Here at Fluid, we love the iPad. We love all the possibilities it presents, and all of the amazing types of innovation it makes possible. Fortunately for us, our clients at Craftsman share that view. Coupled with a DIY ethos and a drive to do something really different, we went about designing and building Torque, the first shoppable iPad magazine for Craftsman.

Fluid’s guiding principle as a company is that content, community and creativity together drive commerce. With Torque, we put that belief into action by creating an experience that took the best of Craftsman’s vast amount branded content, added in their highly engaged community of DIY’ers and brand enthusiasts and transformed it into a richly interactive, fully shoppable iPad magazine.

The list of innovative things we did for this app is pretty comprehensive:

• Almost all content within the app is actionable in some way. Whether it’s shopping, signing up for the Craftsman Club, engaging with the brand on Facebook and Twitter, following along with DIY projects, or accessing exclusive videos and articles, the content leads the way
• Using an updated version of Sears eCommerce API, we enabled users to add products to their cart right from articles and content within the app, then checkout seamlessly on craftsman.com
• Live video streams directly from the Craftsman Experience studio, and the app alerts users when the stream goes live
• Social media streams are universally accessible, giving every interaction a potential
• Blurs the line between editorial, branded content and eCommerce
• Content is streamed into the app via a CDN, allowing easier updates without having to release full updates into the app store

How Fluid designed it
Fluid started the discovery process by first auditing all of Craftsman’s existing content as well as their upcoming campaigns and initiatives. We then created an editorial structure and content flow for the app, which is actually much more like creating a magazine for print than creating an “app.”

After nailing down the table of contents, Fluid worked out all of the possible user interactions. This included everything from basic page behaviors all the way down to multiple content interaction scenarios. As we worked on the interaction design and started merging it with our editorial structure, we began brainstorming ideas for an editorial voice and identity. Fluid presented one naming option to Craftsman: “Torque”. Craftsman promptly trademarked the name.

We then began the process of breaking the editorial structure apart into smaller chunks to work on. For content that already existed (like the step by step projects), Fluid redesigned it to fit into the edgier, grittier, DIY-inspired look and feel of the app. For content that needed to be created or expanded, Fluid designed those sections from scratch and provided clear direction and guidance to the Craftsman marketing team so that they could start writing those remaining sections – the most notable of which are the Top 100 and Mystery Car Vault. Our process continued on iteratively until the content for the entire experience was completely fleshed out.

How Fluid built it
On the UX and visual design side, Fluid began prototyping very early on in the creative process. In some of the very first designs presented, we used video layers in Photoshop and exported the files as quicktime movies so that the client could immediately see how both the look and feel and the interactivity worked together.

On the technology side, Fluid’s developers immediately started testing different options for build and eventually settled on using a combination of HTML 5 and Javascript. Structurally, Torque was set up in a way that makes content updates achievable without having to push an update to the app store. All of the content, from videos and images to text, is served via an Akami CDN. In other words, much of the content doesn’t actually live “inside” of the app, so the initial download is very fast and all of the content loads on-demand.

In order to make sure that the eCommerce layer worked seamlessly with Craftsman’s existing system, Fluid worked with Craftsman’s technology team to create new API’s that allowed Craftsman’s “Quick View” to be displayed within the app. Adding items to a cart was seamless via the UIWebView (in-app browser), and checkout was handled by craftsman.com. Once the app was in working order, the entire tech, creative and ux team all spent time working together to test for bugs, optimize, and refine the experience. The final handoff was to the Sears Mobile team, who then submitted the app to iTunes for approval. The app was approved in one weeks time.

Why we think it’s cool
Opportunities like this are rare. Fluid got to create, name, design, and build a branded, shoppable iPad magazine on the hottest technology platform in existence for one of the most well-respected brands in the world. At Fluid, we believe strongly that experiences like this – the ones that merge content, community and creativity in delightful and innovative ways – are the future of eCommerce and brand engagement. We were honored to work with a legendary brand like Craftsman and their very talented marketing team to create a cutting edge product that their consumers are thrilled about.

When people step outside their immediate comfort zone, amazing things can happen.

We witness it when football players take ballet. We see it when a furniture designer looks to nature for inspiration. We hear it when Tony Bennett teams up with Lady Gaga.

Unfortunately, we don’t witness this in the digital world enough. Instead of being open to a range of influences, site design processes often have a narrow focus that can result in  “me too” looks rather than differentiated designs.

How does this happen?

As part of the discovery process, companies typically limit their review of the digital landscape to direct competitors and “top sites.”  This practice is important for benchmarking and informing feature prioritization. But done alone, a competitive review can be limiting and inadvertently create a “keeping up with the joneses” effect rather than setting the stage for a differentiated experience.

How can you avoid this pitfall and create a more differentiated experience?

By expanding your circle of influence. By supplementing competitive reviews with brand spheres.

What Is A Brand Sphere?

A brand sphere is a map of your customers’  “go to” brands across verticals. It identifies the brands they choose as they go about their day and the brands you can find in their home.

What is in their refrigerator? Which labels do they wear? What car do they drive? What kind of phone do they have? Where do they eat out? Which gym do they belong to? Which hair and body care brands do they prefer?

A brand sphere draws a more complete picture of your customer. It illuminates their preferences and expectations. And it provides new fodder for inspiration.

For example, if you are designing a consumer electronics shopping site, why limit your influences to only other electronics sites or even ecommerce sites in general? Why not look at music and video sites where your consumers most likely spend more time? Why not look at the CPG sites that fall in their brand sphere? What can you learn from the news sites they visit? The social networks they use?

By looking across verticals, you will expose yourself to different design approaches and feature sets. The purpose is not to imitate these approaches but to take a step back and see if there are any distinct designs or features that spark an idea.

Undoubtedly new perspectives will fuel new ideas. Ideas that are as elegant and powerful as a football player who can both rush and plié.

I had the pleasure of attending the Adobe MAX 2011 conference in Los Angeles this year as a featured speaker, and Fluid was selected to appear in the keynote address for our work crafting customer experiences for multiple devices across channels, from web to kiosks to mobile phones and tablets.

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Once a week, the XD team at Fluid New York explores offline experiences outside the confines of our studio. We think it’s important to take a step back from the digital world and approach design holistically,  experiencing physical manifestations of brands in person. This week, we walked through New York’s SoHo shopping district to see how branded offline experiences relate back to digital spaces and vice versa.

The borders between physical and digital are further being blurred as traditional brick and mortar retailers are laying stake in the digital space. Mobile computing is nearly ubiquitous and instant access to information is almost at everyone’s fingertips. In addition, the attention span of people have become shorter and this poses a challenge to brands. Brand consistency is key to communicating to your target audience and in today’s fast paced retail environment, there’s no room for error. A marketing message that runs astray can have a huge impact on business.

During our outing, we’ve noticed many retailers doing great things with new technologies and some not so great. There has been a recent trend with stores using tablet computers to allow their consumers to browse through their product catalogue within store. It’s a static and passive experience that most of the time, does not engage the customer. Some of the problems with this technology are:

• The technology does not tell you where to find items in store.
  
• Proper QA testing of the app wasn’t performed. The app crashed many times while browsing.
  
• It may not be inline with your brand aesthetic. If your brand has a gritty, industrial feel to it, placing modern, shiny tablets throughout the store takes away from the overall brand experience.
• While the “cool” factor may be there the fact of the matter is that it can alienate the consumer, especially in tablet form.
• You cannot replace good old customer service with shiny tablet device. There is no substitution for face to face human interaction.
  
• Instead of focusing on the products in the store, your consumers are fixated with trying to figure out how to navigate through a mobile experience.
  

To conclude, always keep the end user in mind when designing an experience and remember that he/she comes first and the technology follows. With new technologies being released daily, it’s easy to lose sight of who you’re designing for. As Experience Designers it is our responsibility to make the transition from physical to digital as seamless as possible for users and the focus should be getting to know the end user and their technological needs and wants and then finding the technology that suits them. The tablet computer will not be the the answer to elevate your brand and increase conversion and raise customer satisfaction. There is one trait that successful brands all have in common:  Their solid dedication to Customer Service. When designing, think of ways to design user experiences that enhance customer service and engagement.

Follow Andrew Sirotnik at twitter.com/asirotnik

An article in The New York Times this morning headlines that luxury brands, once wary of the web, are now embracing it. The most interesting piece is on Christopher Bailey, Burberry’s chief creative officer: “…high-end brands should go further in trying to give Web stores the rich texture of physical stores. ‘Whether they are walking into our store on Bond Street or tapping in from India or China, it’s about making sure the consumer is getting the same experience…’”

This resonates. Fluid’s philosophy on designing customer experience is that sometimes it’s good to go outside.

When you do, stop by REI’s Seattle flagship store in Seattle. A 3-story high climbing wall dominates the entry. There’s a rain room, a bike trail, a hiking boot test course, and a JanSport play treehouse swarming with marauding children. The interior design and finish details are rustic and rough-hewn, evoking a carefully architected outdoors experience.

Virgin Megastore in Hollywood has 100+ interactive kiosks that offer as much entertainment value as they do access to inventory. And it’s a great place to see bands. And, of course, there’s always Apple. You get the idea.

The point: these elements of the in-store experience are not about thrusting product at the consumer at every opportunity.

Rather, the objective is to create an “emotional moment” with the customer — immersive, uniquely branded and entertaining. Experiences designed to meaningfully connect with the customer. And, by doing so, foster a deeper relationship with the brand, a gratifying experience, and eventually more sales.

Most online retail sites aren’t especially fun. They are usable, clean and bright. Super functional, searchable, and safe. But compared with real-world shopping, they are sterile. Today’s e-commerce sites are like retail spaces 25 years ago: white boxes, bad lighting, uninspired fixtures. Products are well organized and findable but there’s not much retail therapy happening.

The evolution of the in-store experience will absolutely be echoed in the digital realm in one form or another and then taken further than it can be in the physical world. It is inevitable. The online store will soon be the ultimate “full price” flagship, a store experience fueled by interactivity and media, free from the constraints of square footage and physics.

Proof points: Fluid’s recent launches for Vera Wang Princess and Craftsman Customizable Tool Storage

Whether or not brands are ready to embrace this point of view, consumers are demanding it.

My initial goal was to research and write a blog on sneakers, the sneaker culture, and what drives a ‘sneakerhead’ to seek the most limited/hard to get/wait-in-line-for-2 days type sneakers. But as I set out on my task to contribute to the Fluid blog, I stumbled onto the site miadidas.com. I say ‘stumbled’ because I have not heard or seen much about this site. I knew about NikeID, YourReebok(formerly known as RBKCustom), and the newly updated Vans Custom site among others, but was surprised and somewhat disappointed about just discovering the custom site for Adidas shoes. I’ve seen the in-store experience at the Adidas store in San Francisco, but was not aware it was migrated to the web – or at least a version of it.

With that said, I decided to focus my attention to the site and give my personal review. (more…)

A key aspect of Fluid’s user-centric design approach is to engage in usability research early on in the design process. One key element of our approach is to administer usability tests using interactive low-fidelity prototypes. Throughout the years, Fluid has developed a unique technique of developing richly interactive prototypes by adding HTML, CSS and JavaScript within Adobe Fireworks to create click through prototypes that are easy to use, manage and update.

Recently, Adobe asked Fluid to share our approach of rapid prototyping with the Adobe Fireworks and Adobe Dreamweaver developer’s community and we were both honored and excited to do so.

Our in depth article, “Rapid interactive prototyping with HTML, CSS, and JavaScript using Fireworks and Dreamweaver CS4″, can be found on Adobe’s website here:

http://www.adobe.com/devnet/fireworks/articles/rapid_interactive_prototyping.html

Yesterday, we discussed the key elements of packaging design, including messaging, presentation, structure, and brand artifacts. Using our “Oil of Olay” package as a case study, we highlighted the consequences of the “barrier to entry” that is created when packaging fails. Today, we’ll discuss how the design guidelines for packaging design apply to the practice of interaction design using another case study.

First and foremost, think about your web site as your “packaging,” and design accordingly—do not create a barrier to entry that separates customers from their end goal and hinders conversion.

When we reconsider the previously discussed factors of packaging design in this context, they align nicely with some familiar elements and ideas of good usability. We’ll review our packaging design principles in a new context below. As a case study, we’ll use the Rich and Skinny brand jeans site (http://www.richandskinnyjeans.com/RichAndSkinny/).
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The other day, my mom sent me to the store to purchase a new skincare product made by Oil of Olay. I set out on my errand and procured a small tube of mysterious serum, sleekly packaged in distinctive, sculptural, plastic packaging. When I returned home with the goods, however, we made an amusing and shocking discovery:

We couldn’t get the package open.

Mom tried. I tried. No dice. Pliers were used. Even larger pliers were used. Finally, with a mighty tug, I yanked off the package’s lid—and in the process firmly socked myself in the eye.

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Social Design Principle 1: Encourage Information Sharing

The average person is bombarded with 500-3000 advertisements per day.  With so many ads surrounding us, it is not surprising that people to receive them with distrust and skepticism, “Of course an ad is only going to tell me what the company wants me to hear!

Traditional advertising, as done in the 1940s and 1950s, is more effective when there are only a limited number of brands from which to choose, but as Barry Schwartz wrote in The Paradox of Choice, this is far from the case today.  The industrial age has resulted in hundreds of brands, and social applications are a highly successful technology we use to help us efficiently sift through all of this information to find what is valuable and meaningful.

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