Did you know that we process visuals 60,000 times faster than text? That’s according to some interesting research from the company behind the Post-it Note. Humans are visual creatures, and there’s a reason video is hard to beat when it comes to taking on new information – especially interesting video.

With that in mind, we’ve asked our user researchers for their favorite TED talks for people getting started in the UX space. We’ve also included 2 extra videos we think are definitely worth watching.

The beauty of data visualization

What it’s about: David McCandless explains how complex datasets (whether on military spending or even something like Facebook status updates) can be transformed into beautiful visualizations to unearth previously-unseen patterns and connections. The point of this talk is essentially that good design through visualizations is the key to making sense of the huge quantities of data available today.

About the speaker: David McCandless is a data journalist and information designer, founder of the Information is Beautiful blog.

The complex relationship between data and design in UX

What it’s about: Designer Rochelle King explains her journey overhauling the Spotify interface, in which she was challenged to combine the various interfaces of the product into a single layout. She covers the process of redesigning the website as well as how to best manage the relationships between designers, users and data.

About the speaker: Rochelle King was the global vice president of user experience and design at Spotify and is now vice president of product creative at Netflix.

How giant websites design for you

What it’s about: Margaret Gould Stewart (whose designs have undoubtedly touched hundreds of millions of people) speaks about the 3 rules for design at scale, and points out that even tiny tweaks can cause either global outrage or have sweeping positive impacts.

About the speaker: Facebook's Director of Product Design, Margaret Gould Stewart also worked at YouTube. She certainly has the right experience for this topic.

The first secret of design is… noticing

What it’s about: The man (no, not that man) behind the original Apple iPod shares some of his tips for noticing and driving change – specifically the importance of noticing the little things. It’s a light, funny talk that’s as useful for UX researchers as it is for designers.

About the speaker: Tony Fadell is an Apple veteran and creator of the original iPod. After that, he moved onto Nest, the home automation company that was eventually acquired by Google.

Simplicity sells

What it’s about: David Pogue presents one of the more lighthearted TED talks, running through some of the worst user interface designs and some of the underlying principles that went into their design. As just one example, he talks about the different approaches to logging off that Microsoft and Apple use, and at one point he breaks out into song.

About the speaker: David Pogue is a bestselling author, columnist for the New York Times covering personal technology and technology correspondent for CBS News.

The power of vulnerability

What it’s about: Vulnerability researcher Brené Brown delves into one particularly deep human insight she came across during her research. She explains that this insight sent her on a journey to understand both herself and humanity. It’s not strictly UX research, but this talk has valuable learnings for every UX professional.

About the speaker: Brené Brown is a researcher who focuses on vulnerability, courage, shame and authenticity. She wrote the bestselling book Daring Greatly: How the courage to be vulnerable transforms the way we live, love, parent and lead.

Also watch: How to speak so that people want to listen

What it’s about: One of the most important skills for any UX professional is communicating with others, and this talk by Julian Treasure holds some valuable advice. He explains the “how-to’s of speaking”, including how to speak with empathy and exercises for warming up your vocal chords.

About the speaker: Julian Treasure is a sound and communication expert, traveling the world and teaching people and businesses to use sound more effectively.

Also watch: The puzzle of motivation

What it’s about: Figuring out motivation is a constant puzzle for user researchers. Career analyst Dan Pink explores motivation in this talk, examining the fact that traditional rewards aren’t actually as effective as most think.

About the speaker: Dan Pink was Al Gore’s speech writer before heading into the world of career analysis. He’s also written 6 books, including the bestseller When: The Scientific Secrets of Perfect Timing.

As the focus on user-centered design continues to grow in organizations around the world, we’ll also need effective leaders to guide UX teams. But what makes a great UX leader?

Leadership may come as naturally as breathing to some people, but most of us need some guidance along the way. We created this article to pull together a few tips for effectively running UX teams, but be sure to leave a comment if you think we’ve missed anything. After all, part of what makes a great leader is being able to take feedback and to learn from others!

The difference between a manager and a leader

There’s a pretty clear distinction between managers and leaders. As a leader, your job isn’t necessarily to manage and tell people what to do, but instead to lead. You should enable your team to succeed by providing them with the tools and resources they need.

Know your team’s strengths and weaknesses

Intel’s Andy Grove, who infamously ruled the Silicon Valley semiconductor company with an iron fist, may be a polarizing figure in the leadership sphere, but he did institute (or at least help popularize) some techniques that are still widely practised today. One of these was to sit in an office cube with his fellow employees, instead of in a siloed office by himself. There’s a good lesson here. Instead of sealing yourself away from your team, immerse yourself in their environment and their work. You’ll develop a much better understanding of the types of problems they deal with on a daily basis and as a result be in a better position to help them.

You can also take this a step further and conduct an audit of your team’s strengths and weaknesses. Also known as a skills audit, this process is more commonly performed in organizations at scale, but it’s a good way to show you where your capabilities lie – even in small teams. With an intimate understanding of your UX team you’ll be in a good position to assess which projects your team can and can’t take on at any given time.

Taking this process even further, you can undertake a skills audit of yourself. If you want to develop yourself as a leader, you have to understand your own strengths and weaknesses.

This quote by Donald Rumsfeld, although it applies to crisis management, provides a great way to self-audit: “There are known knowns: there are things we know we know. We also know there are known unknowns: That is to say, we know there are some things we do not know. But there are also unknown unknowns: the things we don't know we don't know". You can see a visual example of this in the Johari Window:

Source: Wikipedia

Here’s how you can take this approach and use it for yourself:

• Identify your known unknowns: Skills you don’t currently possess that you’re able to recognize you need yourself.
• Identify your unknown unknowns: Skills you don’t know you don’t currently have, but which your team can identify by asking them.

When it comes to projects, be inclusive

NASA astronaut Frank Borman, echoing a sentiment since shared by many people who’ve been to space, said: “When you're finally up on the moon, looking back at the earth, all these differences and nationalistic traits are pretty well going to blend and you're going to get a concept that maybe this is really one world and why the hell can't we learn to live together like decent people?”.

On an admittedly much smaller scale, the same learning can and should be applied to UX teams. When it comes time to take on a new project and define the vision, scope and strategy, bring in as many people as possible. The idea here isn’t to just tick an inclusivity box, but to deliver the best possible outcome.

Get input from stakeholders, designers, user researchers and developers. You certainly don’t have to take every suggestion, but a leader’s job is to assess every possible idea, question the what, why and how, and ultimately make a final decision. ‘Leader’ doesn’t necessarily have to mean ‘devil’s advocate’, either, but that’s another role you’ll also want to consider when taking suggestions from a large number of people.

Make time for your team

Anyone who’s ever stepped into a leadership role will understand the significant workload increase that comes along with it – not to mention the meetings that seemingly start to crop up like weeds. With such time pressures it can be easy to overlook things like regular one-on-ones, or at the very least making time for members to approach you with any issues.

Even with the associated pressures that come along with being a leader, stand-ups or other weekly meetings and one-on-ones should not be ignored.

Sit down with each member of your team individually to stay up to date on what they’re working on and to get a feel for their morale and motivation. What’s more, by simply setting some time aside to speak with someone individually, they’re more likely to speak about problems instead of bottling them away. Rotating through your team every fortnight will mean you have a clear understanding of where everyone is at.

Hosting larger stand-ups or weekly meetings, on the other hand, is useful in the way that large team meetings have always been useful. You can use the forum as a time for general status updates and to get new team members acclimated. If there’s one piece of advice we can add on here, it’s to have a clear agenda. Set the key things to cover in the meeting prior to everyone stepping into the room, otherwise you’re likely to see the meeting quickly get off track.

Keep a level head

You know the feeling. It’s Wednesday afternoon and one of the product teams has just dropped a significant amount of work on your team’s plate – a plate that’s already loaded up. While it can be tempting to join in with the bickering and complaining, it’s your job as the leader of your UX team to keep a level head and remain calm.

It’s basic psychology. The way you act and respond to different situations will have an impact of everyone around you – most importantly, your team. By keeping calm in every situation, your team will look to you for guidance in times of stress. There’s another benefit to keeping a level head: your own leaders are more likely to recognize you as a leader as well as someone who can handle difficult situations.

Two leadership development consultants ran a study of over 300,000 business leaders, and sorted the leadership skills they found most important for success into a numbered list. Unsurprisingly, an ability to motivate and inspire others was listed as the most important trait.

Be the voice for your team

While no user researcher or designer will doubt the value of UX research, it’s still an emerging industry. As a result, it can often be misunderstood. If you’re in charge of leading a UX team, it’s up to you to ensure that your team always has a seat at the table – you have to know when to speak up for yourself and your team.

If you a problem, you need to voice your concern. Of course, you need to be able to back up your arguments, but that’s the point of your role as a leader. Those new to leadership can find this aspect of the the job one of the hardest parts to master – it’s no surprise one of the key qualities in a great leader is an ability to speak up if they feel it’s the right thing to do.

Finally, you’ve got to assume the role of a buffer. This is another general leadership quality, and it’s similarly important. Take the flak from executives, upper management or the board of directors and defend your UX team, even if they’re not aware of it. If you need to take some information or feedback from these people and give it to your team, pay close attention to how you relay it to them. As an example, you want to be sure that a message about reducing customer churn is made relevant and actionable.

Master your own skill set

Stepping into a UX leadership position isn’t an excuse to stop developing yourself professionally. After all, it was those skills that got you there in the first place. Continue to focus on upskilling yourself, staying up to date on movements and trends in the industry and immersing yourself in the work your team carries out.

A leader with the skills to actually function as a member of their team is that much more capable – especially when another pair of hands can help to get a project over the line.

Wrap up

The field of user research continues to grow and mature, meaning the need for effective leaders is also increasing. This means there are near-limitless opportunities for those willing to step into UX leadership roles, provided they’re willing to put in the work and become capable leaders.

As we stated earlier, many of the skills that make a great leader also translate to UX leadership, and there’s really no shortage of resources available to provide guidance and support. In terms of UX specifically, here are a few of our favorite articles – from our blog and elsewhere:

• The essential qualities of a UX leader – Leaders in the UX industry share their thoughts as to what makes a good UX leader.
• Building and managing UX teams: A 360 degree guide – A slightly different approach to the one we’ve taken here, this article explains how to build and manage a UX team.
• Effective UX leaders – A discussion on the characteristics of effective UX leaders. It’s full of useful points.
• What does a truly inspirational design team leader look like? – A talk by Ashlea McKay at UX New Zealand 2015 in which she shares 8 qualities of inspirational design team leaders.

"Dear Optimal WorkshopI need to add an upsell item for a charity group into the checkout process. This will include a 'Would you like to add this item?" question, and a tick box that validates the action in one click. Which step of the checkout process do you think this would be best on? Thanks in advance."— Mary

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Dear MaryAbout a month ago, I found myself with some time to kill in Brisbane airport (Australia) before my flight home. I wandered on into a stationery store and it was seriously gorgeous, believe me. Its brick-walled interior had an astroturf floor and a back corner filled with design books — I could've spent hours in there.I selected a journal that facilitates daily ranting through guided questions, and made my way to the counter to pay.

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Just as I was about to part with my hard-earned dollars, the sales assistant offered me a charity upsell in the form of a 600ml bottle of water for $2 (AUD). Now, I don’t know how familiar you are with Australian domestic airports, but a bottle of water bought from the airport costing less than an absurdly expensive $5 is something I’d written off as a unicorn!Yes, that’s right.

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$5 for WATER is considered normal, and this nice man was offering it to me for $2, in a coloured bottle of my choice, complete with that feel-good feeling of giving to charity! I left the store feeling pretty proud of myself and silently had a giggle at people who were buying bottled water elsewhere.

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Getting the balance right

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Charity upselling at the check out can be a tricky thing. If we get it wrong, we not only fail to raise money for the charity, but we also risk annoying our customers at a moment we want them to be particularly happy with us. The experience I had at the airport is one that I would describe as near perfect. Not all experiences are as positive. It falls down when people start feeling pressured or tricked; when it turns into an ambush.I like the approach you’re looking at.

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It’s non-threatening and seamless for the user. So, where should you position it in the checkout?Online checkout is a process like any other: it follows a uniform, often-linear order, and each step involves an action that moves things forward.From my vast online shopping experience (and I do mean vast), I've observed that the generic checkout process looks something like this:

1. Add item to cart
2. View cart (option to skip and proceed straight to checkout is also common)
3. Proceed to checkout
4. Sign in / Create account / Guest checkout
5. Enter billing address
6. Enter / Confirm shipping address
7. Enter payment details
8. Review purchase
9. Make payment
10. Confirmation / Payment decline screen

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There are two ways that I would consider approaching this and it largely depends on the actual charity upsell item itself.

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If you're offering a product to purchase for charity, offer early

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If we're talking about the equivalent of my water bottle (offering a product), then I say introduce it earlyin the checkout process (either Step 1 or 2). Why? Because the customer is still in buying mode.

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Once they click ‘Proceed to checkout’, they transition and theirfocus shifts tothe business end of their purchase. The stationery store at Brisbane Airport offered the water before telling me how much I owed them. I hadn't quite got to the real world version of checkout mode, which for me was Where did I put my debit card? mode. I quite like the way Oxfam Australia handles the charity upsell by including an 'Add to your gift' button (screen 1) which takes you to the charity upsell option (screen 2) and guides you back to the previous screen, all before checkout.

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If you're asking for a donation to charity, ask later

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Now, if we'retalking about a donation, such as rounding the purchase price up to the nearest dollar, or asking straight out, it’s a slightly different story. I'd say addthe charity upsell option when they first review their whole intended purchase. It might be before confirming the shipping address, or even just before confirming payment details. They've got money on the brain, and they haven't quite sealed the deal. And it can only be good for the charity if the customer can easily see how small the requested donation is compared to their entire purchase (ahh, the art of persuasion...).

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Once they start typing in their payment details, they're essentially signing on the dotted line and entering into a contract with you. So there's no asking after that.David Moth published an interesting article discussing upselling and the online checkout process that's worth a look, so do check it out.In the end, this is something that you'll still want to testwith users, and ultimately it will be up to them. If you have scope, try out a few different options and see which results in more sales. Hopefully this post has given you a good place to start.

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All the best Mary!

"Dear Optimal Workshop

How do you make a small link attractive to people (icon vs. text)?"

— Cassie

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Dear Cassie,

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I'm going to dive straight into this interesting question with a good old game of Pros and Cons, and then offer a resolution of sorts, with a meandering thought or two along the way. Let's kick things off with Team Icon.

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The good side of icons: A picture is worth a 1000 words

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When shopping online, the number above the little shopping trolley icon tells me how badly behaved I’ve been, and if I click on it, I know I’ll get to gleefully review all the shoes I've selected so far. There’s a whole heap of icons out there like this that people have absorbed and can use without thinking twice. Marli Mesibov wrote a fantastic article on the use of icons for UX Booth on the use of icons that is well worth a look. Marli discusses how they work well on small screens, which is a definite bonus when you’re on the go! Young children who aren’t yet literate can easily figure out how to open and play Angry Birds on their parent’s smartphones thanks to icons. And icons also have a great capacity for bridging language barriers.

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The not so good side of icons: We’re too old for guessing games

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On the flipside, there are some issues that may huff and puff and blow that cute little home icon down. Starting with there being no consistent standard for them. Sure, there are a handful that are universal like home and print, but beyond that it seems to be a free-for-all. Icons are very much in the hands of the designer and this leaves a lot of room for confusion to grow like bacteria in a badly maintained office refrigerator. Difficult to understand icons can also seriously hinder a user’s ability to learn how to use your website or application. When icons don't communicate what they intend, well, you can guess what happens. In a great piece advocating for text over icons, Joshua Porter writes about an experience he had:

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"I have used this UI now for a week and I still have do a double-take each time I want to navigate. I’m not learning what the icons mean. The folder icon represents 'Projects', which I can usually remember (but I think I remember it because it’s simply the first and default option). The second icon, a factory, is actually a link to the 'Manage' screen, where you manage people and projects. This trips me up every time."

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If people can't pick up the meaning of your icons quickly and intuitively, they may just stop trying altogether. And now, over to Team Label.

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The good side of text: What you see is what you get

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Sometimes language really is the fastest vehicle you've got for delivering a message. If you choose the right words to label your links, you'll leave the user with very little doubt as to what lies beneath. It’s that simple. Carefully-considered and well-written labels can cut through the noise and leave minimal ambiguity in their wake. Quoting Joshua Porter again: "Nothing says 'manage' like 'manage'. In other words, in the battle of clarity between icons and labels, labels always win."

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The not so good side of text: Your flat shoe is my ballet pump

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Text labels can get messy and be just as confusing as unfamiliar icons! Words and phrases sometimes don’t mean the same thing to different people. One person’s flat enclosed shoe may be another person’s ballet pump, and the next person may be left scratching their head because they thought pumps were heels and all they wanted was a ballet flat! Text only labels can also become problematic if there isn’t a clear hierarchy of information, and if you have multiple links on one page or screen.  Bombarding people with a page of short text links may make it difficult for them to find a starting point. And text may also hold back people who speak other languages.

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The compromise: Pair icons up with text labels

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Because things are always better when we work together! Capitalise on the combined force of text and icons to solve the dilemma. And I don’t mean you should rely on hovers — make both text and icon visible at all times. Two great examples are Google Apps (because nothing says storage like a weird geometric shape...) and the iPhone App store (because the compass and magnifying glass would pose an interesting challenge without text...):

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So what comes next? (You can probably guess what I'm going to say)

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Whatever you decide to run with, test it. Use whatever techniques you have on hand to test all three possibilities — icons only, text only, and icons and text — on real people. No Pros and Cons list, however wonderful, can beat that. And you know, the results will probably surprise you. I ran a quick study recently using Chalkmark to find out where people on the ASOS women's shoes page would click to get to the homepage (and yes, I can alway find ways to make shoe shopping an integral part of my job). 28 people responded, and...

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...a whopping 89% of them clicked the logo, just 7% clicked the home icon, and just one person (the remaining 4%) clicked the label 'Home'. Enough said. Thanks for your question Cassie. To finish, here's some on-topic (and well-earned) comic relief (via @TechnicallyRon)

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Emotional. Playful. Delightful.These words resonate with user experience (UX) practitioners. We put them in the titles of design books. We build products that move up the design hierarchy of needs, with the goal to go beyond just reliability, usability, and productivity. We want to truly delight the people who use our products.Designing for delight has parallels in the physical world. I see this in restaurants which offer not only delicious food but also an inviting atmosphere; in stores that don’t just sell clothes but also provide superior customer service. Whole industries operate on designing for delight.

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The amusement industry has done this for over 500 years. The world’s oldest operating amusement park, Bakken, first opened for guests in 1583 – about 300 years before the first modern roller coaster. Amusement parks experienced a boom in growth in the US in the 1970s. As of November 2014, China had 59 new amusement parks under construction. Today, hundreds of millions of guests each year visit amusement parks throughout the world.I've been fortunate to work in the amusement industry as the owner of a digital UX design company called Thrill & Create. Here is my story of how I got to do this kind of work, and my observations as a UX practitioner in this market.

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Making user-centred purveyors of joy

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I've been a fan of amusement parks for most of my life. And it’s somewhat hereditary. Much of my family still lives in Central Florida, and several of them have annual passes to Walt Disney World. My mom was a Cast Member at the Magic Kingdom during its opening season.Although I grew up living east of Washington, DC, I spent most of my childhood waiting for our annual trip to an amusement park. I was a different kind of amusement enthusiast: scared to death of heights, loath to ride roller coasters, but so interested in water rides and swimming that my family thought I was a fish. The love for roller coasters would show up much later. But the collection of park maps from our annual trips grew, and in the pre-RollerCoaster Tycoon days, I would sketch designs for amusement parks.

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In college, my interest in amusement received a healthy boost from the internet. In the mid-2000s, before fan communities shifted toward Facebook, unofficial websites were quite popular. My home park — a roller coaster enthusiasts’ term for the park that we visit most frequently, not necessarily the closest park to us — had several of these fansites.The fansites would typically last for a year or two and enjoy somewhat of a rivalry with other fansites before their creators would move on to a different hobby and close their sites. The fansites’ forums became an interesting place to share knowledge and learn history about my home park. They also gave us a place to discuss what we would do if we owned the park, to echo rumors we had heard, and start our own rumors. Some quite active forums still exist for this.

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Of course, many of us on the forums wanted to be the first to hear a rumor. So we follow the industry blogs, which are typically the first sources of the news. Screamscape has been announcing amusement-industry rumors since the 1990s. And Screamscape and other sites like it announce news not only in the parks but around the industry. Regular Screamscape readers learn about ride manufacturers, trade names for each kind of ride, industry trade shows, and much more. And the International Association of Amusement Parks and Attractions (IAAPA) keeps an eye on the industry as well.Several years ago, I transitioned from being a software developer to starting a user experience design company. It is now called Thrill & Create. I was faced with a challenge: how to compete against the commoditization of freelance design services. Ultimately, selecting a niche was the answer. And seeing IAAPA’s iconic roller coaster sign outside the Orange County Convention Center during a trip to Central Florida was all I needed to shift my strategy toward the amusement industry.

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What UX looks like in the Amusement Industry

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Periodically, I see new articles about amusement parks in UX blogs. Here are my observations about how UX looks in the industry, both in the physical world and the digital world.

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Parks are focused on interactive rides

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The amusement industry is known for introducing rides that are bigger, taller, and faster. But the industry has a more interactive future. Using cleverly-designed shops which produce some of the longest waits in the park, Universal Studios has sold many interactive wands to give guests additional experiences in Hogsmeade and Diagon Alley.

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At IAAPA, interactivity and interactive rides are very hot topics. Interactive shooting dark rides came to many parks in the early 2000s. Wonder Mountain’s Guardian, a 2014 addition to Canada’s Wonderland, features the world’s longest interactive screen and a ride program that changes completely for the Halloween season.Also coming in 2015 is the elaborately-themed Justice League: Battle for Metropolis rides at two Six Flags parks. And Wet‘n’Wild Las Vegas will debut 'Slideboarding', which allows riders to participate in a video game by touching targets on their way down the slide, and is marketed as 'the world's first waterslide gaming experience'.

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UX design is well-established for the physical space

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Terms like 'amusement industry', 'attractions industry', and 'themed entertainment industry' can be interchangeable, but they do have different focuses, and different user experience design needs. The amusement industry encompasses amusement parks, theme parks, zoos, aquaria, museums, and their suppliers; the attractions industry also includes other visitor attractions.Several experience design companies have worked extensively on user-centered themed entertainment.

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‍Jack Rouse Associates, who see themselves as “audience advocates”, have worked with over 35 clients in themed entertainment, including Universal, Ocean Park, and LEGOLAND. Thinkwell Group, which touts a 'guest-centric approach to design', showcases 14 theme park and resort projects and attractions work in 12 countries.Consultants in the industry have been more intentionally user-centered. Sasha Bailyn and her team at Entertainment Designer write regularly about physical-world experience design, including UX, in themed entertainment. Russell Essary, owner of Interactive Magic, applies user-centered design to exhibit design, wayfinding, game design, and much more.

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In-house teams, agencies, and freelancers are becoming more common

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Several large park chains have in-house or contracted UX design teams. Most mid-sized parks work with in-house marketing staff or with outside design companies. One company I know of specializes in web design and development for the amusement industry. Smaller parks and ride companies tend to work with local web designers, or occasionally free website vendors.

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Some of the best redesigns in the amusement industry recently have involved UX designers. Parc Astérix, north of Paris, hired a UX designer for a redesign with immersive pictures, interesting shapes, and unique iconography. SeaWorld Parks & Entertainment, working with UX designers, unifies their brand strongly across their corporate site, the sites for SeaWorld and Busch Gardens, and individual park sites. The Memphis Zoo’s website, which showcases videos of their animals, was built by an agency that provides UI design and UX design among their other services.

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Sometimes, amusement sites with a great user experience are not made by UX practitioners. The website for Extreme Engineering has a very strong, immersive visual design which communicates their brand well.  When I contacted them to learn who designed their site, I was surprised to learn that their head of marketing had designed it.

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What I think is going well

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Several developments have encouraging me in my mission to help the amusement industry become more user-centered.

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UX methods are producing clear wins for my clients and their users

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My clients in the industry so far have had significant fan followings. Fans have seen my user-centered approach, and they have been eager to help me improve their favorite sites. I told a recent client that it would take a week to get enough responses from his site visitors on an OptimalSort study. Within a few hours, we exceeded our target number of responses.

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When I worked on redesign concepts for a network of park fansites, I ran separate OptimalSort studies for all 8 fansites in the network. They used comparable pages from each site as cards. We discovered that some parks’ attractions organized well by themed area, while others organized well by ride type. Based on this, we decided to let users find attractions using either way on every site. User testers received Explore the Park and the two other new features that emerged from our studies (Visit Tips and Fansite Community) very well.

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Although not all of the features I designed for The Coaster Crew went live, the redesign of their official website produced solid results. Their Facebook likes increased over 50% within a year, and their site improved significantly in several major KPIs. Several site visitors have said that the Coaster Crew’s website’s design helped them choose to join The Coaster Crew instead of another club. So that's a big win.

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In-park guest experiences and accessibility are hot right now

IAAPA offered over 80 education sessions for industry professionals at this past Attractions Expo. At least nine sessions discussed guest experience. Guest experience was also mentioned in several industry publications I picked up at the show, including one which interviewed The Experience Economy author B. Joseph Pine II.

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And parks are following through on this commitment, even for non-riders. Parks are increasingly theming attractions in ways that allow non-riders to experience a ride’s theme in the ride’s environment. For example, Manta at SeaWorld Orlando is a flying roller coaster themed to a manta ray. The park realized that not all of its guests will want to ride a thrilling ride with four inversions. So, separate queues allow both riders and non-riders to see aquariums with around 3,000 sea creatures. And Manta becomes, effectively, a walkthrough attraction for guests who do not want to ride the roller coaster.

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The industry has also had encouraging innovations recently in accessibility. Attractions Management Magazine recently featured Morgan’s Wonderland, an amusement park geared toward people with physical and cognitive disabilities. Water parks are beginning to set aside times to especially cater to guests with autism. And at IAAPA, ride manufacturer Zamperla donated a fully-accessible ride to Give Kids the World, an amusement-industry charity.

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Several successful consultancies are helping amusement parks and attractions deliver both a better guest experience in the park and better results on business metrics. And that's something I'm definitely keen to be a part of.

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Amusement business factors with UX implications

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While this is not an exhaustive list, here are some factors in the amusement industry which have UX implications.

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Investment in improvements

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To keep guests interested in returning, parks reinvest between 5-10% of their revenue into improvements. Park chains typically allocate one capital improvements budget — for new attractions and any other kind of improvement — throughout their entire chain. Reserving enough capital for guest experience improvements is a challenge, even when each touchpoint in a guest’s experience has make-or-break importance. Progress in this area has been slow.

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A shift in focus away from high thrills

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While ride manufacturers continue to innovate, they are starting to encounter limits on how much physical thrill the human body can handle. A new world’s tallest complete-circuit roller coaster should open in 2017. But that record, only broken one other time since 2003, was broken 5 times between 1994 and 2003. So the industry is shifting toward more immersive attractions and "psychological thriller" rides.

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Increased reliance on intellectual property

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While some parks still develop their own worlds and characters for attractions, parks today increasingly rely on third-party intellectual property (IP), such as movies, TV shows, and characters. Third-party IP provides guests with a frame of references for interpreting what they see in the park. For example, The Wizarding World of Harry Potter enjoyed a very positive reception from guests due to its faithfulness to the Harry Potter books and films. In the same way, fans will notice if a themed area or attraction is not faithful to the original, and will see it as a broken experience.

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Bring your own device

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Many guests now carry mobile devices with them in the parks. But so far, guests have not been able to use their mobile devices to trigger changes in a park’s environment. The closest this has come is the interactive wands in The Wizarding World of Harry Potter. Most parks ban mobile devices from most rides due to safety hazards. And amusement parks and museums are both beginning to ban selfie sticks.

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Multiple target markets at the same time

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Because parks look for gaps in their current offerings and customer bases, they very rarely add new attractions for similar audiences several years in a row. My regional parks tend to handle additions on a 5-10 year cycle. They alternate year by year with additions like a major roller coaster, one or more thrilling flat rides, a family ride, and at least one water ride, to appeal to different market segments, as regularly as possible.The same goes for in-park UX improvements. Themed environment upgrades in a kids’ area appeal to few people in haunted attractions’ target audiences, and vice versa.

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Empathy

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According to the Association of Zoos and Aquariums (AZA), the fact that most people today will never see sharks, elephants, or pandas in the wild is making conservation efforts more difficult. Zoos and aquaria, in particular, have a large opportunity to allow families to empathize with animals and efforts to conserve threatened species. But, according to an International Zoo Educators Association presentation, most zoo and aquarium guests go there primarily just to see the animals or please their kids.

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Ideas for improving the user experience of websites and software in the amusement industry

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My primary work interest is to design digital experiences in the amusement industry that support the goals of their target users. To understand where the industry currently stands, I have visited several thousand websites for amusement parks, ride companies, suppliers, zoos, aquaria, museums, and dolphinariums. Below, I've documented a few problems I've seen, and suggested ways companies can solve these problems.

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Treat mobile as a top priority

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Currently, over 500 websites in the industry are on my radar as sites to improve. At least 90 of them are desktop-only websites with no mobile presence. Several of these sites — even for major ride manufacturers — use Flash and cannot be viewed at all on a mobile device.The industry’s business-to-consumer (B2C) organizations, such as parks, realize that a great deal of traffic comes from mobile and that mobile users are more likely to leave a site that is desktop-only.

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These organizations recognize the simple fact that going mobile means selling more tickets. IAAPA itself has capitalized on mobile for their trade show attendees for several years by making a quite resourceful mobile app available.However, at IAAPA, I asked people from several business-to-business (B2B) companies why their sites were not mobile yet. Several told me that they didn’t consider mobile a high priority and that they might start working on a mobile site “in about a year or so.” Thus, they don't feel a great deal of urgency — and I think it's time they did.

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Bring design styles and technologies up to date

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Many professional UX designers and web designers are well aware of 1990s-style web design artefacts like misused fonts (mainly Comic Sans and Papyrus), black text on a red background,obviously-tiled backgrounds, guestbooks, and splash screens. But I've seen more than a few live amusement websites that still use each of these.Sites that prompt users to install Flash (on mobile devices) or QuickTime increase users’ interaction cost with the site, because the flow of their tasks has been interrupted.

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And as Jakob Nielsen says, "Unless everything works perfectly, the novice user will have very little chance of recovery."

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If a website needs to use technologies such as Flash or features such as animation or video, a more effective solution would be progressive enhancement. Users whose devices lack the capability to work with these technologies would still see a website with its core features intact and no error messages to distract them from converting.

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Organize website information to support user goals and knowledge

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Creating an effective website involves much more than using up-to-date design styles. It also involves the following.

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Understand why users are on the website

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Businesses promote products and services that make them money. Many amusement parks now offer front-of-line passes, VIP tours, pay-per-experience rides, locker rentals, and water park cabana rentals, which are each an additional charge for admitted guests. And per-capita spending is very important to not only parks’ operations, but also their investor relations.Users come to websites with the question, “What’s in it for me?”, and their own sets of goals. Businesses need to know when these goals match their own goals and when they conflict.

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The importance of each goal should also be apparent in the design. One water park promotes its changing rooms and locker rentals on its homepage. This valuable space dedicated to logistical information for guests already coming could be used for attracting prospective visitors. Analytics tools and the search queries that they show are helpful tools for understanding why users come to a website. Sites should supplement these by conducting usability studies with users outside their organization. These studies, in turn, could include questions allowing users to describe why would visit that website. The site could use this knowledge to make sure that its content speaks to users’ reasons for visiting.

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Understand what users know

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Non-technical users are bringing familiarity with how to use the internet when they visit a website. They quickly become perpetual intermediates on the internet, and don’t need to be told how buttons and links work. I've noticed amusement websites that currently label calls to action with “Click Here”, and some even do so on more than one link. This explicit instruction to people is no longer needed, and the best interfaces signal clickable elements in their visual design.

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Similarly, people expect to find information in categories they understand and in language familiar to them. So it's important to not make assumptions that people who visit our websites think like us. For example, if a website is organized by model name, users will need to already be familiar with these products and the differences between them. Usability testing exercises, such as card sorting, would contribute to a better design and solve this problem.

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Design websites that are consistent with users’ expectations

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Websites that aim to showcase a company’s creativity and sense of fun sometimes lack features that people are used to when they visit websites (like easy-to-access menus, vertical scrolling, and so on). But it's important to remember that unconventional designs may lead to increased effort for visitors, which in turn may create a negative experience. A desire to come across as fun may conflict with a visitor's need for ease and simplicity.

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The site organization needs to reflect users' goals with minimal barriers to entry. People will be frustrated with things like needing to log in to see prices, having to navigate three levels deep to buy tickets, and coming across unfamiliar or contradictory terms.

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Design content for reading

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Marketers have written about increased engagement and other benefits resulting from automatically playing videos, animated advertising, and rotating sliders or carousels (all of which usability practitioners have argued against). And this obsession with visual media has sometimes taken attention away from a feature people still want: easy-to-read text.There are still websites in the industry that show walls of text, rivers of text, very small text for main content, text embedded within images, and text written in all-capital letters. But telling clients, “Make the text bigger, higher-contrast, and sentence case”, can conflict with the increasing reliance on exciting visual and interactive design elements.

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‍Goal-directed design shows us what that problem is.  For example, if people visit a website to learn more about a company, the website’s design should emphasize the content that gets that message across — in the format that users find most convenient.I recently worked with a leading themed entertainment blogger to improve his site’s usability. His site, Theme Park University, provides deep knowledge of the themed entertainment industry that readers cannot get anywhere else. It first came to my attention when he published a series of posts on why Hard Rock Park in Myrtle Beach, South Carolina – one of the most ambitious new theme park projects in the US in the 2000s — failed after only one season.

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As a regular reader, I knew that TPU had truly fantastic content and an engaged community on social media.  But users commented to us that the site was cluttered, and so didn't spend much time on the website. We needed to give the website a more open look and feel — in other words, designed to be read.The project was not a full redesign. But by fitting small changes into the site’s existing design, we made the site more open and easier to read while retaining its familiar branding for readers.  We also made his site’s advertising more effective, even by having fewer ads on each page.As D. Bnonn Tennant says, “Readership = Revenue.… [A website] has to fulfill a revenue goal. So, every element should be designed to achieve that goal. Including the copy. Especially the copy — because the copy is what convinces visitors to do whatever it is you want them to do on the website".

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Three final ideas for getting UX a seat at the table

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In helping take UX methods to the amusement industry, I have learned several lessons which would help other practitioners pioneer UX in other industries:

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1. Explain UX benefits without UX jargon

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When I work for clients in the amusement industry, the biggest challenge that I face is unfamiliarity with UX.  Most other professionals in the industry do not know about UX design principles or practices. I have had to educate clients on the importance of giving me feedback early and testing with users often. And because most of my clients have not had a technical background, I have had to explain UX and its benefits in non-UX terms.

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2. Be willing to do non-UX project work yourself in a team of one

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As a business owner, I regularly prospect for new clients. The biggest challenge in landing projects here is trying to convince people that they should hire a bigger team than just me. A bigger team (and higher rates for a UXer versus a web designer) leads to bigger project costs and more reluctant approvals. So I have had to do development – and even some tech support – myself so far.

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3. Realize clients have a lot on their plates — so learn patience

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The other main challenge in selling UX to the amusement industry is project priority. Marketing departments that handle websites are used to seeing the website as one job duty out of many. Ride companies without dedicated IT staff tend to see the website as an afterthought, partially because they do most of their business at trade shows instead of online. This has led to several prospects telling me that they might pursue a redesign a year from now or later, but not in the near future. That's OK because I can be ready for them when they're ready for me.

“If storymapping could unearth patterns and bring together a cohesive story that engages audiences in the world of entertainment and film, why couldn’t we use a similar approach to engage our audiences?’Donna Lichaw and Lis Hubert

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User Experience work makes the most sense to me in the context of storytelling. So when I saw Donna Lichaw and Lis Hubert’s presentation on storymapping at edUi recently, it resonated. A user’s path through a website can be likened to the traditional storytelling structure of crisis or conflict, exposition — and even a climax or two.

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The narrative arc and the user experience

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So just how can the same structure that suits fairytales help us to design a compelling experience for our customers? Well, storyboarding is an obvious example of how UX design and storytelling mesh. A traditional storyboard for a movie or TV episode lays out sequential images to help visualize what the final production will show. Similarly, we map out users' needs and journeys via wireframes, sketches, and journey maps, all the while picturing how people will actually interact with the product.

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But the connection between storytelling and the user experience design process goes even deeper than that. Every time a user interacts with our website or product, we get to tell them a story. And a traditional literary storytelling structure maps fairly well to just how users interact with the digital stories we’re telling.Hence Donna and Lis’ conception of storymapping as ‘a diagram that maps out a story using a traditional narrative structure called a narrative arc.’ They concede that while ‘using stories in UX design...is nothing new’, a ‘narrative-arc diagram could also help us to rapidly assess content strengths, weaknesses, and opportunities.’

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Storytelling was a common theme at edUI

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The edUi conference in Richmond, Virginia brought together an assembly of people who produce websites or web content for large institutions. I met people from libraries, universities, museums, various levels of government, and many other places. The theme of storytelling was present throughout, both explicitly and implicitly.Keynote speaker Matt Novak from Paleofuture talked about how futurists of the past tried to predict the future, and what we can learn from the stories they told. Matthew Edgar discussed what stories our failed content tell — what story does a 404 page tell? Or a page telling users they have zero search results? Two great presentations that got me thinking about storytelling in a different way.

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Ultimately, it all clicked for me when I attended Donna and Lis’ presentation ‘Storymapping: A Macguyver Approach to Content Strategy’ (and yes, it was as compelling as the title suggests). They presented a case study of how they applied a traditional narrative structure to a website redesign process. The basic story structure we all learned in school usually includes a pretty standard list of elements. Donna and Lis had tweaked the definitions a bit, and applied them to the process of how users interact with web content.

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Points on the Narrative Arc (from their presentation)

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Exposition — provides crucial background information and often ends with ‘inciting incident’ kicking off the rest of the story

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Donna and Lis pointed out that in the context of doing content strategy work, the inciting incident could be the problem that kicks off a development process. I think it can also be the need that brings users to a website to begin with.

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Rising Action — Building toward the climax, users explore a website using different approaches

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Here I think the analogy is a little looser. While a story can sometimes be well-served by a long and winding rising action, it’s best to keep this part of the process a bit more straightforward in web work. If there’s too much opportunity for wandering, users may get lost or never come back.

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Crisis / Climax — The turning point in a story, and then when the conflict comes to a peak

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The crisis is what leads users to your site in the first place — a problem to solve, an answer to find, a purchase to make. And to me the climax sounds like the aha! moment that we all aspire to provide, when the user answers their question, makes a purchase, or otherwise feels satisfied from using the site. If a user never gets to this point, their story just peters out unresolved. They’re forced to either begin the entire process again on your site (now feeling frustrated, no doubt), or turn to a competitor.

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Falling Action — The story or user interaction starts to wind down and loose ends are tied up

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A confirmation of purchase is sent, or maybe the user signs up for a newsletter.

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Denouement / Resolution — The end of the story, the main conflict is resolved

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The user goes away with a hopefully positive experience, having been able to meet their information or product needs. If we’re lucky, they spread the word to others!Check out Part 2 of Donna and Lis' three-part article on storymapping.  I definitely recommend exploring their ideas in more depth, and having a go at mapping your own UX projects to the above structure.

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A word about crises. The idea of a ‘crisis’ is at the heart of the narrative arc. As we know from watching films and reading novels, the main character always has a problem to overcome. So crisis and conflict show up a few times through this process.While the word ‘crisis’ carries some negative connotations (and that clearly applies to visiting a terribly designed site!), I think it can be viewed more generally when we apply the term to user experience. Did your user have a crisis that brought them to your site? What are they trying to resolve by visiting it? Their central purpose can be the crisis that gives rise to all the other parts of their story.

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Why storymapping to a narrative arc is good for your design

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Mapping a user interaction along the narrative arc makes it easy to spot potential points of frustration, and also serves to keep the inciting incident or fundamental user need in the forefront of our thinking. Those points of frustration and interaction are natural fits for testing and further development.

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For example, if your site has a low conversion rate, that translates to users never hitting the climactic point of their story. It might be helpful to look at their interactions from the earlier phases of their story before they get to the climax. Maybe your site doesn’t clearly establish its reason for existing (exposition), or it might be too hard for users to search and explore your content (rising action).Guiding the user through each phase of the structure described above makes it more difficult to skip an important part of how our content is found and used.

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We can ask questions like:

• How does each user task fit into a narrative structure?
• Are we dumping them into the climax without any context?
• Does the site lack a resolution or falling action?
• How would it feel to be a user in those situations?

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These questions bring up great objectives for qualitative testing — sitting down with a user and asking them to show us their story.

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What to do before mapping to narrative arc

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Many sessions at edUi also touched on analytics or user testing. In crafting a new story, we can’t ignore what’s already in place — especially if some of it is appreciated by users. So before we can start storymapping the user journey, we need to analyze our site analytics, and run quantitative and qualitative user tests. This user research will give us insights into what story we’re already telling (whether it’s on purpose or not).

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What’s working about the narrative, and what isn’t? Even if a project is starting from scratch on a new site, your potential visitors will bring stories of their own. It might be useful to check stats to see if users leave early on in the process, during the exposition phase. A high bounce rate might mean a page doesn't supply that expositional content in a way that's clear and engaging to encourage further interaction.Looking at analytics and user testing data can be like a movie's trial advance screening — you can establish how the audience/users actually want to experience the site's content.

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How mapping to the narrative arc is playing out in my UX practice

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Since I returned from edUi, I've been thinking about the narrative structure constantly. I find it helps me frame user interactions in a new way, and I've already spotted gaps in storytelling that can be easily filled in. My attention instantly went to the many forms on our site. What’s the Rising Action like at that point? Streamlining our forms and using friendly language can help keep the user’s story focused and moving forward toward clicking that submit button as a climax.

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I’m also trying to remember that every user is the protagonist of their own story, and that what works for one narrative might not work for another. I’d like to experiment with ways to provide different kinds of exposition to different users. I think it’s possible to balance telling multiple stories on one site, but maybe it’s not the best idea to mix exposition for multiple stories on the same page.And I also wonder if we could provide cues to a user that direct them to exposition for their own inciting incident...a topic for another article perhaps.What stories are you telling your users? Do they follow a clear arc, or are there rough transitions? These are great questions to ask yourself as you design experiences and analyze existing ones. The edUi conference was a great opportunity to investigate these ideas, and I can’t wait to return next year.