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A/B testing is a technique that directly compares two different versions of an element or feature in an app, website, etc. Usually, one version is the already used on the app or website and the other one is the modified version (Nyländen, 2018). Each version is shown randomly to users, and their behavior is analyzed and compared to identify which one best meets objectives, such as improving conversion rates, engagement, or retention.

In the field of application user interface design, an application is considered intuitive when its conceptual model closely matches the user’s mental model of how the system should operate (Ros & Runeson, 2018). Consequently, this will allow for designers to reduce possible risks by testing different versions, the designer can identify what works before a large-scale implementation. This reduces the risk of launching a design that does not align with user expectations (Nyländen, 2018).

Following on, real user feedback allows the designer to adapt the design to improve the experience and increase engagement. For example, if the designers are testing a new interface, they can determine which version is more intuitive. A good example is for service-based software with a large user base and centralized updates, design decisions can be supported by statistically significant analyses through experimentation (Ros & Runeson, 2018). So, a designer as to always make decisions based on data. This data will enable an objective assessment of which design version delivers better results, avoiding reliance on subjective opinions or preferences. For example, by testing multiple variations in a controlled environment with real users and systematically measuring outcomes, developers can make data-driven decisions to shape software development (Ros & Runeson, 2018). If we go further, when a company builds the capability and organizational structure to conduct large-scale online controlled experiments (OCEs), it can evaluate not only website ideas but also potential business models, strategies, products, services, and marketing campaigns (Deng & Shi, 2016; Cámara & Kobsa, 2009). Understanding the growth of companies already experimenting, along with the challenges they face in expanding their experimentation capabilities, is of significant interest to both researchers and industry professionals in this field (Ros & Runeson, 2018).

The A/B Testing can also be useful for continuous optimization. Instead of making big changes all at once, A/B testing helps the designer implement incremental improvements. This increases the efficiency of the design, making it more relevant and impactful over time. Through A/B testing, companies can gain deep insights into consumer preferences and the factors driving results. A key advantage of A/B testing is its role in fostering and strengthening a culture of experimentation within the organization. It’s argued that such a culture allows decisions to be grounded in data rather than opinion, as more ideas are pursued through testing, and employees are more motivated when they see their concepts implemented in real-world scenarios (Jenkins, 2014). This reflects a managerial perspective on the benefits of A/B testing for companies across various industries (Nyländen, 2018).

Therefore, A/B testing strengthens and improves the effectiveness of the designer’s design solutions over time.

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Information visualization involves presenting data visually and meaningfully to enhance user understanding and is a valuable mean of communicating information since it makes it easier to communicate ideas effectively to diverse audiences (IxDF, 2016 ; Danziger, 2008). Information visualization is an increasingly important field that combines design expertise with data analysis to present complex information in an accessible and visually engaging manner.

Tamara Munzner (2002) says that engaging with thoughtfully designed visual representations of data can assist us in forming mental models that allow us to carry out specific tasks more efficiently. For example, using visual elements like graphs, charts, and infographics captivate attention and can make content more engaging. A heatmap in a weather forecasting app visualizes temperature variations across regions, helping users make decisions like what to wear or when to travel. Information Visualization (or also called infovis) is essential for rendering data more understandable and for converting raw information into insights that can be acted upon (IxDF, 2016).

Infovis can contribute in an increasing in engagement since well-designed visualizations are often more attractive and engaging than textual information, drawing users' attention and encouraging interaction with the content (Ware, 2004). Effectively designed infovis enable users to quickly grasp information, saving time compared to reading lengthy reports or datasets (Mubeen, 2023). This typically begins by understanding the informational needs of the target user group. Qualitative research methods, such as user interviews, can uncover how, when, and where the visualization will be employed. Using these insights, a designer can decide on the form of data organization necessary to achieve the users' goals (IxDF, 2016). As a result, people process information differently. Some prefer visual learning over text. By designing visualizations, designers ensure inclusivity and effectiveness for a broader audience.

In the topic of inclusivity, properly designed visualizations can cater to users with different levels of expertise or abilities, fostering a better accessibility and inclusivity (Osiobe, Malallah, & Osiobe, 2024). For example, using color-blind-friendly palettes ensures inclusivity for a larger audience.

The Information Age has redefined information visualization as a result of new technological capabilities and changes in how we interact with information (Danziger, 2008). Therefore, for example, designers can use creative visualization techniques to stand out in competitive markets or make mundane data engaging. It converts complex data into easily understandable visuals and aids communication by presenting information in an engaging and visually appealing way (IxDF, 2016).

In summary, information visualization let people interact with data directly, making it more engaging and allowing them to explore it more deeply. Also, using visual representations helps people remember and recall information more easily.

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Design Fiction can be defined as a practical method or deliberate use of diegetic prototypes to prevent disbelief about change (Coulton, Lindley, Sturdee, & Stead, 2017) that helps illustrating the challenges that a new design encounters in terms of usability and functionality (Jensen & Vistisen, 2017). Therefore, a diegetic prototype is a product or even a service that exists in this fictional world that the public is seeing (Coulton, Lindley, Sturdee, & Stead, 2017) and has a primarily objective of creating knowledge by using epistemic judgments and also identifying, and addressing underlying values (Baumer, 2020). This type of Design often creates fictional narratives, artifacts, and scenarios envisioning how future, trends, or even societal changes might unfold (Markussen & Knutz, 2013).

Consequently, this approach can offer several advantages since it’s a technique for exploring the potential value of new design works (Blythe, 2014) and be utilized to explore a range of possibilities, while also serving as a tool for critique (Baumer, 2020). Thus, Design Fiction can be used by conceptualizing innovative product or service ideas since this approach is open to several different interpretations, aims, and ideologies. It enables the designer to remove any type of constraints from the commercial sectors that define normative design processes, disrupting visions of reality by bringing inspirations that escape the limitations of everyday life. Plus, it’s also a complementary approach in user-centered design, providing designers with insights into the deeper, emotional aspects of user experience (Markussen & Knutz, 2013). In the end, it can help with testing out different ideas and iterate on them before committing to a final design since it provokes both imagination and innovation by engaging and testing future scenarios (Bleecker, 2009).

Since Design Fiction is about creating worlds, this approach enables to craft immersive stories that inspire designers to reflect on the future (Coulton, Lindley, Sturdee, & Stead, 2017). Simply put, it’s immensely useful to predict and anticipate future trends and developments either in industry, technologies, audience behaviors, or even future needs. A great example was when Apple launched its first iPhone in 2007. When the iPhone came out, it was groundbreaking since there was nothing compared to it on the market. So, Apple had to develop an entire UI/UX process from scratch (Haines, 2018) and had to have answers like: How will this impact the future’s technology? What will the user’s journey look like?. Therefore, this aids for the designer to be able to meet current expectations but, most importantly, predict and cater to future demands.

Design Fiction also has a sustainable aspect, given that the goal is not to produce market-ready designs but to facilitate the discussion of strategies for future innovations (Burnell, 2018).

Nowadays, there is great concern about ethical issues (Djafarova & Foots, 2022). For this reason, Design Fiction can help in exploring ethical implications in new technologies or products by building fictional scenarios. Consequently, designers can stimulate reflection and dialogue about possible risks and benefits, contributing to the development of more responsible and sustainable design choices.

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1. Danziger, M. (2008). Information Visualization for the People. Retrieved from https://www.researchgate.net/publication/38003429_Information_visualization_for_the_people

2. IxDF, I. D. (1st June 2016). What is Information Visualization? Retrieved from Interaction Design Foundation - IxDF: https://www.interaction-design.org/literature/topics/information-visualization

3. Mubeen, F. (16th September 2023). The Psychology of Data Visualization: Unlocking the Power of Perception. Accessed 24th November 2024, from Medium.

4. Munzner, T. (2002). Information Visualization. Retrieved from https://graphics.stanford.edu/~munzner/cga02/gei.pdf

5. Osiobe, E. U., Malallah, S., & Osiobe, N. E. (23th May 2024). Enhancing Data Visualization Accessibility: A Case for Equity and Inclusion. Engineering and Technology Quarterly Reviews, 7(2), 10.

6. Ware, C. (April 2004). Information Visualization: Perception for Design: Second Edition. Retrieved from https://www.researchgate.net/publication/224285723_Information_Visualization_Perception_for_Design_Second_Edition

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1. Djafarova, E., & Foots, S. (2022). Exploring ethical consumption of generation Z: theory of planned behaviour. doi:10.1108/YC-10-2021-1405

2. Baumer, E. P. (2020). Evaluating Design Fiction: The Right Tool for the Job. 1901-1913. Obtido de https://doi.org/10.1145/3357236.3395464

3. Bleecker, J. (2009). Design Fiction: A Short Essay on Design, Science, Fact, and Fiction. Obtido de http://www.nearfuturelaboratory.com

4. Blythe, M. (2014). Research through design fiction: Narrative in real and imaginary abstracts. 04, 703-712. doi:10.1145/2556288.2557098

5. Burnell, E. (2018). Design for survivability: a participatory design fiction approach to sustainability. 1-4. Obtido de https://doi.org/10.1145/3232617.3232628

6. Coulton, P., Lindley, J., Sturdee, M., & Stead, M. (03 de 2017). Design Fiction as World Building. doi:10.6084/m9.figshare.4746964.

7. Haines, A. (2018). Deviating Devices: Feral Strategies for Design Interventions. doi:10.13140/RG.2.2.18870.83524

8. Jensen, T., & Vistisen, P. (2017). Ethical Design Fiction. ORBIT Journal. doi:10.29297/orbit.v1i2.56

9. Markussen, T., & Knutz, E. (09 de 2013). The poetics of design fiction. Proceedings of the 6th International Conference on Designing Pleasurable Products and Interfaces, 231-240. doi:10.1145/2513506.2513531

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Stakeholders’ map is essentially a strategic tool that allows an organization to connect to its relevant public and vice versa (Stigson & Haug, 2013). Even though it’s important to identify our public, it’s even more important to know/understand the quality and type of connection or tie they have with the organization.

Since the public usually interacts with an organization based on their interests – and these interests can be diverse – there’s a need for the organization to interpret the public’s interests and to match to them, creating a harmony between the organization and its stakeholders (Giordano, Morelli, Götzen, & Hunziker, 2018). The stakeholder map serves as a framework for the customer relationship management information system (Kettunen, 2015).

So, we could say that these interests are the fundament that creates the quality of the relationship between the organization and its stakeholders.

Consequently, this tool becomes a powerful management instrument for the designers considering it allows the designer to have useful information about its stakeholders (Giordano, Morelli, Götzen, & Hunziker, 2018). The stakeholders’ map can help the designer to guide the decision-making and further substantiate or justify those decisions. On the other hand, can also help rectify, redress or even improve the designer’s decisions (Walker, Shelley, & Bourne, 2008).

When the designer evaluates the quality of the relationship between them and their public, they also analyze in which point the designer can correspond and give a response to their public interests and necessities (sometimes both internal and external) (Kettunen, Stakeholder relationships in higher education, 2015) and where gaining a clear understanding of the situation can lead to productive outcomes in advancing the development of plans and actions (Walker, Shelley, & Bourne, 2008).

In the end, the stakeholders’ map gives the designer a useful tool to build a database with updated information about their public. This database assists the designer in creating or reinforcing the value between them and their stakeholders while also differentiating their competitive segmentation. Consequently, it also aids in increasing their visibility in their field and get a positive recognition (Giordano, Morelli, Götzen, & Hunziker, 2018).

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1. Giordano, F. B., Morelli, N., Götzen, A. D., & Hunziker, J. (2018). The stakeholder map: a conversation tool for designing people-led public services. ServDes.2018 Conference : Service Design Proof of Concept, 16. doi:978-91-7685-237-8

2. Kettunen, J. (January de 2014). The stakeholder map in higher education. (I. PRESS, Ed.) Society, Education and Psychology, International Proceedings of Economics Development and Research, 78, 34-38.

3. Kettunen, J. (2015). Stakeholder relationships in higher education. Tertiary Education and Management, 21(1), 56-65. Obtido de https://doi.org/10.1080/13583883.2014.997277

4. Stigson, P., & Haug, J. J. (October de 2013). A stakeholder map for CCS communication. NORDICCS Technical Report D 2.2 1201.

5. Walker, D. H., Shelley, A., & Bourne, L. M. (June de 2008). Influence, stakeholder mapping and visualization. Construction Management and Economics, 26(6), 645-658. Obtido de https://doi.org/10.1080/01446190701882390

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A PESTEL analysis can provide a comprehensive framework to gain a complete understanding of the macro-environmental (external environment) while also identifying threats and opportunities (Djati, 2020). By recognizing important patterns and possible obstacles in these fields, the designer can take advantage of chances and reduce risks successfully (Morrison, 2013).

For designers, especially those who are new to the field, the advantage of this analysis is that it’s a simple framework (Trivedi & Rastogi, 2022) and while at the same time, it helps to promote the growth of strategic and external perspectives. Other important aspect is that it can give a green-light or red-light to the designer to predict upcoming business risks and proactively address them to reduce their consequence (Merritt & Zhao, 2021) – risk mitigation. Other example could be that if the designer, inside the sociological factor, understands that this same factor considers population dynamics, cultural expectations, norms, etc. (Trivedi & Rastogi, 2022), it could allow for the designer to create something that could cater to specific demographics. This because the sociological factor takes in consideration all social events and influences that impact on the market and community, like changes in lifestyles, cultural trends – since it may affect what consumers like and how they decide to buy – which can have a big impact on how a designer decides to develop something – seeing as how the user is crucial at all stages of development in user-centered design (Merritt & Zhao, 2021).

Another important example could in the technological factor. Technology fosters innovation and progress. This can refer to automation, security issues, cybersecurity, Artificial Intelligence, etc. (Trivedi & Rastogi, 2022). As a result, designers can enhance the functionality of their services/products by staying informed about the latest technological advancements and incorporating new features and tools into their designs. This not only keeps their products up to date but also ensures that they meet the needs and preferences of the users (Merritt & Zhao, 2021).

Therefore, the PESTEL analysis is commonly used to analyse industry market trends. The steps for conducting a PESTEL analysis involve, first, identifying and then analysing the six external factors – Politics, Economic, Social, Technological, Legal, Environment –, understanding their impact, and using the gathered information to make smart choices (Trivedi & Rastogi, 2022). This enables the designers to anticipate changes, tackle challenges, and align their strategies with the external environment, resulting in more informed and strategic decision-making. The benefit of this approach is the integration of a broad range of qualitative and quantitative factors that influence each other (Shtal, et al., 2018). For this reasons, PESTEL analysis can serve as the foundation for any strategic decision and should be included in the business plan or project/service plan. The essential part is to ask the right questions to gain a clear understanding of future expectations (Casañ, Alier, & Llorens, 2021).

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1. Casañ, M. J., Alier, M., & Llorens, A. (2021). A Collaborative Learning Activity to Analyze the Sustainability. Sustainability, 13(16). doi:10.3390/su13168756

2. Djati, A. (2020). Business Strategy Recommendation for Permata 68 Minimarket in New Normal Regulation. Journal of Management and Leadership, 3, 39-47. doi:10.47970/jml.v3i2.183

3. Merritt, K., & Zhao, S. (2021). An Innovative Reflection Based on Critically Applying UX. Journal of Open Innovation: Technology, Market, and Complexity, 7(2), 129. doi:https://doi.org/10.3390/joitmc7020129

4. Morrison, M. (2013). Strategic Business Diagnostic Tools - Theory and Practice. CreateSpace Independent Publishing Platform, 2013. doi:1490541640, 9781490541648

5. Shtal, T. V., Buriak, M. M., Amirbekuly, Y., Ukubassova, G. S., Kaskin, T. T., & Toiboldinova, Z. G. (2018). Methods of analysis of the external environment of business activities. 39(12), 22.

6. Trivedi, M. K., & Rastogi, N. (2022). PESTLE technique - a tool to identify external risks in construction projects. International Research Journal of Engineering and Technology (IRJET), 3(1), 384-388.

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The use of pitch has been increasingly important and used in business settings (Quinn, 2020). Knowing how to make a good pitch has a lot of benefits, the first one being enhancing the overall communication skills, since, for pitching, it is required to know how to structure information and be persuasive. It assists a person in refining their ideas and resulting in an easier projects definition, outlining plans, highlighting key benefits. Knowing how to make a pitch is also considered a key business soft skill and, according to Peter Daly & Dennis Davy (2016) business graduates should master this soft skill, as it is valuable for selling an idea or product, promoting oneself in an interview, or seeking investment for an idea.

A well-done or well-crafted pitch can quickly grab someone’s attention. Since the pitch is designed to allure people and hook them, whether they are collaborators or potential clients, knowing how to properly make it will help the person communicate key information concisely, aiding them to make a strong first impression and boosting credibility and trust. This is of extreme importance seeing that some venture capitalists are prioritizing and giving more importance to pitches over a formal business plan in their initial interactions with potential clients (Jourdan, Jr., Deis, & Ralph, 2010). All of this is because investors, according to Sean Wise (2006), do not spend a lot of time reading business plans and prefer listening to an oral presentation that is effective. In their point of view, while doing this oral presentation, they can judge the person’s passion, enthusiasm, and persuasibility. With that, when doing a pitch, the person doing it should know their audience, be absolutely clear about objectives, and, one of the main things, think about benefits, not features (Daly & Davy, 2016) understand how important it is to understand not just what you are pitching, but who you are pitching to (Quinn, 2020).

However, to reach a well-crafted pitch it is necessary to practice repeatedly. Practicing pitches helps the person feel more at ease while presenting their ideas, which, consequently, increases their confidence while facing the people they are pitching to – either in meetings, interviews, or presentations. As the person pitches more, they gain more confidence in public speaking and expressing their ideas clearly. Therefore, speculating a near future, they’re more likely to leave a lasting impression on new contacts at networking events, expanding their professional network; or even open doors to job offers, projects funding, or new businesses (Jourdan, Jr., Deis, & Ralph, 2010).

In short, when making a pitch, the person must understand their idea, target market, growth strategy, product-market fit, and business model (Landry, 2020). This clarity sets their business concept apart and defines the path to making it a success. A well-done pitch demonstrates their proof of concept to investors, collaborators and builds their confidence in a potential return on investment.

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1. Daly, P., & Davy, D. (2016). Crafting the Investor Pitch Using Insights from Rhetoric and Linguistics. The Ins and Outs of Business and Professional Discourse Research. doi:https://doi.org/10.1057/9781137507686_10

2. Jourdan, Jr., L. F., Deis, M., & Ralph, H. C. (2010). Getting your elevator pitch to the plate. Business Journal for Entrepreneurs. 1, 42-46.

3. Landry, L. (27 de August de 2020). How to Effectively Pitch a Business Idea. Obtido de Harvard Business School Online: https://online.hbs.edu/blog/post/how-to-pitch-a-business-idea

4. Quinn, M. (06 de Maio de 2020). What makes a great pitch. Obtido de Harvard Business Review: https://hbr.org/2020/05/what-makes-a-great-pitch

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1. Cámara, J., & Kobsa, A. (2009). Facilitating Controlled Tests of Website Design Changes: A Systematic Approach. Web Engineering, 9th International Conference, ICWE 2009, San Sebastián, Spain, June 24-26, 2009, Proceedings. doi:10.1007/978-3-642-02818-2_30

2. Deng, A., & Shi, X. (2016). Data-Driven Metric Development for Online Controlled Experiments: Seven Lessons Learned. (A. f. Machinery, Ed.) KDD '16: Proceedings of the 22nd ACM SIGKDD International Conference on Knowledge Discovery and Data Mining, pp. 77-86. Obtido de https://doi.org/10.1145/2939672.2939700

3. Jenkins, W. (5th de February de 2014). A/B Testing and the Benefits of an Experimentation Culture. (H. B. Publishing, Editor) Obtido de Harvard Business Review.

4. Nyländen, J. (2018). The Future of A/B Testing in Social Network Advertising. p. 27. Obtido de https://aaltodoc.aalto.fi/handle/123456789/33000

5. Ros, R., & Runeson, P. (2018). Continuous Experimentation and A/B Testing: A Mapping Study. IEEE/ACM 4th International Workshop on Rapid Continuous Software Engineering (RCoSE), pp. 35-41. doi:10.1145/3194760.3194766

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Building on Gibson’s original affordance theory, Norman brought the concept into the Human-Computer Interaction (HCI) field. His goal was to apply it to the design of everyday products, aiming to enhance usability by creating more intuitive human-machine interfaces (Masoudi, Fadel, Pagano, & Maria, 2019). Affordances make it clear what actions are possible, reducing the need for instructions or explanations (McGrenere & Ho, 2000). Consequently, they have become a crucial instrument in UX design since it improves usability. Affordances play a crucial role in illustrating the interconnectedness of designers, users, and artifacts, a dynamic that is often overlooked in traditional function-based design methodologies (Maier & Fadel, 2009). Gould and Lewis (1985) suggested that focusing on users early in system design, using empirical measurements of usage, and incorporating iterative design are essential principles for improving usability. They argue that understanding users can be achieved by studying their needs, as well as their cognitive and anthropometric characteristics (Masoudi, Fadel, Pagano, & Maria, 2019). According to Norman and Draper (1986), they suggest that designers must consider how users interact with the object being designed. In order for a product to be user-friendly, it should align with human physical characteristics and its functions should be easily understood without requiring too much mental effort. Therefore, affordances make sure that interactions are efficient and smooth while being intuitive and communicate the right messages to the users (Xenakis & Arnellos, 2013). So, a designer understanding and using effectively affordances, will allow to help the user in reducing their cognitive load and, when aligned with the understanding of user’s expected action, the experience becomes effortless, giving users a greater sense of control.

Another advantage of understanding affordances for a designer is that when users instantly recognize what they can and can’t do, they can complete tasks faster. Affordances play a key role in guiding users on how to interact with an interface. They provide subtle visual hints that suggest possible actions, making interfaces more intuitive. These affordances help bridge the gap between users' intentions and actions, ensuring that users clearly understand their interaction options (Norman, 2004). Some examples of good affordances could be color variations on a button or symbols indicating a specific action. This helps enhancing user understanding and reinforce clarity.

The relationship between designers and users involves designers identifying a specific set of affordances based on user needs, while users communicate their desired functionalities—what they want the artifact to offer. This mutual exchange creates an interconnected dynamic among designers, users, and artifacts, demonstrating a circular relationship (Maier & Fadel, 2009). This communication can allow the designer to design affordances that makes interfaces more accessible by providing universally recognizable cues. Consequently, this will enhance accessibility.

In the end, by closely observing users, gathering feedback, and conducting tests, designers can identify trends in user interactions and expectations. Integrating these insights with design principles enables UX designers to create interfaces that are both intuitive and fresh.

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1. Research in Engineering Design, 20, 13-27. doi:10.1007/s00163-008-0060-3

2. Masoudi, N., Fadel, G. M., Pagano, C. C., & Maria, E. V. (2019). A Review of Affordances and Affordance-Based Design to Address Usability. Proceedings of the 22nd International Conference on Engineering Design. Obtido de https://doi.org/10.1017/dsi.2019.141

3. McGrenere, J., & Ho, W. (2000). Affordances: Clarifying and Evolving a Concept. Proceedings of the Graphics Interface 2000 Conference, 179-186. Obtido de http://www.graphicsinterface.org/proceedings/2000/177/

4. Gould, J.D. and Lewis, C. (1985), “Designing for usability: Key principles and what designers think”, Communications of the ACM, Vol. 28 No. 3, pp. 300–311.

5. Norman, D. (2004). Affordances and Design.

6. Norman, D.A. and Draper, S.W. (1986), User Centered System Design: New Perspectives on Human-Computer Interaction,

7. Xenakis, I., & Arnellos, A. (2013). The Relation Between Interaction Aesthetics and Affordances. Design Studies, 34(1), 57-73. Obtido de https://doi.org/10.1016/j.destud.2012.05.004

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The brand, as an identity transmission strategy, serves as a fundamental means of communication for the distinguishing attributes of the organization/institution (Sequeira, 2013). One of the main advantages, especially for either future-designers or people who will enter in this field or market, is that a well-defined brand visual identity can be a game-changer for them. For example, logos, color schemes, and typography can convey a brand’s unique vibe, it can range from something techy, friendly, vintage or something creatively worded. This because it will allow to build recognition in a quick way – as a visual’s symbol primary objective is to differentiate itself from the others (Henderson & Cote, 1998; Maclnnis, Shapiro, & Mani, 1999; Swartz, 1983). Which brings to other advantage, given that it can help to set the brand apart. A unique visual identity can make it easier to set them apart from the competition. This differentiation helps to create a memorable impression as brand visual identity derives from a relationship between identity, strategic and competitive advantages (Janiszewski & Meyvis, 2001; Maclnnis, Shapiro, & Mani, 1999).

Consequently, a well-defined brand visual identity can create an attractive image inside of the stakeholder’s mind and that can lead to having significant reputation impacts, being a potential source of competitive advantages, and ensuring first-choice status (Stimpert, Gustafson, & Sarason, 1998). A well-refined brand identity can also convey a sense of professionalism and reliability, building trust and credibility (Park , Eisingerich, Pol, & Park, 2013). This is achievable by developing a specific communication strategy to distinguish the brand from the others – differentiate –, and with that, create positive associations with the brand that is intended to be implanted in the minds of all institutional brand stakeholders, with the goal of creating value (brand equity) and positive reputation (Erjansola, Lipponen, Vehkalahti, Aula, & Pirttilä-Backman , 2021).

Therefore, if a potential client or stakeholder sees a cohesive brand, they are more inclined to perceive the brand as reputable and trustworthy (Jin , Yoon, & Lee, 2019). So, people who are new to the field, have to bear in mind that logos can shape the brand's reputation (Baker & Balmer, 1997; Olins, 1989; Van den Bosch, de Jong, & Elving, 2005) and that the brand visual identity is a brand-management tool used in a carefully planned process to create brand equity and customer commitment (Erjansola, Lipponen, Vehkalahti, Aula, & Pirttilä-Backman , 2021). If the designer takes all of this in consideration, it will help supporting the brand loyalty (Müller, Kocher, & Crettaz , 2013).

As stakeholders or even the general public start to associate the brand’s visuals with positive experiences or reliable services, it can lead to an increasing of the brand’s loyalty. This loyalty and earning of the public’s commitment to the brand can be especially beneficial in the medium turn, since it acts as a base for the future. Consequently, in the long-term, can create a foundation for a durable relationship with the stakeholders (Jin , Yoon, & Lee, 2019).

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Website loading time is one of the most critical factors in creating a responsive design. Optimizing image sizes is essential to ensure that responsive sites load quickly and provide the best user experience across various devices (Almeida & Monteiro, 2017). “Responsive Web Design” (RWD) is a term that was invented by Ethan Marcotte in 2010. The author states that there’s three fundamental techniques for responsive design such as: design fluid grids, media queries and flexible images & media (Natda, 2013). Therefore, responsive design automatically adapts to different screen sizes and resolutions, ensuring that the user experience remains consistent and effective in the future.

Having a good understanding of RWD will allow the designer to also know that it will improve the user’s experience. When a person visits a website, the first thing they typically seek is easy access to all the information they need without any unnecessary hassle (Baturay & Birtane, 2013). Therefore, this improvement can be simply by the users accessing content seamlessly on a website across various devices – smartphone, tablet, or desktop. The website being available in a wide range of devices will allow to reach broader audiences.

More and more designers aim to provide a user-friendly experience for mobile Internet users who rely on their phones, tablets, and other devices in their daily lives (Anwar, Hardini, & Anggraeni, 2021) and RWD is the perfect choice to accommodate the growing number of mobile users and for designers to capture a wider audience and getting an increment of user engagement. It will also help in reducing bounce rates, leading to better user retention (Almeida & Monteiro, 2017).

While helping the bounce rate, it also helps increasing conversion rates. Having a seamless experience across different devices reduces barriers in the user journey, encouraging users to complete desired actions. Website bounce rate is described as "the percentage of visitors who leave your site after viewing just one page" and suggests that responsive web design can help reduce this bounce rate (Almeida & Monteiro, 2017).

Search engines like Google prioritize mobile-friendly websites, boosting search rankings and visibility (Kim, 2013). With that, quicker loading speeds, a key feature of responsive design, also improve SEO. Rashid (2017) identifies five essential reasons for driving the rapid growth of responsive design: the rise in mobile user traffic; reduced costs and easier website maintenance; a consistent user experience across devices; the ability to adapt to any screen size; and enhanced SEO performance (Almeida & Monteiro, 2017).

Mentioned by Rashid (2017), having a RWD reduces development and maintenance costs. A responsive website streamlines the process by eliminating the need to create and manage separate versions for the various devices existent. Updates and fixes are simpler, as changes only have to be made in one place (Almeida & Monteiro, 2017).

By having a good understanding of responsive design, designers can not only streamline their online presence and minimize technical complexity but also future proof their websites for evolving user behaviours. This approach ensures a consistent, high-quality experience across devices, fostering user satisfaction.

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1. Almeida, F., & Monteiro, J. (2017). The Role of Responsive Design in Web Development. Webology, 14(2), 48-65. Obtido de http://www.webology.org/2017/v14n2/a157.pdf

2. Anwar, M. R., Hardini, M., & Anggraeni, M. (2021). Review of Responsive Design Concept Based On Framework Materialize On The Website. ADI Journal on Recent Innovation (AJRI), 3(1), 59-66. Obtido de https://doi.org/10.34306/ajri.v3i1.290

3. Baturay, M. H., & Birtane, M. (2013). Responsive Web Design: A New Type of Design for Web-based Instructional Content. 4th International Conference on New Horizons in Education, 106, 2275-2279. Obtido de https://doi.org/10.1016/j.sbspro.2013.12.259

4. Kim, B. (2013). Chapter 4: Responsive Web Design, Discoverability, and Mobile Challenge. Library Technology Reports, 49, 29-39. Obtido de https://journals.ala.org/index.php/ltr/article/viewFile/4507/5286

5. Natda, K. V. (2013). Responsive Web Design. Eduvantage, 1(1). doi:10.11635/2319-9954/1/1/18

6. Rashid, B. (14 de Junho de 2017). 5 Essential Reasons You Should Be Using A Responsive Website Design Now. Obtido em 17th de November de 2024, de Forbes: https://www.forbes.com/sites/brianrashid/2017/06/13/5-essential-reasons-and-benefits-why-you-should-be-using-a-responsive-website-design-now/#1a1d1f0517c9

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3. Henderson, P. W., & Cote, J. A. (1998). Guidelines for Selecting or Modifying Logos. Journal of Marketing, 62(2), 14-30. doi:https://doi.org/10.1177/002224299806200202

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5. Jin , C., Yoon, M., & Lee, J. (2019). The influence of brand color identity on brand association and loyalty. Journal of Product & Brand Management, 28(1), 50-62. doi:10.1109/ICRA57147.2024.10610421

6. Maclnnis, D. J., Shapiro, S., & Mani, G. (1999). Enhancing Brand Awareness Through Brand Symbols. Advances in Consumer Research, 26(1), 601-608.

7. Müller, B., Kocher, B., & Crettaz , A. (2013). The effects of visual rejuvenation through brand logos. Journal of Business Research, 66(1), 82-88. Obtido de https://doi.org/10.1016/j.jbusres.2011.07.026

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Design Fiction, while offering numerous advantages, also has its share of negative aspects.

The speculative nature of Design Fiction can lead to unrealistic or impractical ideas that may not be feasible in real-world applications. This can result in wasted resources and efforts on concepts that are too far-fetched to be implemented.

Because Design Fiction focuses on creating fictional scenarios, it may lack immediate practical applications. This can be a drawback for businesses that need quick, actionable solutions rather than long-term speculative ideas.

While it aims to address ethical issues, the fictional nature of the scenarios might not fully capture the complexities and nuances of real-world ethical dilemmas. This can lead to oversimplified solutions that do not adequately address the ethical challenges.

Predicting future trends is inherently uncertain, and relying too heavily on speculative scenarios can divert attention from addressing current, pressing issues. This can lead to a misallocation of resources and a lack of focus on immediate needs.

While fostering creativity is important, there is a risk that Design Fiction might prioritize novelty over practicality. Innovative ideas need to be grounded in reality to be truly effective, and an overemphasis on speculative design can lead to impractical solutions.

Ethical exploration through fictional scenarios might not fully account for the real-world complexities and stakeholder perspectives. This can result in ethical oversights and a lack of comprehensive understanding of the actual impact of new technologies.

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Speculative Design vs. Design Fiction. (n.d.). https://www.critical.design/post/speculative-design-vs-design-fiction

Using design fiction to teach ethics in design - Industrial Journal of Futures Studies. (2023, February 26). Diegetic Prototypes in the Design Fiction film HER: A Posthumanist Interpretation * Journal of Futures Studies. https://jfsdigital.org/articles-and-essays/2023-2/diegetic-prototypes-in-the-design-fiction-film-her-a-posthumanist-interpretation/

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PESTEL analysis, while beneficial, has several negative aspects that need consideration.

Firstly, its over-simplicity can be a drawback. While PESTEL analysis is a simple framework that helps promote strategic and external perspectives, it can lead to oversimplification of complex issues. This might result in superficial analysis that overlooks critical nuances and interdependencies between factors

Secondly, PESTEL analysis has a static nature. Although it helps designers anticipate changes and align their strategies with the external environment, it provides a snapshot of the current environment but may not adequately account for rapid changes or dynamic interactions between factors.

Lastly, there is a potential for subjectivity and bias. While PESTEL integrates a broad range of qualitative and quantitative factors, the analysis is highly dependent on the perspectives and judgments of those conducting it.

While PESTEL can highlight potential risks, it does not provide specific solutions or strategies for mitigation. The framework identifies risks but does not offer actionable steps to address them, which can limit its practical utility in risk management.

Sociological factors are complex and constantly evolving. PESTEL analysis might not capture the full depth of these changes, leading to designs that are based on outdated or incomplete information.

The rapid pace of technological change can make it difficult for PESTEL analysis to keep up. By the time a technological trend is identified and analyzed, it might already be outdated. This lag can result in missed opportunities or investments in technologies that are no longer relevant.

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Team, P. (2024, June 7). 6 Frustrating Disadvantages of PESTLE analysis. PESTLE Analysis. https://pestleanalysis.com/disadvantages-of-pestle-analysis/

Business Bliss Consultants FZE. (2024, September 20). Critic The Pestel Analysis as Model Commerce Essay. https://www.ukessays.com/essays/commerce/critic-the-pestel-analysis-as-model-commerce-essay.php

Team, P. (2024b, June 8). Potential limitations of the PEST analysis and how to address them. PESTLE Analysis. https://pestleanalysis.com/limitations-of-the-pest-analysis/

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A/B testing, while beneficial, has several negative aspects that need consideration.

Firstly, A/B testing often focuses on small, incremental changes rather than holistic improvements. This can lead to optimization of specific elements without addressing broader usability or design issues.

Secondly, A/B testing tends to prioritize short-term gains over long-term user satisfaction. It may lead to decisions that boost immediate metrics like conversion rates but do not necessarily enhance overall user experience or loyalty.

Lastly, the results of A/B tests can be misinterpreted if not properly analyzed. Factors such as sample size, test duration, and external variables can skew results, leading to incorrect conclusions and potentially flawed design decisions.

While A/B testing can mitigate some risks, it is not foolproof. It may fail to capture the full context of user interactions, leading to decisions based on incomplete data. Additionally, it can overlook the impact of changes on different user segments.

Data-driven decisions are only as good as the data and analysis methods used. Poorly designed tests or misinterpretation of data can lead to misguided decisions. Moreover, an over-reliance on quantitative data can neglect qualitative insights that are crucial for understanding user behavior and preferences.

Continuous optimization through A/B testing can lead to a focus on minor tweaks rather than innovative changes. This incremental approach may stifle creativity and prevent the exploration of more radical design solutions that could offer greater benefits.

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What is A/B Testing? (2024, December 7). The Interaction Design Foundation. https://www.interaction-design.org/literature/topics/a-b-testing

Gallo, A. (2017, November 27). A refresher on A/B testing. Harvard Business Review. https://hbr.org/2017/06/a-refresher-on-ab-testing

Bojinov, I. (2021, June 2). Avoid the pitfalls of A/B testing. Harvard Business Review. https://hbr.org/2020/03/avoid-the-pitfalls-of-a-b-testing

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Prompt: identify the negative aspects associated to the topic selected in the critical reflection, and contrast the positive arguments that he/she presents and anticipates for his/her future. argue against the strengths, advantages, and benefits of the topics he/she positively wrote about.

[insert text]

Tool: Microsoft Copilot

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Prompt: identify the negative aspects associated to the topic selected in the critical reflection, and contrast the positive arguments that he/she presents and anticipates for his/her future. argue against the strengths, advantages, and benefits of the topics he/she positively wrote about.

[insert text]

Tool: Microsoft Copilot

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Prompt: identify the negative aspects associated to the topic selected in the critical reflection, and contrast the positive arguments that he/she presents and anticipates for his/her future. argue against the strengths, advantages, and benefits of the topics he/she positively wrote about.

[insert text]

Tool: Microsoft Copilot