According to a recent study by online job matching service TheLadders, the fastest growing jobs are in user experience design, iOS and Android development, and business intelligence–some of which didn’t exist before 2007.The study, which gathered key word search data from among its 6 million members, also found that middle management jobs are being phased out. Among the top 10% of growing jobs, less than 2% of titles contain the word “manager” or “director,” which points to a trend that you can still be a professional in a high-paying position, but the end game isn’t a gold plaque with a management title tacked to your name.Mark Newman, CEO of digital interviewing service HireVue, says the company is witnessing similar trends as it helps place people with companies such as Hilton, GE, Chipotle, and others. “Overall, HireVue is seeing that jobs of the future are design and data scientist jobs,” he says.

We focus on a particular topic (e.g., racial prejudice), use a particular resource (e.g., To Kill a Mockingbird), and choose specific instructional methods (e.g., Socratic seminar to discuss the book and cooperative groups to analyze stereotypical images in films and on television) to cause learning to meet a given standard (e.g., the student will understand the nature of prejudice, and the difference between generalizations and stereotypes).

Furthermore, the format of the test causes many educators to erroneously believe that the state test or provincial exam only assesses low-level knowledge and skill. This, too, is false. Indeed, the data from released national tests show conclusively that the students have the most difficulty with those items that require understanding and transfer, not recall or recognition.

he Three Stages of Backward DesignThe UbD framework offers a three-stage backward design process for curriculum planning, and includes a template and set of design tools that embody the process. A key concept in UbD framework is align-ment (i.e., all three stages must clearly align not only to standards, but also to one another). In other words, the Stage 1 con-tent and understanding must be what is assessed in Stage 2 and taught in Stage 3.

Do Designers Need to Go to College?

JLW: Did these electronic or highly technical things come naturally to you? Or is it a case of working with the right collaborator? PS: It’s always a case of working with the right collaborator. I don’t like equipment. I don’t even take pictures.

I find that with 3D work it’s the opposite of graphic design for print. The computer has revolutionised this kind of work – the way you can see work before it is built. The jobs come out almost identical 
to my Photoshop rendering, and usually something is selected in the first or second round. These things, they’re a whole different speed. They take a very long time to realise. There’s a lot of expense involved, trying out materials – they go on forever. I’ve been working on the High Line [a New York park built on the 1930s elevated railway] for a million years [since 2000].

I told you I’m not a craftsperson. Anything I do where I think I make a breakthrough, in five minutes someone’s going to come along and do it better than I did it. JLW: So you keep moving … PS: Well I have to because I’m never going to develop the craft well enough. That’s been true for me my whole life.

My view is that to grow as a designer you have to allow yourself to be who you are irrespective of the technology, but let the technology inform you in ways that it can. When you look at periods you find designers whose body of work is completely connected to one technological form and then it stops there. I see it in some of my ex-students – it’s quite a sad thing. Students who learned to work on the computer in the late 1980s and 90s who are now approaching 40 are having a hard time working because the younger kids who are right out of school are not only cheaper but they can adapt to the technology much faster and much more easily, so they’re actually better at the gig. It leaves a whole generation cold in relation to advancement.

The thing I do – which is why I became less interested in style and more interested in finding a way to do it – is to create expressionist typography. Words have meaning and typography has feeling. When you put them together it’s a spectacular combination. I think the reason I responded so negatively to Helvetica way back when was that it neutralises feeling. A Modernist would argue that that’s terrific because then the words speak and you’re not influencing the content by creating disorder with them. It’s almost like an understood, generic form … that you can say OK take the words as they are because they’re laid out very clearly in Helvetica. All other styles imbue the words with a shade or meaning, which changes them, which is where I think all the fun is!

First I had a design teacher who gave us Basel basics: move a black square around a white page, make a white on white piece – things that involved seeing and craft, but I was very sloppy, so for me that form of exercise was terrible. Y’know, the notion of lining things up and making things function, and then later designing a business card or putting typography on a grid was virtually impossible to achieve and depressing for me. I felt I was cleaning up my room in some kind of ordered system where the goal of life is to be neat. I remember seeing Kathy McCoy talk about it from her perspective and she had said that the biggest compliment you could give to something was that it was ‘clean’. C’mon, there’s gotta be more than that… That can’t be it! What about expression, what about emotion, what about feeling? You had to be engaged with it in some way. If you could be neat, it seemed that you could achieve it. And that didn’t seem right to me about a form of expression and communication. If anybody can achieve it, why bother to do it, why don’t we all do it ourselves?

Designing with OER (DOER) Fellows

For instance, a set of stairs does not just afford climbing, but based on the angle of construction, may facilitate an easy climb, pose challenges to climbing, or be unclimbable entirely

graphic design has more opportunity for impact than ever, as institutional liveries now live not just on signs and letterhead, but in apps and physical installations that span landscapes, and typefaces can breathe and grow in response to their environments

I use backwards de-sign to develop our lesson plans: What do we want our students to write, and why? What skills are required, and how do students acquire those skills (Wiggins and McTighe 34)?

Technologists are not noted for learning from the errors of the past. They look forward, not behind, so they repeat the same problems over and over again.”

Six Steps to Superior Product Prototyping: Lessons from an Apple and Oculus Engineer

“An individual building, the style in which it is going to be designed and built, is not that important. The important thing, really, is the community. How does it affect life?” I.M. Pei

Thiết kế website

Hoe kan een digitale applicatie ervoor zorgen dat bekkenfysiotherapeuten meer controle hebben over de oefeningen die ze de patienten meegeven en daarbij minder tijd kwijt zijn aan het beschrijven van de oefening.

My plea to designers and software engineers: Ignore the fads and go back to the typographic principles of print — keep your type black, and vary weight and font instead of grayness.

It wasn’t hard to isolate the biggest obstacle to legible text: contrast, the difference between the foreground and background colors on a page. In 2008, the Web Accessibility Initiative, a group that works to produce guidelines for web developers, introduced a widely accepted ratio for creating easy-to-read webpages.To translate contrast, it uses a numerical model. If the text and background of a website are the same color, the ratio is 1:1. For black text on white background (or vice versa), the ratio is 21:1. The Initiative set 4.5:1 as the minimum ratio for clear type, while recommending a contrast of at least 7:1, to aid readers with impaired vision. The recommendation was designed as a suggested minimum contrast to designate the boundaries of legibility. Still, designers tend to treat it as as a starting point.

Now I can read updates in that private channel, I can receive desktop notifications, and I can also push notifications to Slack on my mobile devices.

The central idea of DbC is a metaphor on how elements of a software system collaborate with each other on the basis of mutual obligations and benefits.

Now that you have your component hierarchy, it's time to implement your app. The easiest way is to build a version that takes your data model and renders the UI but has no interactivity. It's best to decouple these processes because building a static version requires a lot of typing and no thinking, and adding interactivity requires a lot of thinking and not a lot of typing.

You can build top-down or bottom-up. That is, you can either start with building the components higher up in the hierarchy (i.e. starting with FilterableProductTable) or with the ones lower in it (ProductRow). In simpler examples, it's usually easier to go top-down, and on larger projects, it's easier to go bottom-up and write tests as you build.

To build a static version of your app that renders your data model, you'll want to build components that reuse other components and pass data using props. props are a way of passing data from parent to child. If you're familiar with the concept of state, don't use state at all to build this static version. State is reserved only for interactivity, that is, data that changes over time.

Since you're often displaying a JSON data model to a user, you'll find that if your model was built correctly, your UI (and therefore your component structure) will map nicely. That's because UI and data models tend to adhere to the same information architecture, which means the work of separating your UI into components is often trivial. Just break it up into components that represent exactly one piece of your data model.

Star Legacy by the Vanderbilt LearningTechnology Center, 4-Mat by McCarthy,instructional episodes by Andre, multipleapproaches to understanding by Gardner,collaborative problem solving by Nelson,constructivist learning environments byJonassen, and learning by doing by Schank.

truth is, there isn’t a better system – both flexbox and the CSS grid are good at different things and should be used together, not as alternatives to one another.

Now we have a new contender for the best-system-to-build-html-layouts trophy (trophy title is a work in progress). It is the mighty CSS Grid, and by the end of this month, it will be available natively in Firefox 52 and Chrome 57, with other browsers (hopefully) following soon.

project-based learning (PBL), game-based learning (GBL), Understanding by Design (UbD), or authentic literacy, find an effective model to institute in your classroom

Campus Design Toolkit

When dealing with technology, there are two dominant discourses that permeate research and practice: determinism and non-determinism. For the former discourse, ethics is only an issue for the designers of technology, because they determine what users should do; for the latter, ethics is only an issue for users, because they ultimately define what to do with technology. Both

nteraction designers try to impose structures upon human action by shaping coercive environments where people are punished if they do things the “wrong way” and by hiding or not providing options for changing artifact adaptations. Interaction design mediates human agency and power, but if it does not provide choices for action, there is no room for ethics: people act based on conditions, not on considerations of what should be done.

We argue that artifacts support human behavior by providing adaptations, but these adaptations can expand or restrict human actions.

The Building Blocks of Visual Design

29 principles for making great font combinations

Is the Learning Industry Dead?

Instructional Designers in Higher Education

To design a system means to orchestrate the interplay of its elements.

This is not easy. Well-designed educational technology has often lacked a learning sciences base, and many research-based education products have lacked a compelling user-centered design. How can world-class user experience (UX) design— grounded in a fail-fast culture—and educational research— grounded in rigor—peacefully coexist?

Every theorem of mathematics, every significant result of science, is a challenge to our imagination as interface designers. Can we find ways of expressing these principles in an interface? What new objects and new operations does a principle suggest? What a priori surprising relationship between those objects and operations are revealed by the principle? Can we find interfaces which vividly reveal those relationships, preferably in a way that is unique to the phenomenon being studied?

learning enabled by technology

The design and the way courses are structured can be vital factors that are associated with students’ motiva-tion and positive/negative experiences of learning online.

design this class, I found I was seeking an experience of learning

addressing their tasks clearly, placing calls to action up front and center. Highlight your app’s key and new features in context at the appropriate place

this diversity was reflected in the winning images and how much they varied between different countries and cultures:

but regional nuances can be powerful

One major example of gender differences in VR is that women are far more susceptible to VR-induced nausea.

“Starting from a place of 'I don’t have biases' is never helpful.” It’s not necessarily the gender of an engineer that matters, it’s that engineer’s ability to consider perspectives outside their own.

When design solutions address the symptoms of a problem (like sleeping outside in public) rather than the cause of the problem (like the myriad societal shortcomings that lead to homelessness), that problem is simply pushed down the street.

there is always an aspect of coercion to design

Today, we have since become so habituated to public lighting that our primary association with street lights is that they deter criminal activity and make us feel safe.

Designs that are unpleasant to some are put into place to make things more pleasant for others, and that latter category might just include you.

Perhaps they need not even be infrastructure in the traditional, utilitarian sense, but efforts to create lasting human works that can provide keystones of cultural continuity for centuries to come — works I believe capitalism has proven nearly incapable of building, or in some cases even maintaining.

it’s this pattern of a work reacting to itself and its environment that gives it the spark of life.

If you find them as powerful as I do the context will eventually present itself.

the way a sentence arises from grammatical templates/rules

work on architecture,

Automation need not impoverish education: we welcome our new robot colleagues.

Face-time is over-valued.

Designing for discovery is tricky business

Having just finished a year working at an educational technology company, I’ve also seen from that side how learners become quantities on a spreadsheet, numbers on an infographic. I worry that researching learners and learning is not the same as knowing learners and learning

we talked about the importance of adopting practices that keep complexity in our educational processes,

That’s hard to do.

we should make space for things that don’t fit into our tidy conceptions about education.

but you can’t actually “increase dancing”

it’s possible to create meaningful and useful new products, new services, and new experiences just by changing the user experience

adget design is a pretty well-known boys’ club, a field where male engineers design products with other men in mind, rarely considering the way the needs, anatomy, or lived experience of women might change the way a product should work. It’s not uncommon to hear stories of how male engineers forgot to factor in the smaller size of women’s hands and wrists, or the way female fashion doesn’t always include a pocket.

In a 1992 paper in Organizational Science titled “The Duality of Technology: Rethinking the Concept of Technology in Organizations,” Wanda Orlikowski applied the structuration theory of sociologist Anthony Giddens to technology use and reached a similar conclusion. Giddens argued that human agency is constrained by the structures around us—technology and sociocultural conventions—and that we in turn shape those structures. Software, malleable and capable of representing rules, is especially conducive to such analysis.

Most studies of extrinsic incentives and intrinsic motivation, including those men- tioned earlier, used as controls subjects who received no rewards or feedback, apparently on the assumption that un- der these conditions original levels of intrinsic motivation would be maintained.

The role of the availability of such information was studied in comparison with conditions of nonreceipt of any information and of receipt of normative evaluation.

In summary, our main goal was to examine how students' achievement goals are related to changes in self-efficacy, preference to avoid challenge, and intrin sic value in the face of evaluation. Early in the semester, we assessed students' achievement goals, self-efficacy, desire to avoid challenge, and intrinsic value. We assessed students' self-efficacy, desire to avoid challenge, and intrinsic value again immediately after they received their grades on their first major exam or paper. This design allowed us to examine the role of goals in the change in mo tivational constructs associated with performance feedback. Our main hypothe ses were (a) a mastery goal will be associated with enhanced motivation around receipt of grades (i.e., increased efficacy and value and lower preference for chal lenge avoidance); (b) a performance-avoidance goal will be associated with di minished motivation around receipt of grades (i.e., decreased efficacy and value and increased preference for challenge avoidance); and (c) the effects of a per formance-approach goal on changes in motivation will be moderated by grades. When students encounter low grades, a performance-approach goal will be relat ed to diminished motivation. When students receive high grades, a performance approach goal will be unrelated to changes in motivation.

the only real problem remaining is the user experience that entices teachers to contribute content

Wiggins and McTighe’s solutions—backward design, sharing detailed rubrics with students, etc.—are certainly the right way to do teacher-centered, standards-driven education based on measurable outcomes.

Everything is movable—including the walls

“We designed every desk, chair, wall, workstation, and table so it can be moved by no more than two [hypothetical] people who are each five feet tall and weigh 80 pounds.”

if a given layout isn’t working well for the people using it, they can change it quickly

Color was used to show which posts were read or unread by the student.

Each class that derives from UObject has a singleton UClass created for it that contains all of the meta data about the class instance. UObject and UClass together are at the root of everything that a gameplay object does during its lifetime. The best way to think of the difference between a UClass and a UObject is that the UClass describes what an instance of a UObject will look like, what properties are available for serialization, networking, etc. Most gameplay development does not involve directly deriving from UObjects, but instead from AActor and UActorComponent. You do not need to know the details of how UClass/UObject works in order to write gameplay code, but it is good to know that these systems exist.

Now that our designers can call our C++ code, let us explore one more powerful way to cross the C++/Blueprint boundary. This approach allows C++ code to call functions that are defined in Blueprints. We often use the approach to notify the designer of an event that they can respond to as they see fit.

What kinds of objects and subjects do interaction design practices make, and how do those practices produce them?

moves the center from the designer’s imagination of the system to the designer’s imagination of the user of the system

Don Norman at Apple in 1993 (referenced by Peter Merholz[10]Peter Merholz. "Whither "User Experience"?". peterme.com. (1998): [http://www.peterme.com/index112498.html] ):“I invented the term [User Experience]

Modernist

Graham Chivers @deepgreendesign Let's enable all 2 flourish ~ Disruptive #Green Mechatronics #Design ~ #Freedom #Water #Food #Climate #HumanRights #Science #STEM #Math & amateur #Feminist Toronto, Canada, #iEarth1st grahamsgreendesign.com/blogs/

Green Electronics Evolutis

n Saul Carliner’s LessonsLearned from Museum Exhibit Design, exhibit design is broken into three main stages(2003). The “idea generator,” “exhibit designer, and “idea implementer,”leads each phase respectively (Carliner, 2003). The idea generator determines the main concepts or themes and chooses the content of the exhibit. Then, the exhibit designer takes the concept to prepare physical designs for the new gallery, creating display cases and deciding wall and floor coverings for the overall ambiance. Lastly, the idea implementer brings together everything to create the exhibit. The implementer collects any missing pieces for the gallery, ensures conservation of displayed pieces, and oversees all parts of the assembly(Carliner, 2003)

If you ain't talking about the teacher in the classroom, I ain't listening. Teacher quality matters. Too many in the profession are quick to awfulize students in poverty to rationalize poor results. Better teaching inspires students and gets better results. Better teaching engages students and keeps them in classrooms, rather than the streets. Better teaching is the one thing we never really talk about. Better teaching is the only mechanism we have left.

Good Design

After some classroom experimentation, a more specific list of smart technology use criteria emerged

Your exported Hype document should be 1024 width × 648 height or smaller.

Complicated, incidentally, is the opposite of simple, not complex

Clojure Design Patterns

Eames – outside of the world of design scholarship and commercial licenses – has become a word applied to alchemise junk shop remnants. A word whose prefix-polish transforms the value of the object to which it has been attached, a kind of culturally magic Brasso intended to bring out particular qualities in an object, even if those qualities aren't there in the first place.

It isn’t designed, it’s an accumulation of actions

course design is more important than the LMS

Based on Flexbox (CSS Flexible Box Layout Module), Gridlex is a very simple css grid system to quickly create modern layouts and submodules.

Most apps had detailed stats to help improve performance. However, to a friend who is not a runner, that info is much less exciting. They would probably much rather see that it was equal to 5 donuts, and give you a thumbs up.

When starting on a new design, I like to list the objectives. Picking the right goals is often more important and harder than making things look good

The onboarding flow can be designed in many other ways that might be more useful to your users. Slack, for instance, uses the first screen to create some context. They simply introduce themselves, focusing on benefits instead of screens and features.

That’s why now all the big players are shifting from hamburger menus towards making the most relevant navigation options always visible.

There is a lot of evidence that quite subtle changes to user interfaces can have dramatic effects on how the interfaces are used. For example, the size of a search box or the text that accompanies it can considerably influence the queries that people submit.

The whole gendered usage of hearts seems to have escaped Twitter. So does the fact that people fave (with stars) in complex ways - they are bookmarks, they are likes, they are nods of the head. But they are not indicators of love. I feel very weird loving tweets by random men I've only just started a conversation with. Not that there's anything wrong with feminine. But women - and men, in their own ways - are well-aware of how feminized visual signals get read by others, and in an identity space like Twitter, I suspect that will really minimize usage. Or at least until we all get used to it.

There is a very significant differentiation between user-design and User-centered design

Sigo convencido de que Lean Startup y las ideas, herramientas y metodologías que le rodean como Customer Development, Business Model Design, Lean UX o Effectuation son la mejor vía para crear una empresa. Pero la interacción con mis lectores y con los alumnos de mis cursos me ha hecho ver que hay problemas para llevar a la práctica estas ideas.

Gratisography

it is vital that teachers become active agents for change, not just in implementing technological innovations, but in designing them too.

Apple does not sell great design. It sells design that flatters its owner. (And Apple’s timing has been perfect to exploit the rising tide of wealth inequality.)

digital systems and displays oftenundermine mutual availability and visibility. Removing the visibility ofthe scene of action from the view of others not only undermines co-participation and collaboration at the exhibit itself, but removes thepossibility of others seeing and making relevant sense of what people aredoing elsewhere within the scene. The relevant ecology of action is largelydenied to those who happen to be within the same space. In contrast, it isworth adding that even those who design for fairgrounds and similar venueshave long recognized the importance of making their displays visible to a‘gathering’, allowing others to participate in various ways in the scene ofaction

we try to not make a specific interface. Instead, we always use the content as the interface. This is how we always design. In Cargo, there’s no design, there’s just content. You click on a thumbnail, but the thumbnail is just a smaller representation of the project. Essentially the browser is the canvas—it is the design—whereas, with a lot of web design, you see people making designs inside the browser, like a box inside a box, and then shading here, adding a bar there. But we don’t do that. We try to disappear.

Gilbert, Tafarodi and Malone's paper was entitled "You Can't Not Believe Everything You Read". This suggests —to say the very least—that we should be more careful when we expose ourselves to unreliable information, especially if we're doing something else at the time. Be careful when you glance at that newspaper in the supermarket.

No

When you hear people talk about Slack they often say it’s “fun”. Using it doesn’t feel like work.

That is, the human annotators are likely to assign different relevance labels to a document, depending on the quality of the last document they had judged for the same query. In addi- tion to manually assigned labels, we further show that the implicit relevance labels inferred from click logs can also be affected by an- choring bias. Our experiments over the query logs of a commercial search engine suggested that searchers’ interaction with a document can be highly affected by the documents visited immediately be- forehand.