Archive for the ‘Design’ Category

Too Wet

Wednesday, December 16th, 2009

Designing for more than one project at a time demands its own process. For instance, I find that going from working on one project’s design to working on a different project’s design requires a vital and spacious buffer period.

For me it’s a little like getting out of the pool; the water stays with me for a while. I can’t just hop out and immediately put on a suit, as it will become soaked (corrupted) by the water that is still dripping off me. It takes a while to shake off the water, towel-off, and air dry before I can change clothes and be ready for other stuff.

I wonder—does everyone find this buffer necessary or can some simply flip the switch from project A to project B?

UnitElves

Wednesday, December 9th, 2009

All of us Unitards have been extra busy for the past month, putting together a series of fun Christmas projects/goodies as holiday treats for our clients. We’ll do 14 in all. Here’s Nathan working on one of his goodies.

Nathan workin on his comic

If this were R.A., he wouldn’t have to stand in a chair.

Merry Christmas, y’all!

Designing vs. Making Stuff Up

Wednesday, September 23rd, 2009

No web designer ever designed a web page. No magazine designer ever designed a magazine page. No news designer ever designed a newspaper page. You don’t design the page, you design the content. Without the content, you’re just making stuff up. That is not design. Call it decorating or guessing, but don’t call it design.

Before the design work starts, before the project starts, even before the contracts are sent to the client for execution, the issue of content must be addressed.

“Where is the content?”
“What content will be on this page …and on this page?”
“Who is writing the content?”
“When will you deliver the content?”

Answers to these questions will define how the project will proceed and when the design can begin. Perhaps more importantly, answers to these questions tell you just who you’re dealing with and how prepared they are to begin a project with you. And you may find that they’re simply not prepared. Best to know that before the contracts are signed and the project is under way.

These questions are scary and unexpected for most potential clients. Often they haven’t considered content beyond the abstract idea that the pages will have content. It’s your job to correct this mistake and address what must be addressed—before you offer a bid. No, really. How can you know how much work is ahead of you or even if your potential client is ready to begin the project unless you have answers to content questions? Other factors will impact the project, but where design is involved, content decides almost everything.

If you are “designing” without the content, you are being paid to do something that you’re only pretending to do. And that’s not a good way to serve your client or his interests.

Usability vs. Thinkability

Monday, May 18th, 2009

You know, not every interaction snafu is rooted in poor UI design. I’d argue that most of the time they’re rooted in user inattention/carelessness (we call these cases “accidents”) or even lack of user intelligence (don’t get me started on how we’re all supposedly of average or better intelligence. Harumph!). Sure, most things could be better designed, but as the human you have to recognize your responsibility to interact accurately with a UI.

Rachel points out what is likely a common example of something we all do from time to time: making a mistake with a UI. She rightly does not directly blame the UI, but a couple of commentors allude to inherent confusion or misleading characteristics in the UI. As designers, in such cases we’re predisposed to cry foul and blame a UI for its confusing or misleading design, but I hope that we don’t shut off our brains in the process. Is it not perfectly acceptable to require that users read what is on a button in order to ascertain its function?

In answer to Rachel’s question, I don’t think it is at all annoying that the two buttons might appear “eerily similar.” They’re buttons. I do, however, find it annoying that like her I sometimes make a mistake due to my own inattention and carelessness. My bad.

Big Brand 1080px Design

Monday, May 11th, 2009

In the past couple of years many web designers have experimented with wider-than-960px layouts, mostly for personal projects and experimental cases, but few have employed them for clients. This is especially true when working with large, popular brands …and there’s usually good reason for this, but there are exceptions. Here we’ll examine our case of taking Woot.com—a $165MM/yr. family of retail websites with around 1 million visitors/day—from approximately 810px layout to 1080px layout width. Unlike as with most cases, the project constraints required this change.

Woot has 4 websites: woot.com, shirt.woot, wine.woot, and sellout.woot (their collaboration with Yahoo! Shopping). In 2008, they were listed in Inc. Magazine as the #1 fastest growing retail company in the nation. What’s more, they were also listed as the 25th fastest growing company of any kind in the US, with almost 5000% growth year-over-year. These guys had been doing things right long before they contacted us about redesigning their websites.

Woot does not have any brick and mortar stores that augment their sales. These websites are their business, so a significant mistake on these sites would directly affect their profitability. That being said, things were going very well when they decided to consider a redesign. The project was not a response to lagging sales or troubling indicators, it was just a daring move to continue doing what Woot does well: progress. So it was with careful attention that we engaged in our discovery and redesign process with them.

Woot had a few specific goals for this redesign; for how it should affect their brand, their advertising, and their user base. There were also goals for how it needed to affect Woot’s secondary and community features. Additionally, Woot wanted us to simply present a fresh/different interpretation of their sites and their brand, but with the requirement that it all had to maintain the brand’s clearly established Wootness and clearly maintain the primary mechanism of offering one great deal each day on each of their sites.

Lastly, we were given license to go non-standard, to expand on the brand’s visual lexicon, to present something daring. We were offered this license for two reasons: 1), because Woot is a rather fearless company (perhaps you’ve seen some of their Google ads or read some of their daily product write-ups), and 2), because this entire relationship between Woot and our agency began as something of an experiment. They wanted to see what an outside, more objective group might do with their brand—with the caveat that the results might serve as little more than a thought piece; something used only to fuel Woot’s internal discussion. We were keen to take up that challenge, though, and as it turned out they were pleased with our initial work such that the results went directly into a daring re-launch of all of their websites.

Going Wide

Woot’s previous website design was done in July of 2005. The company, the community, and the scope of Woot’s activities had grown considerably since then. Given the specifics of the constraints and Woot’s needs and desires, we determined that a width beyond 960px would be required. In discussing this issue and likely consequences with Woot’s creative director, Dave Rutledge, he was already prepared for that possibility and had no fears about going there. And this was a little surprising to us, for when you spring a new convention on a large customer base, consequences can be “interesting.” Woot is a family of websites that gets more than 1 million visitors a day and the company has to derive its profit from those visitors, which means that in some measure Woot has to keep those folks happy.

Woot.com is not the only site we’ve launched with a wider format. For instance, our own website is 1096px wide (actually launched after the Woot redesign), and we’ve done a few smaller brand’s website redesigns, before and since, that are 970px to 1000px wide. Woot took a chance, though, with this decision. As mentioned before, the constraints made this move somewhat necessary, but the decision to go wide was not so difficult because it was not out of character for their brand. Woot has always been on the forefront of trends. They have a history of showing people what they want before they know that they want it, and being very successful doing so. While the success of this particular step was no sure bet, it was in keeping with their brand’s fearless and innovative character.

As Dave Rutledge pointed out in our discussions, “…our audience is among the most technologically advanced and web-savvy store crowds out there.” And he has statistics to back that up. Technologically advanced and web-savvy site visitors are well equipped to adapt to changes, even drastic ones. But statistics indicate that Woot’s users would not likely have to adapt very much. One of the more telling stats shows how Woot’s users’ trend toward greater-than-960 browser resolution is way ahead of the curve, as illustrated here (image below):

Woot's browser stats

(Click the image above for detail)

Clearly, Woot’s user base is unusually predisposed to respond more favorably to a wider format than that of most websites; this is certainly true of retail website users. But of course browser resolution is not the end-all-be-all of the viewing experience. Despite browser resolution settings, different users have different habits for whether they’ll maximize the browser or limit the browser size on their monitor. The thing to keep in mind, however, is that this behavior is in no way inflexible. Responding to it as though it were is silly and unnecessarily limiting.

Browser width, like browser resolution, is a response to typical dimensional characteristics of web page layouts. All of us arrive at our individual choices for resolution and browser width on the screen according to preference, based on typically encountered constraints (and other things). When those typical constraints change, so do behaviors. It has always been so and it always will be so.

So yes, it is something of a risky experiment to break with widely held conventions, but nothing worthwhile is accomplished without risk. Woot and Dave Rutledge understand this fact and are comfortable with their response to it. Conventions don’t change unless there are compelling reasons for them to. When constraints would seem to require it, Woot, and we, are happy to explore those reasons and take those risks. As it is, Woot’s sales continue to grow strongly since the re-launch.

As to the specific consequences of our wide redesign of Woot’s sites, we’ll examine those in an upcoming article. Stay tuned.

Design Reimagination

Thursday, January 29th, 2009

Cool helmetsThis week, Brain Pickings has a cool feature on their top 5 pickes for innovations in bike culture. The post features products, bike-centric infrastructure, and a not-yet-made concept for making cyclists safer. As a cyclist myself I’m particularly enamored of these references. But I’m particularly struck by what examples like these illustrate.

Any endeavor can benefit from the applied interest and innovative thinking that designers can bring. Imagine any hobby, indeed any element of culture or human activity and you’ve got a candidate for reimagination through the lens of effective design. Simple designed reinterpretations can add a bit of safety, coolness, style, facility, or just plain common sense to any of the things people spend time doing. It helps when your design reimagination is applied to something you enjoy or love.

What do you enjoy? What do you love? How can it be made nicer with a bit of design reimagination?

Redesigning Unit Interactive

Monday, January 19th, 2009

Unit InteractiveLast week we launched the redesign of Unit Interactive.com, marking an important milestone in the progression of our company. All of us here—Angela, Andy, and Nathan—had a hand in this effort and we feel great satisfaction with the results. We thought it might be useful, both as catharsis for us and as inspiration or instructive example to others, to share a bit about our process and goals and to provide insights into some of the details of the results.

Why redesign?

Brand definition and evolution is the primary reason for our redesign. We began our agency with a clear vision and a strong internal understanding of what the Unit Interactive brand represents. It has, however, taken us a while to form an equally clear vision for how best to articulate those values and brand characteristics through our website. Our original design did not allow for us to express important aspects of our brand as well as we’d like and some pages were not designed to display certain kinds of information in the most effective or appropriate manner.

Another important reason for this redesign is that our agency has grown and we’ve added to our core competencies. These issues need to be reflected in our public face, and not just forced into a site that might not elegantly accommodate them. Design should be elegant, and so should a design agency’s website, of course.

The original design did express some things quite well. It was simple, uncluttered, and crisp, which expressed one core characteristic of our fundamental design value. Also, the main page allowed for a bold reference to one client project, providing us with a focused way to show off an example of our work to potential clients. In the end, however, we found the need for our site to do more.

Brand expression

We’ve built our company culture upon a set of uncompromising core values and have made a conscious decision to feature them strongly in our professional interactions; internally and externally. The result, we believe, sets us apart from other similar agencies. In order to build a brand, you’ve got to make a promise. Our expression of our values and difference is a big part of that promise, but we needed a better way to express it through our most conspicuous public face.

A better view of us
Unit Interactive is also founded strongly on the individuals involved. As a small agency, we have no room for staff inefficiencies. Everyone here is here for specific purposes and vital to our overall success. Since we trade largely based on the names and reputations of the individuals working here, we needed a better, more flexible way to reference our staff.

Additionally, we’re a young company. Our market is still getting to know our brand, so for the time being we need to expend more energy (and more website space) toward describing our values, explaining our services, articulating our differences, etc… than we might otherwise need to do. In time our brand will become better known, allowing us to pare-down our expository content. For now, however, our specific needs require contextually appropriate structure and volume.

Design features & theme

The visual design we pursued in this effort was meant to visually express certain characteristics of our brand and company culture. Also, elements of our individual tastes and aesthetic needed to be articulated. While the copy would do much of the heavy lifting in expressing our brand values, the rest of the design had to do its part.

Grid
As any Web designer knows, the grid is the foundation of order and meaning in design; established by how one adheres to or breaks with it. The grid for this redesign was determined by the categorical needs of the content. For our purposes, a 6-column grid would work best.

The design grid

Personality
We aimed for a bold and candid vibe. This meant that a strong typeface was required for titles and page introductions; one free of frivolous forms or ornament. For this, we chose Trade Gothic Bold Condensed. We tried other similar typefaces, but kept returning to this strong candidate. We chose to use it in all-caps for a couple of reasons, but an important reason was that the page design and layouts would utilize very little in the way of structural elements. The copy—the titles especially—would have to imply structure. Trade Gothic Bold Condensed is perfect for such an assignment. We used a combination of image replacement techniques and sIFR to implement this font into our pages.

Since we did not want to burden the pages with a lot of structure, the content layout required a strong convention and visual mechanism for suggesting a sequence of content consumption. One of the best ways to accomplish this is to rely on horizontal rows of information. We planned our content to fit comfortably into this format and planned the copy volume of successive horizontal elements to maintain the necessary consistency.

The structure that was there, as provided by heading copy and structural heading containers, had to present a logical and effective relative contrast—horizontally and vertically. Careful selection of where, and where not, to apply delineation with dotted lines was also necessary in order to maintain clarity without compromising simplicity.

Copy
Given our expository needs, the pages were going to have to accommodate quite a lot of copy. We did not, however, want to present pages that were “sick with copy” in the boring, featureless sense. Therefore we had to plan a page structure that would lead a viewer’s eye and invite interest in the information. Our choice of Trade Gothic for the titles was important in this effort, but so was our copy writing.

In our client dealings, we are very direct and candid. We needed our website copy to reflect this characteristic of our brand. We avoided jargon and stated our message plainly. As we are primarily a design agency, we also need the physical structure of the copy to support the overall page structure, too …to reflect our design DNA. Toward this point, on any horizontal plane of content the copy volume was written to maintain physical dimension consistency. Doing so helps to visually simplify and produce a rhythm of sorts in the content.

Here we introduce our staff with interesting dimension Details
We invested quite a lot of thought and consideration into every element on every page of our new site. While stylistic and thematic consistency is important in describing a brand, so is the articulation of subtle details and novelty within that context.

For instance, it was our desire to allow for a more expressive showcasing of our staff on the site. We chose to use a type-o-graphic motif to share interesting and offbeat information about the individuals at Unit Interactive. It is different in format from the rest of the design, but the use of Trade Gothic Bold Condensed maintains an important level of thematic consistency.

Our new main page

We’re big believers in the idea of an agency main page being used to strongly and quickly convey an example of the experience or results of working with that agency. We worked to craft a bold way to provide this example. We then set it upon a subtle, aesthetically pleasing and effective backdrop. We also wanted flexibility in what sort of content appeared there, which we have now achieved.

We implemented a more detailed view of each project

On the case study pages, we wanted to detail more information about what we did in each project. This is especially important because of what sorts of skills and practices we’re able to employ from project to project; some of which go beyond mere graphic design and front-end development. For the page design we decreased the contrast between the header area and the content area to allow the important content—the project screenshots—to provide more contrast on the page.

We believe that a website form is often the first chance someone has to interact with your brand. That interaction can lay the tangible foundation for someone’s impression of your brand. In light of this fact we designed our contact form to simulate something of a conversation with potential clients.

Our contact form starts a conversation

Each time someone enters content and then tabs to the next field, an appropriate response or prompting (suggestion, comment, or alert) is triggered in the copy above the form. We wanted this copy to inform and almost create a dialogue between us and a potential client. Our portion of the dialog, while automated, is imbued with some of our personality and should support our brand.

Our interactive map shows our global reach

Since we’ve worked with folks in Japan, Canada, Israel, The UK, and elsewhere, we thought it important to say so (again, our current expository needs), especially for clients who are not right next door. The mechanism with which we chose to do this is made from a custom JavaScript, rather than flash. It is both mildly interesting to interact with and provides some tasty graphic content on an otherwise text-centric site.

And finally

In the end, our aim is for all of the elements and details work together in concert to produce just the sort of theme and impression we want and need to convey through our website. While no one element provides full dimension of our brand or identity, we’re satisfied that the whole does. We’re excited about our new site design and hope that you like it. We also hope that you’ve enjoyed this look into our process and aims, and hope that it may have given you something(s) to think about.

Define Design

Monday, November 17th, 2008

A static definition for graphic design is a non sequitur. That which graphic design creates is something that does not exist until a person or group interacts with it. Just as music that goes unheard has no meaning or impact; it otherwise does not exist and has no definition. At the moment someone experiences or interacts with design, the design exists. At that moment there is good design or bad design, and the definition, context, and experience for each differ greatly. This is why there can be no consummate definition of our work, and why graphic design can never be a commodity. Those who regard graphic design as a commodity are unknowingly referring to something else.

As designers, the results of our work are not found on the page or on the screen. That is where the artefact lies, but not the design result. The design result is found in the perception, consciousness, and experience of the viewer or user. The design result is found in the facility or failings our work eventuates. Observing the artefact of our work, it can be evaluated according to criteria, but design must be evaluated according to what happens next; after that artefact gives us a shove and compels consciousness into motion.

Recommended
Most Popular
Underappreciated