Posts from Experience Design

The world revolves around the user.

January 5

Recent IxDA discussions of interest

I recently caught up on some interesting IxDA threads highlighted below that may interest you as well. Wishing everyone a wonderful and happy new year!

o1. Firefox Home Tab Challenge

IxDA has partnered with Mozilla Labs and Johnny Holland for a design challenge. The submission deadline is February 14 for a concept video explaining how the new Firefox home tab should work. Anyone interested in forming a Molecular team to tackle this??

02. GLIDE ‘10 Call for Papers

This is a biennial virtual conference sponsored by the National Science Foundation and AIGA UP ST NY dedicated to research on topics related to interaction between designers and global communities. The theme this year is cross-cultural collaboration with indigenous and underserved communities. Abstract submissions are due February 15. Conference takes place on October 27.

03. Google’s Above-the-Fold App

This new app let’s you see in a transparent gradient kind of way which parts of your site is viewable by percentile.

04. Shopping/ecommerce trends

Someone asked the group about what trends people were seeing with online shopping and here were the recommended resources:

o5. Andrew Daniels on uxSEARS

A virtual meeting featuring the UX director of Sears hosted by IxDA Chicago called “The $50 Billion Startup Revolution and How UX Leads the Way”:

October 16

Turn off the Lite: Apple Allows In App Purchases for Free Apps

Tap Tap Revenge 3's In App Purchase

Even though my team was swept by the Angels, I still follow MLB’s postseason games when I’m out and about with their great app for my iPhone. At 10 bucks, it’s not exactly cheap, but MLB provides a free “lite” version of the app to try it out before getting the full-featured version. Finding and downloading the free version was the only way I could try it  before I went ahead and bought the full app, because Apple didn’t allow “in app” purchases within applications that were offered for free.

Until yesterday.

This is great news. No longer will users need to download two apps to try before they buy — a true “freemium” app will allow upgrades and add-ons seamlessly, without having to leave the application. iPhone developers will no longer have to worry about the time and expense of maintaining two redundant applications, and designers can now think of unique and innovative ways to take advantage of the freemium model that meets users’ increasingly demanding expectations.

There are some limitations, however.

Apple won’t allow the sale of non-digital goods in the app itself, so dreams of one-touch storefronts for offline retailers will have to remain on hold. They also won’t allow any form of virtual currency, such as the Linden. And while subscription purchases are allowed, rentals are not − Netflix no doubt noticed this caveat.

Even so, the potential for in app updates is enormous. The difference between free and “nearly free” is vast — for every one person who bought Galaxy Impact (iTunes link) for $.99, roughly 400 downloaded it for free, according to their great case study. Offering the free version with seamless upsells, such as a game application that offers new levels or playable characters for a small fee, will likely prolong their app’s potential for user engagement.  Similarly, publishers such as the New York Times or NPR can charge for their premium content but can now offer the delivery mechanism for free.

And as Greg at MobileCrunch pointed out, pirating apps will be more difficult now that they can simply be free.

October 6

Curating the User Experience

Interior of the Guggenheim, courtesy of elconde, on Flickr

For a while, I’ve been thinking it might be useful to compare the act of curating an exhibit and that of designing a user interface. By useful I mean helping folks who are not in the industry understand the value of good user interface design. Opening to the front page of the Sunday Styles section of this weekend’s New York Times, I thought: well, someone has finally done it. Below the fold was an illustration of the word “curate.” The related article, “On the Tip of Creative Tongues,” concerned the expanding use of the word outside the realm of museums and art galleries. But the author, Alex Williams, did not compare user interface design and curation in the article, which focuses on the use of the word to “self-inflate” other acts of selecting and editing. Since the Times article has left that particular analogy unexplored, let’s take a closer look.

(more…)

September 18

Visual Communication and Directional Signage

Recently, as part of some exploratory work for my thesis at Academy of Art University, I’ve taken to collecting examples of provocative directional signage. Some examples are concise and highly effective, while others (such as the one above) are less so. I’ve been posting many of my findings, as well as user-submitted examples over on Which Way.

Often the submissions are purely whimsical in nature. However, when one considers how much (or how little) design thinking goes into the creation and implementation of these signs, it was very easy to see the correlation to the work we do here at Molecular as digital marketers. We share a common challenge with your local municipal traffic and signal office: how to best communicate significant information to a user in the shortest span of time.

I found a new respect and appreciation for street signs in particular, as they have the shortest exposure time with their intended audience (about 2.5 to 4.5 seconds, according to a report by Transportation Planning International, titled Increasing Understanding of Traffic Signs, March 2004).

We actually have a pretty cushy time frame in which to communicate our clients’ messages. When you compare the average web interaction to traditional media (a 30-second TV commercial), or the One Way sign on your street… it really put things into perspective. The mass of content of a street sign may be slim — just one or two words, but the message they communicate is often the most pertinent (eg. a Stop sign) :

Bad design in signage systems is easy to spot. In fact, they suffer from much the same design flaws that can afflict web applications: counter-intuitive implementation (as seen in the first example), poor visibility, verbose or obtuse copy, or in the case of this sign below from Finland, failure to communicate across cultures. I think this sign means “watch out for holes” but since I can’t read Finnish, my first thought was that this sign means “Caution: Dead rising from the grave!”:

The next time you see a traffic sign or a directory, consider for a moment the challenges the designer(s) had to meet in order to produce an effective and timely interaction. What can we learn from the implementation, conceptualization, functionality and visibility of the signage systems that we pass by every day?  A group on Flickr known as Finding Our Way:  Photos of Wayfinding and Directional Signage is a great place to start. Please share with us if you happen to come across any signage systems that you feel are particularly well designed!

August 10

The direction forward with web fonts

In the current discussions around fonts on the web, there is much confusion between the techniques. Most seem to think that TypeKit and .webfont are our only options. They are not, but the rest of the landscape is quite busy.

Things have been moving very quickly in the last three weeks, so let me break it down like this:

  • Webfont services: TypeKit, fontdeck, Typotheque
  • Proposals: EOT-Lite, .webfont, ZOT, webOTF
  • Implemented standards: @font-face using EOT and TTF
  • JavaScript-based font solutions: sIFR, Facelift, Cufón

The commercial webfont services players

While many have considered TypeKit as an alternative to .webfont, it’s just a smart implementation of CSS and JavaScript along with a shop and licensing model. I agree with Pablo Impallari who commented:

You don’t need typekit, .webfont or any other solution. You can start using real fonts on the web right now.

Typekit makes a somewhat complicated implementation drop-dead easy, but if you’ve used sIFR before, than I’m confident you can handle this on your own.

The licensing legwork that TypeKit is doing is a significant value-add and may be worth it for people who don’t want to deal directly with font resellers. I’m quite interested in how the smart folks at Clearleft expect to differentiate their competing service, fontdeck.

Typotheque and Kernest are also new entrants to watch, both created by font shops. Both seem to only license their own foundries’ typefaces, so their library size may end up being quite small, but I can say right now Typotheque’s offering looks strong.

At the same time, we’ve had web font services already: Fontburner and Flir Premium, but they never really gained popularity, so I’m surprised people expect such a different outcome from these new players.

The EOT-Lite and .webfont proposals

The general complaint from the type community around non-EOT @font-face is that the naked font is so accessible, anyone could trivially take it off a webserver and install it on their machine. These two proposals offer a “garden fence” approach to protection; it’s still quite easy to get inside and snag the font, but it’s harder than if there were no protection at all.

.webfont, the format proposed by Tal Leming and Erik van Blokland is a great compromise solution: basically a zip file containing both an xml file of metadata and the font. While it uses the same css @font-face syntax, and everyone seems to love it, having it work in all browsers is at least three years off.

EOT-Lite, on the other hand, seems to be covered much less in roundups to date. The basic idea is that it’s the same as EOT but without the two major complaints of the format: domain binding and MTX compression. (Interesting as, the compression’s patent owner is offering to free it up.)

The huge plus of EOT-Lite is that the format works, right now, in IE4-IE8. Adobe, Monotype, Microsoft and a cadre of type shops support it. Perhaps surprising for some, Mozilla is also quite involved in the EOT-Lite discussion, not only helping to define the spec, but also making a test build of Firefox that handles the new format.

ZOT is a new format proposed by Mozilla; essentially TTF with compression. It’s well considered, but as .webfont comes with the same advantages and already has a wave of support, I think ZOT is best left as an academic discussion. Oh, and Berlow’s OpenType permissions table – which would have been a great idea to have in 2000, but not now.

Update 2009.08.10: .webfont and ZOT merged their proposals. It’s now called WebOTF.

The @font-face standard

By my calculations, the current implementation (using EOT or TTF/OTF) covers ~70% of users. When Firefox 3.0 users upgrade to 3.5 that figure will increase to ~90% of users (I bet we’ll see that within six months). Things still do visually look a little different across browser implementations, but they currently work cross-browser and with fixes like forcing Cleartype on for web fonts in Firefox, render quality is improving steadily.

/* it's this easy: */
@font-face {
  font-family: 'Gentium';
  src: url(Gentium.eot); /* EOT for IE */
}
@font-face {
  font-family: 'Gentium';
  /* IE ignores this one because of the format value */
  src: url(Gentium.ttf) format("opentype");
}
h1,h2,h3 { font-family: 'Gentium', Tahoma, sans-serif;

I generally side with the concerns of type foundries here, rather than the Fuck The Foundries crowd. I want myself and other designers to have access to the best of typography, but understand the fonts used for Firefox/Webkit are a little too naked at this point. While we’re waiting for the rest of this to pan out we may see a new market of type designers that are comfortable with naked fonts (like David Březina), but I’m skeptical about the efficacy of that.

JavaScript-based custom font solutions

We’ve had sIFR for nearly 5 years and I’m glad we have, but we now have better options. After significant research I think Cufón is the best library in this space; it’s small, clever, and very performant. However, many foundries aren’t ready to license their typefaces for use with Cufon. Facelift is a great alternative here, as it doesn’t expose the font data to the browser (instead generating PNGs via PHP), thus very licensing-friendly.


These libraries will be useful in bringing custom fonts to older browsers (currently: Firefox 3.0, Chrome, and Opera 9), but still lack flexibility when it comes to rtl languages.

It’s also possible that they won’t be treated only as a fallback solution. If  foundries remain unwilling to license for the naked @font-face implementation in Firefox and Webkit, we may have no choice but to use Cufón while we’re waiting for these browsers to adopt EOT-Lite or .webfont. In fact, Monotype’s web embedding EULA currently allows use with siFR and Cufón, as long as there is domain-binding.

Conclusions

I don’t think webfont services are the future, but I do think the landscape is hairy enough now to convince web developers to take the easy route by relying on a TypeKit or Fontdeck for their custom type. Taking advantage of the best techniques available isn’t insurmountable without a hosted webfont service, and I think we’ll see developers going it alone with their own implementations and licensing directly with the font resellers.

I believe EOT-Lite is the right direction for webfonts right now. It already works in the most stubborn browser, and since Firefox just released a test build with support for EOT-Lite, it’s looking more reasonable than ever. It’s also quite interesting that after the months of debate at the W3C surrounding Microsoft’s proposal of making EOT the standard, it took quite some time for the sensible proposal of EOT-Lite to emerge. I guess both sides had to soften a little. :)

If you have any comments or questions, please leave them below.

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