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Tapworthy: Designing iPhone Interfaces for Delight and Usability

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This SXSW presentation covers: the elusive ingredients of "tapworthy" apps; why building iPhone apps is like designing a physical gadget; usability gotchas on handheld devices; and how the best iPhone designers turn constraints — limited screen space and fleeting user attention — into advantages for their apps. Along the way, Josh shares behind-the-scenes glimpses into the design process of popular apps including Facebook, Twitterrific, USA Today, Things, and others.

The presentation is by designer, developer, and author Josh Clark, previewing ideas from his upcoming book, "Tap Happy: Designing Great iPhone Apps" from O'Reilly Media.

Published in: Technology, News & Politics

Tapworthy: Designing iPhone Interfaces for Delight and Usability

  1. Tapworthy Designing iPhone Interfaces for Delight and Usability Josh Clark SXSW 2010
  2. “Is It Worth It?”
  3. What Makes Your App Mobile?
  4. I’m micro-tasking. I’m local. I’m bored.
  5. I’m Micro-Tasking photo: envisionpublicidad at ickr
  6. I’m Local photo: quasimondo at ickr
  7. Shopper Babelshot SoundCurtain
  8. I’m Bored photo: thomashawk at ickr
  9. Think Big, Build Small
  10. Tapworthy apps... • Focus on mobile context • Optimize for micro-tasking • Use sensors to enhance local context • Create opportunities for exploration • Complex ≠ complicated • Do one thing and do it well
  11. You’re Designing a Physical Device
  12. 44
  13. 44
  14. 44
  15. 44 44 44
  16. 88 88
  17. Be a Scroll Skeptic
  18. Edit, Edit, Edit
  19. Finger-Friendly Design • Use the thumb’s hot zone. • Design to a 44-pixel rhythm. • Be generous with space. • Content at top, controls at bottom. • Avoid scrolling where practical. • Put secondary controls behind hidden doors.
  20. agna. nc aliq uam isus m h at nu llus at r “Phase itae nib ulum v nec. Vestib py: Hap Great Tap ing sign pps De e A On bookshelves hon iP May 2010 1 Preorder: 1 Josh C lark www.oreilly.com Josh Clark www.globalmoxie.com twitter: @globalmoxie

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