08 February
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The Inside Story Of Ubuntu’s Gesture-Centric Smartphone

Earlier this month, Canonical, the co-creators of Ubuntu–a distribution of the open-source Linux operating system–announced that they were getting into the smartphone business. They previewed an Ubuntu-based smartphone OS with an aggressively gestural UI design. The phone doesn’t have a home button, a slider-based lock screen, a “settings” tile, or an app switcher toggle. Instead, a user accesses these functions by swiping various edges of the screen.

Gestural interfaces–which eschew visual “chrome”-like buttons and tiles in favor of swiping, pressing, or tapping directly on content areas–are just starting to go mainstream. But the Ubuntu phone is going all-in on these new interactions. They’re as baked-in to Ubuntu’s mobile design language as skeuomorphism is to iOS’s. I got in touch with Canonical’s head of design, Ivo Weevers, and Lead Phone UX Designer Mika Meskanen to ask them about jumping into the deep end of gestural interface design. (They responded jointly via email.)

Co.Design: Why did you choose this approach? Was it simply to distinguish from iOS and Android? Or is an “all-gestural” phone OS the future of phones in general?

Canonical: Traditional Japanese architecture teaches us some important design principles about the balance between space and objects. Things that are not needed are not in the way, to allow complete immersion into an activity. Objects are placed around the periphery of the room and so are easily accessible when needed. By studying design cultures like this and how people use their phones, we could design an experience that takes a leap from where mobile user interfaces were until today.

These principles can be seen in Ubuntu’s gesture-based interface, which gives the content or task at hand undivided attention on the screen. Everything else is peripheral, but is easily evoked from the screen’s edges. It means that it’s really easy to switch between favourite and previous applications, and access controls, notifications and settings without ever interrupting the natural flow of activity. Gestures are also very intuitive and give a natural feeling to engaging with your personal content and applications.

Typical phones insist on navigation via hard or soft buttons to go back to a home screen, and eventually to the desired destination. The edges of the screen give immediate access to the features that a user needs the most frequently on a phone.

Co.Design: Exactly what functions can be invoked by swiping from each screen edge, and why?

Canonical: During research, we found that most people use up to ten apps most frequently, so in Ubuntu a left edge swipe quickly reveals a list of these most used apps without ever leaving the current, open app. Swiping right flips between currently open apps. Most of the time, people want to use two or three apps only, and this swipe makes that very easy.

The top edge gives the user access to peripheral but key system tasks, such as accessing and responding to messages, as well as settings such as connecting to wifi, adjusting screen brightness, time, date, and battery life. For these settings, often users just want to take a quick peek or make a swift alteration without having to leave their application, going to a home screen and scrolling through settings, and therefore losing the ‘flow’ of the activity in hand.

The bottom edge of the Ubuntu screen reveals controls for that app only when they are needed, so users are immersed much more into the things that matter more of the time. Most of the time people want to simply engage with content. For example, it is the photos that matter when looking at photos in a hardbound album, not the scissors and tape used to stick them there. Intrusive control buttons or controls constantly available in the interface take away precious real estate, even though they are used only in a minority of situations.

Co.Design: Gestural interfaces have their advantages, but they’re very new and unfamiliar to most people. How do you make these features intuitive and discoverable to new users, when there’s no obvious visual cues or skeuomorphic affordances?

Canonical: Touch interfaces have had the tendency to become very explicit. By consistently using edges instead of physical or software buttons that people have to poke at or aim for, we can leverage a range of human motor skills previously untapped–like muscle memory and finger dexterity.

User research found that gestural interfaces require a short learning curve. However, once learned they are very easy and become natural interactions quickly. There are already clear examples in existing products how the user can be informed effectively about the interactions, and by doing that the user gets access to a whole new world of interactions.

Co.Design: Aren’t design and open-source fundamentally at odds? How can Ubuntu’s design team ensure the best possible user experience when they can’t control what users will do with the software–including modifying, hacking, and forking it?

Canonical: Ubuntu design is led from our exceptional design team based in London, but also through engagement and collaboration at the right levels with other designers and community contributors around the world. There are great examples of co-creation projects that resulted in great products. For example, we have developed our own distinctive Ubuntu font,
which is a great example of a major new design led by our team and developed with the community across the world.

Developers have already shown that the open-source approach can result in great code, so we don’t see why designers can’t achieve the same.

Via FastCoDesign: http://www.fastcodesign.com/

01 February
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Airlines Developing Different Strategies For Acquiring Carbon Credits

Airlines flying in Europe are finding different ways for handling the new emission trading scheme that took effect at the beginning of the year. While many airlines in North American and Asia continue to question the validity of the requirements to purchase carbon credits, several European carriers are developing plans for buying and trading carbon credits.

Germany’s Lufthansa told Reuters it has been continuously buying up credits on the open market. Currently carbon credits in Europe are at bargain prices. The price is about half of what it was in 2010 at roughly 7 Euros per ton of carbon. The requirement to buy carbon credits is effectively a tax to provide an economic incentive to minimize emissions of C02 by the airlines.

As of January 1, airlines flying to and from EU airports must have enough carbon credits to cover the emissions from their flights. The airlines join power and industrial plants in the EU that have been submitting carbon credits since 2005. Under the plan the airlines are given a number of free carbon credits to cover some of their operations, they must acquire the remaining credits either through trade or purchase.

Members of the Star Alliance group which includes United and Lufthansa told Reuters they will likely use a broker to help members buy credits on the open market at discounted rates. Airlines in the rival SkyTeam including Air France and Delta are expected to trade internally with members of the airline group to acquire some of the needed credits, purchasing the rest on the market.

Some United States carriers have already said they will be adding a surcharge to cover the cost of the credits.

A representative of Air France told Reuters the fleet will receive a free allocation of about 12.6 million tons of credit, but it expects to emit between 16-17 million tons for 2012.

Both Air France and Lufthansa say they are buying credits directly from a Paris based exchange known as BlueNext.

In the coming  years airlines are expected to begin hedging and trading carbon credits in much the same way they do with jet fuel today. Buying and trading of carbon credits is expected to pick up dramatically this year as the airlines will be required to submit their credits against the free allocations.

Photo: Lufthansa

 

Via Wired Autopia: http://www.wired.com/autopia/

23 January
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HTML5 Gets an Official Logo from W3C

The World-Wide Web Consortium (W3C) has unveiled a new logo for HTML5 — and along with it, a new way of framing the conversation about newer web development technologies.

The topic of HTML5 has been one of great debate and no small amount of confusion over the past year or so. With the ardent support of companies such as Google and a great deal of enthusiasm from developers in all areas of work, HTML5 has taken its place in popular conversation as the magic-bullet antidote for everything that’s wrong with web development (we’re looking at you, Flash).

On the logo’s new site, we read, “It stands strong and true, resilient and universal as the markup you write. It shines as bright and as bold as the forward-thinking, dedicated web developers you are. It’s the standard’s standard, a pennant for progress. And it certainly doesn’t use tables for layout.”

The logo was designed by boutique agency Ocupop, a firm that focuses on branding, identity and web design, among other facets of marketing and design work.

Ocupop logo designer Michael Nieling said in a statement, “The term HTML5 has taken on a life of its own; there has been significant confusion and debate both within the developer community and in the public at large as to what exactly HTML5 is when the term is used outside of simply referring to the spec itself… The standard needs a standard. That is, HTML5 needs a consistent, standardized visual vocabulary to serve as a framework for conversations, presentations, and explanations.”

The HTML5 badge comes in a keystone shape that symbolizes “how HTML5 stands at the center of this current technology movement,” as Neiling put it. The shape is also reminiscent of a coat of arms, a sort of “badge of honor we felt captured the spirit and substance of the open web platform and the community surrounding it.”

The logo is meant to be taken and used by all members of the web developer/designer community; in fact, on the logo’s site, you can customize your own badge according to the types of technology you use with eight classes that range from semantics to styling.

HTML5 Powered with Connectivity / Realtime, CSS3 / Styling, Device Access, Graphics, 3D & Effects, Multimedia, Performance & Integration, Semantics, and Offline & Storage

The site also offers free stickers (just send in a self-addressed, stamped envelope) and $22.50 T-shirts with the new HTML logo. And of course it’s got a full gallery of sites that truly showcase what devs and designers can do with HTML5.

Neiling concludes, “Paul Rand was quoted at some point saying that great logos have ‘the pleasure of recognition and the promise of meaning.’ At first glance, people immediately see the number five, the badge, the power, and the excitement of this logo and the movement as a whole — they get that ‘pleasure of recognition,’ they get it immediately. Then the shape, the shading and very real latent meanings… also come through.

“That promise of meaning, that potential that the open web platform and the ‘new’ HTML5-driven web offers, that’s there too.”

What do you think of the new HTML5 logo? Let us know in the comments.

Via Mashable: http://www.mashable.com

21 December
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The open road

I was driving on a very dangerous two-lane highway in India. More than eight hours of death-defying horror…

Our driver aggressively tailgated whatever car, truck or horse was in front of us, and then passed as soon as he was able (and sometimes when he wasn’t).

What amazed me, though, was what he did during those rare times when there wasn’t a car in front of us, just open road.

He didn’t speed up. In fact, it seemed as though he slowed down.

He was comfortable with the competitive nature of passing (I may not be fast, but I’m faster than you), and he was petrified of the open road and the act of choosing his own speed.

Of course, we do the same thing with our career or our businesses. Most of us need competition to tell us how fast to go.

By Seth Godin: http://sethgodin.typepad.com/

Valve Interactive
An online marketing and design agency in Portland Oregon