Matthew T Grant

Litl launched the litl (though Wired seems to think it’s called “the Webbook”– clarification guys?) yesterday and they invited folks to check it out at the local Starbucks (here’s some photographic proof that I was in attendance).

Given my years of ingrained computer-user habits, I did not find litl’s card-metaphor desktop, novel controllers (buttons, rollers, etc.), and unique capabilities (bend-over-backwards easel mode) intuitively usable, though the friendly litl people happily walked me through it and one beta-tester told me that, while she had the same experience at first, after a while she found herself missing some of the litl features when she was back in her “native” computer environment.

Similarly, the head of one beta-tester family (he, his wife, and his three children all test-drove the litl) told me he found that the younger the user, the quicker the adoption of litl. As he put it, his middle child had enough computer experience to complain about missing or “different” features, while his youngest took to it like a duck to water.

Of course, the main point of the litl is this difference. It looks like a laptop, but it’s different; it sounds like it’s a netbook, but it’s different; it acts like a traditional computer, but it’s different. This emphasis on difference is both litl’s strength – it is really a new kind of thing – but also its greatest vulnerability.

I told the litl folk that what they are attempting is bold and, for that reason, fraught with entrepreneurial peril, in part because the device doesn’t ask people to do one thing differently, it asks them to do a lot of things differently (store all your data in the cloud, rely on web-based apps instead of software, think in terms of “cards” rather than pages or docs or whatever). And no matter how much we celebrate diversity or shout “Vive la différence,” getting people to do things differently is frickin’ hard.

Innovation by definition means doing things in a new way, but there is a limit to how much “new” people can handle, particularly when they don’t see the clear advantage or the critical difference.

I believe that this “difference limit,” and not just the $700 price tag, is the most daunting hurdle facing the litl team. Getting around it will probably involve partnerships with companies that have the reach and sway to influence technology buying behaviors, or an aggressive “seeding” program that gets litl webbooks into the hands of the 7-and-under crowd (kind of like Apple did by getting Macs into the hands of college-age kids making the leap from typewriter to word processor back in the 1980s).

Of course, knowing the people involved as I do, I’m sure they’ll come up with something completely different.

Image Courtesy of lucky_lucas.

A bunch of folks I’ve known for a while have today introduced a “webbook” called the “litl.” As I understand it, what differentiates a “webbook” from a “netbook” is that the former has no hard-drive and all of your stuff lives in the cloud.

Aside from a bunch of techie stuff like running a Linux-based OS and eschewing traditional things like software, what further differentiates the litl from other laptop-ish devices is that you can set it up like an easel to watch movies or check the weather while shaving (as illustrated above).

I was around when the concept was being germinated and have watched the development of this device from afar, but have never really seen the machine in action, which I’ll get a chance to do so this morning.

Reviews are rolling in and they range from the skeptical (Gizmodo) to the intrigued (Xconomy) to the bemused (engadget). I’ll toss in my 2¢ as soon as I’ve found them.

Gonna make this quick.

1. Placing hot triggers in the path of users is the key to changing behavior.

2. Humans are fairly predictable so you can use a systematic approach to thinking about persuasion and behavioral change.

2a. Effective persuasion involves: Motivation – Ability – Trigger.

2b. You increase ability by simplifying, not by training.

3. Everything big started small. If you want to innovate, start with something small/light weight. If it works, build on it. If it doesn’t, try something else.

3a. Everything that started big, complicated, and feature-rich, has failed.

4. The winning rituals of today become the platforms of tomorrow.

4a. You can attach your behaviors to somebody else’s rituals.

What did I miss?

You might want one ‘cuz I just posted the first comment on your homepage!

If you don’t know what the Google Sidewiki feature is all about, you can get the low-down straight from the horse’s mouth, or read what Beth Harte and Mack Collier have to say about it in this review on MarketingProfs Daily Fix.

To my febrile mind, Sidewiki highlights what has always been true about the web: control of your site and its content is as illusory as the Buddhist’s conception of being. In other words, this control is contingent, transient, and, given this intensely provisional quality, the root cause of suffering.

Of course, Google is upping the ante by creating a parallel quasi-parasitic universe in which all commentary, critique, and praise of a web page is aggregated as a communally-generated contextual supplement to it.

Aside from reminding everyone that the browser is only by choice but not by nature a neutral, indifferent frame coolly serving up whatever the web has to offer sans editorial intervention or additives, the introduction of the Sidewiki creates one of those increasingly rare web moments when you can be in on the ground floor.

You’d be surprised, or perhaps not, to discover how many sites are virginal, from a Sidewiki perspective, patiently awaiting the first comments on specific elements thereof  – highlight a portion of a page and comment specifically on that –  or their pristine entirety.

So where are you going to start?

Some mad scientists treated wood with obscure fungi to decrease its density and thereby change its acoustical properties. They then had some violins built with this en-funginated wood and the sound produced therewith rivaled that of a Stradivarius.

While I had always thought, wrongly, that the sound of instruments created by the Stradivarius family depended on the mysterious, alchemical processes they used to create their varnishes, it turns out that the real secret ingredient was the wood of trees which grew during the “Little Ice Age, a period of abnormally cool weather between 1645 to 1715.”

The intricate grains of some woods used in furniture and musical instruments are produced by various sorts of disease and infestation and, of course, some believe the flavor of meats to be improved by aging, which is really like a controlled rotting.

What in your life or work could be changed for the better by introducing the organic chaos of infection, decay, or even disaster?

Image Courtesy of dingbat2005.

Five long years ago, I wrote a piece entitled, “Return on Creative.” The crux of that essay was that design was critical to business success and, naturally, that a clear understanding of business principles and a focus on creating value was critical to successful design.

This was part of marketing campaign that we were running in order to position Aquent as the company that “got” both business AND design, making us the perfect choice for any organization looking for increased efficiency from creative execution (as we often called it). Of course, it also jibed with the growing (and still prevalent) trend amongst AIGA-istas and DMI-ers to insist that design deserved a “place at the table” – that is, the table where important business decisions are made.

This “place at the table” thinking has been questioned by folks like Michael Bierut and, more recently, Dan Saffer. Bierut sees it as symptomatic of an insecurity complex and insists that designers should focus on being good at design, not business. Saffer says that designers need allies at the table, but should relish their place away from it as outsiders who can “speak truth to power.” As high-falutin’ as that may sound, Saffer rightly emphasizes that, place at the table or not, designers need to be able to explain their work and decisions in business terms.

When a client or manager asks about the return on investing in “good” design, she wants to translate it into the language of profit and loss. Paying designers is an expense that she must weigh against other expenses and justify in terms of relative profitability. How do YOU handle this question? How do you measure the impact of DESIGN? Do you?

Or is that, ultimately, the wrong question?

Image Courtesy of Wessex Archaeology.

In the early days of the Web, it was not uncommon for companies to say they wanted to hire someone who knew HTML, Photoshop, JavaScript, Java, SQL, Cold Fusion, PHP, etc.

As the Web grew and people became more sophisticated, it was understood that there was a division of labor on the Web and that someone might know a lot about JavaScript without knowing anything about Java, and vice versa.

This post, which first appeared in February of 2009, addressed the fact that, sadly, there are still some people out there who think that if someone knows one Web technology, then they probably know them all.

In 2007, I interviewed Minh Nguyen who was working through Aquent’s San Diego office. He had built his own web design studio from scratch and was kind enough to share with me lessons he had learned along the way.

As part of my work with Aquent, I interviewed a number of the many talented people who work for that company. I posted these interviews as a way of spotlighting the aforementioned talent. This interview with web designer Jon Billett first appeared on February 12, 2009.

Jon Billett is a designer represented by Aquent’s Philadelphia office who has spent the last several years making the transition from print to web. Of the work he’s done that you may have seen are a set of banner ads featuring Regis and Kelly which Jon created for TD Bank.

I asked Jon a few questions about his career, the process of moving from print design to interactive design, and the key to creating effective banner ads. Here’s what he told me.

You started your career as a graphic designer, right?

Yep, my background is in print design. It’s what I studied in school and it’s what gave me my foundation in layout, aesthetics, and making things look pretty.

So how did you build your interactive chops?

After I graduated, I basically taught myself at first and then networked with as many people as I could to learn from them. I made an online Flash portfolio and was fortunate enough to land a job through Craigslist with 3601, the internal ad agency at the Wachovia Center here in Philly.

What sort of stuff did you do with 3601??

This was back in 2006 and they really hadn’t done too much Flash or web stuff themselves, so they hired me to create banner ads, put together the web site for the agency, and things like that. I also worked on the design of the iWalls that they have installed there. These huge displays allow fans to interact with hi-def timelines dedicated to the Flyers and the Sixers. It’s really great to see people on TV playing with them, and being a fan myself, I had a lot of fun creating them.

Was it challenging to be “the web guy” on the team?

In a way. I was the only person who knew how to do this stuff, so when I had problems, there wasn’t anyone in the office that I could turn to. I had to reach out and find other sources to get answers.

What sources did you find?

I got a lot of help from TechnicalLead.com, which also runs LearnFlash.com. I joined as a member so I could have access to their tutorial videos but the best part of the service was access to mentors – experts who have really mastered this technology. Having a specific person you can tap for help is ideal, though you really need to be at a certain level to make the most of mentoring.

I realize that banner ads are just part of what you’ve done, but what would you say is the key to a successful banner ad design?

A banner ad can’t be distracting, but it still has to attract attention and be intriguing. You have to put enough in the ad to pique someone’s curiosity and get them to click without making it too busy (and not just because you want to keep the file sizes down). Aside from making the ads entertaining and engaging, I like using the format to throw in new animation tricks I’ve learned.

Last question. Who are your influences?

On the print side, I would say that my biggest influences have been Saul Bass, David Carson, with his “type as image” stuff, and street/urban things like Shephard Fairey. On the web front, I absolutely love the work being done by AYC Media.

Pull a thread on the Web and it unravels the universe. Having accidentally stumbled across the concept of “design thinking,” I found that there was a whole, thriving discourse on the subject. Who knew? I wrote a brief series of posts on my discoveries. This was the third and was originally published on March 14, 2007.