I think a really important issue when it comes to online UX design education, designing and the design space in general is that design teams themselves are often not diverse. Because of this, I’ve had several experiences when working with design teams where people are designing products and experiences, and they continue to forget about communities of color.

When you think of how many AI-enabled products come out and are unable to detect dark skin, it tells you that throughout the design-thinking process, there was probably no UX or UI researcher, designer or strategist who was a person of color who thought, “We should also be testing folks of color to see how they would interact with this product.”

The Need for Diversity in Imagery

Another thing I think people should be mindful of when designing is imagery and branding—especially when designing an app or a website. A lot of times, for communities of color, we go on a website, and we don’t see ourselves on that website at all. There is no one who thought, “We should diversify our imagery so that people can see themselves in this product.” That absence is something that can also be alienating. It goes against the root of what UX and UI design are: the ability to be empathetic.

The Need for Self-Examination and Reflection

I think that the root of the problem is really the fact that there is a lack of work done within the design space. People need the ability to look at themselves and examine the unconscious biases they have. I think that’s something that needs to be implemented within the design-thinking process in addition to having diverse teams. We want to ensure that the products that we’re coming out with are truly equitable and inclusive.

Frequently, we have these different designs that are coming out. The service, product or experience is not actually effective because the design team is not taking into consideration the actual problem space itself that may be specifically harming communities of color or other marginalized communities. It is not solving the real solution because the act of delving deeper into the nature of the problem was missing from the entire design-thinking process.

The Critical Role of Background Research

In order to make sure that we are really thinking about the full context when it comes to defining the problem space, especially when it comes to working with Black, Indigenous, and communities of color, I always like to stress the importance of first doing background research. What is the historical context? What institutional or interpersonal practices and policies have impacted these communities? This research can be done through currently published journals.

Another essential practice is intentionally connecting with community experts who have a strong sense of what the problem space is. Being able to have that context and not go into defining a problem with a colorblind mentality is really critical when it comes to determining the actual problem.

As we move away from motion pictures in the 20th century, we see the emergence of digital UI and UX design, right, and new worlds. Those were the first times we were confronted with the promise of digital technology and the kinds of new interfaces it would enable us to create, and where our creativity, combined with the complexities of the hardware and software, led us to consider other approaches to UI design.

When we have the mouse, we are already engaging with content that’s given to us on that same screen within which then there is hyperlinking for example, right, the idea of a click where you can go from one side to another, the idea of a keyboard where you can write and what you’re writing, the commands you’re putting; the input then translates into some understanding, some level of computation that takes place that then takes you to somewhere else. It’s really opened up a fissure into the linear narrative formation into one that’s based on decision trees with multiple possibilities.

So, although technology was advancing, we were reverting to interfaces with which we were extremely acquainted. And, as an example, consider my father, who is from the Caspian Sea. And he, I believe he loved fishing. And the size of his catch was always determined by the size of his audience.

So, depending on the engagement he had and the amount of absorption and enthusiasm, he would sometimes tell the same tale in 30 seconds and other times it would go on and on. And the fish of this size would eventually grow into a monster that he had captured, right? So, these new technologies are assisting us in transitioning from linear storytelling to interactive stories with decision trees, and then with augmented reality and immersive technologies, we are transitioning from screens to scenes where you are totally involved in an environment that you are in, which is known as UX.

And the ramifications are numerous. But what I find interesting is that we are attempting to return to that fundamental desire that we have to communicate with one another in ways that are more demanding of the audience, and that there is an expectation of what I term cohabitation cooperation, cohabitation, and cohabitation and co-creation.

The artist’s position is no longer one of “I will direct everything, and then I will present it in front of the public, and they will consume it.” I will always be co-creating with my audience, a little like the street magician who must always account for how the audience connects with the tale that is being delivered. These skills can be acquired through online UX design education.

“I remember in 2012, just not being able to use any emojis that were my skin tone. And that’s something that was just the norm. And so I think a really big thing within the design field itself, is something that I call the white default, which is essentially, the norm is viewed as white,” says Jacquelyn Iyamah.

So, you end up with these products like emojis, Band-Aids, self-driving cars, soap dispensers that just don’t speak to communities of color. They specifically don’t speak to folks who have dark skin. Online UX Design Education must be able to be mindful of that as well as be able to, within the design thinking process, continuously question ourselves and our biases. These issues are something that’s really critical to ensure that we’re not designing products that continuously harm.

“The kind of conversation or the kind of arguments against bias that takes place is often a matter of representation. So let me give you a little historical point here. Technologies that we come to use, if and when they’re created within a capitalistic society, then the way those technologies are pursued is usually to cater to the needs of the corporations that are creating it,” says Amir Baradaran.

Kodak is a good example of that, whereby for people of color, you had a hard time being able to actually have good photos because it was never created for BIPOC. Because it was adjusted only to fair skin, who then had better purchasing capabilities, it never even cared to allow for having devices that actually would better capture the reality of our skin colors.

So, for example, when the camera has a hard time recognizing people of color or being able to distinguish between males and females in darker-skinned bodies and faces, obviously, we have an issue. That should be regulated. We should look for a better representation of data, based on which then machines can learn.

UX is user experience design. Daniel Holtzman informs us that it’s a big field and it encompasses a lot of things. It comes from a few older practices, some of which form part of what UX is and some of which have been more or less replaced by it. Back in the day, it was more commonly referred to as HCI, or human-computer interface.

There are elements of it which touch UI. There are elements of it which touch technology. There are elements of it which touch business. But really, it’s about understanding how a product or an experience is going to affect a user’s life. How can you create the product or experience in a way that allows someone to use it better, get more out of it, find more delight in it and ultimately engage with it more successfully?

UX design has grown from a lot of things, and it’s at a point now where it’s really exploding. There is a lot going on as interfaces and technologies evolve.

We’re seeing voice interfaces. We’re seeing VR, AR, all of these emergent technologies, all of which are going to require that people not only understand how to bring those experiences to life but also do it in new ways. We’ll have to take all the things we traditionally do in a more digital format and bring them to these other types of formats.

We’re finding that people are specializing, but more people are also becoming generalists. The industry is at a point where it’s diverging. Before, we had a convergence of a bunch of different practices coming together under the helm of UX. Now, what we’re seeing is people specializing and diverging into these different areas.

As these areas become richer and more complex, we’re going to need people who are paying more and more attention to these specific things and are able to specialize in them.

If you have interest in learning more about both UX design and UI design, an excellent place to start would be online UX design education. It’s a convenient and accessible way to gain a much deeper and more complete understanding of these topics and many others.

Your brand becomes a part of your store in various ways. If you understand this and your core customer base, you may ask yourself these questions:

* Who are you serving?
* What will connect with them?
* How can you make your brand more appealing?

If you know this, it will help you understand how to set up and run your store. For example, if your brand focuses on being fun and goofy, you may have a younger audience as your target demographic.

You should make sure your website’s color palette matches the brand. For example, if your brand focuses on being fun and funny, then grays and monotone colors won’t reflect that same voice.

This involves identifying your customers and matching what they want. You may want to avoid boring and dry product descriptions if you choose brighter colors.

You can use these descriptions to inject some humor and branding into your business. It comes into play in various parts of your e-commerce store. Look at every opportunity you have and make sure your store reflects the bigger brand.

Telling your story can help you create a more personable narrative to help new customers see the person behind the brand and understand it to build connections.

You don’t want your company to be a faceless brand. You should build a connection with your customers since it will help them connect with you, become loyal customers, and buy from you.

How do you effectively brand your product online? Ecommerce is a craft. You have less than 10 seconds to capture the attention of a potential consumer. It’s about relating directly to crafting the perfect story. The story is a general narrative applicable to many people and a multitude of life experiences.
When I worked at Barney’s, we were tuned in. Every new brand had a story behind it, including the collection. However, it left an enigma that raised questions: What is the story of the brand’s history? Why was the brand created? How was the brand’s name created? Why did the brand choose the colors they did?
Factors such as those are considered when marketing your brand. The question remains: How do you effectively gain an online audience to hear your story in such a short time? It’s critical to ensure that the images displayed on your e-commerce website or a retail partnership website accurately represent your brand.
Accurately representing your brand is one of the most important factors you have in e-commerce advertising. Your target audience must feel that you understand them, that you’re speaking to them, not at them. If I’m trying to reach 18-year-olds, and I’m using this kind of formal, prim, and proper business tone, it’s not likely going to be effective on that target audience.
If I’m speaking or marketing to seniors using emojis, vulgar language, modern images, and people, fur coats, funky styles, it’s not going to resonate with them. They require marketing that is familiar to them, understanding and providing that comfort is a much better approach. One of the first things you must always do is begin with entry-level ideas— who am I going to market to? What’s different about my brand? Most importantly, how am I going to communicate that?

What often comes next is really doing the due diligence, doing the research. “OK, we know there’s a problem,” explains Alicia Tam Wei, “but we need to learn more about what’s behind this problem. What’s causing it? How does it affect people?” It’s important to discover what it entails. There are several different ways to approach this in product design. One thing to do is a user journey, which is putting yourself in the shoes of a person who is using this thing and trying to figure out everything along the path of how they would use it.

If she were doing a user journey for a mute button, for example, she tells us she would say, “Ok, I’m Alicia. I’m going to sit at my computer. I’m opening my laptop and opening Zoom or any video conferencing product. From here, I have my laptop’s built-in microphone. I also have maybe an external microphone or speaker system. I also have in my environment some background noise. Maybe there’s an air conditioner, a heater or an air filter. Maybe there’s an air purifier or background noise from my home or my office.” Product design education teaches you that all this that has to go into consideration.

She continues with the other things you must think about. “OK, why am I using it?” she asks. “How am I using it? So why do I even need a mute button at all?” You would then go into all the possible uses for this mute button. When would it be needed? What are the circumstances and scenarios in which a person might need this?

You start to build a map, so to speak, of how a person is using the item. Along with this map, you realize there’s a scenario in which it fails, in which it could be better and in which there’s an opportunity for improvement.

She tells us that each time you find something that’s annoying or problematic, something that doesn’t make sense or just doesn’t work the way you wish it would, it’s an opportunity as a designer to go back in and say, “Ok, now there’s a problem. And I’ve got more background knowledge of the nuances behind that problem.”

She sums up this way: “I can actually then think about ‘How would I solve that problem?’ I sometimes believe people think that design is all about solutions. But so much more of it is actually about the background of figuring out what the problem is and then researching how people use the product.” These are lessons taught in online product design education.

When you’re working on solving a problem as a product designer or developer, it can sometimes generate other, unforeseen problems. These are called “complex problems,” or “wicked problems.” For example, when a company like Walmart decides to become organic with its produce while being one of the largest stores across the United States—and this happened in 2007 and 2008—they’re assuming that there is actually that much organic food being produced to supply such a large retail supplier. However, that may or may not be the actual case.

When given the questions of scale and the complexity of the problem that you’ve identified and want to address, you may run into real-world conditions that push back and make the problem more complex than it initially appeared to be. For example, the seaweed straws by Sea Briganti immediately ran into a question of scale. If you’re going to reduce the number of drinking straws consumed each day in the world, that means that you’ll have to produce as many seaweed drinking straws as there are plastic ones being produced.

If you’re scaling up and producing a competitive quantity of an alternative material, such as seaweed, then that means you’ll have to harvest a lot of seaweed and produce a lot of drinking straws on a different scale. That means that instead of having centralized factories producing huge amounts of plastic, which then end up in the ocean and cause all of the problems that we’re aware of, you have to ask yourself where you’ll get all of that seaweed. So you may have to decentralize that work and work in tandem with people around the world to produce the required seaweed in various locations.

Ultimately, the problems that you choose to address may give you options, as well as alternative solutions, proposals, or opportunities for iterative thinking that considers many different scales and choices. For these reasons, it’s really important to consider the ripple effects of addressing the problems that you choose to solve as well as what other complications may come up later on in the process.

These concepts are very important to understand in the world of product design and product development. To learn more, consider giving product design education a try, and remember that online product design education is also an option.

No one wants to pay for returns. That is just a basic customer service attribute that you should have. Ease of exchanges and ease of returns.

A lot of e-tailers, especially who don’t necessarily have physical stores where you can maybe go and return something, partner with other companies that have outposts where you can return something.

For instance, revolve.com doesn’t have a physical store, so they partner with Paper Source. You can go to a Paper Source, and it’s called Happy Returns. I was very happy to return something when I found that out because the first thing I look at before I buy something online is how am I going to return this? If, I have to ship it internationally, find my box, drop it off, etc., I’m not doing it. I’m not buying it. I don’t care how much I like it. I need to be able to easily return something for free. I think that’s absolutely the bare minimum and one of the things you have to have in order to have good customer service online.

I had a suitcase, and they have a lifetime guarantee. I took it on a Delta flight, and they ruined my suitcase. I checked it in and they cracked it. I reached out to Away, they got back to me within less than 24 hours, and said ‘No problem. We will send you a new suitcase. Wait to get that box’ because I was wondering ‘How am I going to return a suitcase? Where am I going in a box for a luggage?’ They said, ‘Wait to get the box. Use the box that we ship you to send back the other one, and we’ll pick it up free from you from in front of your house.’ It was amazing. I’ll never buy another suitcase brand again because of that.

Let’s take a closer look as to why abandoned cart series are an integral part of winning back sales and increasing conversions for ecommerce companies.
56 to 60% of all abandoned carts come directly from shipping costs. Realistically for abandoned carts, you’re only going to recover 20% of these back if you’re aggressive.

What is your shipping strategy? How is that affecting your abandoned cart? If you’re seeing your conversion rates are low, keep in mind conversion rates are 2-2.2% across e-commerce. So, if your abandoned carts are 3, 4, or 5%, suddenly, that’s a lot of your sales.

That’s a lot of what’s affecting conversion. That’s a lot of money being left on the table. Even the best brands that are aggressive and have great automated abandoned cart recovery programs, you’re only going to see 17%-18% of those abandoned carts collected.

It’s always going to be a challenge. However, it’s something that you can front-load the work.

For example, you can automate an email marketing series. Where five minutes or 5 hours after you abandon the cart, you get an email saying, “Hey, it looks like you forgot to checkout.”

The next day, you get another reminder, “Looks like you forgot to check out! We know life’s busy. Come on back, here’s a link to your cart.”

That third day, send them another one, “Hey, you know things happen, I can’t hold this forever. Come back in 24 hours and here’s 10% off.”

But really, there’s a cliff after that. After about 72 hours, they’re gone. They’ve moved on. They’re on with their life.

You have to have a strategy in place right away. It needs to kind of fire in rapid succession in those first 48-72 hours, if you want any chance of recovering these.