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Michigan Jeff frog was unlike any other frog. He sang. He danced. He was destined
for stardom. In Warner Brothers 1955 cartoon "One Froggy Evening" a
construction worker freedom Michigan from a time capsule buried within a
recently demolished buildings cornerstone. Upon reaching the open air
the frog stood and sang "Hello my baby, hello my honey." The construction worker gasp in amazement as Michigan,
wearing his trademark top hat and matching cane, pranced across the lid of
the time capsule, which moments before had been the frog's boxy prison. The
construction worker fantasized about the riches he could earn by having Michigan
perform in front of adoring crowds. But, as he would soon learn, the frog refused
to perform for anyone other than his rescuer. Every time the construction
worker would show off Michigan, the frog would simply ribbit and croak. No singing.
No dancing. No adorning crowds. How often have you felt the same? "Users are going
to love this idea," you say. "They have never experienced anything like it
You eagerly build out your product,
everishly crafting every exquisite detail. Thoughts of grandeur race
through your head — your product will be celebrated. Perhaps even taught in
schools. You polish. You finish. You release. And… nobody uses it. Ribbit. Why
does this happen? We create a new product, desiring to make something different and
innovative. But we must ask ourselves a critical question: do users share this
desire? The Curse: Our familiarity with products can lead us astray. We have a cognitive
bias, where we sometimes believe that everyone knows what we know. This "curse
of knowledge" was first described by Colin Camerer, George Loewenstein, and
Martin Weber. Although their research pertained to economics, the curse of
knowledge affects everything from classrooms to mobile apps. Place yourself
in the shoes of a novice user. Pick any topic unfamiliar to you — for instance,
aerospace engineering, rail transport, or constitutional law. If you visited a
website about the topic, what would you expect to see? What makes it new or
different? Chances are, when dealing with unfamiliar topics, people neither
recognize what is typical nor do they desire something different. After all,
new experiences are inherently different. How can users want the unknown?
When designing experiences our expertise can blind us from the needs of users, as
they may have little to no knowledge of what we have created. Our desire to
innovate outpaces a users need to merely catch up. Users adopt technologies
according to a bell curve. First expressed by Everett Rogers in 1962, a
small fraction of users–about 2.5 percent–adopt new technologies initially.
They are innovators. Over time, the innovators lead to early adopters, which
grow too early majorities–about 34%. To reach the early majority of users, we
must cross a chasm. In crossing the chasm by Geoffrey a more the author
describes the challenges of adopting high tech products. Whereas early
adopters may accept risk, early majorities are far more pragmatic. They
buy from market leaders. They want proven reliability. They resist all else.
Acceptance may take years sometimes only occurring after several failed attempts
Dropbox serves over 500 million users today; however, Palm introduced file
syncing in 1997. Spotify currently values at 30 billion dollars; yet, Xerox PARC
experimented with music streaming in the mid 1990s. Apples iPad Pro is
emblematic of mobile computing; nonetheless, Go Corporation pioneered a
pen-based tablet in 1987. From Palm Pilots to primordial iPads, people often
resist new experiences. But, over time, these products and services grow
increasingly commonplace. New becomes familiar.
Affordance: Familiarity takes
many forms. In the "Ecological Approach to Visual Perception," James Gibson describes
his theory of how creatures see their environments. For example, an environment
could be a swamp, and the creature a frog. Weighing less than an ounce, a common frog
will happily sit on a lily pad. The pad holds the frogs weight, whereas the water
surrounding it would not. We can describe the lily pad as "sit-able." It affords the
ability to be sat upon by frog. Gibson called this ability an affordance.
In 1998, Don Norman wrote about perceived affordances in his groundbreaking book
"The Psychology of Everyday Things" (later renamed to the "Design of Everyday Things").
He described how design affects our perceptions and interactions with
objects. For example a chair is "sit-able" based on its design: a chair mirrors the
proportions of a human body, including the shape of its seat, the width of its
arms, and the height of its legs. In the years since, affordances and signifiers
(i.e. cues) have become the primary means in which digital experiences are understood.
We view an interface and wonder what is "click-able," what is "scroll-able," and what is
"swipe-able," as we wade through a morass of toolbars, sliders, check boxes, tabs,
accordions, tooltips, drop-down lists, breadcrumbs, carousels, toggles, radio
buttons, text inputs, and links. An interface that is easy to use is often one
that is easy to recognize. Familiarity shapes its contours as prior experiences
inform new ones. Familiarity creates both restrictions
and opportunities. it imposes a boundary but grants us a common reference point
at which to begin an experience. It is the comfortable known, instilling in us the
confidence to pursue the unknown. Like frogs hopping from lily pad to lily pad,
we must trust the landing before we leap.
That was a chapter from my new book "UX Fundamentals for Non-UX Professionals,
User Experience Principles for Managers, Writers, Designers, and Developers. That's
quite a long title, isn't it? I've recently published it through Apress
(Springer Nature), and you can find it on Amazon, Barnes and Noble, and Apress.com.
I'd love to hear any thoughts or comments you have. And I'd certainly
appreciate any likes or shares. It helps the book find new audiences, such as
friends and co-workers who might want to learn something about user experience.
Thank you for listening.
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