Decent User Experience – A New Human Right?

We digital designers, of all hues, generally like to tell ourselves that we’re doing more than simply earning a wage; building wireframes, pushing pixels etc.  We’re making people’s lives better.

We also tend to believe that the businesses that ultimately foot our bills, take a more prosaic view; it’s all about the brand and the bottom line.

I think that there is something more profound going on here; I’m arguing that we should start to see ourselves as playing a small, but active, part in one of history’s grand narratives.  A big claim I know, for a UX blog post.  But bear with me, I guarantee you’ll be rewarded, and hopefully even, convinced.

I’ve recently been reading Steven Pinker’s excellent book on the little known fact that we’re currently enjoying the results of a multi-century long decline in violence – in all it’s forms; in crime, in war, in murder, in abuse, in discrimination.  In fact, in pretty much any form of oppression and violation of another human being’s experience of life.  The book goes into the details of this happy decline in countless different areas – here’s an example, a chart looking at the massive decline of murder rates in Europe, in comparison to the those of non-state societies.

Untitled-1-01

Homicide rates in Western Europe, 1300-2000 and in nonstate societies.  From p459 of The Better Angels of Our Nature

The past was indeed a very different country – and i’d much rather be living in the here and now.

In the dim, and sadly, not so distant, past, life was cheap, authoritarian hierarchies were unassailable and invulnerable, divisions between nations and social groups were impenetrable and perhaps most importantly, liberal enlightenment philosophy had not infected our psyche with its celebration of the ‘individual’.   Today we live in a world of ‘individualism’, a world suffused by information bearing other people’s perspectives; a world in which it is ever harder to be completely blind and unsympathetic to the experiences, and suffering of others.

But what does this have to do with software user experiences? I hear you say.  Well, one of the driving forces behind this incredible change in the fabric of our culture, over the past half a century, is what Pinker refers to as the ‘Rights Revolutions’.  I believe that the value we place on good user experience should be seen in the context of these revolutions.

I am asking the question: is a decent user experience a new human right?

The Rights Revolutions

So, what are these ‘Rights Revolutions’? And what do they have to do with user experience?  Well to quote Pinker:

“The efforts to stigmatize, and in many cases criminalize, temptations to violence have been advanced in a cascade of campaigns for ‘rights’ – civil rights, women’s rights, children’s rights, gay rights and animal rights”
From p458 of The Better Angels of Our Nature

rights-02

Proportion of books mentioning phrases from 1945. From p459 of The Better Angels of Our Nature

This cascade is nicely illustrated by the graph below that shows the sequence in which these phrases have become popular.  There’s a momentum behind these changes, each rights revolution raises the bar, as to what is acceptable, setting the stage for the next move forward.  If it’s not right to racially discriminate, how can we be tolerating sexual discrimination?  If we can no longer mistreat children, why should we be able to mistreat animals?

These changes, Pinker suggests, are primarily driven by “the technologies that made ideas and people increasingly mobile”.  As people were increasingly brought into contact with other people’s perspectives, through fiction, through travel, through the sharing of ideas; it became increasingly hard to maintain that other peoples experiences didn’t matter.   We increasingly came to value the rights of the individual and to sympathise with their experience. That has driven and continues to drive important and largely positive changes to the world we live in.

The right to a decent user experience?

Nothing has been as powerful in driving the large scale improvement to the quality of user experience, as the web.  Businesses got the ability to make user experience changes relatively rapidly and see the big impacts to bottom line metrics.  Perhaps more importantly, users got the ability to easily switch over to whichever site offered them the best experience for getting what they wanted.

This commercial dynamic has, sadly, been far less successful at driving substantial improvement to the user experience of specialist business software – an area that RMA specialises in.  Sadly business software is still generally sold through bulk licensing arrangements and bought by IT managers or business folk more interested in ticking boxes than in the merits of good design, or the experiences of users.

I think this is something that needs to, and is about to change.  Just because someone isn’t immediately visible as a monetizable metric on a web analytics dashboard, doesn’t mean they don’t matter.  People who work at a job day-in day-out to get important things done, matter.  Their experience is important; perhaps more important, than those of the hordes of debt-laden e-shoppers.

Let’s face it, badly designed software can make people’s life pretty miserable; unnecessarily hard to learn tools that make you feel stupid, inefficient experiences that frustratingly waste time, confused designs that hinder rather than help you get things done, ugly jarring experiences that make life just that little bit greyer.

Thanks to the web and mobile app ecosystems people are almost universally exposed to good user experience – they know what they are missing in the software that plagues their work lives.  At RMA we are witnessing this rising tide of intolerance to bad design in enterprise software. People are rising up against it; we have seen them demanding more from their bosses, their IT departments and their services providers.  They are starting to side step restrictive IT restrictions by bringing in their own devices (BYOD) and using decently designed cloud based offerings.  B2B software houses are starting to increase their investments in UX and visual design. The tide is starting to turn.

There are many powerful, financially driven, arguments for investing in better user experiences; they increase productivity while decreasing support and training costs.  But I believe that we can perhaps help the tide turn faster if we start to reframe the need for change.

We need to help shape and nurture the awareness of the right for decent user experience in all those millions of business software users. And, perhaps, more importantly those of us who work on business products, need to build a culture in which it is simply not acceptable to ship bad user experiences.  Just as it isn’t acceptable to discriminate against employees, or to cheat your customers, it shouldn’t be acceptable to subject people to bad user experiences.

For better or worse, most of us live much of our lives in software; just as life is precious, so are experiences.

Designing for fluency – Part 2 (by Mischa Weiss-Lijn)

Fluency, cognitive choreography and designing better workflows

If you’ve read part 1, you’ll know all about what Fluency is and how understanding it subtly, but importantly, changes the way you think about usability.  Now I’d like to take this one step further by introducing a couple of other concepts from Kahneman’s book on the fascinating world of modern cognitive psychology, as well as one that i’ve made up all on my own: ‘Cognitive Choreography’.

Let’s start by briefly explaining what I mean by the term cognitive choreography.  The workflows that we are called to design can place varied and diverse demands on our darling users.  It’s often about going through the motions; form fillin’ payment details, skimming content, navigating.  But people are often also being asked to make critical decisions and perform complex tasks.  These different types of engagements require very different types of cognition (as we’ll see later). And in this article I’ll go through some relatively new research that points towards ways in which designers can encourage the right type of cognition for the right moment; what i’ve called Cognitive Choreography.

The two Systems: Thinking fast and thinking slow

Kahneman’s book centres on what he calls the ‘two systems’; two modes of thinking, one fast, System 1, and the other slow, System 2.  These have very different capabilities and constraints, and as a result some important implications for design.

System 2 is what does the conscious reasoning; it is the deliberate, rational voice in your head that you like to think is in control.  System 1 is the automatic, largely unconscious, part of your mind where most of the work actually get’s done.  Although the reality is inevitably rather more complicated, it’s helpful to adopt Kahneman’s conceit of these systems as two distinct characters.

System 1: The associative machine

  • Fast
  • Effortless
  • Automatic and involuntary
  • Can do countless things in parallel
  • Slow learning
  • Generates our intuitions
  • Driven by the associations of our memories and emotions
  • Uses heuristics (rules of thumb), that are often right, but sometimes very wrong

System 2: The lazy controller

  • Slow
  • Effortful
  • Selective (lazy) and limited in capacity
  • Does things in serial
  • Flexible
  • Uses reason, logic and rationalisation

System 1 effortlessly generates impressions and feelings (“xyz link looks most relevant”) that are the main sources of explicit beliefs and deliberate choices of System 2 (“I’ll click on xyz link”).  The problem here is that System 1 is error prone and System 2 is lazy.  System 2 can overcome System 1’s shortcomings, by critically examining the intuitions System 1 generates, but will often not.  I think that as designers we should think about how we can help System 2 spring into action when the moment is right.

Before looking at how we can help the right system spring into action, let’s look at how System 1 can sometimes lead users astray.

Biases: Thinking fast and wrong

System 1 has evolved to be quick and get things mostly right, most of the time, for your average hunter gatherer in the long gone Pleistocene (i.e. before we got all civilized, started farming and building urban jungles).  As a result it doesn’t adhere to the tenets of logical and statistical reasoning that underpin what we think of as ‘rational’ thought; it uses heuristics, rough rules of thumb, that are easily computed and generally work.  And that leads to errors, which, in our new fangled not-too-much-hunting-or-gathering-needs-doing kind of world, are more problematic than they used to be.

Here is a brief listing of some of the things that can go wrong.  If you want to really learn the slightly scary truth about how rubbish we (and yes that includes you) are at making judgements and choices then I refer you toKahneman’s book or perhaps take a look at this scary wikipedia list of cognitive biases.

System 1 is biased to believe and confirm what it has previously seen, or is initially presented (luckily for the advertising industry). So it tends to be

  1. Overconfident in beliefs based on small amounts of evidence (“The site would be better if it was purple.  My wife said so.”).
  2. Very vulnerable to framing effects (“90% fat free” vs “10% fat)
  3. Doesn’t factor in base-rates (i.e. a things general prevalence).   Insurance sales and the tabloid press play off of this all the time; it is the gravity of the event that matters, the fact that it’s very very unlikely, doesn’t have nearly as much impact as it should.  So for example, you may be tempted to insure your brand new fridge, against breakdown in it’s first year, because you’re so dependent having it work, even though it’s extremely unlikely that anything will go wrong.

This is because System 1:

  1. Focuses on the evidence presented and ignores what isn’t
  2. Neglects ambiguity and suppresses doubt
  3. Exaggerates the emotional consistency of what’s new with what’s already known

System 1 infers and invents causes, even when something was just down to chance. So, for example, in The Black Swan Nassim Taleb relates that when bond prices initially rose the day Saddam Hussein was captured, Bloomberg ran with “Treasuries rise: Hussein capture may not curb terrorism”.  Then, half an hour later the prices fell, and the headline changed: “Treasuries fall: Hussein capture boosts allure of risky assets”.  The same event can’t explain bond prices going both up and down; but because it was the major event of the day, System 1 automatically creates a causal narrative; satisfying our need for coherence.

System 1 will dodge a difficult question and instead substitutes in the answer for an easier one.  So for example in predicting the future performance of a firm, one instinctively relies on its past performance.  When assessing the strength of a candidate, one instinctively relies on whether we liked them or not.

System 1 does badly with sums, because it only deals with typical exemplars, or averages. So for example, when researchers asked how much people would be willing to pay to save either 2,000, 20,000 or 200,000 birds after an oil disaster, people suggested very similar sums of money.  It wasn’t the number of birds that was driving them, but the exemplar was; the image of a bird soaked in oil.  Similarly with visual displays people can very easily tell you the average length of a bunch of visual elements, but not the sum of their lengths.

Let’s not forget though, that while it has its failings, System 1, does a pretty impressive job of things most of the time, for most people.  In fact System 1 is crucial to the kind of deep creativity that us designers pride ourselves on.  It’s what helps you get things done fast, and well.  It’s what results from practice and is the basis of most forms of expertise; you wouldn’t want to drive your car without it!

As a result, lot of the time it’s appropriate, and indeed better, for System 2 to put it’s lazy feet up and give System 1 the reins.

So what’s the overall takeaway for designers?  Well, one is that, if users are at a point where it’s important that they critically inspect the facts, and overcome their pre-conceptions and first impressions; then System 2 needs to be on the job.  Otherwise, we can leave System 1 in the driving seat.

So how can designers engage in Cognitive Choreography, and help ensure users have the right System in the driving seat, at the right time?  Well one approach is to use Fluidity.

Cognitive Choreography

Fluency and switching users between Systems

I would guess that there are many things designers can do to knowingly encourage users to engage the right cognitive faculties for the task at hand; but one interesting and counterintuitive approach is to use Fluency.  That’s what I’m going to focus on here.

To recap from my previous post on the subject, Fluency is the brain’s intuitive sense of how hard your poor brain is being asked to work on something.  Lots of things will impact your sense of fluency as illustrated in the graphic below.

As well as being the key to really understanding what is going on behind users perceptions of usability and beauty, it just so happens that we can use the Fluency of our designs to engage system 2.  From an evolutionary perspective, the reason we have this intuitive sense of Fluency, is to have an alarm bell that will wake System 2 up when things aren’t going smoothly and we need more careful, bespoke, thought. When an experience is Disfluent and creates what Kahneman calls “Cognitive Strain”, System 2 is mobilised.   Thus we, as designers, can actively engage, and disengage, System 2, by controlling the many levers we have at our disposal to change the Fluency of a UI.

So, in case you’re not convinced, here’s one of the experiments that demonstrate this sort of effect in action.  A bunch of Princeton students were given a set of 3 short brain twisting problems to solve.  These problems were designed to have an answer that would seem obvious to System 1, but was infact wrong. To get the right answer, you’d need to have gotten System 2 in the game.  Here’s an example:

If it takes 5 machines, 5 minutes to make 5 widgets, how long would it take 100 machines to make 100 widgets?

100 minutes OR 5 minutes

When students were shown the problems presented in an ordinary, legible, font, 90% of them got at least one problem wrong.  When the problems were presented using a small, poorly contrasted font, only 35% of them did.  Yep, that’s right, making the font less legible, resulted in an almost 200% uplift in performance.  (btw, the answer was ‘5’)

Low Fluency creates cognitive strain, which encourages the user to activate System 2, which thinks things through, and get’s to the right answer.  High fluency does the opposite, encouraging the user to leave System 1 in control.

So the design implication here is, that when you come to designing a portion of your flow where it’s critical that System 2 be fully engaged, it may be the time to purposely create a low fluency experience, using the array of tools at your disposal (e.g. font legibility, contrast, layout, motion, copy etc).

When to use Fluency and Cognitive Choreography

So we have a bunch of ways we can make an experience more, or less, Fluent, now we need to understand when to use this to encourage users to apply the right kind of cognition to the task at hand.

Perhaps the first, and most important, thing to say is that you will need to be sparing and purposeful with low Fluency UIs.  Low Fluency is by it’s nature unpleasant, and on top of that using System 2 takes effort, so, it’s no fun.

However the science of System 1’s failings give us some clear pointers as to where we should consider putting the brakes on Fluency.

You should consider engaging System 2, with a low Fluency UI when:

  1. Critical, high risk, decisions are being made
  2. The user is being engaged in a task that you know has features which will lead System 1 astray.  So the user will be asked to:
  1. Draw inferences based on very small sample sizes
  2. Draw inferences based on incomplete information; e.g. they are given a small part of the story, or no information about base rates (i.e. general prevalence of a thing)
  3. Make decisions based on potentially framed and biased messages from an interested party
  4. Mentally work with sums, rather than averages or prototypes

Wrapping it up

Most of the time you will want to maximise Fluency and thus usability, encouraging users to coast along primarily using rapid, intuitive outputs of tireless System 1.  But your can reduce critical errors, and increase the quality of significant decisions and judgements if you selectively lower the Fluency of your UI, to make sure the lazy, but smart System 2 is fully engaged.

Of course, there is a balance to be struck here, as designers we will be hard pressed to make the experience as disfluent as psychologists can when doing experiments.  In fact it would be super valuable if people in the HCI community would take a closer look at this, and measure the effectiveness of lowering Fluency to within the bounds of commercial acceptability.

Another interesting tension here, is that many of us designers, are working on systems primarily aimed at realising and increasing sales.  So even if users are making critical, and expensive, decisions, based on incomplete information, it’s in your client’s interest that System 2 stays as lazy and disengaged, as possible.  However, there are countless digital experiences that support productive and often critical processes or decision making.  That’s what we focus on here at RMA, and that’s where doing a little Cognitive Choreography could come in handy.

Designing for fluency – Part 1 (by Mischa Weiss-Lijn)

From the new psychology of Fluency to usability, beauty and beyond

Having had a background in (proper) psychology, before emerging as a designer, I’ve often been dubious about the value of this fascinating ‘science of the mind’ for the practice of design.  Every now and then, you’ll hear some strained reference to Fitt’s law from a recent MSc. graduate; but let’s face it, in our day to day, very little psychology is actually brought to bear.

So, it came as a surprise to find a treasure trove of design insights, when reading the excellent “Thinking fast and slow” by the Nobel prize winning psychologist Daniel Kahneman.  Let me be clear; it’s not a book about design, it’s a pretty hardcore psychology book.  It’s about how we think and reason; not how we would like to think we think, but how we actually think.  Warts and all.  My hunch is that really understanding that, and the warts especially, could be a valuable tool for designers.

Fluency

One example I’d like to pick out, is Kahneman’s treatment of a phenomenon generally termed ‘Processing fluency, which he calls ‘Cognitive Ease’.  Like it or not, and more ‘usability’ minded designers may well not, the perception of usability, trustworthiness, beauty is partially dependent on the myriad of superficially unrelated factors that drive the fluency of cognitive processing (don’t worry I’m about to explain).

Yes that’s right.  You can do things to make people think a design is more, trustworthy or beautiful, without actually making it more trustworthy or beautiful.  At all.

So let me explain.

As Kahneman explains it; our brain has a number of built-in dials (you could think of them as a bunch of sixth senses), that are constantly, effortlessly and unconsciously, updating us on (evolutionarily) important aspects of our environment.  So, for example: “What’s the current threat level?”, “Is anything new going on?”.  One of these is, Processing Fluency, which is basically a measure of how hard your poor brain is being asked to work.  It’s basic raison-d’etre, is to let you know when you need to redirect attention or make more effort.  However, interestingly for us designers, it ends up having a much broader impact on the way we evaluate things and make decisions.   Anything that increases fluency (and there are lots of things that do) will bias many types of (and perhaps all) judgements positively.

This is a, somewhat scarily, broad phenomenon.  Who would have thought that:

Rhyming statements seem truer than equivalent non-rhyming ones

Shares with more easily pronounced names outperform on the stock market

Text written with simpler words, are judged to have been written by a more intelligent author

To usability, beauty and beyond

But let’s focus on how this relates to design.

It turns out that anything that increases fluency, will positively effect many aspects of the way people perceive, judge, and presumably experience, something.  Fluency will make people trust something more, make it feel more familiar, more effortless, more aesthetically pleasing, more valuable; fluency will even make people feel more confident in their own ability to engage with the experience.  And these effects can all potentially be brought to bear independently, and on top of, the actual content of the experience.

What’s powerful here is that there are lots of ways in which you can increase the fluency of your experience; ‘manipulations’ in the parlance of psychologists.  I’ve tried to summarise what I’ve been able to glean from the psychology literature around this in the infographic below.  The thing to remember is that any of these manipulations will positively impact people’s perceptions of your experience.

You can make your copy more fluent, your visual design more fluent, and your flows more fluent.

Making your copy more fluent

Let’s start with copy.  A bunch of the things we normally think of as best practice, such as using simple straightforward language and uncomplicated syntax, increase fluency.  It’s interesting to realise that such simple things could end up impacting how much people will trust the experience!

Looking at copy from the perspective of fluency gives weight to more flippant techniques, such as the use of rhyme, alliteration.  It guides us to think carefully about how easy copy is to say out loud.  All these things improve what is called ‘Phonological Fluency’ i.e. how easy something is to say; how easily it rolls off the tongue.  If it’s easier to say, it’s easier to think.

Then, consider ‘Orthographic Fluency’ i.e. how easy one can translate written text into spoken words and meaning.  This guides us to avoid creative spellings (e.g. “Tumblr 4ever”).  It gives a clear rationale for always using the most direct, succinct and approachable notation available (e.g. “1” not “one”, “%” not “percent”).

Making your visual designs more fluent

Font designers will be happy to hear that there have been lots (and lots) of experiments that show the impact of the clarity and readability font on fluency, with all the many fold benefits this brings.  Readability is not just about readability – it’s about fluency.

Font selection is one thing that contributes towards ‘Physical Perceptual Fluency’, and psychologists have shown that having a good level of contrast does too (for fonts in particular, but presumably it will be just as important for UI elements).  Of course that’s not where it ends, even if psychologists haven’t really looked much deeper, much of the principles behind good, functional, visual design, such as leveraging Gestalt grouping principles, must surely drive this Physical Perceptual Fluency.

There’s also been a bunch of work looking at how the length of time people have to see and absorb a display impacts fluency; they call it Temporal Perceptual Fluency.  The less time, the less fluent.  This probably doesn’t have too much impact on most design applications unless you are presenting stuff for less than 1 second.  But my hunch is that judicious use of motion design will also contribute to this type fluency.

Make your flows more fluent

There has been a bunch of work looking at the role memory plays in fluency.

Most obviously using common UI patterns will create a more fluent experience by virtue of their familiarity.  Similarly when experiences are designed to be easier to learn and remember they are going to be more fluent. But you could have guessed that.

Something you might not have guessed is that you can use ‘Priming’ to make an experience more fluent.  Priming is a psychological technique that basically boils to exposing people to related stimuli before showing them the experience you’re interested in.  This activates the relevant areas of your brain making it easier to process the experience once it comes along.  Is this something we could use as designers?  Perhaps we can.  For example, we could sequence content and interactions to prime parts of the experience that we expect to be challenging.

What else?

While psychologists have already discovered lots of ways to manipulate fluency, I’d guess that there are many more waiting to be discovered.  Psychologists, haven’t been thinking about design, so they’ve not really been looking in all the right places.  In fact, i’ve taken a couple of liberties to add some obvious candidates to my graphic which are not (yet) grounded in empirical evidence (motion design and visual hierarchy). One area that doesn’t seem to have been explored at all is how to make interactions more fluent.  And there is surely much more we can do to create fluency in user journeys and IA. Perhaps someone should look into it!

And so… what?

Is this just dressing up our time honoured notions of usability in fancy new scientific jargon?   Or does it give us a genuinely new and useful conceptual tool for creating better experiences? After all we’ve had related concepts before, for example Cooper’s ‘Cognitive friction’ in his classic Inmates are running the asylum book.  Making experiences as easy and frictionless as possible is at the heart of all good digital design techniques.

To be honest, I’ve only just started thinking about this, and so haven’t yet been able to put it into practice.  But my hunch is that there are a couple of key things that the concept of fluency offers which are interesting, and potentially useful.  Firstly, there is the evidence of there being a broader set of qualities that go into making an experience frictionless or fluent, then we’ve traditionally allowed for.  Secondly, and more importantly, there is the discovery that any and all of these, impact on the full range of people’s perception and memory of an experience. We want to create experiences that people feel good about.  Depending on the experience, we want our users to come away persuaded, happy and confident.  An understanding of how to create fluency, gives us a new way of thinking about how to get the design outcomes we’re after.

Further reading for the curious

Part 2 of this fine blog: Fluency, cognitive choreography and designing better workflows, which looks at how we should be using our grip on Fluency to help users think in the right way, depending on the experiences they are engaged in.

Alter, Adam L, and Daniel M Oppenheimer. “Uniting the tribes of fluency to form a metacognitive nation” Personality and Social Psychology Review 13.3 (2009): 219-235.

Daniel Kahneman “Thinking, Fast and Slow” 2011

Google logo above reception

Sketchy behaviour at Google

Google logo above reception

Cropped image because my iPhone camera just couldn’t do justice to the view over London from reception at Google towers

Jason and Sam visited the big G on Tuesday to run a workshop building on the hugely popular Sketching Interfaces session they did at Interactions12 (Dublin) and HCID (London), earlier this year.

Even though the Googlers rated themselves a mixed bunch, in terms of confidence and ability, there was some impressive sketch action on display throughout the session.

post it notes showing how workshop participants rated their confidence and ability (before the session)

Despite the spread the standard of sketching at the session was pretty high

We had designers battling with producers and developers in live sketch-offs and the smiles even lasted when Sam sent them all back to school and gave them lines (to practice their labelling skills).

The tips and tricks were popular as ever and Sam’s custom rubber stamps (sketch it nicely once, stamp it as many times as you like) were a real hit.

2 of Sam's custom gesture stamps (great for cheating at sketching and user-testing sessions alike)

2 of Sam’s custom gesture stamps (great for cheating at sketching and user-testing sessions alike)

Huge thanks to all the guys at Google who made it a really fun session to be part of.

2 mobile weather apps

Whichever way the wind is blowing (by Sam Smith)

When it comes down to flexibility and adaptability, the British wardrobe is a thing of beauty. Not for us the predictable lightweight sunshine wardrobe of the Californian, confident that every day will be as warm and sunny as the last. Nor the clear cut seasonal wardrobe of the Scandinavian; plenty of warm layers for the cold, dark winter, followed by a shedding of the bulk for bright, summer clothes. The average Brit has to be much better prepared.

By the time you reach work at the end of your commute, it’s not unheard of to have gone through rain, wind, sunshine and even snow – only to be faced with the climate control of your office, rendering your fleece lined boots and woollen tights suffocating overkill. Until you step outside to do it all again in reverse.

2 mobile weather apps

Beautifully presented but limited weather information

You try to pick the clothes to suit the conditions, keeping an eye on the weather report on the TV or your phone. Little pictorial clues to whether it will be sunny or not, what the temperature is likely to be and how fast the wind is. Behind those graphics is a mass of statistical data – historical, predictive, uncertain.

But we can’t afford the time to take in more. If the weather report showed us the hard truth of the data underlying their predictions we’d never leave the house on time. Do we need to know? We probably wouldn’t understand the data anyway, and if the truth of the uncertainties were shared, we’d have even more of a problem deciding whether or not to pack a brolly! We want to be able to quickly engage with something that lets us make a quick decision that we can base our wardrobe choices on. It’s a pain when you go out without a coat and get rained on, but it’s not the end of the world (although it does feel like it sometimes).

But there are times when we do need a deeper understanding than this level of abstraction can give us. In the financial markets, a trader or an analyst’s inaccurate interpretation could end up costing a government or a large corporation a small fortune. And even with our old friend the weather, there are times when the smallest change could risk lives or millions of pounds.

weather chart

Met Office weather chart showing visualisation of complex weather data

We need the quantitative experts who can operate in the minutiae of the low-level data. The people who rely on established models and their own pattern-sensing abilities. But increasingly we are having to get our own hands dirty with the data, so we need the right tools to make this not just possible, but not painful.

Much like the British wardrobe, there is no one consistent choice. Sometimes a quick decision based on a visualisation is all you can afford, but when you need to dig deeper into the data you need to know that the tools you are using are giving you the full picture.

designer and developer caricature

10 ways to improve your working relationship with your developers

— a UXers guide by Amanda Wright —

1. Respect your developers

As user experience professionals we demand respect for our ‘craft’ and so you should respect your developer’s code. Remember, it’s easier to imagine than it is to build.

2. Don’t throw things over the fence
There’s nothing worse than finishing everything to the nth degree, handing it over to the developers and then vanishing, with scarcely a thought given to the implementation.

If you leave the developers to their own devices, don’t complain when they start to fill in any blanks or make decisions for you. Make sure you are around to answer questions and help with the QA and release process.

Being available post-release to monitor feedback channels can provide you with valuable feedback and help identify bugs that may have slipped through.

3. Work (largely) in parallel
This is a controversial one, particularly in agency environments where signing off deliverables and meeting deadlines is key. Once sketches have been agreed, developers can start thinking about how to structure the application, giving you a chance to move onto higher fidelity wireframes. Once these are agreed, developers can move onto building the interface. This allows for problems to be identified and solutions to be devised as a team (and documented for posterity if needed).

One caveat is that the visual design should be relatively fixed before you hand over to development as a complete rework of CSS and Javascript is painful. This shouldn’t prevent you from tightening up things as part of a normal design review process.

4. Embrace developers’ problem solving powers
We often like to think of ourselves as the champion problem solvers, but guess what? Developers like to solve a challenge or two as well. I’ve found that identifying the areas in which developers can add value, or even just leaving them a little space to make their own mark on the experience, can do wonders.

During implementation, if they identify a problem that needs resolving, allow them to suggest a solution first before you jump in with one of your own, they might just surprise you.

5. Involve developers in user testing
Bringing to life the voice of people who use to your website or service is one of the key objectives for someone in a user experience role. Go one step further by sharing videos and feedback from testing with your developers. If possible, allow them to observe if they have time to attend sessions. Watching people struggle in a user study is worth a thousand times more than just banging on about a user-centred design approach.

6. Use Shared Nomenclature
For an industry that intends to make things clearer, we do love a good buzzword and have a tendency to use lots of acronyms. Using plain language should start when you communicate to your developers and the wider team. The user experience community has recently adopted development terminology and made it our own (Agile and Lean UX spring to mind) so it’s important that everyone is clear what we mean when we use these terms, especially as the mental models can often differ.

7. Make time to share learnings from your industry
Just as you have to contend with countless user experience methods, new interaction paradigms and fine tuning your soft skills, developers (I’m talking largely front-end here) need to overcome the latest browser quirks, keep up to date with new languages and the endless parade of new shiny devices. Both tribes face significant challenges in order to keep up to date. Make time to share what you’ve learned so you both are aware of what’s going on in each other’s world.

8. Learn to be lazy
Sounds a little odd but there is a long running joke that a good programmer is a lazy programmer. Developers will strive to overcome redundancy and automate anything that needs to be done more than twice. Rather than reinventing the wheel, we should look to adopt standard patterns where appropriate and build upon existing user experience work. One way of doing something, is always better than three – especially on the same website or service!

9. Be pragmatic
This doesn’t mean that you should stick to something ‘safe’ when you are designing an experience, it means that you should be realistic about budgets and technical constraints that you have to deal with. A simple, functional and well-executed solution is more valuable to your client or company than a stripped back, half-finished solution that would have been great if all the bells and whistles were included. When it comes down to the crunch, the bells and whistles are always the first to go.

10. Don’t be the “I” in team
As the cliché goes, “there’s no “I” in team. It doesn’t matter if you designed the best experience in the world, if the implementation is poor, slow or full of bugs. You are only as good as the developers you are working with.