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Aesthetics and Usability

In a study by Antonella De Angeli, Alistair Sutcliffe and Jan Hartmann done at the University of Manchester, the three concluded that the perception of information quality is affected in a manner resembling the halo effect in person perception. The halo effect or halo error, given its name by psychologist Edward Thorndike, is a “cognitive bias in which our judgments of a person’s character can be influenced by our overall impression of him or her” and “can be found in a range of situations—from the courtroom to the classroom and in everyday interactions.” In Thorndike’s first study done in 1920, he tasked two commanding officers with evaluating their soldiers in terms of physical qualities by rating their “neatness, voice, physique, bearing and energy,” along with their personal qualities in terms of “dependability, loyalty, responsibility, selflessness and cooperation.” What he discovered was that “the correlations were too high and too even,” meaning that a high score in a physical quality would trend across all the other results, more specifically, those relating to personal qualities. Conversely, a negative attribute would correlate with the rest of that soldier’s results. What’s interesting is that these results aren’t limited exclusively to likeability. Attractiveness also produces a halo effect. In 1972, Dion K. K., Berscheid E. and Walster E. conducted an experiment at the University of Minnesota where participants evaluated the photos of an attractive individual, an average one and an unattractive individual along with 27 personality traits like altruism, assertiveness, stability and so forth. Participants were then asked to predict the future happiness the photos’ subjects would have in regards to marital, parental, social, professional and overall happiness. What the results overwhelmingly showed was that participants believed that attractive subjects would have more desirable personality traits than their average and unattractive counterparts.

One of the takeaways from the first study I mentioned, done by De Angeli, Sutcliffe and Hartmann, suggests that there’s a correlation between the aesthetic qualities of an interface, its perceived usability and the overall user satisfaction with that system. With a more aesthetically pleasing site, users tend to find the website more credible and easier to use. Noam Tractinsky would later prove that this phenomenon is not culture specific. According to Donald A. Norman, the writer of Emotional Design: Why We Love (or Hate) Everyday Things, “The result is that everything has both a cognitive and  an affective component – cognitive to assign meaning, affective to assign value. You cannot escape affect: it is always there. More important, the affective state, whether positive or negative affect, changes how we think.”

The caveat is that beauty is contextual.

Though attractive products are perceived as easier to use, purchase decisions are based on actual usability. They are conceptually at least because I still don’t know what my girlfriend bases hers on. Just kidding. But ease of use is measured as having a smaller learning curve. It’s efficient and memorable, and it requires less training and support. That being said, the frequency of error should be low, as should the subsequent consequence. Norman writes, “The human perceptual and attentional systems are tuned to notice discrepancies and problems, not that which is expected. So we tend to notice things that distract, that impair our ability to get something done, or in the realm of aesthetics, that are particularly distasteful. We do indeed notice especially attractive items (or people), but quite often the attention drawn to the appearance can be detrimental to the task. So the best designs are often the ones that are least noticed.” On a site, users want problems solved whether that takes form as an answer to a question or a product or service that makes their lives easier. The process that provides that solution should be as painless as possible. Ideally, given the option to have a do-over, a user would still opt for your product over that of a competitor’s.

It’s important to understand that how we perceive a site evokes an array of emotions and attitudes that affect our attitude towards the content, the products being sold, the company itself as well as its credibility. A site’s attractiveness will draw users in and will incentivize them to stay, but it doesn’t complete a site on its own. Without usability and substance, those very users will grow listless and move on. Joel Spolsky argues that, “Usability is not everything. If usability engineers designed a nightclub, it would be clean, quiet, brightly lit, with lots of places to sit down, plenty of bartenders, menus written in 18-point sans-serif, and easy-to-find bathrooms. But nobody would be there. They would all be down the street at Coyote Ugly pouring beer on each other.”

Aesthetics and usability form the user experience, and as that’s optimized, your site’s likeability and credibility increase, so does the likelihood that a user will complete a transaction. If you’re looking for some professional help, you can contact us here. We’d love to hear the details of your next project. And not to be immodest, but we’re pretty good at what we do.

Photo Credit: Buzzle.com

 

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The Watch

The Watch is set in the fictional Glenview, Ohio where Ben Stiller plays Evan, the manager at a local Costco and do-gooder known for organizing a slew of random self-help groups. When the night watchman at his store is killed, Evan decides to setup a neighborhood watch. It’s that call to arms that attracts blue-collar dad, Bob (Vince Vaughn), a police academy applicant, Franklin (Jonah Hill), and the recently divorced Jamarcus (Richard Ayoade). None too pleased with the deficient caliber of his crew; Evan takes them on late-night patrols, which eventually lead the group to their alien encounters.

Randy Myers of the San Jose Mercury News writes, “Everyone in the cast steps up to the plate and tags the bases convincingly. All are good, but it is Richard Ayoade who earns the most laughs.”

BoxOfficeGuru.com predicts that The Watch will open at around $22M.

Rating: R // Genre: Comedy, Sci-Fi // Runtime: 1 hr. 38 min. // Starring: Ben Stiller, Vince Vaughn, Jonah Hill and Richard Ayoade // Directed by: Akiva Schaffer // Written by: Jared Stern, Seth Rogen and Evan Goldberg // Produced by: 21 Laps Entertainment and Twentieth Century Fox// Distributed by: Twentieth Century Fox Film Corporation

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Picking & Choosing

I was at the mall this last weekend, passing some time before seeing The Dark Knight Rises when I stopped in at a T.J. Maxx. As strange as it may sound, I really enjoy stopping by stores of the like just so I can peruse through the home and electronics sections. It’s not so much because I expect to buy something useful at a heavily discounted price. I just like the random goods. The typical electronic section at a store like T.J. Maxx or Ross consists of digital tire pressure gauges, the perfect pushup, cheap headphones and a whole slew of other products that have escaped various recalls over the years. There’s no order or sense to it. This last time I was there, I snagged a leather travel size grooming kit complete with tweezers, nail clippers, hair trimmers and more for $13. Sadly, but not too surprisingly, the trimmers didn’t work. Even with new batteries, they refused to turn on. Was I mad? No, not really. Part of buying something at a heavily discounted price has a lot to do with implicitly acknowledging the fact that I might be settling for a suboptimal product, and I think that’s perfectly acceptable because I would rather skimp on a replaceable grooming kit than say, my health insurance.

When you think about it, businesses aren’t all that different in that they have to pick and choose which investments will best serve them. Because most startups don’t have much going as far as cash flow goes in their infancy, they bootstrap. Bootstrapping means using the startup capital available, which typically consists of personal savings, credit cards and loans, and trying to extend that as far as possible while keeping other costs down because you can’t spend money you’re not making, not for forever at least. Amongst some of the common tips for reducing expenditures is keeping teams lean by hiring only those critical to success, giving out equity versus cash upfront, outsourcing and, lastly, cutting back on marketing and public relations. Mark Cuban, to the ire of the PR industry, pointed that out when he blogged about the last point. To summarize, he said that the cost of the service and its actual value are misaligned, and that a CEO or someone on the management team should be tasked with outbound communication to garner buzz and media coverage. It’s only later on, once a company has matured and passed this phase, that it might be more practical as time becomes the more valuable commodity. But right out of the gates, it’s better to skimp on something on like marketing and advertising rather than something critical, like electricity.

When you think about it, all of this is more obvious than it is revolutionary. If I were trying to sell you a car, we probably wouldn’t disagree that owning a vehicle has value though that much depends more so on where you live. Coming from Texas, I can assure you that not having one there is terrible when everything you need to go to is far and wide apart, and the public transportation system is abysmal. But just because car ownership has value doesn’t mean you should go out and buy one right this minute. You might not be in a position to for any number of reasons.

That being said, the same is true for the services we offer. Bravo Design, Inc. develops really great websites, and our design and print production work is bar none. While I may have violated some unspoken rule of blogging with what might sound like shameless promotion, it doesn’t make the prior statement any less true. I’ve written a few articles on design since I started here, but I thought this would be a good time to point out the elephant in the room. Attractive products with better aesthetics, whether that comes down to packaging design or an item itself, are going to be chosen over ones that don’t have those qualities. A better looking, better functioning website is going to be perceived as more authoritative, and more attractive marketing collateral is not only going to command more attention. It lends itself more credibility. I’m sorry. I didn’t make the rules. You might disagree with all of the above but if you were having chronic migraines, you’d probably trust WebMD over this Geocities site though you should definitely contact your general practitioner before attempting to diagnose thyself.

Employing a professional designer might not be in your cards for the near future. But when the time does come, we’d like for you to keep us in mind. Your website, and all of your marketing collateral equate to interactions with your prospective clients. We’ve said it before, but it’s worth repeating. We recommend you put your best foot forward.

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The Dark Knight Rises

TDKR, Bravo DesignI normally do more extensive write ups for Bravo Design, Inc.’s featured film of the week, but I can’t this time. Up until this point, I’ve avoided trailers, reviews and any potential spoiler alerts for The Dark Knight Rises like landmines. I don’t want to know. But if you absolutely need the rundown, here’s what I do know.

Set eight years after The Dark Knight, when Batman (Christian Bale) went into exile assuming the blame for the death of Harvey Dent, things are better in Gotham. Crime is down, and the city is prosperous. That probably lasts until about six seconds past when Bane’s (Tom Hardy) plane lands, and he delivers his reckoning on the city’s inhabitants. Why? No clue. In the superhero universe, nothing good ever lasts. The underlying irony is that Batman will have to protect the very people that branded him the enemy. Someone [the Joker] predicted this would happen.

Kenneth Turan of the Los Angeles Times writes, “A disturbing experience we live through as much as a film we watch, this dazzling conclusion to director Christopher Nolan’s Batman trilogy is more than an exceptional superhero movie, it is masterful filmmaking by any standard.”

TDKR has its sights on topping The Avengers’ $209M domestic opening but is expected to open somewhere between $190M and $200M. TDKR is only showing in 2D format, so we’re all curious to see if that’ll have affect the final numbers by several million dollars.

TDKR, Bravo DesignRating: PG-13 // Genre: Action, Adventure, Crime // Runtime: 2 hr. 44 min. // Starring: Christian Bale, Tom Hardy, Anne Hathaway, Joseph Gordon-Levitt, Gary Oldman, Marion Cotillard, Morgan Freeman and Michael Caine // Directed by: Christopher Nolan // Written by: Jonathan Nolan, David S. Goyer and Christopher Nolan // Produced by: Warner Bros. Pictures, Legendary Pictures, DC Entertainment and Syncopy // Distributed by: Warner Bros. Pictures

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A Bravo Design, Inc. Update

Bravo Design, Inc. is proud to announce that it has completed development and launched websites for three of our clients in the last week.

Bootsy Bellows was the first to go up. It’s a nightclub owned and run by actor David Arquette and members of h.wood group, Darren Dzienciol, John Terzian and Brian Toll. Located on Sunset Boulevard in West Hollywood, the club has made a huge splash in the short time it’s been open boasting celebrity guests like Robert Pattinson, Katy Perry, Justin Bieber, his girlfriend, Selena Gomez and many more.

The second was for The Son of an Afghan Farmer, a film written and directed by Matthew Levin. The movie follows Muhad, a student from Afghanistan who comes to college in California but is recalled back prematurely, and the changes he undergoes trying to live and thrive in between those two very separate worlds.

Finally, the website of Los Angeles based director / cinematographer Mark A. Ritchie was given a redesign. Mark favors simple, clean designs and took a minimalist approach to his website. The site exists to showcase his excellent work, and he doesn’t want any other design elements interfering with it.

Our regular visitors might notice that we redesigned our site. Love it? Hate it? Let us know in the comment section below.

To see more of our work, click here.

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Media Agnosticism

This is actually a response to an article I recently read on media agnosticism, maybe more so a rant. If you don’t know what that means, don’t worry. I’ll get to defining that here in a bit. It’s a buzzword and an ambiguous one at that. I just wanted to write this because I was frustrated that the article was so brazenly misleading. I’d post a link to it, but the downside that could ensue outweighs any benefit almost exponentially. I have little interest [read as: none whatsoever] in a full-blown argument on the Internet. Off the top of my head, I can’t think of a bigger time suck.

Back in February, I wrote an article on cross-channel marketing (CCM) and then, a little later, another on actionable metrics but failed to connect the dots between the two. The take away is that marketing is hard. No, that’s not it although it is. The point I should have emphasized is that different jobs require different tools just like a DIY project at home would. Functionality aside, you probably wouldn’t use a chainsaw to fix the piping under your kitchen sink or a garden trowel to dig up a tree if you had better tools available because of the differences in scale. What this comes down to is evaluating your goals and objectives as well as figuring out which touch points are most effective for reaching out to potential consumers because the mediums you use to reach your end consumer are separate and NOT equal. Cold calling is different than commercials on TV, which are different than spots on the radio, which are different than social media, which is different than an interactive event and so on.

This should all be fairly obvious, and that’s not to say that you can’t use them together for an integrated campaign. You can, and you should. What I mean is that each has its unique set of attributes as well as its own limitations that differ from one channel to the next. That’s where the term media agnosticism comes in, also referred to as being media or channel neutral. It’s planning that’s impartial and avoids bias towards a particular platform or strategy – until due diligence helps determine the best way(s) to engage the right consumer given the goals and objectives of the media campaign. The point being that whatever process is used to produce the solution should not be biased or predisposed towards any particular outcome.

While this all might seem pretty intuitive, the concept gets lost amongst all the noise put out by the snake oil salesmen and pseudo experts of the Internet. “SEO will put you at the forefront.” “Facebook will catalyze engagement.” “PPC will affect your bottom line.” Yeah, maybe.  Each of those services could definitely make your business more visible, but that doesn’t automatically translate towards sustainable success. Why is that though? Because search engine optimization won’t save your business if you have huge, fundamental problems in your marketing and advertising strategy. A “like” you receive on your social media network of choice is different than one that Starbucks or Coke receives on theirs. Why? Because for a major brand, that additional impression has a dollar value attached to it. For someone with little to no brand recognition, it’s inconsequential. And the claim that PPC would save a business with the aforementioned problems is laughable. The article I mentioned in the opening of this entry wrote that media agnosticism was “bullsh*t” on the basis that it takes a single piece of collateral, say a TV spot, and tries to apply that voice to the rest of a campaign. That’s not media agnosticism. That’s bad advertising. From there, the writer extrapolates that those foolish enough to believe messaging can make that jump are only willing to chase down big ideas and creates deficiencies in the creative process. One, seriously? And two, that’s just silly. We’re not looking for the golden gun here. Progress is made one step at a time.

To clarify, I’m no Pelé of marketing, advertising or anything else really, and I do make mistakes. Well, I’m pretty good at Halo 3 and being snide, but I haven’t found a way to monetize either. That being said, my advice isn’t infallible. No one’s is. The thing is that I read. A lot. If you’re running a business or are in the process of starting one, you should too. Why? Because your business, or the company you work for, is probably different than most and positioned to serve some segments of the market better than others. And on the receiving end, faced with a seemingly endless number of ways to consume media, your prospective customers are receiving information through a slew of different channels. Some potential clients will seek out recommendations. Some will do research online to seek out reviews. Some might just find you by taking the path of the least resistance. That being said, how you leverage your knowledge and experience will probably be different if you sell shrunken heads versus if you have a lemonade stand. If I were doing the former, I’d probably have to find a niche market on some underground forum to advertise my product because it’s probably illegal. And if I was doing the latter, I might just make signage on poster board to target passing traffic as opposed to posting 324 tweets a day.

How you go about your business, down to how you gloss over seemingly inane details, is working against your best intentions. You might get your marketing and advertising right on the first try, or the process could be one that iterates itself over and over like it is for the rest of us. Ultimately, media neutral panning might mean more than putting habits and assumptions aside. It might require stepping back altogether and thinking outside of the box. Don’t play favorites just use what works best.

 

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Ice Age: Continental Drift

At the start of Ice Age Continental Drift, Scrat’s relentless pursuit for acorns has world-changing consequences – when he triggers the break-up of Pangaea which leads to Manny, Diego and Sid floating in one direction and the rest of the herd in another, namely Manny’s wife and daughter. Our protagonists’ efforts to rejoin the rest of the pack makes for one of their most arduous journeys to date. The fourth installment in the Ice Age franchise features monkey pirates, life lessons, a love story and more and will be enjoyed by many.

Ice Age, Bravo DesignMegan Lehmann of The Hollywood Reporter writes, “The animation by Fox’s Blue Sky Studios improves with each installment, and here it is vividly rendered, with the design of each prehistoric critter a marvel of state-of-the-art technology down to the last hair.” HSX forecasts that the film will open at around $65M-$67M. Boxoffice.com predicts $59M.

Rating: PG
Genre: Animation, Adventure, Comedy
Runtime: 1 hr. 34 min.,
Starring: Ray Romano, Denis Leary and John Leguizamo
Directed by: Steve Martino, Mike Thurmeier
Written by: Michael Berg, Jason Fuchs
Produced by: Blue Sky Studios
Distributed by: Twentieth Century Fox Film Corporation

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Sequels, Reboots and the International Box Office

A question that has been on my mind of late is why are so many movie sequels released each year? And to be clear, I’m not referring to ones like The Dark Knight Rises or Skyfall. I can’t wait to see those. I mean ones I might opt to catch on network television or, you know, not at all.

In 2011, eight of the top ten grossing movies were sequels. This consisted of Harry Potter, Transformers, Twilight, Fast Five, etc. Each of those franchises has an enormous fan base, so it makes sense that they’d do well in theaters and later on when released to DVD. What I don’t understand is why a movie that underperforms at the box office gets revived and brought back for a second or third go.

Roger Ebert listed Baby Geniuses as the worst film of 1999. Its sequel, Superbabies: Baby Geniuses 2 is considered one of the worst movies ever made, and both have (un)successfully found their way to IMDb’s Bottom 100, a list of the worst movies ever released. There’s also Return to the Blue Lagoon, Speed 2 and Son of the Mask. None of these premises seem remotely plausible, but that’s easy to gloss oA more recent example would be The Green Lantern. Production on the 2011 film cost around $200M, and the marketing budget was somewhere in the $100M ballpark. To date, the film has grossed a total of $220M. But despite generally unfavorable reviews, and the $80M loss, a sequel has been announced, albeit unofficially. That’s not to say that the next movie will bomb by default; Warner Bros. can turn the franchise around. It did with Batman & Robin, a 3.6 on IMDb, to Batman Begins, an 8.3, so it’s certainly not improbable.

None of this is to say that Hollywood’s creativity is waxing or waning. I want to point that out because this argument is inevitably brought up when it comes to talk of the overwhelming number of pending sequels. I don’t think that’s the case given the release schedule through the end of the year, which looks amazing, but Hollywood’s down numbers are often attributed to a lack of original work. The basic claim being that a shortage of compelling material results in dips at the box office.

While that can certainly be the case sometimes, the fact of the matter is that unoriginal movies are typically made because numbers are down and not the other way around. Building on an existing franchise is a safer bet than starting from scratch, especially abroad in the international box office.

In 2011, the foreign box office accounted for 69% of overall sales according to the MPAA. When box office receipts in North America slipped to $10.2B, they were somewhere at or around $22.4B internationally. And for a number of films that had less than spectacular openings and runs stateside, several were able to gain traction abroad and recoup costs. Underworld Awakening made $62M domestically on a $70M production budget. Abroad, it raked in just under $98M bringing it to a total of $160M. Ghost Rider: Spirit of Vengeance earned $51M domestically and about $81M internationally. Wrath of the Titans made $83M in the states but $218M overseas. Most impressively, MIB: 3, which was released at the end of May, has generated $169M stateside and $429M in foreign territories.

So if each international region experienced box office growth in 2011, with China leading the pack by 35% growth in 2011 alone, will this affect which movies get released here and abroad? Maybe. Stephen Saltzman, a Hollywood lawyer who has handled several Chinese film deals, says, “People are trying to design projects for success globally, but producers today really have to make a judgment call about if their films can really appeal to both the Chinese and English speaking markets.”

So what translates well and what doesn’t? Very generally speaking, special effects driven films consistently do well overseas because explosions and fist fighting translate pretty seamlessly from one language to the next, as does the fear of giant robots. Transformers, Underworld, Wrath of the Titans, and Nicholas Cage vomiting fire in Ghost Rider each fit that bill. What doesn’t make the jump nearly as much is American comedy. I won’t say that’s always the case, but something tends to get lost in translation (e.g., with Will Ferrell movies). They typically fall flat overseas leaving audiences more confused than anything else.

In the near future, studios will undoubtedly continue to be incentivized to produce flicks that appeal to the widest demographic. Stateside, the box office ebbs and flows because it’s very much cyclical. Sometimes, it’s great. Other times, not so much. In countries around the world, the box office is booming. And if it continues to, I would expect to see major studios concentrate on more inclusive films and less so on ones with highly specific followings.

That’s not to say that great films won’t be produced independently or otherwise. Despite the large number of sequels produced last year, some which may have been lacking in substance, also released was Tinker Tailor Soldier Spy, The Artist, The Descendants, Extremely Loud and Incredibly Close, The Help, Hugo, Midnight in Paris, Moneyball, The Tree of Life and War Horse. This year, the box office is estimated to be up nearly 14% according to John Fithian, President of the National Association of Theatre Owners. Maybe that’s enough for now. In any which case, this is definitely a reminder that we have a responsibility to support really great art whether that’s a summer blockbuster or an indie flick. It’s certainly possible to love both.

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The Amazing Spider-Man

Spider-Man, Bravo DesignThe Amazing Spider-Man is the story of a misunderstood outsider, Peter Parker (Andrew Garfield). Abandoned by his parents as a boy, he’s raised by his Uncle Ben (Martin Sheen) and Aunt May (Sally Field). As Peter grows into a teenager, he begins to ask questions about who his parents were which leads him to his father’s former partner Dr. Curt Connors (Rhys Ifans). What happens there sets a collision course that forces Peter to make life-altering choices that shape his destiny to become a hero.

Scott A. Mantz of Access Hollywood writes, “Superhero movies have been going strong for 12 years now, putting more pressure on the Amazing Spider-Man to start fresh, deliver the goods, stand on its own merits and honor the web head’s legacy on his landmark 50th anniversary. The Amazing Spider-Man does all of those things is as good as its name.” Boxoffice.com estimates that the film should open to the tune of $64M opening weekend.

Rating: PG-13, Genre: Comedy, Drama, Runtime: 2 hr. 16 min., Starring: Andrew Garfield, Emma Stone and Rhys Ifans, Directed by: Marc Webb, Written by: James Vanderbilt, Alvin Sargent and Steve Kloves, James Vanderbilt, Stan Lee and Steve Ditko, Produced by: Columbia Pictures, Laura Ziskin Productions, Marvel Enterprises and Marvel Studios, Distributed by: Columbia Pictures