Category Archives: Creative Management

The Feminist Tech Company: Ways and Reasons to Build a Culture of Equality and Inclusion

by Julian Scaff / edited by Crystal Scaff

This article is based on my keynote talk at the Wonder Women Tech Conference in Long Beach, California on July 17, 2016.

The tech industry has a problem. For all its progressive leanings and inherent coolness, the industry has a big problem with diversity. This problem is multi-faceted, with sexism affecting women, racism affecting people of non-white and non-Asian ethnicities, and ageism affecting people over the age of thirty. For this article, I want to specifically focus on the issue of sexism.

Women represent nearly 60 percent of the labor force in the United States, according to the U.S. Department of Labor. But according to a study by CNET that polled some of the largest tech companies in the world, women only make up a very disproportionate 30 percent of the tech industry labor force. And if you look specifically at technical positions like programmers, engineers and data scientists, the numbers get even more abysmal. The industry giants have some of the worst numbers: at Apple Computer, 20 percent of technical positions are held by women; at Google it’s 17 percent, and at Twitter it’s only 10 percent.

women_in_tech_positions

Why is this the case? Are men innately better suited to technical jobs? Let’s look at the evidence.

Computer programming was invented in 1842 by a woman named Ada Lovelace, who was highly skilled in mathematical thinking and developed the analytical engine that was the basis for all electronic computing in the 20th and 21st centuries. In the 1960’s, Margaret Hamilton was one of the world’s first software engineers. In addition to helping develop the essential principles of modern computer programming, Hamilton wrote the software that made the Apollo 11 moon landing possible. Recent data on women in tech includes a study by Cal Poly San Luis Obispo and North Carolina University that found that women coders made fewer mistakes than their male counterparts.

Ada Lovelace and Margaret Hamilton

Ada Lovelace (left) and Margaret Hamilton (right), inventors and pioneers of computer programming.

So isn’t it odd that a field that was invented by women and where women seem to outperform men is so male-dominated? Well, that study of women coders points to the reason for this disparity. The study specifically looked acceptance rates of code on the popular developers’ site GitHub. A low-acceptance rate indicated that code was not accepted due to errors, and the study found that women’s acceptance rates were higher than men’s, but only if the women’s gender was not known. If you take the same female coders and reveal their gender, then the acceptance rates of their code plummets. So there’s a strong and prevalent perception in the tech community that women are worse coders than men, even though the exact opposite is true.

These attitudes indicate that the problem in the tech industry is one of culture. There is a prevalent culture that sees women as inferior, and that culture is so prevalent that it discourages and prevents women from participating in this employment sector.

A study by the American Association of University Women showed that the number of women in computer-related fields has dropped in recent years, even though we know that women excel in these fields and there are jobs available.

Women have gotten the message that the tech industry is not friendly to them. This is a real problem for companies, especially in an economy where innovation is a driving force and access to talent is critical for success. Companies are losing out on critical talent and the attendant opportunities for greater innovation. Multiple studies directly link diversity with innovation, so tech companies are leaving a lot on the table by not hiring more women and minorities, particularly in roles of leadership, ideation, design and engineering.

All of this information is public knowledge. It’s published in sources like Wired, CNET, Fast Company, and the other publications tech insiders read. But entrenched culture doesn’t change unless direct and intentional action is taken to change it.

There are three things companies can do to fix this problem.

1. Change the internal culture.

Most people familiar with the tech industry know the terms “bro culture” and “brogrammer.” All-male technical teams tend to become self-perpetuating bro culture machines, so that even when a woman is hired, she has to either tolerate the hyper masculine, sexist culture or leave. We know from low retention rates of women in these jobs that many women choose the latter.

Companies need to talk about gender issues and gender-discrimination patterns with their employees. Frank and open communication is key to changing the culture. Every employee should be asked to show responsibility and leadership in affecting that change.

Over the course of my 22-year career, I’ve witnessed overt and subtle forms of sexism and discrimination in various forms. Overt sexism and sexual harassment are easy-to-spot legal issues, and while these are serious problems in some organizations, subtle sexism is much more widespread. Many men don’t realize they’re engaging in subtle sexism, so conversations about what it is and how to not do it need to happen.

I’ll give an example. I used to have a male colleague who spoke in markedly different ways to male and female colleagues. He might say to a female colleague in a higher-pitched voice “Good morning, Sally. That’s a very nice dress!” and then turn to me and say in a lower-pitched voice “Hey, Julian, how is that project going?” The more he did it, the more glaring it became. It was clear that on some level he clearly did not respect female colleagues on the same level as male colleagues. At a certain point, I brought this up to him and asked if he was aware of it, and he completely denied that this was the case. He also didn’t change his behavior. It was so ingrained that he didn’t see it, and nobody wanted to talk about it publicly because it was uncomfortable. This is the culture we are up against.

2. Promote women.

Organizations should aim for a gender balance (and diversity in general, defined in terms of ethnicity, sexual orientation and gender identity) in positions of management and leadership.

Some people will criticize this as a form of affirmative action that goes against the meritocracy model championed in Silicon Valley. But we know from studies like the gender bias against women coders that this “meritocracy” doesn’t apply to women and minorities.

Having more women and minorities in positions of management and leadership helps to change the bro culture in the tech industry, and it’s good for business. As we discussed before, diversity is a critical contributor to a culture of innovation. Therefore, aiming for gender parity and diversity in management and leadership roles isn’t just a nice thing to do; it should be an integral component of an organization’s business strategy.

Industries should also consider changing their policies to support work-life balance. The Harvard Business Review identified work-life balance as one of a number of major obstacles to women advancing in leadership positions. (There are other significant barriers, as well, so I encourage you to read the study linked above.) Organizations need to remove this obstacle and explicitly support employees—both women and men—in not having to choose between personal/family life and work life.

Because the truth is that working more hours per week does not equal more work getting done. A study at Stanford University found that employees working 60 hours per week achieved two thirds of the work completed compared to employees working 40 hours per week. Another study, by the Microsoft Personal Productivity Challenge, found that employees are only really productive about 29 hours per week. Incidentally, that same study found that women were slightly more productive than men.

So promoting work-life balance, and specifically limiting the number of hours employees are allowed to work per week, can not only help boost diversity in leadership positions but also boost productivity for the entire organization.

3. Recruit and communicate externally.

A common complaint from organizations is that they just don’t get enough job applicants who are women and minorities. As a hiring manager I’ve seen this happen: you advertise a job opening, and most or all of the applicants are white men. So what do you do?

If diversity is a key component of your business strategy, this has to be communicated externally. Companies need to communicate not just that they are an “equal opportunity employer” but that they have a gender-equal work environment. This should be front and center on the public employment page of the organization’s website, with an explanation of HOW they are gender inclusive.

Further, companies can demonstrate this dedication by sponsoring organizations that are working for change in the industry. Organizations like Wonder Women Tech, Girls Who Code, Black Girls Code, Girl Develop It, Tech Girlz, and many others.

Conclusion

It should be part of a company’s business strategy and strategic vision to cultivate an internal culture of inclusion and equality both because it’s the right thing to do and because it gives companies a competitive advantage. A lack of diversity has a trickle up negative effect that spreads from individual organizations to the entire industry to the world economy. The Harvard Business Review put it in blunt terms: having more women in the workforce could boost the GDP of the entire economy by 5 percent, which equals almost a trillion dollars. The tech industry needs to become truly progressive by getting serious about creating diversity. The feminist organization is more effective and more innovative than what we currently see in the tech marketplace, and our collective path toward the workplace of the future is stilted until the feminist company is the norm.

The Myth of Youth in Design Innovation

“It takes a long time to become young.” ~Pablo Picasso

Diana Balmori, landscape and urban designer, still innovating at the age of 81.

Diana Balmori, landscape and urban designer, still innovating at the age of 81.

There is a brutal culture of ageism in the tech sector and Silicon Valley, and this ageism that worships youth above all else spills over into the design sector as well. When tech giants such as Mark Zuckerberg declare that “Young people are just smarter” people take it as truth carved in stone. It must be true. After all, look at all the tech billionaires in their twenties.

Yet empirical evidence, common sense and personal experience tell me this is a fallacy. Jonathan Ive and Steve Jobs did some of their best work when they were over the age of 40, and Ive is still one of the best designers on the planet at the age of 47. Burt Rutan was 41 years old when he designed and launched the Voyager, the first aircraft to fly around the world without stopping, and he was 62 when he launched SpaceShipOne, the first private space plane.

The following is the top ten list of FastCoDesign Magazine’s “Most Creative People in Business of 2013”:

  1. Nate Silver, sports and political elections number-cruncher and big data innovator – 36 years old.
  2. Dong-Hoon Chang, Executive Vice President and Head of Design Strategy for Samsung – 52 years old.
  3. Hilary Mason, data scientist and hacker – 32 years old.
  4. Leslie Bradshaw, entrepreneur and social scientist – 32 years old.
  5. Diana Balmori, landscape and urban designer – 81 years old.
  6. Kirthiga Reddy, Director of FaceBook India – 40 years old.
  7. Daniel Graf, Director of Google Maps for Mobile – 40 years old.
  8. Max Levchin, computer scientist and founder of PayPal – 38 years old.
  9. Jill Applebaum, Creative Director at JWT – 43 years old.
  10. Megan Sheehan, Art Director at JWT – I couldn’t find her age, but based on her experience and accomplishments I’m guessing she’s in her early 30’s.

The youngest on the list are 32 years old and the oldest is 81. And unless I’m off about Megan Sheehan (who is a terrific designer, check out her work here: http://megansheehan.info/), there’s not a single person in their 20’s.

In my personal experience I didn’t start to do my most innovative work until I was in my mid-30’s. A combination of experience, perspective, and a deeper understanding of the conditions that foster innovation made me a more innovative designer and thinker.

And this is why the conditions of innovation, and building a balanced team, are more important than youth. I hit my stride in my mid-30’s for a confluence of reasons. First was that after a decade working as a designer at the cutting edge of dot com startups, I moved to Europe and enrolled in an MFA program in Art. Suddenly my time and my mental space were set free to experiment, but at the same time I had far more experience, knowledge and technical ability than most graduate students that I could apply to my work. On top of that, I had thrown myself into a completely different culture, started learning a new language and looking at the world from a different perspective, all conditions conducive to sideways thinking. Upon completing my MFA, I immediately started working as a professor at a university. Teaching students about design and media innovation taught me new perspectives, and being in academia further freed me to experiment, to do research, and continue to work as a consultant in industry. After several years I was appointed head of my department and charged with rebuilding the department and driving student enrollment, and I took the same approach to team building that I had taken as a Creative Director. I ran my academic department like I would a creative agency, creating conditions that encouraged my faculty to innovate with their curriculum and mentoring students to become innovative media makers.

The conditions for innovation rely on several factors, and here I’m adapting ideas in part from the management guru Peter Drucker, as well as from my own experience as a designer, leader and teacher. The first is that innovation is work that requires knowledge, ingenuity, risk-taking, and sideways thinking. In organizations this means building teams with complimentary strengths, respecting both the sideways thinking and risk taking of youth with the knowledge and expertise of experience, and rewarding experimentation, even when it fails. The second is to cultivate an acceptable level of chaos as space for ideation, balanced against order for getting work done. Brilliant ideas rarely happen when you’re staring at your computer screen, but on the flip side work doesn’t get done when you’re playing ping-pong with your coworkers. And a third factor is an inherent acceptance of change. Peter Drucker calls innovation “an effect of economy and society” (check out Drucker’s book Innovation and Entrepreneurship) that at it’s core changes people’s behaviors and/or conceptual paradigms. It’s surprising how many organizations say they want innovation, but are change averse. You can’t have one without the other.

Benjamin F. Jones, a professor at Kellogg School of Management, did a study last year on age and innovation. He found that the average age that inventors and Nobel Prize winners make their greatest achievements is 39. This is because innovation usually doesn’t come out of left field with no foundation. Innovation is built from an iterative process, learning from past mistakes, building on successes, and then drawing unexpected connections. This takes time, hard work, risk taking, experience, and knowledge. In organizations, this means it takes teams constructed of people with complimentary diversities.

Creative Leadership for Innovation and Agility

“Creativity requires the courage to let go of certainties.” -Erich Fromm

Peter Hayes, Director of the Visual Arts Network South Africa, and Julian Scaff, creative professional and ux expert, discuss building creative cultures at a conference in sustainability in Brussels, Belgium.

Julian Scaff, creative and ux expert, and Peter Hayes, Director of the Visual Arts Network in South Africa, at a creative meeting in Brussels, Belgium.

The field of design is undergoing a period of rapid change, with disciplines broadening and overlapping and designers taking a more active role in leadership and innovation. There are more designers serving as executive of companies than at any time in history, and the reason why is because innovation and creative thinking are keys to the success of companies. Studies by the Boston Consulting Group, amongst others, show that companies that ranked as more innovative enjoy significantly higher rates of success and higher profits than companies that are not. Innovation is key to success. Companies such as Pepsico, Sony Music Entertainment and Burberry have a Chief Creative Officer, and the company J. Crew has two presidents: Libby Wadle, president of J. Crew Brand, and Jenna Lyons, president and executive creative director.

Designers have been professionally trained in the creative process, the process through which the designer finds solutions to communicate ideas and solve the creative challenges of a particular project or endeavor. Increasingly designers are not simply serving clients, but driving new ideas, new products, new services, and new paradigms. The designer-as-leader is an innovation expert. But for a designer to be an effective leader, she must learn several key skills and concepts.

Good Leadership is Good Design

When it comes to leading people, let’s throw out the word “management”.  Management is for projects, for assets, for time lines. Good leadership is about pulling (not pushing) everyone on your team towards a common goal, and trusting each of them to do what they do best.  Trust is key. To convince your followers of a vision you must first convince yourself. Convince and inspire yourself, and you can convince and inspire others. Communicate to the team, collectively and individually, what the vision and goals are and how you’re going to achieve them.  Listen, ask for and welcome input, and respect everyone’s contributions. Being a good leader is like being in a good relationship: trust and communication are key. And being a good leader is like being a good designer. You’re designing a creative culture.

Embrace a Balance of Chaos and Reward Failure

How many times have you had a brilliant idea sitting at your desk staring at a blank document? How about in a coffee shop? At a botanical garden? Laying on a sofa listening to music? Chaining your team members to their desks, demanding precise schedules and forcing people to work the way you work is a creativity and innovation killer. Embrace a bit of chaos and distraction in the office. Things like a foosball game, a lounge with music, a garden, etc. aren’t distractions from work, they’re potential drivers of creativity and boosters of productivity.  But balance is key: too much chaos and nobody gets their work done; too little, and ideas don’t flourish and people burn out.

Having a crazy new idea that doesn’t work isn’t a failure, it’s a stepping stone to success. A recent article on BBC News outlined how the Google X Labs, the company’s experimental innovation laboratory, encourages and rewards it’s employees for trying new ideas, no matter how crazy. Google expects a 99% failure rate.  This might seem steep, but without trying out all those “failed” ideas, Google never would have innovated new products such as Google Maps, Translate, and Google Glass. In a culture where people are afraid to fail because they’ll look stupid or be penalized for having a “bad idea”, few people will take risks needed for creative breakthroughs. Encourage the members of your team to pitch and try out crazy new ideas, big ideas, and applaud them when these ideas fail.

Create an Agile Culture

Agile Management and Scrum Method are big buzzwords in the field of management and leadership right now, and for good reason. The world is changing rapidly, and being too slow kills creativity and innovation. Agile management is an iterative form of project management wherein small teams deliver results in stages, building the project up rapidly in modular stages. Larger, more complex projects may be broken up into parts and distributed to smaller teams, each rapidly prototyping, testing, and delivering their modular portion of the project. Scrum Method takes Agile Management further by embracing the notion that not all problems can be fully defined from the start, allowing for project requirements to evolve and change based on empirical results during the development and testing phases of the project. I won’t get into all the details of Agile and Scrum, but some of the key things are how meetings are conducted: projects begin with a Sprint Planning Meeting that may last no longer than 8 hours to detail and plan the entire project; daily Scrum meetings update all team members on progress and are limited to 15 minutes; project cycles are typically 7-30 days, and if a project is much bigger than that, it is broken town into 7 to 30 day modules. These limitations keep things moving quickly and minimize miscommunication.

This seems a bit chaotic, and it is. That bit of chaos empowers members of your team to rapidly try out new ideas and respond to change strategically. If you have a brilliant brainstorm and nobody listens, or the idea gets bogged down in committee meetings, or it takes too long to bring it to fruition because of burdensome bureaucratic processes, it not only kills the idea but it dampens the spirit of the person who had the idea, discouraging them from having more ideas in the future.

An agile culture is a culture that embraces change, delivers projects rapidly, and continuously appraises and improves upon ideas based on new empirical information that emerges during the lifecycle of the project. Teams that can go from brainstorm to prototype in less than 30 days will not only be more creative and innovative, but inspirational.

Agile From The Start

“In the beginning the Universe was created. This has made a lot of people very angry and been widely regarded as a bad move.”
-Douglas Adams

An entire project can be made or broken by a good or bad start. Creative projects, whether designing the Universe or a website, often get off to the wrong start, and are bogged down throughout the life of the project because of a lack of project parameters that prevent agility and rapid development. Creatives often blame clients, but it’s the responsiblity of the Designer, Art Director, Creative Director or Project Manager to set the right parameters for agile development. Agile project management by definition requires flexibility and interactivity between team members and clients.

julian_working2However, without definition and without parameters, projects can quickly get bogged down, and creative projects require some specific considerations that are somewhat different from other types of projects. This is due to two things: the first has to do with the peculiarities of the creative process and how designers think and work; and the second has to do with non-creative interested parties and team members lacking knowledge of that process. Defining the parameters of a project, and the working relationship between creatives and non-creatives are essential to making agile project management work.

The first step in any project is defining the project, or making what project managers call a Project Charter. In this document you define things like the goals of the project, critical constraints such as time or cost constraints, etc. If you are a self-employed creative you’ll be your own project manager, sitting down with the client to figure out what they want, how they want it and when they want it. If you’re a creative professional in an organization you may have to do this for external or internal clients on behalf of your team. In either case, it’s probable that the client will it understand then creative process, what information is critical, or even heat questions to ask.

Here’s an example. A friend of mine who is a graphic designer recently took on a project to design a website.  The client said “Do whatever you like, I’m sure we’ll love it.” Don’t ever believe this if a client says this to you, it’s a trap! What unfolded, and this has happened to me countless times, is that he client didn’t like any of the designs that the designer proposed. The problem is that many clients don’t know how to describe what they want, which is understandable because they didn’t go to design school and they don’t have the professional training in design language and visual literacy. However, clients always know what they don’t like.

Here’s how to avoid this trap: at the very beginning of the project, when you’re writing the project charter, you need to hold the hand of the client and define not only the goals of ex project (i.e. design a website) but also what information is needed in order to start the project, risks of things that could go wrong and delay or derail the project (i.e. the client changes their mind constantly) and what deliverables are needed to consider the project complete. Make sure the client signs off on the Project Charter before you begin, as this will save a lot of headaches later.

Going more specifically into the scenario I outlined above with the client who wanted a website, it is necessary with such clients to have a brainstorming session with them, not only to generate ideas and extract more detailed information, but to also educate the client about how the process works. Creatives certainly don’t want clients standing over their shoulder directing them what to do in PhotoShop (this has happened to me), but involving the client in the planning stage, and later in review stages, helps them to understand why the creatives are making what they are making, and helps to extract from the client what they want even when they don’t have the language to describe it.

Here are some critical questions that need to be answered in a Creative Project Charter:

  • Goal of the project (i.e. make a website for my business).
  • Critical constraints (time, money, people).
  • What is considered “complete”? (finished website and associate graphics files).
  • What’s the budget?
  • What people are needed? (graphic/web designer)
  • Key milestones in the project (i.e. mock ups of website are agreed upon by client).
  • Risk assessment: What could go wrong? (client asks for more than ten changes, etc.)
  • What is needed to start the project? (creative direction for website from client, including mood, style, examples of other websites the client likes, etc.)

This last point is critical, but following an agile management strategy all of these questions and the whole Project Charter can be completed in one meeting. If this is agreed upon and executed at the Project Charter stage before the project actually “begins,” it saves headaches down the road, most of the time will help to avoid endless change requests from the client, and will help the client understand the creative process. Each time the client wants a major change, another meeting is required to change the Project Charter, which will have a domino effect on cost, resources and schedule. This forces the client to think carefully about major changes, and can keep the project on track.

Agile project management is iterative and collaborative, but can quickly unravel.  Do not let your client stand behind you and tell you to move pixels around in PhotoShop. Do not begin projects without a clear Project Charter.  Do involve the client in brainstorming and project planning. Do discuss the Project Charter and agree upon the parameters before proceeding. And do be a teacher of the creative process. Doing so will gain you more respect and smoother sailing.

Some Thoughts on Creative Leadership

“A creative leader is one who leads with dirty hands, much the way an artist’s hands are often literally dirty with paint.” -John Maeda

In his book Redesigning Leadership, John Maeda charts his own journey learning how to be an effective leader as the President of the RISD (Rhode Island School of Design), a position he assumed with very little prior leadership experience.  The very fact that he was appointed to such a position without first rising through the ranks of university administration (he was previously a designer and professor at MIT) speaks to the vision and willingness to take risks of the RISD Board of Directors.  Maeda has been remarkably successful, and points to the advantages (as well as disadvantages) of a creative professional filling an executive leadership role.

The willingness to get one’s hands dirty is one advantage, as Maeda points out in the quote above.  Designers and artists combine thinking and doing as part of the same process, writing notes, making sketches, working and thinking visually as well as conceptually.  This gives them a different approach to tackling problems faced by leaders, one that is at once detail oriented and intuition-based.  The whole gestalt of a situation is more important to a designer or artist than a spreadsheet of numbers, allowing them to see the forest for the trees.

A potential downside to this approach, and one that Maeda encountered first hand, is that the hands-on approach can lead to micromanaging.  Effective leaders cannot do everything themselves, and must trust each member of their team to do their job without their boss hovering over their shoulder or second-guessing their decisions.  The creative leader must balance their dirty-hands approach with trusting and giving space to her/his team members.  Team cohesiveness requires a certain amoung of individual autonomy.

Zooming back out to the bigger picture, one of the most compelling positives in favor of creative leadership is simply Vision.  More and more, innovation is what drives success in business, non-profit and education.  Creatives are who drive innovation because they are professionally trained in the creative process, which involves the enhancement of self-awareness, cognitive abilities and emotional intelligence.  Working intuitively isn’t just something that a creative does naturally, it’s a coherent and intentional process that is cultivated.  This is what enables ideation and brainstorming.

We are in an era of rapid and disruptive change, in economic and social structures, in local and global cultures, and in global resources and environmental disruptions.  The oft-bandied term in Silicon Valley “Innovate of Die!” applies not just to the dot coms but also to the financial and business institutions, to education, and to communities.  More than ever, the sideways thinking and dirty hands approach of creative leadership is needed across all sectors.

The most effective leader is one who is a facilitator rather than a dictator.  John Maeda uses the analogy of a leader who sits atop a pyramid structure, with the mass of his underlings crushed under the weight of the organizational structure.  Instead of this top-down structure, he suggests a leadership model that uses the metaphor of a plum tree, where the leader is at the roots of the tree and the majority of the members of the organization are the leaves and branches bearing fruit.  In this model the leader doesn’t do all the innovation, but rather creates the conditions for innovation throughout the organization. The Google corporation operates a model where employees are required to spend a certain amount of their time working on personal projects.  Every employee at Google assumes responsibility for leadership and participates in innovation, and many of Google’s products such as Google Maps and Google Glass came out of this initiative.  This brings to mind a quote by Lao Tzu: “When the best leader’s work is done, the people say ‘We did it ourselves.'”

UX Design is Impossible. So How Do You Do It?

“Nightlife design is a set design for a play that hasn’t been written.” -Serge Becker, Experience Designer

It’s sometimes said that UX design is impossible because you can’t design the user.  People are slippery and individualistic and won’t behave the way they’re supposed to.  The UX designer profiles user personas, writes narratives, defines parameters and design conditions.  But you can’t design the user, or as a creative director once told me when I was a young designer, “Never underestimate the stupidity of the user!”

The ways in which experience design is approached in the design of night clubs is extremely informative for the UX designer of other media.  Night club designers cannot design what people will do in the club, they cannot design the user.  But what they can do is design parameters and conditions, a “set design for a play that hasn’t been written.” Night clubs are most effective at creating a first impression and a conceptual environment different from your everyday life, taking you somewhere else the moment you step into the club.  And clubs are ephemeral, they don’t last, they’re only about what’s now and what’s next.  Digital media like websites and mobile apps are the same.

The moment you click onto a website or open an app on your smartphone, there is the potential to be transported into a different user experience than the other websites and apps you’ve used in the past.  In the case of apps, the loading screen is critical for this first impression. It’s not just a spinning wheel to reassure you that something is happening while the app loads into your device’s memory, it’s a prelude to the user experience within.

app_load_screensLet’s look for example at the load screen for the Netflix app.  It’s all red, with the netflix logo in the center and a small spinning wheel below it indicating that the app is loading.  The adherence to brand identity is excellent, for it’s readily recognizable as the Netflix brand.  But what of the user experience?  The color red is an emotionally intense color.  It can denote a warning sign (stop! danger!) as well as fire, blood, war, love and passion.  But what Netflix says they want their brand to be associated with, they identify “convenience, service, speed and cost.”  They want their customers to have the easiest, fastest, and most pleasant experience getting movies as possible.  Filling the entire screen of the smart phone with scarlet red is at odds with their branding objectives.  It’s setting users up to be anxious and on edge.  Then, even if a very small annoyance occurs during the customer’s experience, they may be primed to react passionately, and not in a good way.  Netflix has set up the UX experience to be on knife’s edge from the very start.

By contrast, the load screen to Temple Run features the entrance to an ancient stone temple, preceding a menu screen that mimics the same layout.  The aesthetics call to mind ancient ruins in a tropical environment, reminiscent of the stone temples found in the rain forests of Southeast Asia and Central America.  The typefaces, colors, and textures suggest an Indiana Jones-style adventure, and the arched entrance to the temple that is shrouded in darkness suggests the the user is entering this realm, embarking on a thrilling and exotic adventure.  The design creates a first impression that is critical for the user experience throughout.  The edginess and sense of danger are similar to the loading screen on the Netflix app, but in this case it’s appropriate to the UX.

There is much more to UX design than can be covered in one short article. But setting the tone with the user’s first impression, the concept of building a stage upon which the actors will invent the play, are critical foundational concepts.