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Category: UX Design
This category features quality articles on usability, information architecture, interaction design and other user experience (UX) related topics – for digital (Web, mobile, applications, software) and physical products. Through these articles, experts and professionals share with you their valuable ideas, practical tips, useful guidelines, recommended best practices and great case studies. Curated by Chui Chui Tan. Subscribe to the RSS-Feed.
We all know basic tenets of user-centred design. We recognize different research methods, prototyping, as well as documenting techniques in our rich methodological environment. The question you probably often ask yourself though is how it all works in practice?
What do real-life UX design processes actually look like? Do we have time for every step in the process that we claim ideal? In this article, I'd like to share a couple of insights about the real-life UX design process and speak from my own experience and research.
Tone of voice isn’t what we say but how we say it. It’s the language we use, the way we construct sentences, the sound of our words and the personality we communicate. It is to writing what logo, color and typeface are to branding.
When creating content for the Web, considering tone of voice is important. Your tone can help you stand out from competitors, communicate efficiently and effectively with your audience and share your personality.
The accelerometer embedded in our smart devices is typically used to align the screen depending on the orientation of the device, i.e. when switching between portrait and landscape modes. This capability provides great opportunities to create better user experiences because it offers an additional layout with a simple turn of a device, and without pressing any buttons.
However, designing for device orientation brings various challenges and requires careful thinking. The experience must be as unobtrusive and transparent as possible, and we must understand the context of use for this functionality.
I sincerely believe that the user experience community should add game design to its toolbox of competencies. If we’re truly committed to creating satisfying user experiences, then there’s no reason why games, which can satisfy people so richly, should be excluded.
Operating successfully in the games domain means learning a new set of competencies, and I don’t want to oversimplify the challenges of designing high-quality game experiences. However, if you’re in a position to jump in and start designing, then I can at least offer a primer to help you steer clear of some of the most common mistakes.
Today we'll have a look at a few projects in which the consistent use of the well-known term "emotional design" can result in a great personality. Positive attitude often leads to people sharing and even advocating for your product with their peers.
Positive emotions instill positive memories and make users want to interact with your product in the future. There’s also an additional benefit: In pleasant, positive situations, people are much more likely to tolerate minor difficulties and irrelevance. While poor design is never excusable, when people are relaxed, the pleasant and pleasurable aspects of a design will make them more forgiving of problems within the interface.
The way you present your product or service is essential to its success — or at least it could be if you know how to do it right. The first impression you make on people is crucial. When selling a product, you want that first impression to be as positive and remarkable as possible. If you have managed to draw them in, you will need to introduce the product within a few seconds.
Show them that your product is just what they want, that it’s useful and that it adds some kind of value to their lives. A smart product presentation does all of that. Here, we will cover different aspects of a product presentation and give examples of how to use them to your advantage. The idea is to give you an overview of the different elements that make a product page successful.
Good Web designers know what many others might not realize: that creating a truly beautiful website requires care, time and craft. And similar to how a craftsperson molds their creation by combining raw materials, skill and unwavering focus on the vision, a beautiful design is planned and executed with exceptional focus on what is to be achieved by the website. It is important, however, not to confuse a beautifully crafted website with one that simply brushes over the content with attractive visuals.
This article provides a small selection of tried and true methods that Web designers regularly employ to give a website that bespoke look and feel. Make no mistake: these methods do take extra time, and they often result in improvements that the untrained eye might not consciously register. Users will leave with a smile and a lasting impression or relationship with your website, even if they can’t quite put their finger on why.
Error pages for form-field validation are dreadful. You’ve just filled out 20 form fields, yet you get the same bloated page thrown back in your face because a single field failed to validate. I clearly recall the often loud sighs of despair during our last usability study each time a test subject encountered a validation error page.
We reflected on this problem and got an idea that we call “error fields only” — which is exactly what this article is about. Before exploring this idea, let’s look at three traditional types of validation techniques: “same page reload,” “optimized same page reload” and “live inline validation.”
Have you ever wanted your users to click a link but didn’t know how to get them to act? When some designers run into this problem, they’re tempted to use the words “Click here” on their links.
Before giving in to the temptation, you should know how using these words on a link can affect how users experience your interface. Not to mention that having proper link titles is a major accessibility requirement since the term ‘click’ is irrelevant to many assistive technologies and isn’t descriptive enough for screen readers.