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How to Become a UX Designer?

by Christian Briggs | | 88 min read
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It might seem like it’d be a one-time journey if you’re going to step into the shoes of a UX designer and that once you’re “there,” you’re there as one—end of story. But it’s not like that; it’s very much a process, and an ongoing one at that. We hope this doesn’t blow your image of what it might look like to be in this exciting “job description”; if anything, we’re eager to share tons of great information with you now so you can make the most of what is an extremely rewarding career—and process—so, stick around and be sure to read on as you learn all about how you can become the best UX designer by keeping on becoming the best UX designer you can be!

Table of contents

What is a UX Designer?

A UX designer is who’s responsible for crafting user experiences for digital products—like websites and apps—and they’re focused on understanding exactly what users need and what they enjoy. Right now, just think of an app which you love using—one of your favorites, if not the favorite—well, a UX designer has carefully planned out your experience with it. They decide everything—as in, right down to all the fine details—from what features will help you get to and get through your goals to how those features work, how you get information, and the tiny details—such as button placement, color schemes, and font sizes. It’s a role that nicely combines visual appeal with functional design, and—what’s more—it delves neatly into user psychology.

An overview of the steps required to start your career as a UX Designer.

© Interaction Design Foundation, CC BY-SA 4.0

We’re going to examine elements such as the value of networking and a powerful portfolio a little later, but here are some core considerations to bear in mind now. To start with, it’s important to know how to start becoming a UX designer. A good education will build a solid foundation. While many companies don’t insist on formal education or a degree in design-related fields, you can pursue computer science, design, or human-computer interaction education—and a decent education is one that’ll provide you with a good, solid, theoretical understanding of key concepts.

It’s also vital to build up your knowledge of user interface (UI) principles. Get good at UI design and it’ll help you as a UX designer. The focus with that is on the design of user interfaces for software and digital products, and the core piece of that focus lies in making the design user-friendly and accessible—two terms that are pretty much precious beyond measure in design.

Content is massively important, so watch as Frank Spillers, CEO of Experience Dynamics sheds light on the importance of content and how to organize it to get better results.

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    Now, when you do journey maps or you create personas, and when you think about content strategy or improving your content and making it more useful, more desirable for your users, it's important that you get that guidance from user research and specifically doing field studies, sitting down with users, going to their homes;

  2. 00:00:30 --> 00:01:03

    if it's B2B, going to their office place, sitting beside them. I once was doing an internal intranet study for a big hospital. I would go from desk to desk talking to different users. When I would come up with an artifact, so when I would discover an artifact, in one case it was a list of telephone numbers of – you know – frequent people to call; you really need to dig deeper and discover *all the opportunities that exist*. And I ended up carrying a stack of papers.

  3. 00:01:03 --> 00:01:30

    And one of the users said, "You know, it would be really nice if I had a list of frequent people to call..." And I pulled it out for my stack of papers and said, "Oh, you mean something like this?" And she went, "Yeah. That's exactly right!" I'll tell you another story from a store – it's like a country store. So, on the West coast of the United States there are a new generation of farmers. The focus of this study was to discover what the experience was for younger, for Millennial farmers,

  4. 00:01:30 --> 00:02:02

    and in particular what content they might need to go along with an e-commerce experience. So, we went out to farms and interviewed people – actually we recruited through, we joined groups on Facebook and we could actually see from the Facebook groups that people were recommending our client's brand and other brands, and they were asking questions like "Where can I sell chicken eggs?" because when you start farming at home, out in the countryside, like chickens are a popular one, goats are the other one; you start developing the byproducts of those of those things.

  5. 00:02:02 --> 00:02:31

    So, we talked to a lawyer – she's a lawyer by day, when she goes into Seattle, the nearest biggest city, she takes her Nubian goats and sells them to people that buy the goats. It's really interesting. Then the other thing she made was soap with the lard she was making with the extra fat that she was getting from her pigs. She was making her own soap and then selling her own soap as  kind of a cottage industry. So, we could see this – we heard from the users that kind of stuff; we saw them doing this online as well.

  6. 00:02:31 --> 00:03:02

    So, we had a kind of the social side of it, and Facebook groups are extremely important for certain communities like this. They also act as a way to sell products if you have excess products. But one thing we found out is the users said they want to be able to do this at the stores as well. They said they like the physical events, the social events that stores put on. So, you know, come to the store – a little music, a little bit of food: community essentially. They really liked that, but they wanted more of them. We also discovered that a lot of women

  7. 00:03:02 --> 00:03:34

    were making the buying decisions. One of our personas was the manager of the farm. A lot of these people have just learned how to do farming off of YouTube; they call it the University of YouTube. So, that small content about how to make your own sauerkraut, how to raise goats, how to make a fence that is deer-proof so the deer don't come and eat your vegetables. All these kinds of things they rely on YouTube, so that was a content discovery source for us. We realized as well that these women were one of the primary personas; they kept coming up.

  8. 00:03:34 --> 00:04:00

    The irony here was the CEO of the company was actually a woman, but they didn't tell us to interview women – they didn't tell us anything about the gender side of it. We went and did some research just because it was one of our findings and it turns out that in Oregon, anyway, 50% of new farmers are women. This is a huge cultural shift from the 1950s, '60s, where it was like 85 to 90% men.

  9. 00:04:00 --> 00:04:30

    This is an inclusion and a bias story of discovering bias. Women were complaining that the jeans were designed for men. Women said that after going on a horse for like 20 minutes, the jeans would rip. Then the crotch would just rip out, so they're throwing away, wasting money on clothes that were not designed for a  woman's body, for her physical needs as well as social and other in these. In other words, they were made cute, so little tiny pockets that you can't put anything in – no tools, no phone.

  10. 00:04:30 --> 00:05:00

    Whereas the men's clothing had that functionality. And there's a bias on clothing, in particular work clothing, and there are actually brands that cater specifically to women that understand this, and there are two  or three brands. But it's still very niche; it's very like edge case. Yet up to 50%, in California, close to 35 to 40% of farmers are women now. And these are government statistics,  and it matched kind of our study.

  11. 00:05:00 --> 00:05:33

    So, it was a finding that we stumbled upon by making sure that we interviewed the right users, that we listened to – we didn't just assume that farmers were men. We kept an open mind when we created the study. The content ideas that poured out of this  gave us all the types of things that users were saying they needed, and we were able to tell our client to have their social media team and make the kind of content that would work, that would resonate emotionally with the kind of problems that users were trying to solve, in addition to the e-commerce.

  12. 00:05:33 --> 00:05:58

    And actually when that site launched after six months, (there was) a 10x increase in sales from that site. So, they did something right, and a lot of it had to do with just doing one of these very open baseline professional field studies that can give you all the content and desirability insights that you need to make the right decisions.

What’s more, it’s vital to practice UI design, which includes getting proficient at the tools as well as what you know. Designers use these tools to create wireframes, prototypes, and designs for digital products and web development—so get to know how to use these. A solid background in visual design skills and knowing how to make effective information architecture (IA), as in structuring and organizing content, is important.

Another point that’s precious to focus on early on is soft skills mastery and you’ll need good soft skills to succeed as a UX designer, too. As skills, they’re essential as far as understanding user needs and creating effective, user-centered design solutions goes—as in, exceedingly essential.

On the journey on the long and interesting road of UX design, you’ll pick up, hone and polish, and combine knowledge of human-computer interaction, design principles, and technical skills that you’ll need to do well in the UI/UX world and resonate with the users of the brands whose products you’ll work on.

UX designers are creative problem-solvers, and a chief aim that they’ve got is to balance aesthetic appeal with practicality. What’s their goal, exactly? It’s to make user interactions smooth and enjoyable. They make every design choice—and that goes from button size to checkout flow—deliberately and so that it’s focused on the user. An important point to make here is that this dynamic and creative field evolves as technology and user expectations evolve, themselves.

Always Becoming a UX Designer

As a phrase "become a UX designer" might seem easy to read, nice and straightforward a concept and one that’s a direct A-B trip; and you may picture a one-time journey. It’s vital to step in here and point out, though, that it’s a process and an ongoing one at that.

Becoming a UX designer is a one-time journey.

© Christian Briggs and Interaction Design Foundation, CC BY-SA 3.0

... but really it is an ongoing process.

Always becoming a UX designer is an ongoing process.

© Christian Briggs and Interaction Design Foundation, CC BY-SA 3.0

You won’t find an end to the process, just improvement—but don’t feel dispirited if that might seem like a long, hard road to get on. A lot of it really comes down to how you see it; and here’s a good way to envision the realities that are involved here.

There are two undeniably important reasons as to why a UX designer never stops—or at least should never stop—becoming one:

  1. As a UX designer, you often face problems that happen to be intertwined with several factors, and they’re things that tend to characterize real-world or human problems (as in, ones that tend to be the most worth solving for real people in the world). You may find an issue, for example, that’s related to the latest technologies, cultural forces, and the world's current state (yes, including political and economic forces that helped take it to that state). That’s the human world, for you, and these elements are things that change constantly—and will continue to.

  1. You’re going to have to adapt your skills, knowledge, methods, and tools so you can really influence and improve these situations.

For example—and we’re going to do some time-traveling envisioning here—imagine someone’s just asked you to design a mobile commuting app, and the year is 1999.

A mobile commuting app on a 1999 mobile device.

© Christian Briggs and Interaction Design Foundation, CC BY-SA 3.0

First things first—you’d have to understand how to design for small screens and with slow data speeds. But—and in keeping with that era—you would not have understood micro-mobility (think electric scooters and bikes here), self-driving cars, or digital payments, and certainly not at the level that these things have become realities in the 2020s. And there’s something else: you’d have used Adobe Photoshop to create the screen designs.

Now, imagine someone who’s been asked to design the same app in the year 2030—a three-decade jump from 1999. Small screens and slow data speeds aren’t an issue any longer, but you probably will have to understand micro-mobility, self-driving cars, and digital payments. And you’re probably no longer going to be using Adobe Photoshop but some other tool for the design of it.

A mobile commuting app on a 2030 mobile device.

© Christian Briggs and Interaction Design Foundation, CC BY-SA 3.0

How to Become a UX Designer?

At this point—and after jumping a couple of “time zones” for our little imagination exercise, you may well be wondering, “If there are no specific steps that will lead me to the destination of UX designerhood, then what’s all this about?”

Well, what all this has to do with is this neat and convenient little point: There are five things that you can focus on throughout your career that are going to help you to become the best UX designer you can be! Note that one of the keywords there is “throughout”; it kind of helps bring it into a nice and healthy perspective—a “living thing” of a career.

1. Do the Craft of UX Design. 2. Communicate Brilliantly. 3. Embrace Complex and Wicked Problems. 4. Think Flexibly. 5. Learn to Learn.

Five things you can focus on throughout your career to become the best UX designer you can be.

© Christian Briggs and Interaction Design Foundation, CC BY-SA 3.0

Do the Craft of UX Design

To start with, let’s get right to the most obvious thing you can do to improve as a UX designer: Do the craft of UX design as often as you possibly can.

Every day, look for opportunities to learn and master the tools of UX—and here we’ve got things like pen and paper, Sketch, and Figma, the list goes on. Take these tools and use them to create artifacts like sketches, flowcharts, wireframes, mockups, prototypes, and design documentation. And, as often as you can manage to, it’s pretty important to familiarize yourself with UX design processes such as user research, user testing, and design critique.

Do the craft of design — master the tools, create artifacts and learn the processes — every day.

© Christian Briggs and Interaction Design Foundation, CC BY-SA 3.0

It’s a good thing to keep in mind that these opportunities aren’t things that happen at work or chances that pop up in a design course; no, they happen every day, all around you. Do you remember that unusable app that made you feel like tearing your hair out—or yell at it while you were on the phone with someone who wondered just how bad it must be—because it was that bad? Well, try to find out what the root problem is—and no pun intended on “root” with hair—and then go sketch a better version. You’ll get bonus points for testing your improved version on a friend. Do you overhear complaints at your company or where you work about a system or a process that some people there can’t stand? Have conversations with those folks who are affected, identify what’s causing their frustration, and then—we might have a drumroll here—design a solution, or two; or three.

Let’s think about something else for a moment: how, as a UX designer, your craft is rather like what a carpenter does. Let’s think about this for a moment—about how a good carpenter may look like a fully “developed” professional in the skills department, but how that person actually hones skills, continuously. These skills, by the way, are things like taking room measurements, doing project estimates, using tools, and expanding their creative range. And, just like that carpenter, you’ve got to constantly practice your craft if you’re going to well and truly improve it.

Communicate Brilliantly

Let’s get away from the technical-skillsy side and look hard at this one—a less obvious skill but a vital one you’ve got to have all the same. Effective communication is an essential thing in all roles, and that’s especially the case in UX design work, which sits at the heart of a larger process, and it starts after new needs, ideas, or business cases get identified—before moving on to testing and deploying the designed experience.

As a UX designer, your ability to communicate will help everyone.

© Christian Briggs and Interaction Design Foundation, CC BY-SA 3.0

So, what exactly can you do to communicate brilliantly in UX design and really reach people so they understand, trust, act upon what you’ve told them, and respond properly to your input? You may well have already guessed, but now we’ll home in on the four key things you can do:

1. Make It Understandable

When you’re communicating with a stakeholder, a developer, or another designer, it’s vital to learn their specific terminology (that’s if you don’t already know the terms; if you do, then use these appropriately). Visual communication—for example, through flowcharts, diagrams, and mockups—can help them understand exactly what you’re proposing to do.

2. Help People Trust the Logic

Every napkin sketch, every high-fidelity mockup, every whatever-it-is-of-this-sort is a proposal for some kind of change in the world. But what something like a sketch might belie—say, due to its simplicity—is that these changes call for effort, investment, and some risk. When you’re working on creating these, it’s vital to always include a strong rationale—research, data, evidence—so that someone who’s to see it can really trust that the effort’s going to be worth it.

3. Help People Get Behind It

Brilliant communication goes way beyond appealing just to logic alone—it appeals to emotion, too. And that’s why you don’t just include a strong rationale in your UX design communications; put in stories, images, and evidence that appeal to people, too.

4. Make It Actionable

UX design communication has often got a big focus on action to change the world, and so, you’ve got to communicate your messages clearly and indicate what the next steps to take—or which ones to avoid—are.

Being at the center of and collaborating with different departments does bring its share of challenges, to be sure. And those aren’t the only complex situations you’re going to find yourself in.

Embrace Complex and Wicked Problems

If you’re going to consistently become the best UX designer that you can be, you’ve got to not just tolerate but embrace too the idea of working on problems that are difficult.

It’s fair to say that you can tell a professional by what kind of challenges they embrace. Experienced auto mechanics, let’s take as an example, love the challenge of fixing up an old car, and they’ve usually got the grease under their fingernails to prove it. Shake a farmer's hand, and you’ll very likely be able to feel the strength of working with the earth and animals, and any calluses on that hand will more than corroborate it.

You may not see it—or feel it—in their handshake, but experienced UX designers tend to be more than a little passionate about understanding and solving problems—and, like mechanics and farmers, they often enjoy tackling challenging problems. In keeping with the farmer side of things there, it’d be fair to say that UX designers actually cultivate solutions in the “soil” of problems.

Problems, problems—you’re going to encounter many throughout your UX design career as you build up your expertise. But it’s a key thing to work on a variety of problems, especially challenging ones, so you can start to tell the difference between them and enjoy taking them on and getting into what’s behind them; and here are three common types: Simple, Complex, and Wicked problems.

Illustration of simple, complex and wicked problems.

UX designers are asked to solve simple, complex and often wicked problems.

© Christian Briggs and Interaction Design Foundation, CC BY-SA 3.0

Simple Problems

A simple problem—which is often called "clear," "obvious," "tame," or "trivial"—has a straightforward definition. It involves an easily traceable cause and effect with a testable solution; so, things are nice and, true to the name, simple. Things like how to create a louder violin, a faster car, or an eye-catching advertisement—they’re problems that might be challenging, sure; that said, though, it’s relatively easy to understand the steps that’ll get you to the desired effect.

Complex Problems

Let’s switch things up a bit now and stick a complex problem under our “microscope” here; these ones have got a less clear definition and multi-directional cause-and-effect chains to them. Plus, they’ve got solutions that you may well find harder to test than ones for the good old simple problems. Let’s picture, as an example, how to make a digital experience for collaborative student learning. These problems can be way more challenging to solve, and—as if that weren’t enough to have to grapple with—it's hard to actually pinpoint what the exact problem is and pick the causes from effects, let alone get on to determine what the successful solution’s going to look like.

Wicked Problems

The word “wicked” might conjure scary imagery for some people—and, to be fair, some of these problems can look extremely daunting—but “wicked problems” are a thing, and a wicked problem may well have multiple definitions, explanations of cause and effect, and no immediately testable solutions. Below, we’ve got some examples of wicked problems:

  • Poverty and homelessness.

  • Improving educational outcomes.

  • Climate change.

We want to share this with you, not to scare you off, but so you’ve got a good head start on the rest of your UX journey, and—this way—you can notice different problems around you every day.

Professor Alan Dix, Author and Expert in Human-Computer Interaction, discusses wicked problems and how important it is to understand problems in your work.

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    One thing in relation to this that I want to talk about is the difference between *puzzles* and *problems*. I think if you've been practicing it for a while doing real design, you'll understand this difference without thinking about it. If you're perhaps newer, perhaps you've done a university course and you're newer at that, it might be less obvious. Let's start with puzzles.

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    The thing about puzzles is they have a *single right solution*. The same is true of exam questions. Exam questions are puzzles. They might say, "This is a problem," but they're puzzles. There's one right solution, and in fact I get annoyed if I do the newspaper puzzle and I realize there was a couple of right solutions. I expect there to be *one*. But certainly, there is a right solution. And what you're presented with in a puzzle is you have only and all of the relevant information. Indeed, one of the ways if you're doing an exam question

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    to actually work out "Am I on the right track?" — you can say: "Have I used all the information?" You get the same with a whodunit book. You know, you open the book, the detective book. When there's something in there, you think: "The author's put that there for a reason. That's probably part— It might be there to mislead you. But it's either *deliberately misleading* or it's actually crucial. The other thing about problems and puzzles is that the solution is *fixed* – as in, you can't change the problem.

  4. 00:01:33 --> 00:02:00

    So – I mean, you *can*: I can pick up my newspaper and I can just color in the squares in the sudoku rather than solving them. But that's not the idea of it. And if you do that in an exam, you'd probably get no marks. A few philosophy — you know, there are these stories about the philosophy questions, like: The question says, "Is this a good question?" and the student says, "If this is a good answer!" I don't know if anybody really got top marks in philosophy for doing that sort of question!

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    But – on the whole – if you've got a puzzle, you have to do what the puzzle says. *Real-world problems* are not like that. Real-world problems may have many, many solutions, or they may be actually *insoluble* in the way you first approach them. You may not have all the information you need. And you've probably got lots of information available that's totally superfluous, that doesn't help you. So, often part of problem-solving is *finding that information*.

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    But actually, the problem might be insoluble; so, partly, problem-solving is about *negotiating* and working out what *is* doable and perhaps negotiating and a reformulation of the problem that is one that's both doable and solves the problem. So, it's about *redefining* it and it's about *understanding* it again. And the two kinds of things – puzzles and problems – have different ways of addressing them.

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    So, things you've learned about puzzle-solving don't always help you with problem-solving. So, I mentioned a classic heuristic – an exam – is "Have I used all the information?" Of course, that doesn't help in actual life. Part of the reason I was talking about that is that this redefinition of problems, of *understanding* a problem is often the first stage to find a solution. Indeed, I often find – and you've probably found this yourself – if you really, really understand a problem well,

  8. 00:03:32 --> 00:04:00

    often solutions are obvious. I mean, sometimes they are really hard! But often, once you've really got to the nub of "What's really going on with that? *Why* is that difficult?", "Aha!" — and you get to solve it. So, often the solution is trivial if you understand the problem. But how do you get to understand the problem? You might have a very abstract way of approaching it, but often the way we understand things is through concrete instances.

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    You actually want solutions – you want things that are solid and down-to-the-ground in order to look at them, make sense of them and then understand the problem better. But how do you *get* those concrete solutions if you don't understand the problem? So, actually understanding the problem is as important as solving the problem. There's this quote – you might have come across some variant of this – and I'm just going to give one variant that says: "If I had an hour to solve a problem

  10. 00:04:32 --> 00:05:01

    I'd spend 55 minutes thinking about the problem and 5 minutes thinking about solutions." Now, this is often attributed to Albert Einstein. And it's actually the sort of thing you could imagine him saying. But, actually, the evidence is that he never said it at all. It's just one of those sayings that seems reasonable, and it gets attributed to other people as well. However, even though he didn't say it, it is true and I'm sure it's something that he would have espoused as well.

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    Spending time really understanding the problem often is the first stage to solving it. Once you really understand the problem, sometimes – and very often – solutions find their way out. Some years ago, I did a walk around the perimeter of Wales – about a 1000-mile walk. And there were some things that I was interested in from a research point of view: How to deal with issues when you have low connectivity in terms of mobile signal and things.

  12. 00:05:32 --> 00:06:00

    But part of it was about *learning questions*. And the way I often phrased it to people before I did it was: You know, if I've just got a problem, I can probably find a solution. But actually knowing *what are the important questions* were part of what I was doing. So, for instance, I came away with questions about the nature of community when industry died in areas. And you could observe — in some areas, the community seemed to collapse; in others, it seemed to be resilient – and trying to *then*

  13. 00:06:00 --> 00:06:33

    answer that question or seek more understanding of what it was with the factors that made that difference. Wicked problems have properties. It's a whole list of properties; I've got some of them here. One of them is about *being unique* – that it doesn't mean you can't learn from previous ones, but you can't just take the solution you had for a previous problem and apply it to new ones. For wicked problems, each one you have to look at *individually*. There's *no definitive formulation* – that is actually even stating what the problem is is problematic.

  14. 00:06:33 --> 00:07:01

    *Non-enumerable* – you can't just go through a set of things and say, "Which one of these is better?" The space of potential ways you might tackle it is unbounded. So, you can't just sort of try the first idea, try the second idea. You've got to go beyond that. They talk about *one-shot operation* – and this is about the fact that often you have to start executing the solution before you know what it all is. So, imagine you're in a desert and you've only got a certain amount of water

  15. 00:07:01 --> 00:07:33

    and you don't know which way to go, and you spot a very high dune. What you might do is walk to the dune in order to spy the land. But in walking to the dune – if it was a long way away – you of course have used up some of your water; you've got hot and you've used up some of your food; you've *committed* yourself. And real problems are often like that. *No stopping rule* – You know: Have you finished? And that's related to the fact that often in the real world you don't just say, like with a candle – and you get to this and you say,

  16. 00:07:33 --> 00:08:04

    "Yes, I've done it. I've got a solution that works – done!" In the real world, there isn't a fixed solution – or the dots – I say: "Yes, I've got a solution, with four lines that go to a dot." You can't just say, "I've done it!", because – actually – you tend to have things that are better or worse solutions, rather than the perfect solution, the right solution, versus another solution. And so, you're probably not trying to solve the economy. But these kinds of characteristics you actually will find in a lot of real design problems.

  17. 00:08:04 --> 00:08:13

    So, they are difficult – and that's why you need to think creatively. But you're not unique in having to solve some of these issues.

Think Flexibly

A UX designer has got to think flexibly if they’re going to solve complex problems and communicate across disciplines to help get them solved, and—with flexibility in mind—you’ve got to use different types of thinking for different purposes. If you’ve ever heard the term design thinking, then you may well think it’s the only way for designers to get problems out in the open and really solve them. But its actually just one among many, and here we’re going to consider four of them. The other three we’ll call convenience engineering thinking, art thinking, and science thinking.

Thinking Types

Typical Methods

Primary Goal

Core Assumptions

Design Thinking

Iteration, process, exploration

Changes the physical and social world to create value.

You can create value and not discover it. 

Engineering Thinking

Physics, math, process, and material construction

Change the physical world.

You can discover and change the facts about the physical world.

Art Thinking

Media, aesthetics

Change human perception.

You can change the perception. 

Science Thinking

Scientific method

Change knowledge of the physical and social world.

You can observe and discover facts.

To start off with, let’s take a practical example: Imagine someone’s just given you the budget not just to design a mobile app but create a really large internet-connected digital sign right in the center of a big city, too. The goal here is to improve people’s perception of public transportation and make the number of people who actually use it every day go up—a nice little energy saver, too, as they won’t all be in their own cars, for example.

It’s a really big project—and it’s one that’s got many challenges and many decisions to make to get things sorted out best. So, now, let’s think about some things here, starting with what can you design and build to actually change people’s perceptions and behaviors? What sort of interface are you going to need? Is data going to flow between the app and the billboard? And, if that’s to be the case, how? And how are you going to test it and iterate on it? And—last but not least here—how’re you going to know for sure that your design has achieved its goals?

This is where flexible thinking is going to be a great help. Think of it like putting on different pairs of glasses, where each one lets you see different parts of the problem.

Science Thinking: Change what we know about the physical and social worlds. Art Thinking: Change the human perception of the world. Engineering Thinking: Change the structure of the physical world. Design Thinking: Change the structure of the physical and social worlds.

Your ability to think flexibly will help you solve complex and wicked problems.

© Christian Briggs and Interaction Design Foundation, CC BY-SA 3.0

You might start with art thinking as you consider how people perceive public transportation and how you might go about changing it. Let’s see here—would heroic images on the billboard change perception? What about personal public transit stories from app users, themselves? Might some humor change perception about this? You don’t need to be an artist to employ art thinking, but it’ll help if you think like one!

Let’s imagine you’ve decided to use social pressure by letting public transport people post fun photos of themselves on the billboard. You put your design thinking “glasses” on and realize that you’ve got to really understand the people in this real city before you can get to designing a solution.

So, off you go to do some user research, prototype your idea, and test it. You put on your engineering thinking glasses—and you’ll ask and address questions about how the photos will go from app to billboard, where you’ll store the images, and the resolution of a billboard. Then, as the project nears launch, science thinking is what helps you collect the data you’ll need to help you understand if—as well as how—your solution worked.

This example doesn’t accurately represent reality; it can’t, of course—it’s more to illustrate something important to understand. In a real project, you’d take many more steps, involve people, and think in a more non-linear order.

What it does represent is how flexible thinking—that ability to approach a problem from multiple angles—is a skill that’s truly crucial for you as a UX designer.

Learn to Learn

The last—and, sure, the most important—thing you can do to become the best UX designer you can be is to learn how to learn, or at least learn better than you’re maybe already managing to. “Learn to learn” may sound a familiar nugget of wisdom, but learning skills are indeed the magic multiplier of all the other skills.

It might sound like a bit of a truism, but it’s indeed true that learning also lets you more easily grasp and combine new flexible ways of thinking. And, what’s more, it can help you to analyze and address complex and wicked problems—and so put you in a more capable position to do things.

There isn’t any magic method for learning, but you should pay close attention to—and develop—the best methods that work for you. For example, many people find that taking hand-written notes—in notebooks, in the margins of books, or digital format when they use a stylus—really helps solidify their knowledge. Others use digital apps to keep typed notes that are both taggable and searchable. Many people learn best in structured courses or boot camps, while others find they’ll learn best from short video tutorials or blog posts; we’re all different—and, for how people go about learning in the ways that are best for them, the list of methods is pretty much endless.

As a UX designer, constant learning is part of your role.

© Christian Briggs and Interaction Design Foundation, CC BY-SA 3.0

Possible Career Paths of a UX Designer

Possible career paths of a UX designer

© Interaction Design Foundation, CC BY-SA 4.0

Creativity”—the lifeblood and energy source that helps all types of professionals power their way through problems that seem even insurmountably tough, complex, or weird and wild. Watch as Professor Alan Dix explains how there’s quite a lot more at play, and here’s what it means to be creative.

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    What is creativity? Is it something that you just sort of *wait for* to fall on you from above? Or is it something you *work at*? Do you all have those moments when you  you know you need a spark of creativity? You're in the midst of designing something; you're trying to make a new website; you're trying to make a new application; you're trying to work out how to evaluate something

  2. 00:00:30 --> 00:01:02

    that's hard to evaluate – perhaps  the way people feel or something like this. And you want that *moment of inspiration*, and does it come when you need it? Of course it doesn't! The model we have of creativity tends to be about these moments of genius. And you already heard about, I think, the 3M story, the Post-it Notes. You know – imagine if you'd had that idea to use this sort of magic glue on the back to create Post-it Notes; how much money there has been on Post-it Notes. Or Philippe Starck and the – well, we all know the lemon juicer is not perhaps all it's cooked up to be,

  3. 00:01:02 --> 00:01:30

    that it dribbles all over your fingers and stuff, but boy is it iconic! And everybody who's anybody in design would like one of those lemon squeezers sitting on their kitchen worktop! We have this idea of creativity as a genius activity. It might be Steve Jobs in Apple or some of these designers we're looking at here, perhaps Einstein. But is that the full story? Certainly that's the sort of way it seems if you look at sort of

  4. 00:01:30 --> 00:02:01

    Western traditions of thinking about these things. Going way back to the Greeks, you've got the Muses, the different arts, and the idea that somehow or other this inspiration comes from the Muses up in Olympus and gives you these bright ideas, whether it's poetry or whether it's music ... or web design! So, is that the real story? Let's look a little bit back at these two we've been looking at. First of all, let's look back at the Post-it Notes.

  5. 00:02:01 --> 00:02:34

    The story is a little bit more complicated; it's not just – you probably know a little bit about this; it wasn't just a moment of inspiration. The guy who was trying to design these things – well, he *wasn't* trying to design these things; the guy was called Spencer Silver; 1968, and he's trying to design a really good glue. And he makes his glue, and he puts it on the back of some paper, and he sticks it to something, and it just... pulls straight off again. Whatever he sticks it to, it's rubbish.

  6. 00:02:34 --> 00:03:06

    Now, I don't know if you've done  this. You've been scribbling away at something; you've got lots  of ideas, perhaps on your napkin... and you're about to throw it away. When you're about to do that, when you're about to throw it in the bin, pull it out again, have another peek because you never know when you might have a *moment of genius*. Spencer Silver was like this, but he knew  there was something about this.

  7. 00:03:06 --> 00:03:31

    There was something about this he felt could be useful. He spent five years going around 3M talking to people, giving seminars and talks and  talking about this solution in need of a problem. And then, in 1974, a guy called Arthur Fry was in one of these talks and came back to Spencer and said, 'I have an idea.'

  8. 00:03:31 --> 00:04:01

    Five years, two people, and an idea that could have been.... And that would throw the whole lot away  in the bin before it ever started. Okay, let's look at the lemon squeezer  now. So, Philippe Starck – I think it was in Italy, but he's in a restaurant somewhere. And the story is he's thinking about lemon squeezers; he has this sort of inspiration of a squid,

  9. 00:04:01 --> 00:04:33

    and hence we get the iconic lemon squeezer. But of course, first of all that's not built just  on that meal time. He knows about lemon squeezers; he's seen lots of lemon squeezers, lemon squeezers which have some of the suggestions – especially if you look at those kind that you do this to – of the one  on the bottom, or be it the other way around; maybe it would work better if you have the sharp end up. But even that – it's not as simple as that. He wrote down on, perhaps it was a  tablecloth – certainly in some of these Italian restaurants you get paper tablecloths

  10. 00:04:33 --> 00:05:02

    that get taken away, thrown away at the end. But this tablecloth has been preserved, or this napkin has been preserved. And when you look at that, you see things, images, some of them which look pretty much like standard lemon squeezers, and gradually shifting. The order is not so clear. But it looks pretty much like actually the squid came quite late in the day. So, when he tells the story, of course the squid is hot in his imagination, but when you  actually look at the trace of the design,

  11. 00:05:02 --> 00:05:30

    there were a lot of stages, goodness knows how many sketches, on this very small piece of paper that eventually came up with this idea. So, even something that took quite a short amount of time, unlike the 3M Post-it Notes, which took five years to gestate, this happened quite quickly. But even, so there was quite an *evolutionary  process* in actually coming up with the idea. So, the question is – can we have *techniques* to help us do this kind of thing?

  12. 00:05:30 --> 00:05:39

    Not necessarily to turn us into immediate magic geniuses, but to actually get reasonable creative ideas when we need them.

Look at potential career paths:

  1. UI Designer: It’s a job title that calls for strong skills in graphic design, and that’s because the UI designer is the one who’s got to make the “screen stuff” in the form of visually appealing design elements that bridge the worlds between technology and users. These designers do this when they create digital interactions that are smooth, efficient, and enjoyable—or, ideally, delightful.

  1. UX Researcher: The province of user experience research is to get to the bottom of things and understand user behaviors, needs, and motivations, and their work finds them conducting surveys, interviews, and usability tests—all parts that are well and truly critical in the making of user-centered designs.

  2. Information Architect: They’re the specialists who know how to not just structure digital products but organize them, too, so easy navigation and a seamless user experience are the fruit of their efforts. What goes into this worthwhile role include staples like making user flows, site maps, and content inventories.

  3. Interaction Designer: True to the name, these are the designers who have a focus on the interactive aspects of what their brands ultimately release—elements like buttons, animations, and transitions—and the ultimate goal is to create engaging interfaces.

  4. Usability Analyst: These analysts take it upon themselves to evaluate products—you know, websites, apps and those exciting sorts of things—to see how easy they are to use, and they’ll find issues and come up with solutions to give the user experience a palpable boost in places, often crucial ones.

  5. UX Writer: They’re the ones who handle everything text-wise, as in, creating clear and concise copy for digital products, and that’s who makes user-friendly texts that really complement the UX design.

Watch Torrey Podmakersky, Author, Speaker, and UX Writer, discuss the pathway to becoming a UX writer.

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    Well, there's been a lot of paths in. So far, I've seen really successful paths in from people with *traditional content* backgrounds, people with *traditional design* backgrounds making the switch and saying, 'Actually, can I just work on the words? That would be cool – I love the words!' Great. People with *journalism* backgrounds, because in journalism you are frequently thinking about 'What's the purpose of this story? Why am I telling it? To whom am I telling it?'

  2. 00:00:32 --> 00:01:01

    And all of that. Also, people from *education* backgrounds; like I think you mentioned before, I used to be a high-school teacher. And that is a *great* transition into interaction design because teachers are doing interaction design *all the time*. In my case, it was with 30 teenagers in a room with live fire and chemicals. So – you know – it can be intense, and you want to make sure you get it right,

  3. 00:01:01 --> 00:01:31

    just like the rest of interaction design I do. So, to get into those careers, it is helpful to take one of the *classes* that are starting to be offered; it is important to start putting together a *portfolio*, and one of the ways to do that is to take experiences you know to be broken. Right – like, I'm a big fan of taking government forms or government processes and saying,

  4. 00:01:31 --> 00:02:01

    'Why is it like this?' Well, because they didn't spend your tax dollars on a clever design team. Great. But how could we use language to make that better and why? And then, I recommend going for *entry-level positions*, *especially in teams that have other UX writers or other content designers* in it because then you get that *buddy effect* of having people help you out.

  1. Product Designer: A broader, more generic role, this one really calls for decision-making at a more strategic level, and overseeing the entire design process of a product is the name of the game with this role. Product designers might need to get a deeper understanding of all aspects of design and—sometimes—even front-end development, too.

  2. UX Manager/Lead: Heading up UX teams and projects, the manager—or lead—is who focuses on strategy, team management, and making sure that project goals come into line with user needs.

  3. UX Consultant: They work independently or with consulting firms, and they’re the people who provide expert advice and solutions to companies on their UX strategies and where to take them.

These roles really show the versatility of a career in UX design, and each one of them calls for a blend of technical skills, creativity, and an understanding of user psychology. The right path for you is really going to be up to you—as in, it’ll be down to your individual interests and skills.

The Power of Networking as a UX Designer

Networking—as in, with fellow design professionals—is a powerful plus, if not something that’s absolutely essential for broadening your knowledge base, staying updated in a field that evolves so rapidly, getting mentorship, and some more reasons, like these:

  1. Job opportunities: Often, companies fill UX design jobs through referrals, and it’s networking that really raises your chances of learning about—as well as securing—these opportunities.

  2. Feedback and collaboration: Share your work with peers and it’ll lead to constructive feedback—and that’s a potentially powerful plus to give your design skills a great lift.

  3. Build confidence: Regular interaction with seasoned professionals gives your confidence a great boost—that’s something powerful when you’re on the look-out for UX design jobs, for example.

Much like in many other professions, networking is something that’s so important it can’t be overstated as a thing to do. In UX design, though, there’s an element to the calculus of propelling yourself as a professional, and networking works well when you’ve got your work to showcase as a kind of shop front—and, for that, you’re going to need to get a really good portfolio out there to speak for what you can do.

How Do You Create a Better UX Design Portfolio?

Now we come to what may be the most important design a designer can produce, release, and be proud to call their own: yes, that’s the value of a UX design portfolio. It’s where your career’s visual story meets your “shop window” to the world and sells your skills and experience to potential clients and employers, ideally with all the appealing verve and exceptional usability to act as a kind of sample of what a design from you is going to be like for them. It’s got to highlight your best work, filled with the choicest pick of projects that show how versatile you are, and—underscoring that—show the mind behind the scenes and how it works and works things out, as it may well be the mind they decide to hire for their own projects.

 Steps to follow for a better UX design portfolio.

© Interaction Design Foundation, CC BY-SA 4.0

Watch as Morgane Peng, Managing Director at Societe Generale CIB explains important points about UX portfolios:

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  1. 00:00:00 --> 00:00:29

    A portfolio is a collection of  work and projects curated by you   to showcase your skills, experiences, and  achievements. Think of it like a friend:   it's your best advocate. It tells your story,  it introduces you without you being around,   and, if you're looking for a job, it's  a key tool to get noticed and hired.

1. Impressive Homepage

Highlight key projects here; each project’s got to tell a story—so, to start, focus on the problem, your design process, and the solution too, and it’ll demonstrate your user experience expertise nicely.

2. Detailed Case Studies

These are a must, as they’re the evidence that covers your role, the challenges you faced, and how you applied those vital UI design principles. It’s in these where you showcase your skills in visual design, information architecture, and usability, and it’s wise to include those precious visuals like wireframes or prototypes.

3. Showcase Technical Skills

Show how well you do visual design, and put in the projects that really showcase what you can do and your prowess with tools like Illustrator, as it can highlight your graphic design skills and more.

UX leader at Google One, Stephen Gay, shows how important good storytelling is in portfolios.

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    Well, I think designing a portfolio is a case  study unto itself. Just like an interaction tells a really good story on how to use a product, a portfolio tells a *narrative* on you as an individual and how you think. So, if I see a portfolio that's filled with only finished product, then the story I'm being told is the  person only cares about the final result and they didn't really enjoy the journey to get there. But if I see a portfolio of a complete journey,

  2. 00:00:30 --> 00:00:55

    then I realize they really enjoyed the design process; they enjoyed the detail, the collaboration to get there. I look for little things like: Does a person cover things like who was on the team? So, are they presenting themselves as sort  of the lone hero that did the work? Are they presenting themselves as a  core contributor to get to a great outcome? So, I like to see that level of  thinking in terms of collaboration.

4. The Process and Decision-Making

Your portfolio isn’t just about the final product; more importantly—it’s about your journey, too, so put your thought process and decision-making in there.

In this video, Stephen Gay shares his number-one tip on what to include in a portfolio.

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  1. 00:00:00 --> 00:00:32

    My number one advice would be when you're crafting your portfolio and you're crafting, you know, the way you present yourself. I was thinking about in buckets. You know what you've been working on. That's the project work that the wireframes, the deliverables, but also how you work, which is how you show up to your your office. How do you show up and work with your team, your existing design partners?

  2. 00:00:32 --> 00:01:00

    How do you show up and collaborate with other key cross-functional partners, your product managers, your engineering team? How do you like to interact? And that's the influencing skills, That's the collaboration skills. That's the negotiation skills and and skills that when you present your design work, it's how you move that design work forward. And I always look for both and a balance of both. If I see too much focus on the what,

  3. 00:01:00 --> 00:01:19

    I'll sense that tension or realize the person is more about championing the thing itself and not necessarily the outcome, which is, you know, we want to build great products for our customers, but we want to build it where our employees are happy and engaged. And I think that's that's how you create a great business and that's how you set the right tone.

5. Contact and Conclusion

End with a clear, concise contact page, and do make it easy for potential employers or clients to actually reach you.

Your conclusion should be something that compels the employer to take action—as in, to select you for an interview. It's an important thing, too, to mention your availability for interviews or to start work, and be sure you keep it concise and compelling—remember, it’s like your shop front.

Your UX portfolio helps you get a job interview or side projects and stay relevant in your career.

© Interaction Design Foundation, CC BY-SA 4.0

The Take Away

Every design project poses a unique set of challenges that, as a UX designer, you’ve got to prepare for. While the tangible deliverables that UX designers create are easy to grasp, indeed, a better mindset is what makes UX designers successful in that they:

  1. Continuously practice the craft of UX to deliver increasingly better artifacts.

  2. Communicate these artifacts so that the rest of the team understands them easily, trusts them, gets behind them, and then acts on them.

  3. Embrace complex and wicked problems and realize there’ll never be a straightforward answer—ever.

  4. Think flexibly, approach problems from different perspectives, and be ultra-open to solutions.

  5. Most importantly of all, keep learning—knowledge is power and you’re in a living career and an ongoing process, to be—and keep being—the best UX designer you can be.

References and Where To Learn More

Glassdoor’s research on the expected pay of UX designers across companies

Take a course from IxDF to learn UX design and grow your career

Read the Forbes article on How To Bring Your Products To Life With Good UX Design

Images

© Christian Briggs and Interaction Design Foundation, CC BY-SA 3.0

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The Basics of User Experience Design

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In 9 chapters, we'll cover: conducting user interviews, design thinking, interaction design, mobile UX design, usability, UX research, and many more!

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