“10 principles of usable design” that describe the different elements in design that affect usability: ‘Consistency’, ‘Compatibility’, ‘Consideration of User Resources’, ‘Feedback’, ‘Error Prevention and Recovery’, ‘User Control’, ‘Visual Clarity’, ‘Prioritisation of Functionality and Information’, ‘Appropriate Transfer of Technology’, and ‘Explicitness’
Jordan also lists measurable aspects of design when thinking of user-performance: ‘Guessability’, ‘Learnability’, ‘Experienced User Performance’ (EUP), ‘System Potential’, and ‘Re-Usability’.‘Guessability’ refers to how easily a task is understood at first-hand (which the author calls a cost). ‘Learnability’ refers to how easily it is for a user to ‘learn’ how to use a product’s features, which measures levels of user-performance (recognition, memorability, etc.). EUP (similar to ‘Learnability’) refers to the need for products to provide higher levels of performance for more skilled or experienced users.
‘System Potential’ refers to the need for products to allow access to a product’s maximum potential. Finally, ‘Re-Usability’ is concerned with users who might leave a system for a certain amount to time. Re-Usability measures the easiness with which a product’s tools are recalled.
Rafael Marin
Hi, I'm Rafael Marin, an interaction designer and stuff maker based in Rio de Janeiro, Brazil. This is a place where I share random reveries, quotations, videos and any other stuff I may find interesting.
Experience is not what happens to a man; it is what a man does with what happens to him.
Study: Additive Circle
Roon Kang
Study: Additive White
Roon Kang
A relação com seu pai não tá boa né? Assim, como se por exemplo, não estivesse legal, como se, assim, não sei, sei lá, você, assim, você tá falando da, por exemplo, você tá falando pra mim no caso da relação com o seu pai, seria isso mais ou menos? Entendi, como se uma relação não tivesse — você tem cachorro? Não, assim, só pra, você tem cachorro? Entendi. O rabo do cachorro tá precisando comer, não come um rato. Como comer sem a boca do próprio cachorro, como se fosse, sei lá, por exemplo, assim, vamos supor, assim, não sei, talvez não vou dizer pra depois você dizer ‘Ah, a psicóloga falou então vamos respeitar’, entendeu? Não é a minha opinião que vai ditar, vamos supor, se eu fosse seu pai, num lugar, e aparece um animal, que animal é esse? Entendeu? Seria um coelho? Que animal seria esse? Como seria? Por exemplo, esse aqui é seu pai, tá? É o seu pai, aí você, aqui o outro pai, vocês, quando você fosse falar com ele, como se esse aqui tivesse que respeitar um pouco o outro, você entendeu? Vamos supor, aqui tá, vamos supor assim, aqui, imagina aqui tá o pai, tá? Aqui tá o pai, aqui tá você. Como se tivesse que ter aqui um limite, entendeu? Tipo, entre você e seu pai. Seu pai tá com um chapéu, sei lá, aí, sabe, ‘Ah, pai’. Imagina só uma árvore, a árvore tá chegando, tá falando ‘o que que tá acontecendo com’, por exemplo, olha, aí tá o pai aqui, né, no caso, aí, sei lá, você, no caso aqui você, no caso aqui você, aí tem que evitar essa relação, por exemplo. Você é esse, é seu pai, ‘Ah eu vou, obrigada’, não, aí briga com o pai, o pai não deixa, o pai não tá deixando. ‘Eu sou o pai’. Aí, vamos supor, aí, chega numa situação, basta você ter a calma e equilíbrio pra cê sair dessa situação sem ter um problema, entendeu? É como se fosse assim, seu pai e você, a relação está… Se o seu pai é a moto você seria a roda, quem seria o guidão? Seria sua mãe? Onde está o guidão da mãe? Acho que, no caso, é o orgão masculino. Quer dizer então o guidão… é o negócio na vida. Caralho isso coça porra! Isso coça! Ai como coça! ‘Ah, como você tá? Não to legal’, ‘Você, você é meu pai, você não faz nada’. Meu pai e eu não temos relação alguma / Meu pai e eu não temos relação alguma / Peraí pai. Entendeu?
Bonito dia em SP #not (Taken with Instagram at Aeroporto de São Paulo / Congonhas (CGH))
David Guetta One Love Tour (Taken with instagram at Riocentro - Centro de exposiçöes)
Meet Nelson, Coupland, and Alice — the faces of tomorrow’s book. Watch global design and innovation consultancy IDEO’s vision for the future of the book. What new experiences might be created by linking diverse discussions, what additional value could be created by connected readers to one another, and what innovative ways we might use to tell our favorite stories and build community around books? - IDEO
The willing and even enthusiastic acceptance of competing constraints is the foundation of design thinking. The first stage of the design process is often about discovering which constraints are important and establishing a framework for evaluating them. Constraints can be best visualized in terms of three overlapping criteria for successful ideas: feasibility (what is functionally possible within the foreseeable future); viability (what is likely to become part of a sustainable business model); and desirability (what makes sense to people and for people).
A competent designer will resolve each of these three constraints, but a design thinker will bring them into a harmonious balance. (…)
This pursuit of peaceful coexistence does not imply that all constraints are created equal; a given project may be driven disproportionately by technology, budget, or a volatile mix of human factors. Different types of organizations may push one or another of them to the fore. Nor is it a simple linear process. Design teams will cycle back through all three considerations throughout the life of a project, but the emphasis on fundamental human needs — as distinct from fleeting or artificially manipulated desires— is what drives design thinking to depart from the status quo.
We do not establish sizes, distances, directions, singly and then compare them piece by piece. Typically we see these characteristics as properties of the total visual field. (…) The various qualities of the images produced by the sense of sight are not static. (…)
Visual experience is dynamic. What a person or animal perceives is not only an arrangement of objects, of colors and shapes, of movements and sizes. It is, perhaps first of all, an interplay of directed tensions. (…) these tensions are as inherent in any perceipt as size, shape, location or color. (…) these tensions can be described as psychological “forces”. (…)
There are, then, more things in the field of vision than those that strike the retina of the eye. (…)
For any spatial relation between objects there is a “correct” distance, established by the eye intuitively. (…)
Wherever the disk is located, it will be affected by the forces of all the hidden structural factors. The relative strength and distance of these factors will determine their effect in the total configuration.
If influence from a particular direction predominates, there results a pull in that direction. When the disk is put at the exact midpoint between center and corner, it tends to strive toward the center.
(…) In ambiguous situations the visual pattern ceases to determine what is seen, and subjective factors in the observer, such as his focus of attention or his preference for a particular direction, come into play. (…)
When conditions are such that the eyes cannot clearly establish the actual location of the disk, the visual forces discussed here may possibly produce genuine displacement in the direction of the dynamic pull. (…) We shall have many occasions to observe that physical and psychological systems exhibit a very general tendency to change in the direction of the lowest attainable tension level. Such a reduction of tension is obtained when elements of visual patterns can give in to the directed perceptual forces inherent in them. (…)
(…) a visual pattern consists of more than the shapes recorded by the retina. (…) In perceptual experience, this stimulus pattern creates a structural skeleton, a skeleton that helps determine the role of each pictorial element within the balance system of the whole; it serves as a frame of reference, just as a musical scale defines the pitch value of each tone in a composition.
