What do you think of when I say the word "design"? You probably think of things like this, finely crafted objects that you can hold in your hand, or maybe logos and posters and maps that visually explain things, classic icons of timeless design. But I'm not here to talk about that kind of design. I want to talk about the kind that you probably use every day and may not give much thought to, designs that change all the time and that live inside your pocket. I'm talking about the design of digital experiences and specifically the design of systems that are so big that their scale can be hard to comprehend. Consider the fact that Google processes over one billion search queries every day, that every minute, over 100 hours of footage are uploaded to YouTube. That's more in a single day than all three major U.S. networks broadcast in the last five years combined. And Facebook transmitting the photos, messages and stories of over 1.23 billion people. That's almost half of the Internet population, and a sixth of humanity.
Na šta prvo pomislite kada kažem reč “dizajn”? Verovatno mislite na stvari poput ovih, fino izrađene objekte koje možete drzati u vašim rukama, ili na logotipe i postere i mape koji nam vizuelno objašnjavaju stvari, klasične ikone bezvremenog dizajna. Međutim, ja nisam ovde da bih govorila o takvoj vrsti dizajna. Želim da pričam o onoj vrsti koju verovatno koristite svaki dan i kojoj verovatno ne poklanjate mnogo pažnje, o dizajnu koji se stalno menja i koji živi u vašem džepu. Govorim o dizajniranju digitalnih iskustava i specifično o dizajniranju sistema koji su toliko veliki da je njihovu veličinu teško razumeti. Razmotrite činjenicu da Gugl svakog dana obradi više od jedne milijarde pretraga, da svakog minuta preko 100 sati video snimaka biva postavljeno na Jutjub. To je više snimaka u jednom danu nego što su tri najveće američke televizije zajedno emitovale u poslednjih pet godina. Dalje, Fejsbuk isporučuje fotografije, poruke i priče više od 1,23 milijarde ljudi. To je skoro polovina populacije koja koristi Internet i jedna šestina čovečanstva.
These are some of the products that I've helped design over the course of my career, and their scale is so massive that they've produced unprecedented design challenges. But what is really hard about designing at scale is this: It's hard in part because it requires a combination of two things, audacity and humility — audacity to believe that the thing that you're making is something that the entire world wants and needs, and humility to understand that as a designer, it's not about you or your portfolio, it's about the people that you're designing for, and how your work just might help them live better lives. Now, unfortunately, there's no school that offers the course Designing for Humanity 101. I and the other designers who work on these kinds of products have had to invent it as we go along, and we are teaching ourselves the emerging best practices of designing at scale, and today I'd like share some of the things that we've learned over the years.
Ovo su neki od proizvoda u čijem sam dizajniranju pomogla tokom svoje karijere, a oni su tako veliki da su stvorili jedinstvene izazove u dizajniranju. Ono što je zaista teško kada govorimo o dizajniranju po meri je ovo: delimično je teško zato što zahteva kombinaciju dve stvari: odvažnosti i poniznosti - odvažnost da verujete da su stvari koje stvarate nešto što ceo svet želi i što celom svetu treba i poniznost da biste razumeli da, kao dizajner, da se ne radi o vama ili vašem portfoliju već da se radi o ljudima za koje dizajnirate i kako vaš posao može da im pomogne da žive bolje živote. Nažalost, ne postoji nijedna škola koja nudi kurs Uvod u dizajniranje za čovečanstvo. Ja i drugi dizajneri koji rade na ovakvim proizvodima smo morali da sve sami otkrivamo kako smo se kretali napred i mi učimo sami sebe najboljim načinima dizajniranja po meri i danas bih volela da podelim neke od stvari koje smo naučili tokom godina.
Now, the first thing that you need to know about designing at scale is that the little things really matter. Here's a really good example of how a very tiny design element can make a big impact. The team at Facebook that manages the Facebook "Like" button decided that it needed to be redesigned. The button had kind of gotten out of sync with the evolution of our brand and it needed to be modernized. Now you might think, well, it's a tiny little button, it probably is a pretty straightforward, easy design assignment, but it wasn't. Turns out, there were all kinds of constraints for the design of this button. You had to work within specific height and width parameters. You had to be careful to make it work in a bunch of different languages, and be careful about using fancy gradients or borders because it has to degrade gracefully in old web browsers. The truth is, designing this tiny little button was a huge pain in the butt.
Prvo što treba da znate o dizajniranju po meri jeste da su male stvari zaista bitne. Evo jednog zaista dobrog primera kako neki veoma mali elementi u dizajnu mogu doneti veliki uticaj. Tim koji upravlja Fejsbukovim dugmetom “Sviđa mi se” je odlučio da ono treba da bude redizajnirano. Dugme je izgubilo korak sa evolucijom našeg brenda i bilo je neophodno da ga izmenimo. Možda mislite: “Pa, to je malo dugme i to verovatno nije komplikovano, to je lak zadatak za dizajnera”, ali to nije bilo tako. Ispostavilo se da postoje razna ograničenja za dizajniranje ovog dugmeta. Morali smo da radimo sa tačno određenom visinom i širinom. Morali smo da budemo sigurni da će raditi na mnoštvu različitih jezika i morali smo da budemo posebno pažljvi kod finih prelaza i ivica zato što je prelaz morao da bude graciozan čak i na starim veb-pregledačima. Istina je, dizajniranje ovog veoma malog dugmeta je bio veoma dosadan zadatak.
Now, this is the new version of the button, and the designer who led this project estimates that he spent over 280 hours redesigning this button over the course of months. Now, why would we spend so much time on something so small? It's because when you're designing at scale, there's no such thing as a small detail. This innocent little button is seen on average 22 billion times a day and on over 7.5 million websites. It's one of the single most viewed design elements ever created. Now that's a lot of pressure for a little button and the designer behind it, but with these kinds of products, you need to get even the tiny things right.
Ovo je nova verzija ovog dugmeta i dizajner koji je vodio ovaj projekat je procenio da je proveo više od 280 sati tokom nekoliko meseci, redizajnirajući ovo dugme. Zašto bismo proveli toliko vremena na nešto što je tako malo? Zato što, kada dizajnirate po meri, ne postoje takve stvari kao što su mali detalji. Ovo nevino, malo dugme je u proseku viđeno 22 milijarde puta dnevno na preko 7,5 miliona različitih veb-sajtova. Jedan je od najviđenijh dizajnerskih elemenata koji su ikada postojali. To stvara veliki pritisak za ovo malo dugme i dizajnera koji stoji iza njega, ali sa ovakvim proizvodima, čak i male stvari moraju da budu dobro odrađene.
Now, the next thing that you need to understand is how to design with data. Now, when you're working on products like this, you have incredible amounts of information about how people are using your product that you can then use to influence your design decisions, but it's not just as simple as following the numbers. Let me give you an example so that you can understand what I mean. Facebook has had a tool for a long time that allowed people to report photos that may be in violation of our community standards, things like spam and abuse. And there were a ton of photos reported, but as it turns out, only a small percentage were actually in violation of those community standards. Most of them were just your typical party photo. Now, to give you a specific hypothetical example, let's say my friend Laura hypothetically uploads a picture of me from a drunken night of karaoke. This is purely hypothetical, I can assure you. (Laughter) Now, incidentally, you know how some people are kind of worried that their boss or employee is going to discover embarrassing photos of them on Facebook? Do you know how hard that is to avoid when you actually work at Facebook? So anyway, there are lots of these photos being erroneously reported as spam and abuse, and one of the engineers on the team had a hunch. He really thought there was something else going on and he was right, because when he looked through a bunch of the cases, he found that most of them were from people who were requesting the takedown of a photo of themselves. Now this was a scenario that the team never even took into account before. So they added a new feature that allowed people to message their friend to ask them to take the photo down. But it didn't work. Only 20 percent of people sent the message to their friend. So the team went back at it. They consulted with experts in conflict resolution. They even studied the universal principles of polite language, which I didn't even actually know existed until this research happened. And they found something really interesting. They had to go beyond just helping people ask their friend to take the photo down. They had to help people express to their friend how the photo made them feel.
Sledeća stvar koju morate razumeti jeste kako dizajnirati sa podacima. Kada radite sa ovakvim proizvodima, imate neverovatnu količinu informacija o tome kako ljudi koriste vaš proizvod i koje možete koristiti da utičete na vaše dizajnerske odluke, ali to nije jednostavno poput praćenja brojki. Evo jednog primera da razumete na šta mislim. Već dugo vremena, Fejsbuk ima alatku koja dozvoljava ljudima da prijave fotografije koje možda krše standarde naše zajednice, stvari poput spama i zloupotrebe. Bilo je mnogo prijavljenih fotografija, ali, kao što se ispostavilo, samo je jedan mali procenat njih kršio standarde te zajednice. Većina njih su bile tipične fotografije sa žurki. Da bih vam dala specifičan, hipotetički primer, reći ću da je moja prijateljica Lora hipotetički postavila moju fotografiju sa jedne pijane noći karaoka. Ovo je potpuno hipotetički, uveravam vas. (Smeh) Sasvim slučajno, znate kako neke ljude brine da bi njihov šef ili zaposleni mogao da otkrije posramljujuće slike na Fejsbuku? Znate li koliko je to teško izbeći kada u stvari radite za Fejsbuk? Inače, postoji mnoštvo ovih fotografija koje greškom bivaju prijavljene kao spam ili zloupotreba i jedan od inženjera ovog tima je imao predosećaj. On je pomislio da se tu događa nešto drugo i bio je u pravu, zato što, kada je pregledao mnoštvo ovih slučajeva, video je da je većina njih potekla od ljudi koji traže da se uklone fotografije njih samih. Ovo je bio scenario koji taj tim nije nikada ranije razmatrao. Zato su dodali novu opciju koja omogućava ljudima da pošalju poruku svojim prijateljima i pitaju ih da obrišu fotografiju. Međutim, to nije radilo. Samo je 20% ljudi poslalo poruku njihovim prijateljima. Zbog toga se tim ponovo bacio na posao. Konsultovali su eksperte za razrešavanje konflikata. Čak su proučavali i univerzalne principe pristojnog jezika, što nisam ni znala da postoji dok nije došlo do ovog istraživanja. Otkrili su nešto veoma interesantno. Morali su da idu dalje od prostog pomaganja ljudima da pitaju pijatelje da uklone fotografije. Morali su da pomognu ljudima da objasne svojim prijateljima kakva osećanja ta fotografija budi u njima.
Here's how the experience works today. So I find this hypothetical photo of myself, and it's not spam, it's not abuse, but I really wish it weren't on the site. So I report it and I say, "I'm in this photo and I don't like it," and then we dig deeper. Why don't you like this photo of yourself? And I select "It's embarrassing." And then I'm encouraged to message my friend, but here's the critical difference. I'm provided specific suggested language that helps me communicate to Laura how the photo makes me feel. Now the team found that this relatively small change had a huge impact. Before, only 20 percent of people were sending the message, and now 60 percent were, and surveys showed that people on both sides of the conversation felt better as a result. That same survey showed that 90 percent of your friends want to know if they've done something to upset you. Now I don't know who the other 10 percent are, but maybe that's where our "Unfriend" feature can come in handy.
Evo kako to iskustvo radi danas. Dakle, pronađem ovu hipotetičku fotografiju sebe, ali to nije spam, to nije zloupotreba, ali je ja zaista ne želim na ovom sajtu. Onda je ja prijavim i kažem: “Ja sam na ovoj fotografiji i ne dopada mi se”, i onda idemo dublje. “Zbog čega ti se ne sviđa ova tvoja fotografija”? I ja odaberem “Posramljujuća je”. Onda sam ohrabrena da pošaljem poruku svom prijatelju ali evo te kritične razlike. Dat mi je specifični predloženi jezik koji mi pomaže da kažem Lori kako ta fotografija čini da se osećam. Tim je otkrio da je ova relativno mala promena imala veliki uticaj. Ranije, samo 20% ljudi je slalo ovu poruku, a sada već 60%, a ankete su pokazale da su se ljudi sa obe strane razgovora osećali bolje zbog ovoga. Ta ista anketa je pokazala da 90% vaših prijatelja žele da znaju da li su učinili nešto što vas je uznemirilo. Ja zaista ne znam ko su preostalih 10% ali je ovo izgleda situacija gde je korisna opcija za uklanjanje prijatelja.
So as you can see, these decisions are highly nuanced. Of course we use a lot of data to inform our decisions, but we also rely very heavily on iteration, research, testing, intuition, human empathy. It's both art and science. Now, sometimes the designers who work on these products are called "data-driven," which is a term that totally drives us bonkers. The fact is, it would be irresponsible of us not to rigorously test our designs when so many people are counting on us to get it right, but data analytics will never be a substitute for design intuition. Data can help you make a good design great, but it will never made a bad design good.
Kao što vidite, ove odluke su jako iznijansirane. Naravno da koristimo mnoštvo podataka ne bi li vodili naše odluke, ali mi se takođe dosta oslanjamo na ponavljanja, istraživanje, testiranja, intuiciju i ljudsku empatiju. U isto vreme ovo je i umetnost i nauka. Ponekad se za dizajnere koji rade na ovim proizvodima kaže da su “vođeni podacima”, što je izraz koji nas potpuno izluđuje. Istina je, bilo bi neodgovorno od nas da ne testiramo strogo naše dizajne kada toliko ljudi računa na nas da oni budu ispravni ali analiza podataka nikada neće moći da zameni intuiciju u dizajnu. Podaci mogu da vam pomognu da od dobrog dizajna napravite odličan, ali nikada neće od lošeg dizajna napraviti dobar.
The next thing that you need to understand as a principle is that when you introduce change, you need to do it extraordinarily carefully. Now I often have joked that I spend almost as much time designing the introduction of change as I do the change itself, and I'm sure that we can all relate to that when something that we use a lot changes and then we have to adjust. The fact is, people can become very efficient at using bad design, and so even if the change is good for them in the long run, it's still incredibly frustrating when it happens, and this is particularly true with user-generated content platforms, because people can rightfully claim a sense of ownership. It is, after all, their content.
Sledeća stvar koju morate razumeti kao princip, jeste da, kada uvodite promenu, morate to da učinite neverovatno oprezno. Ja volim da se šalim da provedem skoro isto vreme dizajnirajući uvod u promenu, kao što provedem dizajnirajući samu promenu i sigurna sam da se svi možemo pronaći u tome kada se nešto što mnogo koristimo promeni i mi jednostavno moramo da se prilagodimo. Istina je, ljudi mogu postati veoma efikasni u korišćenju lošeg dizajna, tako da čak i kada je dugoročno gledano promena dobra za njih, i dalje je veoma frustrirajuće kada se ona dogodi, i ovo je posebno tačno kada se radi o platformama sa sadržajima koje su stvorili korisnici, zbog toga što ljudi zaista mogu da tvrde da polažu pravo svojine. Na kraju krajeva, to i jeste njihov sadržaj.
Now, years ago, when I was working at YouTube, we were looking for ways to encourage more people to rate videos, and it was interesting because when we looked into the data, we found that almost everyone was exclusively using the highest five-star rating, a handful of people were using the lowest one-star, and virtually no one was using two, three or four stars. So we decided to simplify into an up-down kind of voting binary model. It's going to be much easier for people to engage with. But people were very attached to the five-star rating system. Video creators really loved their ratings. Millions and millions of people were accustomed to the old design. So in order to help people prepare themselves for change and acclimate to the new design more quickly, we actually published the data graph sharing with the community the rationale for what we were going to do, and it even engaged the larger industry in a conversation, which resulted in my favorite TechCrunch headline of all time: "YouTube Comes to a 5-Star Realization: Its Ratings Are Useless."
Pre nekoliko godina, kada sam radila za Jutjubu, tražili smo načine da ohrabrimo više ljudi da ocenjuju video snimke i ovo je bilo interesantno zbog toga što, kada smo pogledali podatke, otkrili smo da je gotovo svako koristio samo najvišu ocenu od pet zvedica, izvestan broj ljudi je koristio najnižu ocenu od jedne zvezdice, a skoro niko nije koristio dve, tri ili četiri zvezdice. Zbog toga smo odlučili da to pojednostavimo i pretvorimo u binarni model ocenjivanja, sa palcem okrenutim nadole ili na gore. Biće mnogo lakše za ljude da ovo koriste. Međutim, ljudi su bili veoma privrženi ocenjivanju sa pet zvezdica. Stvaraoci video snimaka su zaista voleli svoje ocene. Milioni i milioni ljudi su bili naviknuti na stari dizajn. Stoga, ne bi li pomogli ljudima da se pripreme za promenu i prilagode novom dizajnu brže, objavili smo grafikon sa podacima koji sa zajednicom dele obrazloženje za ono što ćemo uraditi i čak smo uključili u taj proces i širu javnost što je za posledicu imalo moj omiljeni naslov u Tekkranču do sada: “Jutjub dolazi do zaključka od pet zvezdica: Njihovo ocenjivanje je beskorisno”.
Now, it's impossible to completely avoid change aversion when you're making changes to products that so many people use. Even though we tried to do all the right things, we still received our customary flood of video protests and angry emails and even a package that had to be scanned by security, but we have to remember people care intensely about this stuff, and it's because these products, this work, really, really matters to them.
Nemoguće je potpuno izbeći antipatičnost prema promeni kada pravite promene u proizvodima koje koristi toliko ljudi. Iako smo pokušali da radimo prave stvari i dalje smo dobili već uobičajenu količinu video protesta i ljutih imejlova i čak i jedan paket koji je obezbeđenje moralo da skenira, ali moramo da zapamtimo da ljudi zaista brinu o ovim stvarima, a to je zato što njima ovi proizvodi zaista puno znače.
Now, we know that we have to be careful about paying attention to the details, we have to be cognizant about how we use data in our design process, and we have to introduce change very, very carefully. Now, these things are all really useful. They're good best practices for designing at scale. But they don't mean anything if you don't understand something much more fundamental. You have to understand who you are designing for.
Znamo da moramo da budemo pažljivi kada pažnju poklanjamo detaljima, moramo da budemo svesni načina na koji koristimo podatke u procesu dizajniranja i promene moramo da uvodimo veoma, veoma pažljivo. Ovo su sve veoma korisne stvari. One su najbolji načini za dizajniranje po meri. Međutim, one ne znače ništa ako ne razumete nešto što je mnogo osnovnije. Morate da razumete za koga dizajnirate.
Now, when you set a goal to design for the entire human race, and you start to engage in that goal in earnest, at some point you run into the walls of the bubble that you're living in. Now, in San Francisco, we get a little miffed when we hit a dead cell zone because we can't use our phones to navigate to the new hipster coffee shop. But what if you had to drive four hours to charge your phone because you had no reliable source of electricity? What if you had no access to public libraries? What if your country had no free press? What would these products start to mean to you? This is what Google, YouTube and Facebook look like to most of the world, and it's what they'll look like to most of the next five billion people to come online. Designing for low-end cell phones is not glamorous design work, but if you want to design for the whole world, you have to design for where people are, and not where you are.
Kada postavite sebi cilj da dizajnirate za celu ljudsku vrstu i kada se iskreno posvetite tom cilju, u jednom trenutku prosto natrčite na zidove tog mehurića u kome živite. U San Francisku, pomalo se iziritiramo kada naiđemo na deo grada u kome nema mreže jer ne možemo da koristimo telefone za navigaciju do novog hipsterskog kafića. Ali šta ako bi morali da vozite četiri sata da napunite svoj mobilni telefon zato što nemate pouzdan izvor energije? Šta bi bilo kada ne biste imali pristup javnim bibliotekama? Šta ako vaša zemlja nema slobodnu štampu? Šta bi u tom slučaju ovi proizvodi značili vama? Ovako Gugl, Jutjub i Fejsbuk izgledaju većem delu sveta i tako će izgledati većini od sledećih 5 milijardi ljudi koji će početi da koriste internet. Dizajniranje za stare mobilne telefone nije veličanstveni dizajnerski posao, ali ako želite da dizajnirate za ceo svet, morate da dizajnirate prema tome gde se ljudi nalaze, a ne gde se vi nalazite.
So how do we keep this big, big picture in mind? We try to travel outside of our bubble to see, hear and understand the people we're designing for. We use our products in non-English languages to make sure that they work just as well. And we try to use one of these phones from time to time to keep in touch with their reality.
Pa kako stalno obraćati pažnju na ovu veliku, veliku stvar? Pokušavamo povremeno da putujemo izvan našeg mehurića ne bi li čuli, videli i bolje razumeli ljude za koje dizajniramo. Koristimo naše proizvode na jezicima koji nisu engleski da bi bili sigurni da rade jednako dobro. S vremena na vreme pokušavamo da koristimo jedan od ovih telefona da bi ostali svesni njihove realnosti.
So what does it mean to design at a global scale? It means difficult and sometimes exasperating work to try to improve and evolve products. Finding the audacity and the humility to do right by them can be pretty exhausting, and the humility part, it's a little tough on the design ego. Because these products are always changing, everything that I've designed in my career is pretty much gone, and everything that I will design will fade away. But here's what remains: the never-ending thrill of being a part of something that is so big, you can hardly get your head around it, and the promise that it just might change the world.
Pa šta znači dizajnirati na svetskom nivou? To znači težak i ponekad razdražujući posao pokušavanja da unapredimo i evoluiramo proizvode. Pronalaženje odvažnosti i poniznosti da se učini dobro za njih može biti prilično iscrpljujuće, a kada se radi o poniznosti, ona može ponekad biti veoma loša za ego samog dizajna. Zbog toga što se ovi proizvodi stalno menjaju, sve što sam dizajnirala u mojoj karijeri više nije u upotrebi, a sve što ću dizajnirati će vremenom izbledeti. Ali evo šta ostaje: oduševljenje koje se nikada ne završava što sam deo nečega što je tako veliko da ga jako teško možeš razumeti i obećanje da ćeš možda promeniti svet.
Thank you.
Hvala.
(Applause)
(Aplauz)