Websites that leave a bad taste in your mouth

Slate Magazine on Why are restaurant websites so horrifically bad?

Over the last few weeks I've spent countless hours, now lost forever, plumbing the depths of restaurant Web hell. I also spoke to several industry experts about the reasons behind all these maliciously poorly designed pages. I heard several theories for why restaurant sites are so bad—that they can't afford to pay for good designers, that they don't understand what people want from a site, and that they don't really care what's on their site. But the best answer I found was this: Restaurant sites are the product of restaurant culture. These nightmarish websites were spawned by restaurateurs who mistakenly believe they can control the online world the same way they lord over a restaurant. "In restaurants, the expertise is in the kitchen and in hospitality in general," says Eng San Kho, a partner at the New York design firm Love and War, which has created several unusually great restaurant sites (more on those in a bit). "People in restaurants have a sense that they want to create an entertainment experience online—that's why disco music starts, that's why Flash slideshows open. They think they can still play the host even here online."

The article illustrates its points with great links to expensive websites that may satisfy a chef's ego but don't work for the customer. The whole article is well worth reading.

Watch design

David Pogue writes on How to Build a Usable Watch

Good interface design is darned hard:

"Your inclination is to stuff a lot of features into your product — “hey, that’ll make it sell, right?” And yet every feature has to go somewhere. It has to fit on some screen, in some menu, under some keystroke. So the more you stuff in, the more difficult to use your product becomes, and the less pleasure it will bring your customers.

I had recently bought my daughter a $9 digital watch from Wal-Mart. It had three buttons. You were supposed to be able to perform all of the watch’s functions using only these three buttons: set the time, set an alarm, turn the alarm on and off, start and stop the stopwatch, record lap times, and so on.

It was, as you can guess, a disastrous user interface. Every button wound up performing multiple functions. Double-press. Press-and-hold. Press two at once. There’s no possible way you could master it without the 3-by-3 inch sheet of instructions in 2-point type."

Read his students' suggested design improvements at:
http://pogue.blogs.nytimes.com/2011/08/11/how-to-build-a-usable-watch/

What you say isn't what I hear

"We think direct written and verbal communication is clear and accurate and efficient. It is none of those," writes Seth Godin. The implication: "Plan on being misunderstood. Repeat yourself. When in doubt, repeat yourself."

Getting Lost in Buildings

Donald Norman wrote about designers who can't figure out why users can't use the products they've designed. Boing Boing reports on a study by psychologists on why users get lost in award-winning buildings:

"Architects, on the other hand, may be among the class of people with very strong spatial skills, because their craft requires numerous spatial transformations, such as needing to envision 3D space from 2D depictions. One unanticipated consequence of such abilities is that they may not be very good at taking the perspective of a user with poorer spatial skills, and therefore may not be able to fully anticipate where users may have navigational difficulties within their buildings."

PowerPoint and Cognitive Science

Good design is more than making things pretty; good design communicates. IO9 posted on How Cognitive Science Can Improve Your PowerPoint Presentations based on a lecture by Stephen M. Kosslyn, author of Clear and to the Point: 8 Psychological Principles for Compelling PowerPoint Presentations.

Here's an overview:

1. The Goldilocks Rule: present the "just right" amount of data. Never include more information than your audience needs in a visual image.

2. The Rudolph Rule: make information stand out and highlight important details — the way Rudolph the reindeer's red nose stood out from the other reindeers'. If you're presenting a piece of relevant data in a list, why not make the data of interest a different color from the list? Or circle it in red?

3. The Rule of Four is a simple but powerful tool: the brain can generally hold only four pieces of visual information simultaneously. So don't ever present your audience with more than four things at once.

4. The Birds of a Feather Rule is another good rule for how to organize information when you want to show things in groups. "

The examples in the original post are worth reading.

Thanks to Boing Boing.

Egg drop

First day of class

Our characteristics for evaluating a product:

1. comfort
2. durability
3. price
4. appearance
5. needs
6. stability
7. weight
8. efficient to produce
9. size
10. age
11. fit
12. material
13. reputation
14. type of use

If you're interested you can see last year's list

Welcome Kalamazoo College class of 2014

Welcome to K!

And welcome to the Design Intelligence seminar. This course is part of the Shared Passages Seminar program at K College. Like all of the First Year Seminars, much of our time will be devoted to discussion and writing. The topic of this particular seminar is design.

From the class syllabus:

This course will look at the role of design in the world around us. Our emphasis will be on features, feel and function of design. We will consider why some designs work well and others work poorly. We will think about how and why things are designed in particular ways. We will look at design choices from various perspectives.

The broader goal of this class is to develop and refine skills necessary to succeed in college and beyond. We will work on discussion skills, presentation skills, analytic skills, and writing skills.

If you are interested, you can find out more about the course by exploring some of the posts below or following some of the related links on the right.

Material world

New materials allow new designs. The Financial Times reported on the Materials Library at King’s College London

Materials libraries are one of the newest and most intriguing manifestations of materials science, which is itself a relatively new term to describe an age-old discipline – the study of the relationship between the molecular structure of materials and their perceptible physical properties, such as hardness, softness, flexibility or brittleness. In the past, the study of materials fell under metallurgy, chemistry and solid-state physics. But in the last half-century, with more new materials being created than in all previous history, their sheer variety – plastics, semiconductors, biomaterials – could no longer be understood merely within the classical disciplines.

Take Aerogel: the world’s lightest solid consists of 99.8 per cent air and looks like a vague, hazy mass. And yet despite its insubstantial nature, it is remarkably strong; and because of its ability to nullify convection, conduction and radiation, it also happens to be the best insulator in the world. Sitting next to the Aerogel is its thermal opposite, a piece of aluminium nitride, which is such an effective conductor of heat that if you grasp a blunt wafer of it in your hand, the warmth of your body alone allows it to cut through ice.

Read the whole article: "A library of the world’s most unusual compounds" by George Pendle.

Thanks to Boing Boing

Photo from Tanakawho's Flickr stream, used by Creative Commons permission

http://www.flickr.com/photos/28481088@N00/ / CC BY 2.0

Should design be a policy priority?

Allison Arieff for the NY Times wrote"Designs on Policy"

Design touches all sectors of our daily life, and increasing awareness of that reality can result in tremendous benefit for all. Is design about aesthetics? Of course it is, but that’s just one of its many facets. Design can save time, money and one’s sanity. It can simplify use, enhance enjoyment, and keep us safe and well. I believe the National Design Policy can help to tangibly illustrate design’s value and help to keep it from being reduced to an afterthought, that “denim patch on a satin dress” Beirut is talking about.


Some designers I spoke to are less than thrilled with the whole design policy idea. An architect said emphatically, “Good design needs no spokesperson, needs no voice other than itself.” Yet I’m not convinced that’s always the case. Otherwise, we wouldn’t be living in, as I’ve heard one homeowner describe it, “a house with a Spanish Gothic front”, or driving Pontiac Aztecs through poorly designed intersections, and signing on for balloon payments, among countless examples. Design doesn’t need good PR; it needs to be recognized as essential to good practice. Anything that can help facilitate the importance of design as part of larger systems thinking is a positive.

She writes frequently on design for the New York Times Opinionator section

Thanks to Patrik for suggesting this.

Details matter

Dustin Curtis posts on Disney's sound system.

"To get the original audio system at Disney World to work, engineers simply attached large speakers to several hundred light-posts randomly scattered throughout the park. ... [T]here is actually a minor flaw with this system. Because the speakers are placed on arbitrarily-positioned light-posts throughout the park, the volume of the music slightly fluctuates as visitors walk along pathways. As they get closer to a speaker, the music gets louder, and as they walk away, it gets quieter."

Although no one complained about this, Disney re-engineered the park's sound.

"Today, as you walk through Disney World, the volume of the ambient music does not change. Ever. More than 15,000 speakers have been positioned using complex algorithms to ensure that the sound plays within a range of just a couple decibels throughout the entire park. It is quite a technical feat acoustically, electrically, and mathematically."

Read the whole post at http://dustincurtis.com/how-mr-q-manufactured-emotion.html

Photo by Joe Penniston used under Creative Commons

http://www.flickr.com/photos/expressmonorail/ / CC BY-NC-ND 2.0

Thanks to Boing Boing

Intersections

From Indexed.

Downtown Kalamazoo

An hour of observations...

Egg drop

Lots of great designs today!

See more photos on page 4 of my Facebook album.

On the general topic of designing for impact my faculty colleagues recommended this YouTube NASCAR video.

Pockets contents

While the things we carry in our pockets serve many different purposes, they have many common elements.
1. similar sizes
2. common shapes-- lots of rectangles with rounded corners
3. muted colors-- black, dark brown, greys, dark silver
4. durable materials
5. similar weights
6. smooth surfaces
As a result, a wallet looks surprisingly similar to a phone when both are designed to travel in pockets.

Name sign exercise

A few things we learned:

1. Different solutions exist for the same problem
2. Many things affect legibility
- size
- lettering style (or font)
- color
- line thickness
- contrast
- background
3. Color, shapes, and complexity can be intriguing and can draw the eye
4. There can be a trade-off between aesthetics and readability
5. Quality depends on time, effort, and thought

Design Characteristics

In our first class, we developed a short list of characteristics we could use to evaluate a product.

1. materials
2. sturdiness
3. consistency
4. comfort
5. aesthetics/visual appeal
6. cost
7. production (how easy is it to make?)
8. economy of materials
9. purpose
10. portability

If you want you can see a similar list from last year

Welcome

Welcome Kalamazoo College Class of 2013!

This seminar will look broadly at design and will meet the K College writing requirement for First Year students.





Here's a brief description from the syllabus:

This course will look at the role of design in the world around us. Our emphasis will be on features, feel and function of design. We will consider why some designs work well and others work poorly. We will think about how and why things are designed in particular ways. We will look at design choices from various perspectives.

The broader goal of this class is to develop and refine skills necessary to succeed in college and beyond. We will work on discussion skills, presentation skills, analytic skills, and writing skills.

If you're curious, you can explore various design topics or look at student blogs from previous years by following the links at the right.

Designing Scientific Posters

Colin Purrington of Swarthmore College has a great page of advice for poster session design.

Unlike a manuscript, posters can (and should!) adopt a variety of layouts depending on the form of charts and photographs. As long as you maintain sufficient white space, keep column alignments logical, and provide clear cues to your readers how they should "travel" through your poster elements, you can get creative. Make your poster creative! As an example (illustrated below), perhaps you might want to demote the unimportant sections (that few people read) to the undesirable real estate at the bottom portion of your poster, freeing up the right-hand column area for your stunning Conclusions. This strategy might be especially valuable for portrait-style posters where the bottom part of the paper almost touches the floor.

Read it all at:
http://www.swarthmore.edu/NatSci/cpurrin1/posteradvice.htm

Thanks to BoingBoing.

"Before Creating the Car, Ford Designs the Driver "

From the New York Times an article on Ford's design for users:

Antonella was the guiding personality for the Ford Verve, a design study that served as the basis for the latest-generation Fiesta. A character invented by Ford designers to help them imagine cars better tailored to their intended customers, she embodies a philosophy that guides the company’s design studios these days: to design the car, first design the driver.

Antonella is the personification of a profile created from demographic research about the Fiesta’s target customer, said Moray Callum, executive director of Ford Americas design.

Ford is using characters like Antonella to bring a human element to the dry statistical research drawn from polls and interviews. Based on psychological profiles, these characters are a more modern version of the “theme boards” that designers once covered with snapshots and swatches of material to inspire a design. They are also like avatars, those invented characters used in online games and forums to symbolize a participant’s personality.

“Invented characters get everyone on the same page,” Mr. Callum said. “Personalizing gives context to the information we have. Sometimes the target demographics are difficult to relate to by, say, a 35-year-old male designer.

“We found in the past that if they didn’t understand the buyer, designers would just go off and design something for themselves,” he added.

See the article at:

http://www.nytimes.com/2009/07/19/automobiles/19design.html?_r=3&pagewanted=2&emc=eta1

[Thanks Patrik!]