In 2003, my wife Lowri and I went to a christening party. We were friends of the hosts but we knew almost no-one else there. Sitting next to me was a thirty-something woman and her husband, both dressed in the corporate ‘smart casual’ uniform: Jersey, knitwear, and ready-faded jeans for her, formal shoes and tucked-in formal shirt for him (plus the jeans of course; that’s the casual bit). Both appeared polite, neutral, and neat in every respect.

I smiled and said hello, and asked how they knew our hosts. The conversation stalled pretty quickly the way all conversations will when only one participant is engaged. I persevered, asked about their children who they mentioned, trying to be a good friend to our hosts by being friendly to other guests. It must have prompted her to reciprocate. With reluctant interest she asked the default question: ‘What do you do?’ I paused, uncertain for a second. ‘I’m a web designer’ I managed after a bit of nervous confusion at what exactly it was that I did. Her face managed to drop even as she smiled condescendingly. ‘Oh. White backgrounds!’ she replied with a mixture of scorn and delight. I paused. ‘Much of the time’, I nodded with an attempt at a self-deprecating smile, trying to maintain the camaraderie of the occasion. ‘What do you do?’ I asked, curious to see where her dismissal was coming from. ‘I’m the creative director for … agency’ she said smugly, overbearingly confident in the knowledge that she had a trump card, and had played it. The conversation was over.

I’d like to say her reaction didn’t matter to me, but it did. It stung to be regarded so disdainfully by someone who I would naturally have considered a colleague. I thought to try and explain. To mention how I started in print, too. To find out why she had such little respect for web design, but that was me wanting to be understood. I already knew why. Anything I said would sound defensive. She may have been rude, but at least she was honest.

I am a web designer. I neither concentrate on the party venue, food, music, guest list, or entertainment, but on it all. On the feeling people enter with and walk away remembering. That’s my job. It’s probably yours too.

I’m self-actualised, without the stamp of approval from any guild, curriculum authority, or academic institution. I’m web taught. Colleague taught. Empirically taught. Tempered by over fifteen years of failed experiments on late nights with misbehaving browsers. I learnt how to create venues because none existed. I learnt what music to play for the people I wanted at the event, and how to keep them entertained when they arrived. I empathised, failed, re-empathised, and did it again. I make sites that work. That’s my certificate. That’s my validation.

I try, just like you, to imbue my practice with an abiding sense of responsibility for the universality of the Web as Tim Berners-Lee described it. After all, it’s that very universality that’s allowed our profession and the Web to thrive. From the founding of the W3C in 1994, to Mosaic shipping with <img> tag support in 1993, to the Web Standards Project in 1998, and the CSS Zen Garden in 2003, those who care have been instrumental in shaping the Web. Web designers included. In more recent times I look to the web type revolution, driven and curated by both web designers, developers, and the typography community. Again, we’re teaching ourselves. The venues are open to all, and getting more amazing by the day.

Apart from the sites we’ve built, all the best peripheral resources that support our work are made by us. We’ve contributed vast amounts of code to our collective toolkit. We’ve created inspirational conferences like Brooklyn Beta, New Adventures, Web Directions, Build, An Event Apart, dConstruct, and Webstock. As a group, we’ve produced, written-for, and supported forward-thinking magazines like A List Apart, 8 Faces, Smashing Mag, and The Manual. We’ve written the books that distill our knowledge either independently or with publishers from our own community like Five Simple Steps and A Book Apart. We’ve created services and tools like jQuery, Fontdeck, Typekit, Hashgrid, Teuxdeux, and Firebug. That’s just a sample. There’s so many I haven’t mentioned. We did these things. What an extraordinary industry.

I know I flushed with anger and embarrassment that day at the christening party. Afterwards, I started to look a little deeper into what I do. I started to ask what exactly it means to be a web designer. I started to realise how extraordinary our community is. How extraordinary this profession is that we’ve created. How good the work is that we do. How delightful it is when it does work; for audiences, clients, and us. How fantastic it is that I help build the Web. Long may that feeling last. May it never go away. There’s so much still to learn, create, and make. This is my our party. Hi, I’m Jon; my friends and I are making Mapalong, and I’m a web designer.

Discover top YouTube channels dedicated to UX design, offering insights and tutorials to enhance your skills in creating intuitive and engaging user experiences. Here are some of the best channels for UX designers.

The Mirzapur-based brand explores the potential of carpets as vehicles for storytelling by collaborating with Tarun Tahiliani, Anju Modi, Anita Dalmia and Ashdeen Lilaowala

How Indian designers are using the flexible rattan to design art installations, furniture, and decor accessories

Since the development of Open Educational Resources (OERs), different models regarding the usage of these resources in education have appeared in the literature. Wiley’s 4-Rs model is considered to be one of the leading models. Research based on Wiley’s model shows that using materials without making changes is the most common use. Compared to the extensive literature regarding OER usage in education, the literature barely deals with OER usage by instructional designers or training managers in corporations. The purpose of this research is to examine the OER usage of these two stakeholders, distinguishing between Little and Big OER repositories, in which Little OER repositories such as YouTube and Wikipedia aren’t necessarily designed to fulfill educational purposes. Findings show that these stakeholders almost use only Little repositories and that their usage level is higher than what is documented in the literature: they mostly Revise–modify the form of the resource, and Remix–combine different resources to create new ones. These differences can be explained by the fact that materials from Little OER repositories are raw materials, requiring further editing and adjustment. Significant differences between instructional designers’ and training managers’ usage of OERs were found regarding the Reuse level of resources from internal repositories and the Google Images repository, and the frequency of this Reuse.

Implementing inquiry in the outdoors introduces many challenges for teachers, some of which can be dealt with using mobile technologies. For productive use of these technologies, teachers should be provided with the opportunity to develop relevant knowledge and practices. In a professional development (PD) program in this design-based research, 24 teachers were involved in adaptation of a learning environment supporting inquiry in the outdoors that included the use of mobile technologies. They first experienced the learning environment as learners, then adapted it for their own use, and finally, enacted the adapted environment with peers. We examined the scope and character of teacher involvement in adaptation, and the consequent professional growth, by analyzing observations, questionnaires, interviews and the adapted learning-environments. Findings indicate that all teachers demonstrated change processes, including changes in knowledge and practice, but the coherence of the learning environments decreased when substantial adaptations were made. Some teachers demonstrated professional growth, as reflected by their implementation of ideas learned in the PD program in their daily practice, long after the PD program had ended. This study demonstrates how the Teachers as Designers approach can support teacher learning and illustrates productive use of scaffolds for teacher growth and professional development.

USA Flooring announced the launch of a Partner Rewards Loyalty program, designed by The Incentive Group for Pro Customers, with support from Shaw Industries. 

The INSTALL Warranty Contractor designation is a unique offering in the flooring industry because it guarantees that the installation work is of the highest quality and stands behind that guarantee with a free extended warranty on labor.

Selecting the right flooring for a space not only adds to its look, but experience and overall feel. That is one of the main points designers said when Floor Trends polled them to find out just what they’re looking for when designing for commercial spaces.

According to a recent survey conducted by TechBehemoths between February 19 - March 6, 2024.

TEW Design Studio, a leading interior design firm in North Carolina, has announced its relocation to a larger studio space in Apex, NC.

Today I have a really exciting update, sharing exactly what I've been working on for the past year. At my other website Design Cuts, we've just launched the most curated, high quality marketplace anywhere for designers just like you!

Design Sojourn is a proven Design Led Innovation Consultancy passionate in radically transforming lives. We are growing our team in 2021!

The post We are Hiring Experience Designers and Design Thinkers (Closed!) appeared first on Design Sojourn. Please click above if you cannot see this post.

    The hiring for this position is now officially closed! Design Sojourn is a Design Led Innovation Consultancy that loves to inspire, impact and create better lives. We are currently looking for smart, dynamic, self-motivated Junior Experience Designers with strong verbal/written communication skills and...

The post We are looking for Junior Experience Designers! (Closed) appeared first on Design Sojourn. Please click above if you cannot see this post.

There is a huge variety of free and premium web design tools and resources to choose from to help you create stunning websites. They range from complete website design platforms to design frameworks and wireframing tools to plugins featuring “must have” functionalities. And, a whole lot of things in between. These design tools and resources […]

The post The Best 13 Tools & Resources for Designers and Agencies for 2023 appeared first on WebAppers.

It’s 2024 and the number of web design resources and tools on the market seems overwhelming. That’s good news since you need the right tools and resources to come up with competitive designs. The bad news is, rather than sifting through thousands of products to get the ones that best meet your needs you might […]

The post 15 Great Tools & Resources for Designers & Agencies in 2024 appeared first on WebAppers.

This week’s designer news includes CSS Printing Guide, Retrofitting Fluid Typography, CSS :has() Interactive Guide, Bootstrap 5 Modern Backgrounds, and much more.

View and Vote

Web design tools and resources, both free and premium, are designed to help you take full advantage of your creativity. Thereby enhance your ability to create stunning websites. There is a huge variety of products and services to choose from. They are ranging from complete platforms to specialized software applications. Just like design frameworks, wireframing […]

Burts bees

Collaborating on an online project management software for marketing is a huge part of being a designer or a creative, and more often than not you are juggling more than one task or project at a time. This makes managing a creative project online for creatives particularly difficult and what’s more, the line managers or … Continue reading Wrike for Designers and Creatives

The post Wrike for Designers and Creatives appeared first on Design Shard.

Save cash with these top best 2024 Black Friday and Cyber Monday deals for graphic designers, creatives, artists, web designers, professionals & photographers!

Christmas time is full of joy & stress trying to find the right gift. See our list of the best Christmas gift ideas for designers and be festive!

It’s time for our monthly roundup! In this edition, we’ve gathered some exciting new resources for web developers, with a focus on the PHP ecosystem. PHP has experienced a bit of a renaissance lately, especially with Laravel’s influence on the JavaScript ecosystem, and with the upcoming release of PHP 8.4 around the end of this…

The post Fresh Resources for Web Designers and Developers (October 2024) appeared first on Hongkiat.

Location: Engineering Library- TS1767.P35 2016

Team Bermuda will dazzle today [July 26] at the Paris Olympics Opening Ceremony, as the Bermuda Olympic Association announces local fashion designers Courtney Clay, Channing Dill, and Alana Wade as the official designers for the 2024 Olympic Games. A spokesperson said, “Clay is credited with the custom scarf, tie, and pocket squares. Dill created a […]

Change is definitely on the horizon. READ MORE...

Solutions Catch Problems Early and Drive Cost Out of Designs

Leading elevator components supplier implements 550 licenses of the SolidWorks PDM solution

Electronics air filter manufacturer sees dramatic 30 percent increase in Web site traffic, reduces customer product development by two months

Quiet, cozy dome solves problems identified by working pediatric professionals

Extensive automation of time-consuming tasks gives designers fast, accurate tools for testing their ideas

Competition sponsored by SOLIDWORKS and

Cadence AWR Design Environment Software Featured in Multiple Training Course Options: Live and Virtual Starting in October(read more)

Welcome to September’s toolbox.

Welcome to our roundup of top new tools for October.

A WordPress theme that doesn’t look modern, doesn’t come with built-in flexibility, and with a developer that doesn’t support it can spell trouble for you down the line. Your website’s design needs to adapt and evolve alongside the business it represents.

Kushal Karwa, a thought leader in design education, emphasizes the need for integrating soft skills training into career preparation programs to help young designers thrive in real-world environments.

In 'Dune,' inhabitants of the desert planet wear full-body stillsuits for their survival. These stillsuits capture moisture and recycle it into drinking water. Jacqueline West and Bob Morgan, costume designers on 'Dune,' explain how they approached designing the suits for the film.

About two and a half years ago, I introduced the idea of daily ethical design. It was born out of my frustration with the many obstacles to achieving design that’s usable and equitable; protects people’s privacy, agency, and focus; benefits society; and restores nature. I argued that we need to overcome the inconveniences that prevent us from acting ethically and that we need to elevate design ethics to a more practical level by structurally integrating it into our daily work, processes, and tools.

Unfortunately, we’re still very far from this ideal. 

At the time, I didn’t know yet how to structurally integrate ethics. Yes, I had found some tools that had worked for me in previous projects, such as using checklists, assumption tracking, and “dark reality” sessions, but I didn’t manage to apply those in every project. I was still struggling for time and support, and at best I had only partially achieved a higher (moral) quality of design—which is far from my definition of structurally integrated.

I decided to dig deeper for the root causes in business that prevent us from practicing daily ethical design. Now, after much research and experimentation, I believe that I’ve found the key that will let us structurally integrate ethics. And it’s surprisingly simple! But first we need to zoom out to get a better understanding of what we’re up against.

Influence the system

Sadly, we’re trapped in a capitalistic system that reinforces consumerism and inequality, and it’s obsessed with the fantasy of endless growth. Sea levels, temperatures, and our demand for energy continue to rise unchallenged, while the gap between rich and poor continues to widen. Shareholders expect ever-higher returns on their investments, and companies feel forced to set short-term objectives that reflect this. Over the last decades, those objectives have twisted our well-intended human-centered mindset into a powerful machine that promotes ever-higher levels of consumption. When we’re working for an organization that pursues “double-digit growth” or “aggressive sales targets” (which is 99 percent of us), that’s very hard to resist while remaining human friendly. Even with our best intentions, and even though we like to say that we create solutions for people, we’re a part of the problem.

What can we do to change this?

We can start by acting on the right level of the system. Donella H. Meadows, a system thinker, once listed ways to influence a system in order of effectiveness. When you apply these to design, you get:

• At the lowest level of effectiveness, you can affect numbers such as usability scores or the number of design critiques. But none of that will change the direction of a company.
• Similarly, affecting buffers (such as team budgets), stocks (such as the number of designers), flows (such as the number of new hires), and delays (such as the time that it takes to hear about the effect of design) won’t significantly affect a company.
• Focusing instead on feedback loops such as management control, employee recognition, or design-system investments can help a company become better at achieving its objectives. But that doesn’t change the objectives themselves, which means that the organization will still work against your ethical-design ideals.
• The next level, information flows, is what most ethical-design initiatives focus on now: the exchange of ethical methods, toolkits, articles, conferences, workshops, and so on. This is also where ethical design has remained mostly theoretical. We’ve been focusing on the wrong level of the system all this time.
• Take rules, for example—they beat knowledge every time. There can be widely accepted rules, such as how finance works, or a scrum team’s definition of done. But ethical design can also be smothered by unofficial rules meant to maintain profits, often revealed through comments such as “the client didn’t ask for it” or “don’t make it too big.”
• Changing the rules without holding official power is very hard. That’s why the next level is so influential: self-organization. Experimentation, bottom-up initiatives, passion projects, self-steering teams—all of these are examples of self-organization that improve the resilience and creativity of a company. It’s exactly this diversity of viewpoints that’s needed to structurally tackle big systemic issues like consumerism, wealth inequality, and climate change.
• Yet even stronger than self-organization are objectives and metrics. Our companies want to make more money, which means that everything and everyone in the company does their best to… make the company more money. And once I realized that profit is nothing more than a measurement, I understood how crucial a very specific, defined metric can be toward pushing a company in a certain direction.

The takeaway? If we truly want to incorporate ethics into our daily design practice, we must first change the measurable objectives of the company we work for, from the bottom up.

Redefine success

Traditionally, we consider a product or service successful if it’s desirable to humans, technologically feasible, and financially viable. You tend to see these represented as equals; if you type the three words in a search engine, you’ll find diagrams of three equally sized, evenly arranged circles.

But in our hearts, we all know that the three dimensions aren’t equally weighted: it’s viability that ultimately controls whether a product will go live. So a more realistic representation might look like this:

Desirability and feasibility are the means; viability is the goal. Companies—outside of nonprofits and charities—exist to make money.

A genuinely purpose-driven company would try to reverse this dynamic: it would recognize finance for what it was intended for: a means. So both feasibility and viability are means to achieve what the company set out to achieve. It makes intuitive sense: to achieve most anything, you need resources, people, and money. (Fun fact: the Italian language knows no difference between feasibility and viability; both are simply fattibilità.)

But simply swapping viable for desirable isn’t enough to achieve an ethical outcome. Desirability is still linked to consumerism because the associated activities aim to identify what people want—whether it’s good for them or not. Desirability objectives, such as user satisfaction or conversion, don’t consider whether a product is healthy for people. They don’t prevent us from creating products that distract or manipulate people or stop us from contributing to society’s wealth inequality. They’re unsuitable for establishing a healthy balance with nature.

There’s a fourth dimension of success that’s missing: our designs also need to be ethical in the effect that they have on the world.

This is hardly a new idea. Many similar models exist, some calling the fourth dimension accountability, integrity, or responsibility. What I’ve never seen before, however, is the necessary step that comes after: to influence the system as designers and to make ethical design more practical, we must create objectives for ethical design that are achievable and inspirational. There’s no one way to do this because it highly depends on your culture, values, and industry. But I’ll give you the version that I developed with a group of colleagues at a design agency. Consider it a template to get started.

Pursue well-being, equity, and sustainability

We created objectives that address design’s effect on three levels: individual, societal, and global.

An objective on the individual level tells us what success is beyond the typical focus of usability and satisfaction—instead considering matters such as how much time and attention is required from users. We pursued well-being:

We create products and services that allow for people’s health and happiness. Our solutions are calm, transparent, nonaddictive, and nonmisleading. We respect our users’ time, attention, and privacy, and help them make healthy and respectful choices.

An objective on the societal level forces us to consider our impact beyond just the user, widening our attention to the economy, communities, and other indirect stakeholders. We called this objective equity:

We create products and services that have a positive social impact. We consider economic equality, racial justice, and the inclusivity and diversity of people as teams, users, and customer segments. We listen to local culture, communities, and those we affect.

Finally, the objective on the global level aims to ensure that we remain in balance with the only home we have as humanity. Referring to it simply as sustainability, our definition was:

We create products and services that reward sufficiency and reusability. Our solutions support the circular economy: we create value from waste, repurpose products, and prioritize sustainable choices. We deliver functionality instead of ownership, and we limit energy use.

In short, ethical design (to us) meant achieving wellbeing for each user and an equitable value distribution within society through a design that can be sustained by our living planet. When we introduced these objectives in the company, for many colleagues, design ethics and responsible design suddenly became tangible and achievable through practical—and even familiar—actions.

Measure impact 

But defining these objectives still isn’t enough. What truly caught the attention of senior management was the fact that we created a way to measure every design project’s well-being, equity, and sustainability.

This overview lists example metrics that you can use as you pursue well-being, equity, and sustainability:

There’s a lot of power in measurement. As the saying goes, what gets measured gets done. Donella Meadows once shared this example:

“If the desired system state is national security, and that is defined as the amount of money spent on the military, the system will produce military spending. It may or may not produce national security.”

This phenomenon explains why desirability is a poor indicator of success: it’s typically defined as the increase in customer satisfaction, session length, frequency of use, conversion rate, churn rate, download rate, and so on. But none of these metrics increase the health of people, communities, or ecosystems. What if instead we measured success through metrics for (digital) well-being, such as (reduced) screen time or software energy consumption?

There’s another important message here. Even if we set an objective to build a calm interface, if we were to choose the wrong metric for calmness—say, the number of interface elements—we could still end up with a screen that induces anxiety. Choosing the wrong metric can completely undo good intentions. 

Additionally, choosing the right metric is enormously helpful in focusing the design team. Once you go through the exercise of choosing metrics for our objectives, you’re forced to consider what success looks like concretely and how you can prove that you’ve reached your ethical objectives. It also forces you to consider what we as designers have control over: what can I include in my design or change in my process that will lead to the right type of success? The answer to this question brings a lot of clarity and focus.

And finally, it’s good to remember that traditional businesses run on measurements, and managers love to spend much time discussing charts (ideally hockey-stick shaped)—especially if they concern profit, the one-above-all of metrics. For good or ill, to improve the system, to have a serious discussion about ethical design with managers, we’ll need to speak that business language.

Practice daily ethical design

Once you’ve defined your objectives and you have a reasonable idea of the potential metrics for your design project, only then do you have a chance to structurally practice ethical design. It “simply” becomes a matter of using your creativity and choosing from all the knowledge and toolkits already available to you.

I think this is quite exciting! It opens a whole new set of challenges and considerations for the design process. Should you go with that energy-consuming video or would a simple illustration be enough? Which typeface is the most calm and inclusive? Which new tools and methods do you use? When is the website’s end of life? How can you provide the same service while requiring less attention from users? How do you make sure that those who are affected by decisions are there when those decisions are made? How can you measure our effects?

The redefinition of success will completely change what it means to do good design.

There is, however, a final piece of the puzzle that’s missing: convincing your client, product owner, or manager to be mindful of well-being, equity, and sustainability. For this, it’s essential to engage stakeholders in a dedicated kickoff session.

Kick it off or fall back to status quo

The kickoff is the most important meeting that can be so easy to forget to include. It consists of two major phases: 1) the alignment of expectations, and 2) the definition of success.

In the first phase, the entire (design) team goes over the project brief and meets with all the relevant stakeholders. Everyone gets to know one another and express their expectations on the outcome and their contributions to achieving it. Assumptions are raised and discussed. The aim is to get on the same level of understanding and to in turn avoid preventable miscommunications and surprises later in the project.

For example, for a recent freelance project that aimed to design a digital platform that facilitates US student advisors’ documentation and communication, we conducted an online kickoff with the client, a subject-matter expert, and two other designers. We used a combination of canvases on Miro: one with questions from “Manual of Me” (to get to know each other), a Team Canvas (to express expectations), and a version of the Project Canvas to align on scope, timeline, and other practical matters.

The above is the traditional purpose of a kickoff. But just as important as expressing expectations is agreeing on what success means for the project—in terms of desirability, viability, feasibility, and ethics. What are the objectives in each dimension?

Agreement on what success means at such an early stage is crucial because you can rely on it for the remainder of the project. If, for example, the design team wants to build an inclusive app for a diverse user group, they can raise diversity as a specific success criterion during the kickoff. If the client agrees, the team can refer back to that promise throughout the project. “As we agreed in our first meeting, having a diverse user group that includes A and B is necessary to build a successful product. So we do activity X and follow research process Y.” Compare those odds to a situation in which the team didn’t agree to that beforehand and had to ask for permission halfway through the project. The client might argue that that came on top of the agreed scope—and she’d be right.

In the case of this freelance project, to define success I prepared a round canvas that I call the Wheel of Success. It consists of an inner ring, meant to capture ideas for objectives, and a set of outer rings, meant to capture ideas on how to measure those objectives. The rings are divided into five dimensions of successful design: healthy, equitable, sustainable, desirable, feasible, and viable.

We went through each dimension, writing down ideas on digital sticky notes. Then we discussed our ideas and verbally agreed on the most important ones. For example, our client agreed that sustainability and progressive enhancement are important success criteria for the platform. And the subject-matter expert emphasized the importance of including students from low-income and disadvantaged groups in the design process.

After the kickoff, we summarized our ideas and shared understanding in a project brief that captured these aspects:

• the project’s origin and purpose: why are we doing this project?
• the problem definition: what do we want to solve?
• the concrete goals and metrics for each success dimension: what do we want to achieve?
• the scope, process, and role descriptions: how will we achieve it?

With such a brief in place, you can use the agreed-upon objectives and concrete metrics as a checklist of success, and your design team will be ready to pursue the right objective—using the tools, methods, and metrics at their disposal to achieve ethical outcomes.

Conclusion

Over the past year, quite a few colleagues have asked me, “Where do I start with ethical design?” My answer has always been the same: organize a session with your stakeholders to (re)define success. Even though you might not always be 100 percent successful in agreeing on goals that cover all responsibility objectives, that beats the alternative (the status quo) every time. If you want to be an ethical, responsible designer, there’s no skipping this step.

To be even more specific: if you consider yourself a strategic designer, your challenge is to define ethical objectives, set the right metrics, and conduct those kick-off sessions. If you consider yourself a system designer, your starting point is to understand how your industry contributes to consumerism and inequality, understand how finance drives business, and brainstorm which levers are available to influence the system on the highest level. Then redefine success to create the space to exercise those levers.

And for those who consider themselves service designers or UX designers or UI designers: if you truly want to have a positive, meaningful impact, stay away from the toolkits and meetups and conferences for a while. Instead, gather your colleagues and define goals for well-being, equity, and sustainability through design. Engage your stakeholders in a workshop and challenge them to think of ways to achieve and measure those ethical goals. Take their input, make it concrete and visible, ask for their agreement, and hold them to it.

Otherwise, I’m genuinely sorry to say, you’re wasting your precious time and creative energy.

Of course, engaging your stakeholders in this way can be uncomfortable. Many of my colleagues expressed doubts such as “What will the client think of this?,” “Will they take me seriously?,” and “Can’t we just do it within the design team instead?” In fact, a product manager once asked me why ethics couldn’t just be a structured part of the design process—to just do it without spending the effort to define ethical objectives. It’s a tempting idea, right? We wouldn’t have to have difficult discussions with stakeholders about what values or which key-performance indicators to pursue. It would let us focus on what we like and do best: designing.

But as systems theory tells us, that’s not enough. For those of us who aren’t from marginalized groups and have the privilege to be able to speak up and be heard, that uncomfortable space is exactly where we need to be if we truly want to make a difference. We can’t remain within the design-for-designers bubble, enjoying our privileged working-from-home situation, disconnected from the real world out there. For those of us who have the possibility to speak up and be heard: if we solely keep talking about ethical design and it remains at the level of articles and toolkits—we’re not designing ethically. It’s just theory. We need to actively engage our colleagues and clients by challenging them to redefine success in business.

With a bit of courage, determination, and focus, we can break out of this cage that finance and business-as-usual have built around us and become facilitators of a new type of business that can see beyond financial value. We just need to agree on the right objectives at the start of each design project, find the right metrics, and realize that we already have everything that we need to get started. That’s what it means to do daily ethical design.

For their inspiration and support over the years, I would like to thank Emanuela Cozzi Schettini, José Gallegos, Annegret Bönemann, Ian Dorr, Vera Rademaker, Virginia Rispoli, Cecilia Scolaro, Rouzbeh Amini, and many others.

I recently developed my first Figma plugin.

It wasn’t hard, and my whole team joined in, exposing us to what is possible with the Figma API.

Here’s a quick tutorial…

Read on Medium

Do you listen at 2x? Do Chris and Dave sound weird at normal speed IRL? How searching compares to using AI, chatbots kind of suck at context, getting a designer to work with developers at an agency, what happened to content visibility, and how to best build a design system using web components.

As gifting and dressing up for the festive season begins, consumers are increasingly looking at sustainable, environment friendly choices

In the sea of wedding lehengas, heavy silk saris and Swarovski-encrusted gowns that made Couture Week, this outlier’s bold experiments with polymer and corded textiles stood tall

Slow, responsible and fashion that lasts seasons are beliefs that A&T hold dear

Can’t make up your mind about your Onam fit? Here are some options...

October 5, 2015

You may have recently seen an abundance of bug-eyed people puking rainbows on Snapchat. Thank Looksery for that. Launched last year as an entertainment app based on face recognition technology and special effects, Looksery was acquired by Snapchat last month.

Looksery technology propels Snapchat’s new special effects

Founded in 2013, Looksery launched in October 2014 after...read more
By Jordan Crone

Teens don’t want to be defined by what ails them, and these hospital gowns let their personalities shine.

Finally, a clever use for marine algae that appeals to both Danish mer-folk and lovers of Scandinavian design.