One power of physical objects is the ability to fill the field of view. Even the smallest one can be held up to the face and force the rest of the world out of focus.
Digital spaces are bound by a viewport, so objects must project their full size into the imagination instead.
One of the simplest ways they do this is to visibly extend offscreen, like most web pages (this is why thou shalt not fuck with browser scroll behavior) but doing it visually isn't the only way.
One of the aspects of good information architecture is implying the content iceberg.
Even though metaphors are ultimately limiting, they are useful to quickly give an impression of depth, through a familiar hook. Like a canned character archetype in a short story, you can get away with "saying" little to sketch the complete outline.
But what if you want to do something new? Then you need to emphasize depth (both metaphorically and literally). A monitor may only be so tall and wide, but the space within is infinitely deep.
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The best way I've been able to explain "primary user benefit" to colleagues: after articulating the problem, look at how you describe the solution and ask "*how* does it help?"
Often, they realize that their problem definition is not actually crisp enough to answer that question
2 most common patterns:
- the problem is that customers don't have this feature, but now they will (not a real problem)
- the solution is that customers will no longer have the problem because AI/ML (not a real solution)
One of the key functions of a designer is to imagine multiple solutions. But you *need* to have an understanding of the problem & most important benefit before designing ways to deliver that benefit, never mind comparing the effectiveness of those ways against one another.
The worst mistake in this genre is picking metrics before you've identified your goals. It's a similar mistake to picking your tools before you know what you want to do with them.
When you have a goal, you can pick metrics and tools that focus your thinking, and if they're not getting you closer to the goal, you can switch them out.
But when you don't have a goal, all metrics and tools constrain your thinking - and you can't see the lack of progress.
Why is it that "design should work more closely with X function" narratives are always about conceding to X's limits rather than improving X's ability to support design?
Product, eng, sales, etc "requirements" are not laws of physics. And yet rather than help these people create better "requirements" the discourse always turns back to how to satisfy them (usually at the detriment of design's own incentives)
I suspect that it's because design as a practice has a very limited conception of *what it wants*
"Improve the life of the user" is far too abstract. Rather than think about how to scaffold that work, designers skip to drawing pictures of someone else's ideas.
People broadly understand that designers "make designs"
But a "design" is just an artifact documenting design decisions for some purpose. Most stakeholders request (and many designers make) artifacts without understanding *what the artifact will be used for*—making it useless.🧵
btw this is why I call Figma et al "documentation tools" - they don't help you *make* design decisions, only to visually document decisions you have made. "Loop zero" for designers is looking at that documentation, realizing you don't like it, and changing the decision.🧵
Loop one - the critique feedback loop - works the same way. The designer's internal process has stopped improving the artifact, so it's time to show it to the rest of the team, which requires slightly higher fidelity (think sketches -> wireframes). 🧵
Conversations about taste in the context of design are always fun because some designers are all too happy to call something out as "bad taste" without having any idea of what taste is *for* and the ways in which an object can be good or bad at achieving that purpose.
Taste is a signal of belonging; a design can only be "good taste" or "bad taste" within the context of its milieu.
Positioning all objects on the spectrum of a single "taste" - as designers like Schiff and Schneider *love* to do - is an attempt to universalize their milieu.
Privileging their aesthetic preference is very convenient for designers: not only does it mean that they don't need to have any range or think about what their work needs to *accomplish*, but it positions them as having some inherent authority as arbiters of taste.
Critique of the implementation does not invalidate the solution. Critique of the solution does not invalidate the shared vision of a problem that needs solving.