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Pedro Gonçalves

20 top web design and development trends for 2013 | Feature | .net magazine - 0 views

  • “If you’re designing a website and not thinking about the user experience on mobile and tablets, you’re going to disappoint a lot of users,” he warns. Designer Tom Muller thinks big brands getting on board will lead to agencies “increasingly using responsive design as a major selling point, persuading clients to future-proof digital marketing communications”. When doing so, Clearleft founder Andy Budd believes we’ll see an end to retrofitting RWD into existing products: “Instead, RWD will be a key element for a company’s mobile strategy, baked in from the start.” Because of this, Budd predicts standalone mobile-optimised sites and native apps will go into decline: “This will reduce the number of mobile apps that are website clones, and force companies to design unique mobile experiences targeted towards specific customers and behaviours.”
  • During 2012, the average site size crept over a megabyte, which designer/developer Mat Marquis describes as “pretty gross”, but he reckons there’s a trend towards “leaner, faster, more efficient websites” – and hopes it sticks. He adds: “Loosing a gigantic website onto the web isn’t much different from building a site that requires browser ‘X’: it’s putting the onus on users, for our own sakes.”
  • Designer and writer Stephanie Rieger reckons that although people now know “web design isn’t print,” they’ve “forgotten it’s actually software, and performance is therefore a critical UX factor”.
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  • Bluegg studio manager Rob Mills reckons 2013 will see a “further step in the direction of storytelling and personality on the web, achieved through a greater focus on content and an increase in the use of illustration”.
  • Apps remain big business, but some publishers continue to edge to HTML5. Redweb head of innovation David Burton reckons a larger backlash is brewing: “The gold rush is over, and there’s unrest in that apps aren’t all they promised to be. We now live in a just-in-time culture, where Google can answer anything at the drop of a hat, and we no longer need to know the answers. The app model works the old way. Do we need apps for every brand we interact with? Will we even have iPhones in five years’ time? Who knows? But one thing is certain – the internet will remain, and the clever money is on making web apps that work across all platforms, present and future.”
  • Designer/developer Dan Eden says that with “more companies focussing web efforts on mobile,” designers will feel the pressure to brush up on the subject, to the point that in 2013, “designing for desktop might be considered legacy support”. Rowley agrees projects will increasingly “focus on mobile-first regarding design, form, usability and functionality”, and Chris Lake, Econsultancy director of product development, explains this will impact on interaction, with web designers exploring natural user interface design (fingers, not cursors) and utilising gestures.
  • We’re increasingly comfortable using products that aren’t finished. It’s become acceptable to launch a work-in-progress, which is faster to market and simpler to build – and then improve it, add features, and keep people’s attention. It’s a model that works well, especially during recession. As we head into 2013, this beta model of releasing and publicly tweaking could become increasingly prevalent.“
  • “The detail matters, and can be the difference between a good experience and a great experience.” Garrett adds we’ll also see a “trend towards not looking CMS-like”, through clients demanding a site run a specific CMS but that it not look like other sites using the system.
  • “SWD is a methodology for designing websites capable of being displayed on screens with both low and high pixel densities. Like RWD, it’s a collection of ideas, techniques, and web standards.”
Pedro Gonçalves

9 Ways To Get The Most Out Of Design Thinking | Co.Design | business + design - 0 views

  • Design thinking, however, is a slightly murky concept that means different things to different people. At heart, though, it is about fusing the creative and open-ended with the analytical and operational
  • For us, there are two broad skill sets--strategy and design--with no buffer in between to organize them and tell them how to work together.
  • a lot of organizations take a slightly patronizing view of design and creative types, assuming they can’t really be expected to understand and manage things like budgets. We assume the opposite--that everyone can and should be a good businessperson.
Pedro Gonçalves

New Defaults In Web Design - How Much Has The Web Really Changed? | Smashing Magazine - 0 views

  • Many mouseover interactions are completely dysfunctional on a touch device
  • Instead of buying a state of the art monitor, buying a cheap monitor and several low-end devices to test your work on might be a better investment.
  • Hiding content and showing it on mouseover was considered to be a decent design pattern
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  • When you hover over a menu item, a submenu appears. But apart from hovering over an item, you can also simply click on it to follow the link. Now, what should happen when you tap on the item with a touch device? Should the submenus appear, or should the link activate? Or both? Or should something else happen? On iOS, something else happens. The first time you tap a link like that, the submenu appears; in other words, the hover event fires. You have to tap a second time to actually follow the link. This is confusing, and not many people will tap a second time. On Android, the submenu appears and the link is followed simultaneously. I don’t have to explain to you that this is confusing.
  • It’s very well possible to think of complex solutions11 whereby you define different interactions for different input devices. But the better solution, I think, is to make sure that the default interaction, the activate event, just works for everybody. If you really need to, you could choose to enhance this default experience for certain users.
  • The same principle that we follow for interactions — whereby we design the activate event first and enhance it later — applies to graphic design. We should start designing the things that we know everyone will see. That’s the content. No matter how big or small a screen is and no matter how minimal the feature set of a browser, it will be able to show letters.
  • rather than pollute the page with all kinds of links to get people out of there, we should really focus on that thing in the middle. Make sure it works. Make sure it looks good. Make sure it’s readable.
  • you start by designing the relationship between the different font sizes.
  • When the typography is done, you would start designing the layout for bigger screens; you can think of this as an enhancement for people with bigger screens. And after that, when the different layouts are done, you could add the paint. And by paint, I mean color, gradients, borders, etc.
  • When I say to start with typography, I don’t mean that you aren’t allowed to think about paint at the same time. Rather, I’m trying to find the things that all of these different devices, with all of their different screen sizes and all of their different features, have in common. It just seems logical to first design this shared core thoroughly. The strange thing is that this core is often overlooked: Web professionals tend to view their own creations with top-of-the-line devices with up-to-date browsers. They see only the enhancements. The shared core with the basic experience is often invisible.
  • All of the things we created first — the navigation, the widgets, the footer — they all helped the visitor to leave the page. But the visitor probably wanted to be there! That was weird.
  • To build a responsive website that works on all kinds of screens, designing for a small screen first is easiest. It forces you to focus on what’s really important: if it doesn’t fit in this small square, it is probably not terribly important. It forces you to think better about hierarchy, about the right order of components on the page.
  • Once you’re done with the content, you can start to ask yourself whether this content needs a header. Or a logo. Or subnavigation. Does it need navigation at all? And does it really need all of those widgets? The answer to that last question is “No.” I’ve never understood what those widgets are for. I have never seen a useful widget. I have never seen a widget that’s better than white space.
  • does the logo really need to be at the top16 of every page? It could very well go in the footer on many websites
  • the option to add extra luggage to a flight booking might be most effective right there in the overview of the flight, instead of in the middle of a list of links somewhere on the left of the page.
  • does the main navigation look more important than the main content? Most of the time it shouldn’t be, and I usually consider the navigation to be footer content.
Pedro Gonçalves

Snow Fail: Do Readers Really Prefer Parallax Web Design? | Co.Design | business + design - 0 views

  • The parallax style has excited web developers and inspired any number of hype lists. It's also triggered a backlash among critics who feel its bells-and-whistles approach detracts from actual content. Pitchfork creative director Michael Renaud recently told the Atlantic Wire he expects people to "tire" of the trend within a year or two.
  • the parallax site was only superior in one sense--fun. None of the other survey measures indicated a significant difference in user experience between the two sites. Parallax didn't even edge the standard site in questions about visual appeal (although participants did think it looked slightly more "professional"). Frederick also discovered one critical disadvantage of parallax: test participants who suffered from motion sickness found the style disorienting.
  • Sobering as this first careful study of parallax might be to web designers, Frederick still believes it's a fad with a future. He cautions developers to think more carefully about the context in which parallax is applied. Text-heavy sites that employ parallax scrolling seem more likely to disorient users, he says. Sites that emphasize visual elements--images, infographics, or data visualizations, in particular--are probably a better fit for the style.
Pedro Gonçalves

Will The New York Times Redesign Lead To A New Web Standard? | Co.Design: business + in... - 0 views

  • Couldn’t the NYT just know what I’d want to read and serve that up to me via algorithm? “Hell, yeah!” Adelman responds to that last question. “The fact that we continue to reflect that organization structure is not a statement about how we think things should be consumed. It is a statement about, there are some very natural ways for people to look for things.” Those “natural” ways of looking at things really come down to, again, user expectation. While the redesign does incorporate some algorithmically suggested sections within navigation, Adelman stresses that the NYT simply can’t remove the option to predictably click on particular topics, lest their audience question the publication’s transparency.
  • “There’s an element of trust that’s important in any relationship, whether it’s with the NYT or another publication, or a tool or experience you’re accustomed to,” Adelman says. “You don’t want to feel like things are moving under your feet." They also can’t merely fill the NYT homepage with articles they think someone might like to read, because then they cease to be what they are--the world’s news, presented without assumptions or bias. “I don’t think people want a customized version of the NYT homepage. They might benefit from some amount of material focused on their interests, but people come to the NYT because they want the NYT’s take on things.”
Pedro Gonçalves

How to Manufacture Desire: An Intro to the Desire Engine | Nir and Far - 0 views

  • Addictive technology creates “internal triggers” which cue users without the need for marketing, messaging or any other external stimuli.  It becomes a user’s own intrinsic desire. Creating internal triggers comes from mastering the “desire engine” and its four components: trigger, action, variable reward, and commitment.
  • A company that forms strong user habits enjoys several benefits to its bottom line. For one, this type of company creates “internal triggers” in users. That is to say, users come to the site without any external prompting. Instead of relying on expensive marketing or worrying about differentiation, habit-forming companies get users to “self trigger” by attaching their services to the users’ daily routines and emotions. A cemented habit is when users subconsciously think, “I’m bored,” and instantly Facebook comes to mind. They think, “I wonder what’s going on in the world?” and before rationale thought occurs, Twitter is the answer. The first-to-mind solution wins.
  • A multi-screen world, with ad-wary consumers and a lack of ROI metrics, has rendered Don Draper’s big budget brainwashing useless to all but the biggest brands. Instead, startups manufacture desire by guiding users through a series of experiences designed to create habits
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  • The trigger is the actuator of a behavior—the spark plug in the engine. Triggers come in two types: external and internal. Habit-forming technologies start by alerting users with external triggers like an email, a link on a web site, or the app icon on a phone. By cycling continuously through successive desire engines, users begin to form internal triggers, which become attached to existing behaviors and emotions. Soon users are internally triggered every time they feel a certain way.  The internal trigger becomes part of their routine behavior and the habit is formed.
  • After the trigger comes the intended action. Here, companies leverage two pulleys of human behavior – motivation and ability. To increase the odds of a user taking the intended action, the behavior designer makes the action as easy as possible, while simultaneously boosting the user’s motivation. This phase of the desire engine draws upon the art and science of usability design to ensure that the user acts the way the designer intends.
    • Pedro Gonçalves
       
      Maybe... but how can that time be leveraged in a focused (and profitable) way?
  • Variable schedules of reward are one of the most powerful tools that companies use to hook users. Research shows that levels of dopamine surge when the brain is expecting a reward. Introducing variability multiplies the effect, creating a frenzied hunting state, which suppresses the areas of the brain associated with judgment and reason while activating the parts associated with wanting and desire. Although classic examples include slot machines and lotteries, variable rewards are prevalent in habit-forming technologies as well.
  • The exciting juxtaposition of relevant and irrelevant, tantalizing and plain, beautiful and common sets her brain’s dopamine system aflutter with the promise of reward. Now she’s spending more time on the site, hunting for the next wonderful thing to find. Before she knows it, she’s spent 45 minutes scrolling in search of her next hit.
  • What separates the desire engine from a plain vanilla feedback loop is the engine’s ability to create wanting in the user. Feedback loops are all around us, but predictable ones don’t create desire. The predictable response of your fridge light turning on when you open the door doesn’t drive you to keep opening it again and again. However, add some variability to the mix—say a different treat magically appears in your fridge every time you open it—and voila, desire is created. You’ll be opening that door like a lab rat in aSkinner box.
  • unlike a sales funnel, which has a set endpoint, the commitment phase isn’t about consumers opening up their wallets and moving on with their day. The commitment implies an action that improves the service for the next go-around.  Inviting friends, stating preferences, building virtual assets, and learning to use new features are all commitments that improve the service for the user. These commitments can be leveraged to make the trigger more engaging, the action easier, and the reward more exciting with every pass through the desire engine.
  • As Barbra enjoys endlessly scrolling the Pinterest cornucopia, she builds a desire to keep the things that delight her. By collecting items, she’ll be giving the site data about her preferences. Soon she will follow, pin, re-pin, and make other commitments, which serve to increase her ties to the site and prime her for future loops through the desire engine.
Pedro Gonçalves

To Create The Future Of Brand Identity, Ideo Looks Inward | Co.Design: business + innov... - 0 views

  • "There’s you, the person, and you have your full identity in yourself," he says. "But you know contextually when to wear certain things. You might wear one thing to a funeral, you might wear one thing for a Saturday night. You understand those contexts. And those never change your identity, so to speak, but they do start to communicate some kind of intent. And that’s what we’re trying to figure out right now. How do you create some kind of contextual mirror to create intent."
  • "Monolithic solutions are a necessity of yesterday, because of the permanence and cost of communication," Hendrix wrote in his opening remarks for the project. "Now we’re in an ephemeral and affordable age, and mass distribution at low cost is possible thanks to the digital revolution."
  • "The digital revolution let us make more complex identity systems, but what’s the point?," he says. "At some point, you start asking, 'why do I need 10,000 configurations of a mark? What’s it really saying to me?"
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  • "We haven’t had to think about responsive identities," he says. "We haven’t had to think about time or space. And I think those will all become more important dimensions."
  • What Ideo’s really searching for is a better way of communicating in general--an identity system flexible enough to work in countless new situations, across myriad channels.
Pedro Gonçalves

10 Developer Tips To Build A Responsive Website [Infographic] - ReadWrite - 0 views

  • “We are now looking at how we display and order content differently from screen size to screen size,” said Jeff Moriarty, Boston Globe VP of digital properties in an interview last year. “This ‘responsive content’ concept is emerging and we are starting to see in data that users want different types of content depending on their context and the device they are on. We have to now think about how content performs differently from the biggest screens to the smallest, how that content is organized and even how headlines are written from platform to platform.”
  • The first thing to think of when building a responsive site is simplicity.
  • some website builders may over-design for the desktop, making some websites fun to play with but absolutely impossible to navigate.
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  • focus around content and avoid the pitfalls that certain aspects of websites can create.
Pedro Gonçalves

Experience Design Will Rule in the Post-PC Era | Forrester Blogs - 0 views

  • 77% of mobile searches take place in the home or at work where a PC is readily available. Whether you call it lazy or convenient, the simple fact is smartphones and tablets are quickly becoming the go-to computing devices for consumers.
  • In the post-PC era, customers expect companies to provide experiences aligned with their needs and abilities, in the right context, and at their moment of need.
  • Today, content is the interface and navigation is performed directly through gestures and voice commands. As a result, interactions are becoming multi-modal, engaging users through multiple senses.
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  • Adaptive. As customer interactions fragment across devices, experiences must perform reliably across an expanding interface landscape that includes PCs, laptops, smartphones, tablets, and, increasingly, TVs and cars. But just having a presence on these devices is not enough. Experiences must persist across these devices
  • Further, they need to become polymorphic, taking advantage of the connected devices that surround us to delivernew multi-device experiences that were not possible before.
  • As consumers adjust to post-PC realities, they expect companies to provide the right mix of content and functionality at the right time and right place.
  • design and customer understanding, not technology, will rule the post-PC era. In a time when you can hire a handful of engineers to build just about anything you want, value shifts from what is possible to what is desirable. 
Pedro Gonçalves

Digitaria | The Most Powerful Branding Tool You're Not Using: Pinterest - 0 views

  • I contend Pinterest as a service is best conceived of as a mood board for the company image. It isn’t a place to broadcast specifics or a way to run contests. It’s not that these are impossible, but Twitter and Facebook are better suited. Pinterest is a forum to communicate a brand’s identity, values, and personality. A place to build trust and affinity with consumers. Surprisingly, it might be the best single channel for communicating brand essence that exists today.
  • Opt for fewer, broadly categorized boards rather than many narrow ones. I have 5 boards total, and just one called "designed," instead of art, product design, graphic design, typography, advertising, and logos. Broad categories give your boards greater variety, and variety equals engagement.
  • In my experience, following people doesn't really get you followers on Pinterest. This is anecdotal, but I don't think many users do the auto-follow-back thing - that’s more of a Twitter phenomenon.
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  • Have a voice. In their pin descriptions, most users simply state in words what the image is already showing. Wasted copy! Express why you're pinning something, what you like about it, some cheeky comment. Pin something you don’t like, and say why! You want followers to get to know you, to engage with your personality and/or your brand.
  • Each pin is an impression. One that garners no re-pins or likes is a wasted opportunity.
  • Have a vision. A corollary to the previous tip. Your boards should reflect a consistent, unique visual identity. If they don’t, you may want to consider whether your brand does.
  • Post lots of content from outside Pinterest! The site tends to become an echo chamber, with most users finding everything on their boards from other boards. Be a source of fresh content to those people. The re-pin has it’s place (a strategic tool to grab someone’s attention). But really, 98% of your pins should be from external sources.
Pedro Gonçalves

Hover is dead, long live hover | Feature | .net magazine - 0 views

  • Right now, we're at a turning point. Whatever we do it’ll be wrong, either in the short term or the long term. Looking to the future and not using hover will cause pain to the majority of users today or cause pain to the increasing touchscreen user base. Offering hover interactions to only those using desktop/laptops we could consider to be a progressive enhancement. But what about hybrid devices like the Microsoft Surface that offer both touch and mouse/keyboard? Can we accurately know what input method is being used? Simple media queries are not enough to know what interaction is possible.
  • We want our designs to be device agnostic. If we build a website we want to do the minimum to make sure it works across device. We can tweak designs at different sizes to meet needs but changing an interaction style by device seems like old-fashioned thinking.
Pedro Gonçalves

How To Improve Any Service By Simplifying It | Co.Design: business + innovation + design - 0 views

  • one of the best ways to improve any experience is to simplify it--to remove complications, unnecessary layers, hassles, or distractions, while focusing on the essence of what people want and need in that particular situation.
  • Offering simplicity within a complex domain is likely to be so appreciated and valued by customers that it ends up being perceived as a luxury.
  • One way to carve out a luxury niche is by simplifying--by making it easier for customers to use a product or service without having to waste time thinking about it or sorting through too many options.
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  • Customizing content, as Chubb did with Masterpiece, is a form of simplicity because it involves winnowing information and increasing relevancy.
  • Even the largest company can achieve the illusion that it is speaking to you and only you.
  • According to a recent survey by the research firm Outlaw Consulting, the youngest wave of Generation Y consumers (those aged twenty-one to twenty-seven) responds very positively to brands that communicate with them in a “straightforward and stripped-down way, use plain packaging, and avoid excess,”
  • One of the qualities these younger respondents associate with simplicity is authenticity--that is, “keeping it simple” is tantamount to “keeping it real.”
  • Many brands these days would kill to be thought of by younger consumers as “real” and “authentic,” yet they fail to recognize that simplicity--in their products, packaging, and messaging--is one of the most important ways to convey this quality.
  • When we talk about breakthrough simplicity, we mean an interaction that cuts through the clutter. This is a standard that should be applied to everything a company puts out into the world, from the product to the ads down to the smallest piece of correspondence: It should do its job quickly, clearly, simply. People just don’t have the time or the interest to wade through corporate rhetoric and jargon to figure out what you’re trying to tell them. Through clarity of thought and presentation, it’s possible for a business to rise above the cacophony of today’s marketplace.
  • simplicity sells
Pedro Gonçalves

How To Maintain Hierarchy Through Content Choreography | Smashing Magazine - 0 views

  • Three specifications that we’ll likely find ourselves using in the future are: “Flexbox4,” “Regions5,” “Grid Layout6.”
  • Magic numbers in CSS are best avoided.
  • We need fewer of these HTML containers and more CSS virtual container classes that we can apply to different elements as needed. In other words, instead of this… <div id="container"> <div>Content here</div> <div>Content here</div> <div>Content here</div> </div> … we need more of this: <div class="container">Content here</div> <div class="container">Content here</div> <div class="container">Content here</div>
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  • In the latter block, each division might have a different class name or perhaps different additional classes applied. This allows for greater flexibility in rearranging them in the layout. In the first block of code, the three content divisions will always reside inside their parent container.
  • With CSS, we have the ability to rearrange blocks inside a container. We don’t have the ability to break content out of one container and move it inside another container. If you want more mixing of blocks, then you’ll need fewer containers.
  • there are currently far more instances of websites that are dropping columns wholesale
  • Every element is its own unique block and serves as its own container. The page’s main heading is its own contained block. All of the meta information is inside another container directly below it. After that, every paragraph, subheading and image is also its own self-contained block of content. The same goes for anything else that might end up in a post, such as a block quote or code block.
  • a challenge to how we think about structuring our HTML, particularly to how we use containers. Elements can’t move from one container to the next. We can fake it with complex CSS, or we can rewrite the HTML with JavaScript; but, ultimately, if we want to intermix elements, we’re best of using fewer HTML containers to create columns. Instead, we should leave more of our content blocks in their own containers and use CSS to create virtual columns in the layout. This solution doesn’t confine our elements to structural containers and instead enables us to more easily rearrange the elements in different layouts.
Pedro Gonçalves

Tumblr's Teenaged, Double-Edged Sword | TechCrunch - 0 views

  • Tumblr blogs tend to lack the glossy, professional, high-minded design of other social networking sites, including the behemoth that is Facebook and the SMS-inspired Twitter. If anything, these teenaged Tumblrs harken back to earlier web days where users built their own pages on AngelFire and Geocities, with atrocious backgrounds, upgraded cursors, and dancing GIF images galore. GIFs, in fact, are so hugely popular on Tumblr that the company even began experimenting with GIF-based ads.
  • According to Pew Internet’s study from earlier this year, 13 percent of Internet users ages 18-29 use Tumblr, while only 5 percent of those 30-49 do, 3 percent of those 50-64
  • Demographic data from Quantcast further drives home just how youthful a site Tumblr has become. 21 percent of its audience is under 18, 30 percent is 18 to 24, and 22 percent is 25 to 34
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  • Site users don’t tend to have kids of their own, make somewhere between $0 and $50,000 (66 percent do), have either no college (41 percent) or college backgrounds (48 percent), and tend to reflect a more ethnically diverse makeup.
  • Ten out of the ten top Hollywood studios advertise on Tumblr now
  • the U.S. is Tumblr’s top traffic source.
  • Tumblr’s future, for now, seems to be closely tied to its young adult demographic, their whims, and perhaps even their historical aversion to online ads. This audience has grown up connected, is often skeptical and cynical when it comes to brand advertising
  • It’s not an easy group to reach, which makes Tumblr’s revenue potential tricky to pin down. Too much or the wrong kind of advertising, and a fickle teen audience may find a new home elsewhere. Though Tumblr is now home to over 100 million blogs, if a good chunk belong to teens, it’s difficult to count that as serious traction –  today’s teens are less committed to their digital creations than adults, having already invented methods like “whitewalling” and “super-logoff” to erase and hide their Facebook pages, and are now turning to “ephemeral” messaging apps like Snapchat, which delete their communications upon viewing.
  • Tumblr will need to be careful with the results of those advertisers’ efforts. Overdone marketing messages could sour Tumblr’s most engaged users on their online hangout. Done well, however, Tumblr could endear itself to its reblog-happy user base even more, connecting aspirational imagery and content with those who are still young enough to dream they can spend their way into new feelings.
Pedro Gonçalves

The Basics Of Neuromarketing | Fast Company - 0 views

  • Gone are the days when you could stuff your website with low-quality articles packed with the right keywords or link spam exchanges to boost your Google rankings. Today the game is all about quality--content that’s authentic, informative, and, most of all, attractive to your intended audience. In short, we need to stop thinking about SEO as “search engine optimization” and more as “social engagement optimization,” as Greg Henderson at SEO Desk put it.
  • Our brains are getting inundated with messages all day long--so they respond well to pitches that are short and sweet. Short impactful statements on the homepage can do the job a whole lot better than huge blocks of copy that overexplain what you’re all about.
  • focus on quick ways to sum up how your product or service can change the customer’s life for the better.
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  • What our eyes see connects directly with the unconscious parts of the brain that marketers want to reach; that means you want to make your points (and your website design) as visual as possible. Photos and pictures are a great way to sell concepts quickly and directly in a brain-pleasing way. And, by the way, facial expressions are great to use--our noggins immediately identify with them.
  • The brain notices how you begin and how you end more than what you’re saying in the middle, so you want to make sure that your site (and your content) has an attention-getting open and a close that really makes your case in dramatic fashion.
  • If you’re too clever or too abstract, our brains are going to want to move on (unless it’s something we really want to figure out, which isn’t usually the case with marketing). Make sure your content is written clearly in language everyone can understand (unless you’re serving a niche audience that expects more technical or sophisticated language).
  • Emotion hits our underground intellect more powerfully than the most effectively worded argument. It makes whatever the message is more memorable as well. Go beyond facts to make your customers feel.
  • By working towards more actual social engagement opportunities with our website visitors, instead of just artificially boosting traffic, we also increase our odds for creating conversations, conversions, and long-term clients.
Pedro Gonçalves

The Billion Dollar Mind Trick | TechCrunch - 0 views

  • Instagram manufactured a predictable response inside Yin’s brain. Her behavior was reshaped by a reinforcement loop which, through repeated conditioning, created a connection between the things she sees in world around her and the app inside her pocket. When a product is able to become tightly coupled with a thought, an emotion, or a pre-existing habit, it creates an “internal trigger.” Unlike external triggers, which are sensory stimuli, like a phone ringing or an ad online telling us to “click here now!,” you can’t see, touch, or hear an internal trigger. Internal triggers manifest automatically in the mind and creating them is the brass ring of consumer technology. We check Twitter when we feel boredom. We pull up Facebook when we’re lonesome. The impulse to use these services is cued by emotions.
  • o get users using, Instagram followed a product design pattern familiar among habit-forming technologies, the desire engine.
  • The minimalist interface all but removes the need to think. With a click, a photo is taken and all kinds of sensory and social rewards ensue. Each photo taken and shared further commits the user to the app. Subsequently, users change not only their behavior, but also their minds.
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  • Finally, a habit is formed. Users no longer require an external stimulus to use Instagram because the internal trigger happens on its own. As Yin said, “I just use it whenever I see something cool.” Having viewed the “popular” tab of the app thousands of times, she’s honed her understanding of what “cool” is. She’s also received feedback from friends who reward her with comments and likes. Now she finds herself constantly on the hunt for images that fit the Instagram style. Like a never-ending scavenger hunt, she feels compelled to capture these moments.
Pedro Gonçalves

Why Storytelling Is The Ultimate Weapon | Co.Create: Creativity \ Culture \ Commerce - 0 views

  • Guber argues that humans simply aren’t moved to action by “data dumps,” dense PowerPoint slides, or spreadsheets packed with figures. People are moved by emotion. The best way to emotionally connect other people to our agenda begins with “Once upon a time…”
  • Is “telling to win” just the latest fashion in a business world that is continually swept with new fads and new gurus pitching the newest can’t-miss secret to success? Or does it represent a real and deep insight into communications strategy?
  • I think it’s a real insight. I’m a literary scholar who uses science to try to understand the vast, witchy power of story in human life. Guber and his allies have arrived through experience at the same conclusions science has reached through experiment.
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  • fiction seems to be more effective at changing beliefs than writing that is specifically designed to persuade through argument and evidence.
  • Why are we putty in a storyteller’s hands? The psychologists Melanie Green and Tim Brock argue that entering fictional worlds “radically alters the way information is processed.” Green and Brock’s studies shows that the more absorbed readers are in a story, the more the story changes them. Highly absorbed readers also detected significantly fewer “false notes” in stories--inaccuracies, missteps--than less transported readers.
  • When we read dry, factual arguments, we read with our dukes up. We are critical and skeptical. But when we are absorbed in a story we drop our intellectual guard. We are moved emotionally and this seems to leave us defenseless.
  • stories can also function as Trojan Horses. The audience accepts the story because, for a human, a good story always seems like a gift. But the story is actually just a delivery system for the teller’s agenda. A story is a trick for sneaking a message into the fortified citadel of the human mind.
  • storytelling is a uniquely powerful form of persuasive jujitsu
  • we are beasts of emotion more than logic. We are creatures of story, and the process of changing one mind or the whole world must begin with “Once upon a time.”
Pedro Gonçalves

Content Marketing is More Important than Ever | Experts' Corner | Big Think - 0 views

  • The major takeaways from Google Panda and update (in no particular order) are as follows: Focus on original content – you will get hammered for “stealing” or repurposing on too high a scale (for example, lifting content from Wikipedia) Over-optimization kills – Google can sniff out sites that are designed solely to exploit certain key words (for example, repeating the same keyword, or variations thereof to drive traffic) Link to high quality/authoritative sites – while Panda focused more on a more systematic sweep of SEO, Penguin is focused on the processes around linking. Don’t over-link, and when you do create links, link to high quality sources Excessive Ads are Bad – If it looks like you are running too many ads against your content, you will face the consequences SEO is a “Bad Word” – The rise of the term “content marketing” effectively means that high quality content trumps low quality link bait.
  • Write Guest Blog Posts for Authoritative SitesContent marketing does not just refer to content you write for your own site, but content you write for other sites.
  • content marketing also improves SEO rankings and traffic.  Link building is a common SEO strategy that is always difficult to grow through a paid channel.  The best way to get organic and quality links is by creating interesting content that drives people to link and share your content.  Whether or not it’s directly related to your line of business, driving free traffic is always a victory.
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  • The whole purpose of your own blog is to drive the highest quality, most targeted traffic to your conversion funnel – if you are not doing that, you might as well not have a blog.
Pedro Gonçalves

The Ideal Length for All Online Content - 0 views

  • 100 characters is the engagement sweet spot for a tweet. 
  • a spike in retweets among those in the 71-100 character range—so-called “medium” length tweets. These medium tweets have enough characters for the original poster to say something of value and for the person retweeting to add commentary as well.
  • the ultra-short 40-character posts received 86 percent higher engagement than others.
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  • In the last update, Google changed the layout of posts so that you only see three lines of the original post before you see “Read more” link. In other words, your first sentence has to be a gripping teaser to get people to click “Read More.”
  • The ideal length of a Google+ headline is less than 60 characters To maximize the readability and appearance of your posts on Google+, you may want to keep your text on one line.
  • Many different studies over the years have confirmed that shorter posts are better on Facebook.
  • Writing for KISSmetrics, headline expert Bnonn cites usability research revealing we don’t only scan body copy, we also scan headlines. As such, we tend to absorb only the first three words and the last three words of a headline. If you want to maximize the chance that your entire headline gets read, keep your headline to six words.
  • some of the highest-converting headlines on the web are as long as 30 words. As a rule, if it won’t fit in a tweet it’s too long. But let me suggest that rather than worrying about length you should worry about making every word count. Especially the first and last 3.
  • The ideal length of a blog post is 7 minutes, 1,600 words
  • to ensure maximum comprehension and the appearance of simplicity, the perfect line length ranges between 40 and 55 characters per line, or in other words, a content column that varies between 250-350 pixels wide (it depends on font size and choice).
  • Consider that shorter lines appear as less work for the reader; they make it easier to focus and to jump quickly from one line to the next. Opening paragraphs with larger fonts—and therefore fewer characters per line—are like a a running start to reading a piece of content. This style gets readers  hooked with an easy-to-read opening paragraph, then you can adjust the line width from there.
  • In September 2012, MailChimp published the following headline on its blog: Subject Line Length Means Absolutely Nothing. This was quite the authoritative statement, but MailChimp had the data to back it up.
  • Beyond the perfect length, you can also adhere to best practices. In general, a 50-character maximum is recommended, although MailChimp does point out that there can be exceptions: The general rule of thumb in email marketing is to keep your subject line to 50 characters or less. Our analysis found this to generally be the rule. The exception was for highly targeted audiences, where the reader apparently appreciated the additional information in the subject line.
  • The ideal length of a title tag is 55 characters Title tags are the bits of text that define your page on a search results page. Brick-and-mortar stores have business names; your web page has a title tag. Recent changes to the design of Google’s results pages mean that the maximum length for titles is around 60 characters. If your title exceeds 60 characters, it will get truncated with an ellipse.
  • Finding a hard-and-fast rule for the maximum recommendation of a title tag isn’t as easy as you’d think. Quick typography lesson: Google uses Arial for the titles on its results pages, Arial is a proportionally-spaced font, meaning that different letters take up different width. A lowercase “i” is going to be narrower than a lowercase “w.” Therefore, the actual letters in your title will change the maximum allowable characters that can fit on one line.
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