Scout Brody is executive director of Simply Secure, a nonprofit that works to make security and privacy technologies usable by technologically unsophisticated people by focusing on usability and human factors. Read the rest
Information security's biggest obstacle isn't the mere insecurity of so many of our tools and services: it's the widespread lack of general knowledge about fundamental security concepts, which allows scammers to trick people into turning off or ignoring security red flags. Read the rest
Japan's leading bidet toilet manufacturers (including Toto, Panasonic, and Toshiba) have come together through their industry association, the Japan Sanitary Equipment Industry Association, to agree upon a common set of UI conventions for the meanings of the icons on the buttons on the bidets' control panels, thus ending an era in which you might think you were getting "wash and dry" but actually ended up with "layer-cut and dye-job." Read the rest
Since 2011, the UK's Government Digital Service has radically transformed the way Britons interact with their government, streamlining bureaucratic processes, opening up data, and making APIs available for community groups and commercial players -- alas, the GDS has become a political football in Westminster and has hemorrhaged talent, becoming a sad reminder of a once-glorious dream of government delivered humanely, with the public in mind. Read the rest
Chris Noessel and Nathan Shedroff demonstrated that in movies depicting computers in the future, the screens are mostly blue.
Some interesting exceptions: 1991's Terminator 2 made red popular, and the Matrix Trilogy made green the in thing for a while. But within a couple of years, we were back to blue. And it's been this way since the 60s.
I think that green usually signifies "old" computers, perhaps? The Matrix was clever in that way.
Forgive me if I'm mistaken, but I'm struck by the thought that the first and third Alien movies (which were British haunted house movies, sort of) used green screens, whereas the second one, Aliens (an American action movie) used blue. Google Images isn't entirely helpful.
Guardians of the Galaxy (above) appears, of course, to be both. Read the rest
Zero UI is the new term for "invisible interfaces"—what happens in the future when all the clicking and tapping and typing is history: "If you look at the history of computing, starting with the jacquard loom in 1801, humans have always had to interact with machines in a really abstract, complex way." [Fast Company] Read the rest
Last December, Dan Grover summarized the unique mobile app UI conventions he'd spotted since moving to China the summer before to work for Wechat, a Chinese mobile messaging app that also incorporates a wallet, Evernote-style functionality, a games platform, a people-finder, a song-matching service, and, of course, an email client. Read the rest
A design classic from 1968, with all the dials, knobs, switches and buttons you could possibly need. Read the rest
The Open Technology Fund and Simply Secure are offering fellowships to researchers who seek funding to work on usability in privacy and security technology. Read the rest
Simply Secure, a nonprofit developing usable, free, open interfaces for cryptographic communications tools like OTR, is hiring! Read the rest
Timo Arnall from the design studio BERG has makes several great and provocative points in his essay "No to NoUI" -- a well-argued piece that opposes the idea of "interfaces that disappear" and "seamless computer interfaces," arguing that by hiding the working of computers from their users, designers make it harder for those users to figure out what the computers are really doing and to solve the problems that inevitably arise.
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Interfaces are the dominant cultural form of our time. So much of contemporary culture takes place through interfaces and inside UI. Interfaces are part of cultural expression and participation, skeuomorphism is evidence that interfaces are more than chrome around content, and more than tools to solve problems. To declare interfaces ‘invisible’ is to deny them a cultural form or medium. Could we say ‘the best TV is no TV’, the ‘best typography is no typography’ or ‘the best buildings are no architecture’?
...We might be better off instead taking our language from typography, and for instance talk about legibility and readability without denying that typography can call attention to itself in beautiful and spectacular ways. Our goal should be to ‘place as much control as possible in the hands of the end-user by making interfaces evident’.
Of course the interfaces we design may become normalised in use, effectively invisible over time, but that will only happen if we design them to be legible, readable, understandable and to foreground culture over technology. To build trust and confidence in an interface in the first place, enough that it can comfortably recede into the background.