Tuesday, 1 October 2013

iOS 7: leading UX designers give their verdict

What does the new iOS actually mean for the millions of iPhone and iPad users worldwide? We discuss the real impact of the new iOS with four leading UX experts from Clearleft, Fjord, Specialmoves and ustwo.

"My immediate feeling was that it has made the device – in this case an iPad 2 – seem physically lighter. The use of narrow fonts, grey on white has made a big difference. There are going to be some interesting discussions over the evolution, or devolution as some may feel around icons.

"I haven't explored all the Apple apps yet, but I am surprised by certain interaction changes such as the switching camera modes using a drag action and not allowing tap on the word." [he's not the only one, Ed]
Andy Parker, user experience designer at Clearleft

"I'm not an enormous fan of the visual styling, but that's only my personal preference. I've been finding it amusing the huge amount of time that people have spent talking about and redesigning the look of the icons, rather than discussing whether the new OS actually functions better for the user."
Jon Biggs, creative director at Specialmoves

"The functionality at the core of iOS7 hasn’t changed much it has just been extended in a number of ways. The main deviations are from a visual perspective.

"The biggest change is the introduction of a brighter colour palette, which allows Apple’s LCD screens to compete with vivid OLED smartphones (suc as the Samsung Galaxy). This allows Apple to increase its appeal to the Asian market who demonstrate a preference for bright colours throughout their consumption of visual culture.

"This suggests a shift in focus from user experience to customer experience."
Kostja Paschalidis, service designer at Fjord, Design & Innovation by Accenture Interactive

"iOS 7 is primarily a visual refresh without too much change to the UX which helps make it feel instantly familiar. One super handy feature introduced in iOS 7 though is Control Center. I already use it throughout the day to do tasks such as controlling the screen brightness, switching on or off WiFi and even using the flashlight."
Shaun Tollerton, Visual Designer at ustwo

Kostja says that the brighter, more saturated colours of iOS 7 – and the new iPhone 5c's shell – are targeted at Asian markets such as China and Japan.

"I like the move away from buttons to text links for actions. It's showing a final acceptance of digital not being a replication of analog controls." AP

"It’s probably just a trick of the lighter style, but it feels faster than iOS6."
Jonic Linley, UX designer at Specialmoves

"I love how content is ruling over chrome. The whole aesthetic is a lot simpler and therefore the UI just gets out of the way. Coloured title bars also look real nice and make third-party apps feel instantly recognisable." ST

"I like how it feels fresh and new and evokes an emotional response that I can’t fully articulate." KP

"iBooks still looks like the shelf in my back room. It certainly shows where the priorities are in application development.

"The single-line iconography and the pop-out menu within Safari is frankly shocking.

"The music app on the iPhone feels like a step back. The 'Artist' view now contains thumbnails of the artists – not even album artwork that you might recognise while scanning down. The entries are much bigger, which means there aren’t as many on screen at any one time. And the text labels are much more difficult to scan because of the whitespace that has been introduced between them."

"I'm still not a fan of Apple's app icons, particularly for Camera, Contacts and Settings. There's also a bunch of visual inconsistencies across them that frustrate me as a designer. I also think some of the transitions could be snappier, such as when launching and closing apps." ST

"There are small things about the iOS7 that make it slightly frustrating to use, such as the empty icons, which are no longer filled will colour but now outlined with a faint grey line, which makes them harder to read. The system also feels very text heavy, which looks better but at the same time is harder to use. KP

Andy feels that the outlined icons in iOS7's Safari (above left and right) are a poor design choice
The music app on iOS 6 (left) and iOS 7 (right). Jonic is not a fan

"Not really no. If anything it's playing catchup. A lot of the button pushing, slide out panels and alert boxes from the previous skin were reminiscent of stale formats we are accustomed to from the 'Web 2.0' era and the lack of innovation within Windows.

"Designers at Apple have been constrained to a visual language created for their operating system for some time and now they are as close to a blank canvas as you can get. I think this will enable application developers and those inside Apple to make interfaces that are not so constrained to format and challenge how we interact with glass a lot more than has been attempted in the past." AP

"I don't really see the way that you actually interact with it being any different to before. There are new features and a different visual style but the basic methods of user interaction are still the same." JB

"Apple is incredibly influential and whatever changes are made to their systems will always have a huge impact on the industry. There has been already been an influx of new app designs, to echo the iOS7 look. I envisage more mobile companies moving towards brighter colours and a decrease in skeuomorphic design, which is sad because everything has a place." KP

"This time next year we'll look back at how apps were before iOS 7 and we'll laugh.

"Remember all of those glossy app icons, 3D styled title bars and the shadows and highlights that appeared across everything from buttons to typography? None of it really matters anymore.

"We know when a button's a button. It doesn't need real-world lighting to trick us into tapping it. We're living in a digitally savvy world now compared to 2007 when the iPhone first launched. Therefore UI in general going forward will feel authentically digital and that's regardless of the mobile platform it's being designed for." ST

Apps such as Twitter have already redesigned for the iOS 7 look-and-feel

View the original article here

See new papercut works from Rob Ryan's exhibition in London

An exhibition of the artist's work comes to London as his new book The Invisble Kingdom is released.

Rob Ryan's enchanting papercut work will be on show at the Sims Reed Gallery in London next month.

The exhibition of all-new artworks includes some of Rob's largest pieces to date, and includes both papercut and print works.

The show coincides with the publcation of Rob's new book The Invisible Kingdom, an illustrated children's book about a lonely prince who escapes to the real world that comes out on October 24. It's the first of a trilogy and follows This is for You and A Sky Full of Kindness.

The exhibition runs from October 23 to November 8 at the Sims Reed Gallery, 30 Bury Street, London, SW1 6AU – near Green Park tube. It's been put on by TAG Fine Arts.

Use the slideshow controls above and right to see more of the works on show.

Rob Ryan's enchanting papercut work will be on show at the Sims Reed Gallery in London next month.

The exhibition of all-new artworks includes some of Rob's largest pieces to date, and includes both papercut and print works.

The show coincides with the publcation of Rob's new book The Invisible Kingdom, an illustrated children's book about a lonely prince who escapes to the real world that comes out on October 24. It's the first of a trilogy and follows This is for You and A Sky Full of Kindness.

The exhibition runs from October 23 to November 8 at the Sims Reed Gallery, 30 Bury Street, London, SW1 6AU – near Green Park tube. It's been put on by TAG Fine Arts.

Use the slideshow controls above and right to see more of the works on show.

Right: It Was Only The Beginning

Right: Detail from It Was Only The Beginning

Right: Dreamed The Same Dreams

Right: Detail from Dreamed The Same Dreams

Right: There Is Only Time

iCloud.com gets the iOS 7 design treatment

By Serenity Caldwell | Macworld.com on September 19, 2013

SomeOne brands Tesco's Hudl tablet

By Digital Arts Staff on September 24, 2013

Ustwo discusses app and UX design of the Tesco Hudl 'tablet for everyone'

The digital studio discusses its work helping make the Tesco-branded tablet easy to set-up and use for the average consumer.

None of the experienced tech journalists we share an office with had high hopes for Tesco's tablet, the Hudl – but it managed to pleasantly surprise TechAdvisor's Chris Martin when he had some hands-on time with it at its launch event. The Hudl isn't – as we initially expected – just a cheaper-than-the-rest attempt to pull in unwary consumers who buy on price rather than quality, but an attempt to create an Android tablet for even the least tech-savvy consumers. It's a bold feat considering low-cost Android tablets are invariably crap and difficult to use, but for the average Tesco shopper ease-of-use and a smooth user experience is essential.

The success of the Hudl's UX is in a large part due to the work of Shoreditch-based agency Ustwo, who worked alongside branding agency SomeOne. The firm is best known for iPhone games such as Whale Trail and Blip Blup – and having an in-office wendy house for meetings – but its specialisation in UX has extended in many directions, including designing interfaces for financial trading systems.

Ustwo created a custom version of the Android set-up process for first-time users and a launcher app that smoothly delivers users to Tesco's apps and services such as ClubCard, Grocery, Tesco BlinkBox and Tesco TV – plus some pretty wallpaper that feeds into the cosmic-influenced branding.

We caught up with ustwo creative director David Mingay to find out more about how you design for the most mainstream of audiences.

NB: How would you describe the design aesthetic of the elements ustwo created?

DM: "For Hudl, we had to develop a whole range of digital branded elements, ranging from refining the icon language into something more consistent and practically useful, through to system sounds and everything else in between.

"The brand direction derives from the notion of the tablet emerging as a central part of a user's life, exemplified by the star motif, which sits within a solar system. Our challenge here is how to translate that high level approach into something actually meaningful and useful for the user.

"The design direction meant embracing a clean, clear and colourful execution, firmly with the quality of user experience in mind. Getting this balance right with a new brand, can take time, but when you iterate and review over several cycles, you can, with the right team, create amazing things."

NB: What level of knowledge did you expect the average user of the Hudl to have and how did you design the UX for them?

DM: "Tesco really wanted this tablet to appeal to people who have not necessarily owned had tablets before, as three quarters of British households don’t own a tablet computer. They wanted to create something affordable but not at the expense of user experience or using inferior technology.

"This approach immediately resonated with us, so we explored what the needs and goals of these types of users were and worked from there. We're big advocates of the User Centred Design process (UCD) and although timescales were very tight, we managed to test early wireframe prototypes and iterated accordingly.

"One of the great things working with this Tesco team is that they realised that people would be turned off from overt Tesco-branded and locked-down apps. Instead they wanted users to have a fairly generic Android experience, but if they were a Tesco customer, they wanted to provide quick ways to access those services and view their status – for example a widget that displays their ClubCard points or when their groceries are going to be delivered.

"Additionally, we built a 'Getting Started' app to guide and teach the user about the possibilities of their device. As well as providing direct links to essential apps, we included a progression meter to encourage the user to go through the whole guide and therefore increase their understanding of the device's potential.

NB: Tell us a bit about the design of the user journey during set-up of the tablet (above)

DM: "The challenge here was to work with the vanilla Google set up journey in a way that made most sense to the end user. It was tempting to go down the path of really differentiating the Hudl-specific setup steps – but given the target audience and general best-practice design principles, we created an experience that was as short and seamless as possible with no jarring deviations.

"Tesco also wanted to ensure that parents were given guidance as to how they could take steps to protect their family from the issues that arise from having devices accessing the Internet. So we made sure we included that as part of the first-time user journey."

NB: Tell us about design of the the launcher (above)

DM: "The launcher was specifically focused on being a fast track into the web- and app-based Tesco offerings. We wanted a visually-rich, yet practical mechanic that encouraged exploration and gave the user enough information to help inform their next step decision – with it all fitting in within Android user experience guidances.

"Ensuring consistency of execution really helps in keeping a high quality of user experience: typographic design, grids, colour palette, etc."

NB: Are you working on more apps for future additions to the tablet?

DM: "We are helping Tesco in evolving the Hudl user experience across a number of projects right now, so stay tuned."


View the original article here