers produce in print is pure ephemera, suitable only for the most fleeting attention. By contrast, digital content has so much more life and longevity and is so dramatically cheaper relative to its potential reach, I can’t understand why any designers bother to print things up and send them out anymore.

Also, I can’t believe it’s 2011 and I still had to write this post.


To follow me on Twitter click here.

0to255 is a simple tool that helps web designers find variations of any colo

By Andrew Turrell


Moderate, restrained design customization can be very beneficial to a user experience.




Design customization has developed a bad reputation recently, with MySpace being the main target of criticism. However, just because some of MySpace’s pages may be seizure-inducing, it doesn’t mean that social media sites should abandon design customization. By giving users a moderate amount of control over page design without allowing them to disrupt the core interface, a site can provide a better overall user experience.

This issue is particularly important because more companies and individuals are spreading their online presence from their own domains onto social media sites. This migration makes the customization decisions by sites like Twitter and Facebook increasing important in shaping our online experience.

read more

A Web form which works well on desktops won’t necessarily work on mobile devices. With the nature of desktop computers, Web forms are not designed to be efficient. Due to the constraints of a mobile device and its context of use, efficiency is extremely important when filling in a mobile form. This article offers strategies that you can apply to design a more efficient and less error prone mobile form as compared to your Web form.

We spend a lot of time at our computers, but we usually find that sketching and collaborating together is much more productive than sending email or chat. So a couple of months ago we built a sketching table to give us a space where we could work together easily.

The box-shadow property allows designers to easily implement multiple drop shadows (outer or inner) on box elements, specifying values for color, size, blur and offset

By Aza Raskin


Aza Raskin's advice on what you should do and master if you want to get into design.




Getting started in user experience can be difficult. Our profession has an identity crisis. You need look no further than swarm of acronyms that we hide behind: CHI, HCI, UI, UE, UX, IA, ID, IxD, IxSD… the list goes on.

Our identity crisis means learning our field is like trying to inhabit the mind of a multiple personality disorder sufferer. For an aspiring interaction designer, figuring it all out is daunting. For anyone, it's daunting.

This is my top-five list of what I've found to be most important to do and master if you want to get into design.

1. The Hardest Part Of Software Is Culture. Get A Book On Negotiation.
The hardest part about creating software isn't software. It's people. Creating a killer interface is meaningless unless you can convince the rest of your team, client, or company that it is worth the investment. Your job as a user experience person is to cultivate a culture where good design has a leading voice at the table. If you cannot communicate, you will fail. If you can not convince, you will fail. If you cannot listen, you will fail.

Much of what I look for in a designer is the ability to balance, persuade, and negotiate without compromising on design. To design is to inspire participation. Unless we can let our ideas become other people's ideas—get others to want to champion design as their own—we will not be successful.

Learn to make mockups, prototypes, and videos. Learn how to create at the right level of fidelity to convince others: sometimes a sketch will do, sometimes pixel-perfect mockups are what you'll need, and sometimes only an interactive demo will suffice. Learn to talk in use-cases to product managers and business-speak to business development people. Get a book on negotiation. It will be your best friend.

The hardest part of your job isn't being creative or brilliant; it's communicating and culture.

2. Know Cognitive Psychology.
You are designing for people; you need to be well versed in the abilities and frailties of the human mind. There are fundamental truths about of what we are capable that runs deeper than culture and language. How much can you store in short-term memory? What are the properties of your locus of attention? A priori, how long does it take to choose an item in an ordered list? How does habituation affect design?

If you can't answer these questions, you need to get yourself a copy of The Humane Interface, How We Decide, and The Resonant Interface.

When I'm hiring, I don't look for credentials, I look for knowledge. If you don't at least know what GOMs analysis is and the cognitive science behind why undo is better than a warning, I know that even if your designs are good, you don't understand why. That's dangerous. Your gut can often lead you in the right direction, but it can also make stupid and avoidable mistakes. Potentially worse, you won't be able to communicate and convince others of your ideas because you can only argue with feelings.

Interface design is as much a science as it is an art. Know the science, else you are walking blindly through a minefield of harmful design.

3. Learn to Program, Even If Poorly.
2,500 years ago, a Greek writer told us something about creating software: Thucydides wrote, "The society that separates its scholars from its warriors will have its thinking done by cowards and its fighting by fools." The optimal society is one that mixes scholar-warriors and warrior-scholars. The same is true for companies that schism their designers and engineers. The most important trait a team can have is empathy. Without it, the implementers will not care, and the designers will not be realistic. When companies complain of specs and code being "tossed over the fence," a lack of empathy is to blame.

The most powerful tool for creating empathy as a designer is prototyping. It meets the rest of the team half-way, is the second most persuasive artifact (the first being a narrated video of the prototype), and gives you a sense of what's hard and what's easy to implement. Having thought through the edge-cases and being able to speak an engineer's language gives you street cred. You don't need to be a great coder, but you should at least be able to get your idea across in in HTML and Javascript.

To design is to inspire participation. To do that, you need to be respected. For that, you need to be a designer-coder.

4. Create, Create, Create.
Great designers do design all of the time. They get mad in an elevator when the buttons are in a confusion order, or when the buttons on a ATM are incorrectly labeled. Then they take a picture and blog about it. If you don't love creating and designing, you shouldn't be in the field. You'll need thousands of hours of practice to rise to the top of your game. In the end, you are designing for people so you need to intimately know people, and people are messy.

If you don't have dozens of little projects you've created, learned from, and even discarded, you are doing it wrong.

5. Study Graphic Design.
I used to be a hard-nosed interaction designer, and eschewed visual design in favor of experience design. While it is true that getting interaction right requires a deeper understanding of human psychology, a read through Emotional Design shows that looks matter. Looks affect usability. Looks are just one aspect of designing for emotional beings—you need to think about the whole sensory experience of an object, from sound to touch—but looks are often the most immediatly apparent.

Study typography, study the Swiss grid system, learn how to make your designs pop even if it means being heavily inspired by others' style in the beginning.

You are in the business of selling ideas. Unfortunately, an ugly mockup of a brilliant idea is often overlooked for a beautiful mockup of a derivative idea. To compete, you need to learn how to be an adequate graphic designer.

 

This article is syndicated on UX Magazine by permission from its author. It was originally published on Aza's blog, and we liked it so much we wanted to ensure our readers got a chance to see it.
About the author(s)Aza is currently the Creative Lead for Firefox, and before that helped build Mozilla Labs as head of User Experience creating projects like Firefox Panorama, Ubiquity, as well as uniting the design world with the open source world. Aza gave his first talk on user interface at age 10 and got hooked. At 17, he was talking and consulting internationally; at 19, he coauthored a physics textbook because he was too young to buy alcohol; at 21, he started drinking alcohol and co-founded Humanized. Two years later, Aza founded Songza.com, a minimalist music search engine that had over a million song plays in its first week and was acquired 9 months later. In another life, Aza has done Dark Matter research at both Tokyo University and the University of Chicago, from where he graduated with honors in math and physics.

Avrà anche nevicato oggi, sulle montagne fuori dalle nostre finestre, ma questo non vuol dire che in Sketchin siamo pronti per il letargo invernale ;)

In questi ultimi sei mesi, anche se come team abbiamo comunicato meno, continuiamo a portare avanti molti progetti interessanti per grandi e piccole realtà (ad esempio questa iniziativa con Moleskine) e nel nostro piccolo credo quotidiano cerchiamo di perpetuare i nostri valori.

Uno di questi valori è sicuramente quello di credere nelle capacità delle persone per quanto giovani siano, e questo personalmente lo vivo anche come una sorta di responsabilità personale visto lo scenario di mercato in cui ci muoviamo.

Entrando nel merito in questo momento abbiamo appena lanciato due opportunità lavorative, offriamo:

Un posto di visual designer / art director digitale
Due posti di praticantato in experience design per giovani neolaureati
(retribuiti, no fotocopie e dattilografia :-) )

Se il primo è una necessità – ci serve proprio in altre parole -, i praticanti sono una sfida.

Abbiamo deciso di scomettere sui giovani neo laureati, sulla loro passione, sulla loro energia e sul loro desiderio di mettersi alla prova. Offriamo così a due di loro di trascorrere un anno con noi imparando quello che riescono ad apprendere (attraverso un modello di quattro giorni di lavoro in pair e un giorno di studio/formazione/ricerca interno) e di entrare nel team al termine del periodo di formazione.

Lo sappiamo che è una scelta un po’ in controtendenza, con i tempi che corrono, ma ci piacciono le cose un po’ complicate che però hanno la possibilità di dischiudere grandi prospettive.

Chi desidera candidarsi per una delle posizioni qui sopra, può leggersi con calma gli annunci e le modalità per segnalare la propria candidatura qui.

"Advances in science and technology can launch from unassuming springboards," says a recent article in Scientific American, chronicling how brilliant thinkers "reached back to childhood to help them develop tiny transistors, study particle separation, make microfluidics devices, and fight cancer." More specifically, they reached for Etch A Sketch, Legos, Shrinky Dinks and balloons.

The modern era is intrigued by the possibility of finding answers in unexpected places. In fact, the allure of genius ex machina has gone so far as to revolutionize corporate innovation processes at large; they now accommodate - nay, solicit - user input.

Sponsor

Guest author Kim Gaskins is a writer for Latitude, an international research consultancy exploring how Web technologies can further enhance human experiences. Visit life-connected.com for other Latitude studies or to learn more about working with Latitude.

Dave Stanton of the Poynter Institute leads an SxSW session: "My Three-Year Old is my Usability Expert."

Are you the parent of a child 12 years old or under? Click here to take a survey about how kids perceive the Web.Recently, PayPal's Developer Challenge crowdsourced ideas for better integrating payment into developers' own applications. And last year, Netflix awarded $1 million to the team that improved its recommendation algorithm by more than 10%. (Over 50,000 contestants entered the challenge.)

With so much impetus behind technological advancements, some innovative minds -- particularly in the areas of design and usability -- are looking back to a kind of vintage simplicity in distilling the problem and solution principles underlying their creations.

Last month at SXSW, Dave Stanton, a cognitive researcher and Technology Fellow at The Poynter Institute, ran a session entitled "My Three-Year Old is my Usability Expert."

In certain contexts, children's natural limitations turn to strengths. "Children are terrific UI testers because they haven't developed the language necessary to parse text instructions; they have to rely on visual cues," explains Stanton. "Children can help us balance intuitive interfaces with the domain-specific attributes designers use to convey personality."

My 3-year-old daughter is my usability expert

Young children adopt a fundamentally different approach to technology. We can see this at work in simple ways - in the toddler who, accustomed to her mother's iPhone, instinctively approaches a laptop by swiping a finger across it. "We are moving toward more naturalistic interfaces utilizing feel, sound and sight for both user input and device feedback," describes Stanton. "I'm excited to see the elegant modes of human-computer interaction we can uncover by studying how children leverage these mechanisms in problem-solving scenarios."

In conjunction with ReadWriteWeb, Latitude Research is taking children's unique approach to technology one step further. "This project is a step toward understanding how children can help us generate abstract solutions with potential real-world applications," Stanton says.

As part of an open innovation study (whose lead analyst is Jessica Reinis), we're asking kids, age 12 and under, to create ideas for future Web technologies (or, more likely, to demonstrate the underlying, creative-thinking principles which beget these types of innovations) by drawing the answer to a simple question: What would be really fun or interesting to do on your computer or the Internet that you can't do right now?

"The difference between today's children and yesterday's was what technologies were available to them as they tried to make sense of the world around them," said ethnographer and social media researcher danah boyd, when we asked her how pervasive digital culture might be affecting younger generations. "But youth accept whatever contemporary technology is available and try to see if it makes sense in their lives. Adults are the ones who have to shift their understanding of the world based on technology." Naturally, we're interested to see how Web solutions can be informed by more technologically "intuitive" sensibilities when child becomes creator.

Screenshot of the Latitude/RWW study: Kids' Future Requests for Computers and the Internet.

To participate in the study, click here. Latitude's open innovation privacy policy is available here.

Photo by cell911.

Discuss

Juan Sanchez, UX Mag Senior Editor, shares his experience with building an iPad app.



Communicating thoughts and ideas can be one of the biggest challenges in an industry that relies so heavily on visual interpretation. If you’re working on an idea by yourself, with a colleague or a client, it’s one thing to see an idea in your mind and another to get it out for others to evaluate. As a UX designer, sketching is a daily necessity. It’s one of the most valuable tools you can wield.
read more

As a matter of pride, some users prefer a UI to be obtuse an ugly.



Redesigning the Bloomberg Terminal would be any interface designer's dream. There's obviously much room for improvement since the interface hasn't changed for a long time, and the personas using it are quite easy to define.

But the complexity and richness of the displayed data, the necessity to fully understand how traders use the tool, and the immediate impact on the work efficiency of more than 156,000 users around the world make it tremendously challenging to make any changes.
read more

I wanted to capture all of the slides and videos into one entry to compare each of the guys' approaches. The right way? There isn't one right way. That's the point. The one thread that does carry through, however, is a general process of discovery/research, sketching/ideation, selection/refinement, visual design.

Will Evans

Todd Zaki Warfel

Russ Unger

Fred Beecher

For years I’ve been trying to fix a critical home design problem: How to organize the dishes in my cabinets. While fitting dishes into cabinet space seems like a simple design problem, it actually has many parallels with website design.

URL: 


http://briancray.com/2010/03/10/design-better-websites-with-iterative-design/

Insight into the complete design process for the redesign of Nearby Tweets. Web app developers and entrepreneurs will hopefully gain some ideas or reinforce their own processes. Users may find it interesting to see what goes into the design of a complex UI. Read the full case study.

URL: 


http://briancray.com/2010/01/26/ux-case-study-designing-user-focused-web-app/