Tag: kranthi

Stop Writing Project Proposals


  

After several grueling days I had finally finished the proposal. I sent it off and waited for a response. Nothing. After a few weeks, I discovered that they were “just looking�. Despite the urgency and aggressive timeline for the RFP (Request For Proposal) plus the fact that we had done business with this organization before, the project was a no-go. My days of effort were wasted. Not entirely, though, because the pain of that loss was enough to drive me to decide that it wouldn’t happen again.

I work at a Web development company and we’ve experimented with proposal writing a lot over the years. We’ve seen the good and the bad, and we have found something better. In this article I will share the pains that we have experienced in the proposal writing process, the solution we adopted, and our process for carrying out that solution. I’ll also give you guidelines to help you know when this solution is and isn’t appropriate.

Proposal Writing Causes Pain

After several years of writing proposals, we began to notice that something wasn’t right. As we considered the problem we noticed varying levels of pain associated with the proposal writing process. We categorized those pains as follows:

  • The Rush
    Getting a proposal done was usually about speed. We were racing against the clock and working hard to deliver the proposal as efficiently and as effectively as possible. However, sometimes corners would get cut. We’d reuse bits and pieces from older proposals, checking and double-checking for any references to the previous project. While the adrenaline helped, the rush gets old because you know that, deep down, it’s not your best work. Besides, you don’t even know if you’re going to close the deal, which leads to the next pain.

  • The Risk
    Our proposal close ratio with clients that came directly to us was high. We’d work hard on the proposals and more often than not, we’d close the deal. The risk was still there, however, and I can think of several proposals that we had spent a lot of time and effort on for a deal that we didn’t get. Not getting the deal isn’t the problem — the problem is going in and investing time and energy in a thorough proposal without knowing if there is even the likelihood that you’re going to close the deal.
  • The Details
    The difference between a project’s success and its failure is in the details. In proposal writing, the details are in the scope. What work is included, what is not, and how tight is the scope? Now, this is where the “rush� and the “risk� play their part. The rush typically causes us to spend less time on details and the “risk� says: “Why spell it all out and do the diligence when you might not even get the project?� A self-fulfilling prophecy, perhaps, but a legitimate concern nonetheless. Selling a project without making the details clear is asking for scope creep, and turns what started out as a great project into a learning experience that can last for years.

Now, writing is an important part of the project and I’m not about to say you shouldn’t write. Having a written document ensures that all parties involved are on the same page and completely clear on exactly what will be delivered and how it will be delivered. What I’m saying, though, is that you should stop writing proposals.

Write Evaluations, Not Proposals

Write Evaluations, Not Proposals — And Charge For Them

A few years back, we decided to try something new. A potential client approached us and rather than preparing another project proposal, we offered the client what we now call a “Project Evaluation.” We charged them a fixed price for which we promised to evaluate the project, in all of our areas of expertise, and give them our recommendations.

They agreed, paid the price, and we set out to deliver. We put a lot of effort into that evaluation. We were in new territory and we wanted to make sure that we delivered it well. So we finished the report and sent it to them. The client liked it, agreed with our recommendations, and started a contract with us to do the work.

That project became a game changer for us, starting an on-going relationship that opened doors into a new market. It was the process of the evaluation itself that brought the new market potential to our attention, and gave us the opportunity to develop this business model. It was a definite win, and one that a project proposal couldn’t have delivered.

What Is A Project Evaluation?

A “Project Evaluation�, as we’ve defined it, is a detailed plan for the work that is to be done on a project, and explains how we do it. We eliminate the guess work, and detail the project out at such a level that the document becomes a living part of the development process, being referred back to and acting as the guide towards the project’s successful completion.

The Benefits Of (Paid) Project Evaluations

As we put our proposal writing past behind us and embraced the evaluation process, we noticed a strong number of benefits. The most prominent of those benefits are the following.

  • Qualification

    If a client is unwilling or unable to pay for a project evaluation, it can be an indicator that the project isn’t a match. Now, we may not always charge for evaluations (more on that later). We also recognize a deep responsibility on our part to make sure that we have intelligently and carefully explained the process and value of the evaluation. After all that is done, though, you may run into potential clients who just don’t want to pay what you’re charging, and it’s better to find this out right away then after writing a long proposal.

  • Attention to Details

    Having the time available to do the research and carefully prepare the recommendations means that we are able to eliminate surprises. While the end result may be a rather large document, the details are well organized and thorough. Those details are valuable to both the client (in making sure they know exactly what they’re getting) and to the development team (in making sure that they know exactly what they’re delivering).

  • No Pricing Surprises

    Figuring out all the details and ironing out a complete scope means that we’re able to give a fixed price, without surprises. This gives the client the assurance up front that the price we gave them is the price they’ll pay. In more than a few cases, the time we’ve spent working out the details has eliminated areas of concern and kept our margins focused on profit, not on covering us “just in case.”

  • Testing the Waters

    When a potential client says “Yes” to an evaluation, they are making a relatively small commitment — a first step, if you will. Rather than a proposal that prompts them for the down payment to get started on the complete project, the evaluation process gives us time and opportunity to establish a working relationship. In most cases, the process involves a lot of communication which helps the client learn more about how we work, as we learn more about how they work. All this is able to take place without the pressure of a high-budget development project. And by the end of the evaluation, a relationship is formed that plays a major factor in the decision process to move forward.

  • Freedom to Dream

    Occasionally, we spend more time on an evaluation than we had initially expected. But knowing how our time is valued has given us the freedom to explore options and make recommendations that we might not have made otherwise. In our experience, the extra time and energy that the context of a paid evaluation provides for a project has consistently brought added value to the project, and contributed to its ultimate success.

Write Evaluations, Not Proposals

The Evaluation Writing Process

Over the years we have refined (and continue to refine) a process that works well for us. As you consider the process, look for the principles behind each step, and if you decide to bring this into your business, look for ways to adapt this process and make it your own.

#1 — Do the Research

The heart of the evaluation process is the research. If it’s a website redesign project, we read through each and every page on the website. We take notes and thoroughly absorb as much content as possible. Our objective is to get to the heart of the project and gain as much of the organization’s perspective as possible.

If it’s a custom programming project, we try to get inside the project’s concept, challenge it, look for flaws in the logic, research relevant technologies, and work to make recommendations that keep the goals of the project in mind.

We spend time with the client by phone, over Skype, via email, and sometimes even in person. As our research uncovers problems or finds solutions, we run them by the client and gather their feedback.

The research process allows us to go deep, and in our experience it has always paid off, giving us a thorough grasp of the project and providing a foundation to make intelligent, expertise-driven recommendations.

#2 — Offer Recommendations

Each project evaluation is different. Depending on the nature of the project we may make recommendations regarding technology, content organization, marketing strategies, or even business processes. The types of recommendations we make have varied greatly from project to project, and are always driven by the context and goals of the project.

When it comes to areas of uncertainty for the client, we work hard to achieve a balance between an absolute recommendation and other options. If the answer is clear to us, we’ll say so and make a single, authoritative recommendation. However, when an answer is less clear, we give the client options to consider (along with our thoughts) on why or why not an option might be a match.

We share our recommendations with the client throughout the evaluation process, and when the final report is given, there are rarely any surprises.

#3 — Prepare the Scope

After we’ve worked through our recommendations, we put together a technical scope. This is typically the longest part of the document. In the case of a Web design project, we go through each page of the website, explaining details for the corresponding elements of that page. The level of detail will vary based on the importance of a particular page.

The scope document is detailed in such a way that the client could take it in-house, or even to another developer, and be able to implement our recommendations.

As the project commences, the scope document will often be referred to, and can function as a checklist for how the project is progressing.

#4 — Prepare the Timeline & Estimate

With the scope complete, calculating the cost and preparing an estimate becomes a relatively straightforward process. While how one calculates the price may vary, all the information is now available to see the project through from start to finish, identifying the challenges, and determining the amount of resources required to meet the project’s objectives.

Note: Prior to the start of the evaluation process, we nearly always give the potential client a “ball park� estimate. So far, that estimate typically ends up being about ten times the cost of the evaluation.

We take the estimating process very seriously, both in the ball park stage and especially here within the context of an evaluation. Once we set a price down we don’t leave room for “oops!� and “gotchas!�, and that means we are extra careful to calculate as accurately as possible, both for our sake and for the sake of the client.

Now, because of the nature of the evaluation, we are often able to research and explore options above and beyond what the client originally brought to our attention. In the case of a Web application, this might be an added feature or a further enhancement added onto a requested feature. Within the scope of the evaluation we carefully research these extras, and when appropriate, present them as optional “add-ons� within the timeline and estimate.

They are truly optional, and while always recommended by us, we leave the decision up to the client (there’s no use wasting research energy on an add-on you wouldn’t fully recommend). In cases where the budget allows for them, they are nearly always accepted. In cases where a tighter budget is involved, the add-ons are typically set aside for future consideration.

When Evaluations Are Appropriate

A project evaluation functions like the blueprints for a new office building. Imagine that I own a successful construction company, and I have a number of world-class office construction projects to my credit. A new client comes to me after seeing some of my work and tells me “I want a building just like that!”. Assuming, of course, that I own the rights to the building, I can say “Sure!” and tell them how much it will cost. Why? The blueprints have already been drawn.

Now, there will be variable factors, such as where they choose to have the building built, and any customizations they may request matter. But in most cases no new blueprints will be needed, and I can proceed with construction without charging them for the plans.

Suppose another client comes to me after seeing one of my buildings and asks me to build an entirely new design for them. A new design calls for new blueprints all of their own, and these must be developed before the project begins. Can you imagine a large-scale construction project without any blueprints?

Web development is the same way. In our experience, evaluations are appropriate when a client comes to us and asks us to take on a project outside of our existing set of “blueprints”. Examples where we’ve found a project evaluation necessary include:

  • A redesign of an existing website.
  • Developing a new Web application.
  • Bringing new technology into an existing project.

Without an evaluation you’re either left to go ahead and do the research on your own (with the weight of the rush, and the risk on your shoulders) or you’re stuck making as educated a guess as possible for the scope of the project. This dangerous guessing in a situation where an evaluation is appropriate can leave you with an estimate that is too high (which can mean losing the project) or even worse, an estimate that is too low.

When Evaluations Are Not Appropriate

When a project is familiar, and doesn’t require an evaluation (or fits within the scope of an existing type of evaluation), we give an informal, direct estimate along with a scope of the work. Small to mid-sized Web design projects typically fall into this category. While the content and design are new, the process isn’t. The key here is the experience and confidence in your abilities (and the abilities of your team) that the work will get done within budget to the expected delight of all parties involved.

Conclusion

Project evaluations up until now haven’t been given much attention. I would suggest it is a simple concept that has been overlooked and passed by amidst the rush of a booming Web development industry. I invite you to implement the process, experience the benefits, and stop the pain of proposal writing.

I thank you, dear reader, for your time in considering this concept. And I thank you in advance for your feedback.

(jvb) (il)


© Jonathan Wold for Smashing Magazine, 2012.


How To Recruit A UX Designer


  

The Web has entered an era of user-centricity. If businesses are to attract new customers and retain existing ones, they must create websites and apps that deliver intuitive and tailored experiences. Whether you run an online retailer or a not-for-profit community website, the user experience is mission critical.

As a consequence, we have seen a real surge in the need for talented user experience (UX) designers who can help turn vision into reality. How do you attract, recruit and retain UX talent in your business?

Hiring a UX Designer
(Image credit: openwourceway)

If you are anything like us, you’ll be keen to learn from leaders and innovators in our industry, which is why we’ve assembled some luminaries from the UX community to share their insight and experience especially with the Smashing Magazine community.

We’d like to say a big thank you to the experts who made this guide possible. They all have a unique perspective on UX, and their work intersects with it in very different ways.

We asked each of our experts 10 questions. Their perspectives give you a 360° view of how they tackle UX recruitment in their organizations. Jump to the section that grabs your attention, or read through the complete guide for all of their insights.

The Questions

  1. How did you learn to hire?
  2. Do you hire with your head or your heart?
  3. In a sentence, what makes for a great UX designer?
  4. How do you advertise UX positions in your company?
  5. What one question do you ask every candidate?
  6. Do you have a particular method of assessing candidates?
  7. Do you hire based on years of experience or achievements and portfolio?
  8. How do you retain talent?
  9. What kind of culture do you try to create?
  10. What skills would you like to see in more UX designers?

1. How Did You Learn To Hire?

Very few people would say they’ve “learned� how to hire, because this would imply that they’ve stopped learning, and of course we all continue to learn every day.

Many of the experts I spoke with continually develop and hone their hiring skills, but their advice hinges on three principles.

Find a Role Model

Tom Wood of Foolproof: “My role model is David Ogilvy. He had a really clear and public view about the qualities he looked for in the people he hired. His quote, ‘If we each hire people smaller than us, we will become a company of dwarfs, but if we each hire those larger than ourselves, we will become a company of giants,’ is a call for everyone in a position to make a point to step up and challenge themselves through the quality of people they hire.�

Martin Belam of The Guardian: “I’ve been on a lot of interview panels through the years and picked up techniques from people such as Mags Hanley, Lorna Leddon and Karen Loasby.�

Learn From the Experiences and Mistakes of Others

Justin Cooke of Fortune Cookie: “Like everything we do at Fortune Cookie, we have never stopped trying to improve our recruitment process. This was achieved by learning from mistakes, through experience and from others particularly asking recruitment agencies and candidates for feedback on how we could be better.�

Find Your Feet

Ultimately, you need to blaze your own hiring trail and go with your instinct. As Kara Pernice of the Nielsen Norman Group emphasizes, “Asking advice from other people who have successfully hired behooves you, but there is nothing like experience.�

Peter Merholz of Adaptive Path says, “I rely a lot on intuition, which has proven mostly successful.�

2. Do You Hire With Your Head Or Your Heart?

Logic and instinct both have their place in the hiring process, and the decision will nearly always be made partly with your head and partly with your heart.

You will likely use your head to determine whether the candidate has the requisite skills, experience and attributes. And then to a certain extent you need to follow your heart and your instinct in deciding whether a candidate is a good fit for your culture.

The experts I spoke with validated this idea, explaining that they initially look at hiring from a rational point of view.

Justin Cooke: “At the first stage we look for the rational, but the ultimate decision has to be based on an emotional connection.�

Peter Merholz sums this up perfectly: “I would say the head is the initial barrier — if I can’t rationalize the hiring decision, then it won’t go anywhere. But after the head makes a decision, the heart plays a part, particularly in thinking about ‘softer’ matters, like personality and cultural fit.â€�

Stu and Odette: “It’s a balance of finding a person with the right attitude and personality, twinned with skills needed to do the actual job.�

Kara Pernice: “Both, but you have to know you can deal well with each other. And I usually get that feeling from my gut rather than my brain.�

Ultimately, the final decision comes from your head because, as Tom Wood explains, “If you make a mistake with hiring in a small or medium-sized business, you can cause real problems for yourself.�

3. In A Sentence, What Makes For A Great UX Designer?

If you don’t know what you are looking for, you will never know when you’ve found it. Nowhere is this philosophy truer than with hiring.

A real appreciation not only of what makes a superb UX designer but of what kind of person you are looking for is essential if you are to recruit successfully.

What makes a great UX designer is, of course, a matter of opinion, but there is a consensus that a UX designer must, in the words of Martin Belam, “make good stuff and make stuff good.� They must have an ability to interpret and empathize with the user, to simplify the process and to execute a design solution.

Peter Merholz: “An ability to take an empathetic view of the user, and to interpret that into a systematic design solution.�

Justin Cooke: “Someone who can make the complex simple, beautiful and ever so slightly fun.�

Stu and Odette: “Someone with the passion and curiosity to constantly learn more about how people interact with digital products.�

Kara Pernice: “Great UX designers have a desire to innovate and gather knowledge about potential users and customers, and the humility to know that their first design iterations will rarely be great.�

Tom Wood: “The willingness to collaborate with both the end user and the business client during the design process.�

4. How Do You Advertise UX Positions In Your Company?

There is a clear shift in the way UX roles are being advertised, in line with the increasingly social nature of the Web. Interestingly, Stu and Odette still succeed in finding candidates through specialist recruitment agencies, despite the perceived decrease in their popularity.

Here’s how our panelists fill their UX vacancies.

Tom Wood: “Our site, amplified by Twitter and LinkedIn activity.�

Kara Pernice: “We have the luxury of having our boss write a newsletter that reaches many UX professionals, so that is our biggest marketing tool when hiring. It works for us because people who read the newsletter have a sense of what we are about.�

Peter Merholz: “We have our ‘Work with us’ page on adaptivepath.com, and then we reach out through various channels to spread the word: Twitter, our blog, LinkedIn, UX industry mailing lists.�

Martin Belam: “We have our own recruitment portal site, and I usually tweet and blog in a personal capacity to help drum up candidates.�

Justin Cooke: “On the Fortune Cookie website, on LinkedIn, on totaljobs.com, on industry websites like Econsultancy and BIMA, at events and conferences, and through our employees, who receive a bounty to anyone they recommend who we hire.�

Stu and Odette: “UX Jobs Board and specialist recruitment consultancies.�

5. What One Question Do You Ask Every Candidate?

One thing that is universally agreed on is that there is no “right� way to interview someone, so I asked this question of our experts to see if we could at least draw out common themes.

Martin Belam asks of candidates, “Can you describe to me a project that when badly wrong. Why did it go wrong, and what did you personally learn from it?�

Failure is a topic that is all too often avoided in interviews, but a question like this helps the interviewer understand how a candidate copes with failure — failure being inevitable in any career. It helps you determine whether they are capable of humility and also to see how they have professionally developed as a result of failure. This seemingly innocent question can tell the interviewer a great deal about the candidate.

Justin Cooke: “What is the most amazing thing you have seen on the Internet this month?�

Justin’s is a great question to ask because it helps you understand if the candidate is as passionate as they say they are. (Do they keep up with the latest trends, or do they just say they do?) It also helps you to see the kinds of things that they get excited about; the question might just reveal whether the individual is a good cultural fit for your team and the kinds of projects you do.

Peter Merholz: “What is the thing that gets you out of bed every day and wanting to do this kind of work?�

As an interviewer, you undoubtedly want to understand the motivations of the person you are speaking with. After all, motivation is the key to a happy, productive workforce.

That being said, if you flat out ask a person what motivates them, they’ll probably lie to you with the usual interview spiel about their satisfaction in doing a good job.

Asking someone what gets them out of bed every morning is a roundabout way of asking the same thing, but you’ll catch the individual on the hop, and they’ll probably give you a more honest answer than had you asked what motivates them.

Finally, Tom Wood always asks people about their ambitions, “to see if they will push themselves — and us.â€� This is a superb question and allows you to determine whether the person has planned their professional life in the near and long term or are just plodding.

6. Do You Have A Particular Method Of Assessing Candidates?

Assessing a candidate’s suitability for a job is certainly one of the most, if not the most, challenging aspects of hiring, so understanding how the best in the business do it is helpful.

Some clearly like to go the practical route and judge a candidate by assigning them a task during or following the interview. Justin Cooke says, “Nothing beats setting a task. The output is always fascinating.�

Kara Pernice allows candidates to do most of the talking and gives them simulations to perform, “such as, give a short presentation and send us the video. This can’t truly demonstrate how they would do, but it’s a start. Sometimes we agree with a candidate to first test the waters by hiring them on a contract basis or as an intern. If we are all happy and still interested in the end, we hire them.�

Peter Merholz, Martin Belam and Stu and Odette feel that the process is fairly simple and that a candidate can be assessed based on their credentials and personality. Peter Merholz says, “It’s pretty straightforward: do they have the practitioner chops (across strategy, research and design), and do they have the right personality and cultural fit?�

Martin Belam adds, “I expect anyone in UX to have a significant online presence, and I’m always surprised if they don’t.�

To anyone reading this who is seeking a career in UX, a strong online presence is definitely a prerequisite.

7. Do You Hire Based On Years Of Experience Or Achievements And Portfolio?

I was surprised by the responses to this question. I assumed the quality of the portfolio would weigh more heavily every time, but that wasn’t the case.

Tom Wood responds, “Of the two, experience is probably the one I favor most, simply because anyone can catch a break on the projects they work on and the results they get (success has a thousand fathers, after all). Because of the emphasis we place on working directly with clients and end users, there’s often no substitute for the life experience that makes you comfortable in the company of these groups.�

However, Stu and Odette says, “The latter. You can get people who have been in the industry 10+ years and still haven’t produced good design work.�

Peter Merholz adds that his company generally favors the portfolio, but “if we’re hiring for a more senior role, where things like client-management skills are crucial (and perhaps even more crucial than super-awesome design chops), then experience definitely is a factor.�

Martin Belam supports this by saying, “I think in any team you need a mix of skills and experience. I enjoy mentoring people and bringing younger people into the profession, so I look more at what I think people will be capable of achieving and how they will go about it, rather than years of experience and qualifications.�

Justin Cooke adopts a completely different approach, saying “Years of experience and portfolios are useful inputs and metrics, but we are more interested in a candidate’s answers to our questions and their response to the task that we set.�

8. How Do You Retain Talent?

To someone outside of the UX community, talent retention might not seem like a critical issue, given the state of the economy and how many people are looking for work. But UX is a fiercely competitive market, with agencies and consultancies vying for the attention of the right UX folks.

The level of attention given to talent retention by the people I spoke with is fascinating. Here are what seem to be the key factors in retaining the best UX designers.

Opportunity

Kara Pernice: “We try to give people opportunities they are interested in.�

Self-Actualization

Tom Wood does it “by thinking every day about what motivates our people and making sure we do everything we can to help them realize their personal goals and ambitions. Beer also helps.�

Autonomy

Peter Merholz: “There is no UX consulting firm that allows the autonomy and freedom that Adaptive Path provides. Also, our commitment to sharing ideas, through writing, speaking and teaching, is unparalleled and attractive to our team.�

Professional Development and World-Class Training

Justin Cooke swears by “never saying no to a training request; employing brilliant leaders; listening to everyone’s ideas and auctioning them to make us a better agency; continually communicating how we are doing; starting at 10:00 am; tracking the market to ensure that our salary and benefits packages are among the best in the industry; and ensuring that we understand everyone’s career goal and mapping out a plan to make it a reality.�

Breathing Room

Stu and Odette: “We’re a pleasure to work with, and we only focus on a set number of projects, so as not to stretch people too far. The quality goes down if you do.�

9. What Kind Of Culture Do You Try To Create?

This question follows on the last one, because culture is obviously central to talent retention, and there are clear crossovers between the answers to the previous question and how this filters down through the culture that these leaders are trying to promote.

“Constellations are more interesting than individual stars.� This is the eloquent way in which Tom Wood describes the team culture he is trying to foster.

Justin Cooke supports the notion of a team culture by adding, “We are aiming to create a passionate team that cares for each other and is 100% committed to improving the digital world to make the real world a better place.�

Kara Pernice focuses more on the individual, describing the culture that she is trying to foster as being more autonomous, with “professionals producing high-quality, rigorous work that improves design for clients and UX professionals.�

10. What Skills Would You Like To See In More UX Designers?

I was most looking forward to hearing the responses to this question, not only for the insight, but also because they will help job seekers hone their skills in the most sought after areas.

The thing many of the experts seem to be looking for is holistic in nature — a well-roundedness more than particular design skills.

Client-Facing Skills

Tom Wood describes the need for more charming UX designers, who are “comfortable thinking in the same room as clients.�

Strategic Thinking

Justin Cooke looks for “a stronger understanding and awareness of the entire customer journey; a desire to improve the entire service rather than just the experience, and brilliant good storytelling.�

Stu and Odette add, “The ability to pragmatically design for digital products, rather than being able to talk solely about UX in general. Our industry is suffering from too many talkers and not enough walkers.�

Research Ability

Martin Belam says, “I wish people would read more widely, and more about some of the traditional design skills.�

Facilitation

According to Peter Merholz (and I tend to agree here), “Facilitation skills are becoming increasingly crucial in our work; being able to coordinate cross-functional teams and get the most and best out of them.�

Summary

UX is a hard skill to teach; no formal credentials are required, and no two career paths or job descriptions are the same. In fact, pinning down exactly what UX is can be difficult. It can mean different things to different people. Some UX design positions require only graphic design skills, others mainly planning and wireframing. Most, however, require a combination of design, planning, negotiation, conflict management, objectivity, leadership and openness. Above all, a good UX professional must have a natural appreciation of the human mind and be open to new attitudes and approaches and to exploring the impact of real people on the commercial environment around them.

Recruiting and hiring great UX professionals can be both challenging and fun. Quite often, the “right� person will be wildly different from the person you initially expected, and skill, judgement and intuition are required to pick them out.

One thing is for sure, though: UX skills are in high demand and short supply. It’s a candidate’s market, and companies need to try now more than ever to attract and retain the best minds in the field if they are to succeed online.

(al)


© Matthew Ogston for Smashing Magazine, 2012.


The Smashing Book #3: All Good Things Come In Threes


  

Yes, the brand new Smashing Book #3 is coming. The printing press is warming up, the illustrations are finished, and the chapters are being proofread. This third book is the best printed book we’ve produced so far: it is a valuable, cutting-edge, high-quality printed book that any Web designer should have on their bookshelf. This time, we’ve also prepared an extra book 3⅓ that offers even more exclusive content.

Pre-order the Smashing Book #3 today.

Pre-order the printed bundle with Smashing Books #3 and 3â…“ Pre-order the eBook Bundle (PDF, EPUB, Kindle) Pre-order the full Smashing Book #3 Bundle: Print + eBooks
We’re releasing two new printed books: the main Smashing Book 3 and Smashing Book 3⅓. Both are available as a print bundle, as eBooks and as a complete print + eBooks Bundle.

Pre-order now and add your name into the printed book: a double-page spread has been reserved to print out all of the names of the pre-sale buyers. We will contact you in March 2012 and ask you for the name you would like to have published within the book. Space is limited, so you’d better hurry up!

What’s In The Smashing Book 3?

Unlike its predecessors, the new Smashing Book #3 has a theme: Redesign. It is a professional guide on how to redesign websites and it also introduces a whole new mindset for progressive Web design. In this ever-changing Web design industry, the book challenges you to think differently about your work and will change the way you design websites forever.

A detailed look at the business and technical side of redesign is followed by a comprehensive overview of advanced HTML5, CSS3 and JavaScript techniques that you can use today. You will get useful advice on innovative UX techniques, learn about the peculiarities of mobile context in Web design and discover appropriate Photoshop techniques. You’ll study a practical hands-on guide to a bulletproof workflow for responsive Web design. Finally, you will also dive deep into emotional design, content strategy and storytelling.

Table of Contents

Elliot Jay Stocks Preface: The New Era in Web Design
Paul Boag The Business Side of Redesign
Rachel Andrew Selecting a Platform in Redesign
Ben Schwarz Jumping Into HTML5
Lea Verou, David Storey Using the Power of CSS3
Christian Heilmann JavaScript Rediscovered
Dmitry Fadeyev Innovative Techniques for Building Better User Experiences
Marc Edwards Designing For The Future, Using Photoshop
Aarron Walter Redesigning for Personality
Aral Balkan Mobile Considerations in Redesign: Web or Native?
Stephen Hay Responsive Workflow: A Future-Friendly Approach
Andy Clarke Becoming Fabulously Flexible

Elliot Jay StocksPaul BoagRachel AndrewBen SchwarzLea VerouDavid StoreyChristian Heilmann
Dmitry FadeyevMarc EdwardsAarron WalterAral BalkanStephen HayAndy Clarke
Gallery of the authors of the Smashing Book #3.

Well-respected professionals have poured their heart and expertise into these contributions. To ensure the quality of the book, every chapter of the book has been thoroughly reviewed by experts including Jon Hicks, Tab Atkins, Paul Irish, Russ Weakley, Peter-Paul Koch, Bryan Rieger, Joshua Porter, Ryan Carson and Elliot Jay Stocks. Please notice that some details (e.g. titles of the chapters, the number of pages, etc.) may slightly change until release date.

A detail of a chapter illustration, designed by Kate McLelland.
A detail of a chapter illustration, designed by Kate McLelland.

Extra Book: Smashing Book #3â…“ — The Extension

Our authors have turned out to be much more productive than we anticipated and have produced more exciting chapters than one book could handle. Adding these chapters to the book would have increased its size and weight — and, hence, shipping cost — substantially.

Not wanting to withhold these chapters, we have decided to release them separately. We are proud to present an extra book, Smashing Book #3â…“ — The Extension, filled with four additional chapters of quick quality reading!

Denise Jacobs The Power of Storytelling in Web Design
Christian Holst, Jamie Appleseed Rethinking Navigation
Vitaly Friedman Responsive Smashing Redesign: A Case Study
TBA A fourth chapter is in the making

Denise JacobsChristian HolstVitaly Friedman
Gallery of the authors of the Smashing Book #3â…“.

About Smashing Book #3â…“

With Web design, we can do much more than inform the audience. The power of storytelling and content strategy is in creating engaging, emotional connections that transcend their platforms. In this book, we will review emerging navigation design patterns and understand how to employ a content strategy — which is an important process, often underestimated and dependent on many factors. A case study of Smashing Magazine’s responsive redesign beautifully illustrates what this approach could look like in practice.

Features Of The Smashing Books 3 + 3â…“

  • Two separate printed books.
  • 11 + 4 chapters, written by Web design experts.
  • Quality flexibound cover (lighter than hardcover, heavier than softcover), with stitched binding and a ribbon page marker.
  • Smashing Book #3: approx. 320 pages, 165 × 240 mm (6.5 × 9.5 inches).
  • Delivery from Berlin, Germany, via air mail only (3 to 15 working days).
  • $5 shipping per delivery (even if you buy both books!).
  • Also available as eBooks (PDF, EPUB, Kindle).
  • Release scheduled in the last weeks of April 2012.
  • Pre-ordering starts today, with up to 30% off!

Pre-order the Smashing Book #3 today.

Pre-order the printed bundle with Smashing Books #3 and 3 1/3 Pre-order the eBook Bundle (PDF, EPUB, Kindle) Pre-order the full Smashing Book #3 Bundle: Print + eBooks
We’ll soon be releasing two new printed books: the main Smashing Book #3 and Smashing Book #3⅓. Both are available as a print bundle, as eBooks and as a complete print + eBooks Bundle.

Why The Theme Of Redesign?

The reason is simple. In recent years, the Web has changed a lot. The Web designer’s tools now are advanced, and browsers are highly capable. Designers have established clever coding and design techniques, and they are facing new challenges and embracing new technologies. These changes are fundamental and require us to reconsider how we approach Web design. It’s time to rethink and reinvent: it is time to redesign the Web.

But are we all prepared for this? How does responsive design fit into your workflow? What UX and mobile techniques do you follow when designing websites? And if you have a redesign project on the horizon, how do you approach it and work your way through it? This is what the Smashing Book #3 is all about: it explains what you need to know to create effective websites today, and what you need to know to be prepared for the future.

Exclusive Artwork and Design

The Smashing Book series has gotten a rather eye-catching facelift. The well-respected Belgian artist Veerle Pieters has taken on the significant task of putting together an innovative, bold cover design. And the result is bold indeed. Veerle’s styling of Smashing Magazine’s “S� reflects the many aspects that make up a Web designer’s workflow today.

Screenshot

Screenshot
Veerle’s recent sketches for the cover of the Smashing Book #3.

Screenshot
Veerle’s recent sketches for the cover of the Smashing Book #3.

If you have Smashing Books 1 and 2, you’ll know that animals play a distinct role — forming almost a tradition for the series. This time, we have asked the talented young illustrator Kate McLelland to illustrate the introductory pages for all of the chapters. Kate has been impressively creative in her designs; the theme of redesign has obviously shaped the tone of her artwork. Each chapter begins with an elaborate drop cap.

The letter S: A detail of a chapter illustration, designed by Kate McLelland.
A detail of a chapter illustration, designed by Kate McLelland.

Each illustration employs a different metaphor that relates to the accompanying chapter. Try to see what they all are once you get your hands on the book. Appropriately enough, when strung together, the drop caps spell out “Redesign the Web.� The composite style of the illustrations reflects how so many components have to come together for a successful redesign.

Pre-Order Now And Get Your Name In The Book!

As with the Smashing Book #2, we’ve decided to print the names of our readers right in the pages of the Smashing Book #3. A double-page spread has been reserved to print out all of the names of the pre-sale buyers. We will contact you in March 2012 and ask you for the name you would like to have published within the book. The names will make up the Smashing Magazine logo: ASCII art at its best! Space is limited, so you’d better hurry up!

Please note: the sooner you order your copy, the higher the discount. With a pre-sale purchase, you can save up to 30%:

The books will be sent via air mail, and delivery should take no longer than 3 to 15 working days. Shipping starts in Berlin, Germany, and ends at your front door. If you run into trouble or have questions about your order, please don’t hesitate to contact our customer service or send us a tweet @SmashingSupport — we’d love to help out!

Pre-order the Smashing Book #3 today.

Pre-order the printed bundle with Smashing Books #3 and 3 1/3 Pre-order the eBook Bundle (PDF, EPUB, Kindle) Pre-order the full Smashing Book #3 Bundle: Print + eBooks
We’re releasing two new printed books: the main Smashing Book 3 and Smashing Book 3⅓. Both are available as a print bundle, as eBooks and as a complete print + eBooks Bundle.

FAQ

Here are answers to some frequently asked questions about the Smashing Books #3 and #3â…“:

Content-Related Questions

  • What’s the difference between Smashing Books 1, 2 and 3?
    The first two books covered best practices in modern Web design; although they had similarities, the two books covered different areas of Web design. Smashing Book #3 has a particular theme: redesign. It covers both the redesign process per se as well as cutting-edge approaches to Web design on a broader scale. It focuses on the most recent developments and the current demands of today’s rapidly changing environment. Smashing Book #3 gives professional advice on the what, when and how of responsive and bulletproof Web design, according to the requirements of today’s Web.
  • Is Smashing Book #3 a completely new book?
    Yes, all of the content has been written from scratch, and all of the chapters have been written exclusively for this book.
  • What’s this extra Smashing Book #3â…“?
    Our authors have turned out to be much more productive than we anticipated, coming up with more exciting chapters than one book could handle. Adding these chapters to the book would have increased the size and weight — and, hence, shipping cost — substantially. Not wanting to withhold these chapters, we have decided to release them separately. We are proud to present the Smashing Book #3â…“ — The Extension, four extra chapters of quick quality reading. Buy it as part of a bundle and save!
  • Will the book be available in other languages?
    Maybe, but we have no plans for that yet, so don’t hold your breath.
  • Will Smashing Books #3 and #3â…“ be available as eBooks?
    Yes, the books will be available in PDF, EPUB and MobiPocket, and you can pre-order an eBook bundle today.

An overview of delivery times
You can find detailed shipping costs and delivery times in the Smashing Shop.

Purchasing-Related Questions

  • What are the costs for shipping to my country?
    The shipping cost for one book or a bundle is $5 — wherever you are in the world. We are paying a share of the shipping costs ourselves to make it possible for anyone to purchase the book. Our prices are transparent: we don’t have any hidden costs, and we won’t confuse you with tricky calculations. What you see is what you pay!
  • How long will delivery take to my country?
    All books will be shipped via air mail to keep delivery times as short as possible. You can find the anticipated delivery time for your country in the delivery times overview.
  • What payment methods are accepted?
    We accept PayPal, VISA, MasterCard and American Express. We use a secure connection, with 256-bit AES encryption and a green GeoTrust Extended Validation SSL CA certificate.
  • Is there a money-back guarantee?
    Yes, absolutely! No risk is involved. Our 100-day full money-back guarantee keeps you safe. Don’t hesitate to return your purchase. You’ll get your money back — no ifs, ands or buts about it.
  • I can’t pre-order now. Will you inform me when the book is available?
    No problem. Just subscribe to our email newsletter, and we will let you know when the book is published (probably mid to late April 2012)!
  • I have a question that is not covered here.
    Please leave a comment below, or get in touch with us via the contact form or @SmashingSupport on Twitter. We would love to help you in any way we can!

Pre-order the Smashing Book #3 today.

Pre-order the printed bundle with Smashing Books #3 and 3 1/3 Pre-order the eBook Bundle (PDF, EPUB, Kindle) Pre-order the full Smashing Book #3 Bundle: Print + eBooks
We’re releasing two new printed books: the main Smashing Book 3 and Smashing Book 3⅓. Both are available as a print bundle, as eBooks and as a complete print + eBooks Bundle.


© Smashing Editorial Team for Smashing Magazine, 2012.


Designer Myopia: How To Stop Designing For Ourselves


  

Have you ever looked at a bizarre building design and wondered, “What were the architects thinking?� Or have you simply felt frustrated by a building that made you uncomfortable, or felt anger when a beautiful old building was razed and replaced with a contemporary eyesore? You might be forgiven for thinking “these architects must be blind!� New research shows that in a real sense, you might actually be right.

That’s Michael Mehaffy and Nikos A. Salingaros describing a phenomenon we’re all familiar with, in their article “Architectural Myopia: Designing for Industry, Not People.� As I read the article, I became increasingly uncomfortable as I realized that the whole thing might as well have been written about Web design (and about our responses to the designs of our peers). How often do we look at a website or app and remark to ourselves (and on Twitter) that “these designers must have been blind!� Sometimes we’re just being whiney about minute details (as we should be), but other times we do have a point: “What were they thinking?�

Longaberger-building-in-Newark
Longaberger Home Office, Newark, Ohio. Image source.

In this article, we’ll discuss “designer myopia�: the all-too-common phenomenon whereby, despite our best intentions, we sometimes design with a nearsightedness that results in websites and applications that please ourselves and impress our peers but don’t meet user and business goals. With Mehaffy and Salingaros’s article as our guide, we’ll investigate the causes of designer myopia, and then explore some solutions to help us take the focus off ourselves and back on the people we’re designing for.

The Causes Of Designer Myopia

If the language in the opening paragraph sounds familiar, it’s because most of us privately and publicly mutter “What were they thinking?â€� almost every day as we move across the Web. We analyze the new Twitter app; we take it upon ourselves to redesign popular websites — and then we wonder if we should even be doing that. One thing is clear, though: we’re good at pointing out designer myopia in our peers.

But what are the causes of this lack of imagination and foresight in our work? Shouldn’t we be smart enough to avoid the obvious traps of designing too much from our own viewpoints and not taking the wider user context in mind? Well, it turns out that we quite literally see the world very differently than others. Again, from “Architectural Myopia�:

Instead of a contextual world of harmonious geometric relationships and connectedness, architects tend to see a world of objects set apart from their contexts, with distinctive, attention-getting qualities.

In other words, we see typography and rounded corners where normal people just see websites to get stuff done on. We see individual shapes and colors and layout where our users just see a page on the Internet. Put another way, we’re unable to see the forest for the trees.

How did we get here? Notice the striking resemblance to Web design as Mehaffy and Salingaros describe the slippery slope that has led to this state in architecture:

With the coming of the industrial revolution, and its emphasis on interchangeable parts, the traditional conception of architecture that was adaptive to context began to change. A building became an interchangeable industrial design product, conveying an image, and it mattered a great deal how attention-getting that image was. The building itself became a kind of advertisement for the client company and for the architect (and in the case of residences, for the homeowner seeking a status symbol). The context was at best a side issue, and at worst a distraction, from the visual excitement generated by the object.

This is why we often see designs that seem to be built for Dribbble, portfolios and “7 Jaw-Dropping Minimalist Designs� blog posts, instead of being “adaptive to context� based on user needs. We have gained much from the “industrialization� of design through UI component libraries and established patterns, but we’ve also lost some of the unique context-based thinking that should go into solving every design problem.

Jon Tan touches on this in “Taxidermista,� his excellent essay on design galleries in the first issue of The Manual:

Galleries do not bear sole responsibility for how design is commissioned. However, they do encourage clients and designers to value style more than process. They do promote transient fashion over fit and make trends of movements such as minimalism or styles like grunge or the ubiquitous Apple-inspired aesthetic.

The result of all of this is that we sometimes end up designing primarily for ourselves and our close-knit community. Jeffrey Goldberg reminds us that this is true for much of the technology industry in “Convenience Is Security�:

Security systems (well, the good ones anyway) are designed by people who fully understand the reasons behind the rules. The problem is that they try to design things for people like themselves — people who thoroughly understand the reasons. Thus we are left with products that only work well for people who have a deep understanding of the system and its components.

And so we end up with a proliferation of beautiful websites and applications that only we find usable.

Dilbert Cartoon
We all follow some rules of thumb without understanding the reasons behind them.

We can’t talk about designing primarily for the community without bringing up the awkward point that we often do it deliberately. We thrive on the social validation that comes from positive Twitter comments, being featured in design galleries and getting a gazillion Dribbble likes. And let’s be honest: that validation also helps us get more clients. This is just part of human nature, and not necessarily a bad thing. But it can be a bad thing; so at the very least, we need to call it out as another possible cause for designer myopia so that we can be conscious of it.

The Manual
The Manual brings clarity to the ‘why’ of Web design, and much more.

Oh, and while we’re at it, let’s ask the obvious next question. Why are we so good at noticing when others fall into the myopia trap but fail to catch ourselves when we do it? In “Why We’re Better at Predicting Other People’s Behaviour Than Our Own,� Christian Jarrett reports on some recent research that might provide the answer:

[When] predicting our own behaviour, we fail to take the influence of the situation into account. By contrast, when predicting the behaviour of others, we correctly factor in the influence of the circumstances. This means that we’re instinctually good social psychologists but at the same time we’re poor self-psychologists.

In other words, we’re much better at taking the entire context into consideration when looking at other people’s designs than when we are creating our own. Scary stuff.

So, if designer myopia is indeed a pervasive problem (and if we are not good at recognizing it in ourselves), what do we do to fix it? I’d like to propose some established but often-ignored techniques to get us out of this dilemma.

1. Conduct Observational User Research In Context

The first thing that Mehaffy and Salingaros suggest in their article to overcome myopia is this:

First of all, re-integrate the needs of human beings, their sensory experience of the world, and their participation into the process of designing buildings. Leading design theory today advocates “co-design,� in which the users become part of the design team, and guide it through the evolutionary adaptations to make a more successful, optimal kind of design. Architects spend more time talking to their users, sharing their perception and understanding their needs: not just the architect’s selfish need for artistic self-expression, or worse, his/her need to impress other architects and elite connoisseur-critics.

Note that this is not just about asking users what they think. It’s about making users part of the design process in a helpful, methodologically sound manner. To accomplish this, we can look to anthropology to play a substantial role in the design of products and experiences. Ethnography (often called contextual inquiry in the user-centered design world) is the single best way to uncover unmet needs and make sure we are solving the right problems for our users.

In “Using Ethnography to Improve User Experience,� Bonny Colville Hyde describes ethnography as follows:

Ethnographers observe, participate and interview groups of people in their natural environments and devise theories based on analysis of their observations and experiences. This contrasts with other forms of research that generally set out to prove or disprove a theory.

That’s the core of it: we do ethnography to learn, not to confirm our beliefs. By using this method to understand the culture and real needs of our users, we’re able to design better user-centered solutions than would be possible if we relied only on existing UI patterns and some usability testing.

Leaving the office and spending time observing users in their own environments is the best way to understand how a product is really being used in the wild. It’s the most efficient way to get out of your own head.

2. Design To Blend In

Let’s stick with the architecture theme for a moment. The concept of “paving the cowpaths� is another effective way to look beyond ourselves and to design websites and applications that form part of our users’ landscapes (rather than break their mental models). In “Architecture, Urbanism, Design and Behaviour: A Brief Review,� Dan Lockton writes:

One emergent behavior-related concept arising from architecture and planning which has also found application in human-computer interaction is the idea of desire lines, desire paths or cowpaths. The usual current use of the term […] is to describe paths worn by pedestrians across spaces such as parks, between buildings or to avoid obstacles […] and which become self-reinforcing as subsequent generations of pedestrians follow what becomes an obvious path. […]

[T]here is potential for observing the formation of desire lines and then “codifying� them in order to provide paths that users actually need, rather than what is assumed they will need. In human-computer interaction, this principle has become known as “Pave the cowpaths�.

This is such an interesting perspective on user-centered design. By starting a design project with an explicit goal to “pave the cowpaths,� we will always be pulled back into a frame of mind that asks how the design can better blend in with our users’ lives and with what they already do online. The same questions will keep haunting us, and rightly so:

  • Do we have analytics to back up this behavior?
  • Are we sure this is what users naturally do on the website?
  • We know that most users click on this navigation element to get things done. How do we make that behavior easier for them?

In the same paragraph in “Taxidermista,� Jon Tan also calls for us to step back and ask questions like these before starting to design:

The answers to a project’s questions may have something to do with fashion, but not often. Good design does not have a shelf life. The best web designers gently disregard issues of style at the start. They rewind their clients back to asking the right questions, so they can rewrite the brief and understand the objectives before they propose solutions.

By asking the right questions, we focus our effort on fitting into the ways that users move on the Web, as opposed to bending them to our will.

3. Triangulate Results

The two recommendations above are very specific, so I’d also like to make a more general point. There are, of course, several other user-research methodologies to help us get into the minds of users and bring them into the design process in a helpful, meaningful way. Methods such as concept testing, participatory design and, of course, usability testing all have their place. But the real power lies in using not just one or two of these methods, but three or more. This is where triangulation comes in:

Triangulation is a powerful technique that facilitates validation of data through cross verification from more than two sources. In particular, it refers to the application and combination of several research methodologies in the study of the same phenomenon.

Using multiple data sources — both qualitative and quantitative — is a great way to avoid any myopia traps along the way. In addition to (or instead of, depending on the project) the two methodologies covered above, you should use as many appropriate techniques as possible to help confirm your intuition and direction.

As Catriona Cornett points out in “Using Multiple Data Sources and Insights to Aid Design�:

When used correctly, data from multiple sources can allow us to better identify the context in which our designs live. It can help us validate our assumptions and approach design with confidence and not subjective opinion. This not only helps to create better design, but also helps us achieve that all-important buy-in from stakeholders. It’s easier to defend a design when you have deep, rich insights to back it up.

The first response I get when proposing triangulation (or sometimes even just one research method) is usually, “We don’t have time!â€� The good news is that this doesn’t have to slow you down — even an hour at a coffee shop observing real users with your product will shock you out of your myopia. The only thing that’s not an option is skipping research completely.

Summary

User research and the techniques discussed in this article aren’t new, but they’re usually left to specialist researchers to champion, or they’re swept under the rug because “We’re using established UI patterns on this one.� Hopefully, this article has shown that designer myopia is too common and too dangerous to ignore or to be left to specialist researchers to fix. Sure, user researchers are critical to ensuring that a proper methodology is followed, but we can all get out there and use the data and information available to us to make sure we don’t put too much of our own viewpoints into our designs.

Web design is personal — deeply personal. As Alex Charchar puts it in his gut-wrenching essay for The Manual:

I now know that it is through love and passion and happiness that anything of worth is brought into being. A fulfilled and accomplished life of good relationships and craftsmanship is how I will earn my keep.

I doubt that any of us would disagree with those words. Our best work happens when we throw ourselves wholeheartedly into it. But this outlook on life and design comes with its own dangers that we need to watch out for. And the biggest danger is in being unable to see beyond our own passion and taste and, with the best intentions, in failing to make the necessary connections with our users.

My hope for all of us is that the three simple guidelines discussed here — contextual user research, designing to blend in, and research triangulation — will enable us to keep the perspective we need as we throw everything we’ve got at the design problems that we have to solve every day.

(al) (il)


© Rian van der Merwe for Smashing Magazine, 2012.


Every Time You Call a Proprietary Feature “CSS3,� a Kitten Dies

Any -webkit- feature that doesn’t exist in a specification (not even an Editor’s draft) is not CSS3. Yes, they are commonly evangelized as such, but they are not part of CSS at all. This distinction is not nitpicking. It’s important because it encourages certain vendors to circumvent the standards process, implement whatever they come up with in WebKit, then evangelize it to developers as the best thing since sliced bread. In our eagerness to use the new bling, we often forget how many people fought in the past decade to enable us to write code without forks and hacks and expect it to work interoperably. Lea Verou explains why single-vendor solutions are not the same as standards and not healthy for your professional practice or the future of the web.

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