If we trace a path that starts with Gutenberg’s use of moveable type to Malcom McLean’s invention of the shipping container, we start to recognize a very interesting pattern: Each new layer of abstraction and standardization creates value out of the resulting increases in scale and efficiency.

Today’s digital innovators can trace a similar historical path that starts with mainframe computers and monolithic applications and then, step-by-step, reveals software’s interchangeable parts until we arrive at today’s cloud-based era of microservices and continuous integration.

Microservices is an approach to building software that shifts away from large monolithic applications toward small, loosely coupled and composable autonomous pieces. The benefit of this abstraction is specialization, which drives down costs to develop and drives up agility and quality — while operating much more resilient systems.

If we trace a path that starts with Gutenberg’s use of moveable type to Malcom McLean’s invention of the shipping container, we start to recognize a very interesting pattern: Each new layer of abstraction and standardization creates value out of the resulting increases in scale and efficiency.

Today’s digital innovators can trace a similar historical path that starts with mainframe computers and monolithic applications and then, step-by-step, reveals software’s interchangeable parts until we arrive at today’s cloud-based era of microservices and continuous integration.

Microservices is an approach to building software that shifts away from large monolithic applications toward small, loosely coupled and composable autonomous pieces. The benefit of this abstraction is specialization, which drives down costs to develop and drives up agility and quality — while operating much more resilient systems.

Human faces are very powerful. User Experience designer Aarron Walter describes in his book Designing for Emotion why we appreciate human faces so much. He explains that we are constantly exploring the world around us by looking for something familiar. Familiarity gives us a feeling of comfort and reassurance.

When we see a face, we are automatically triggered to feel something or to empathize with that person. If we recognize content on a website — such as a problem, dilemma, habit or whatever else — we feel connected and understood.

Since we know ourselves so well, we unconsciously try to relate everything we see to ourselves. Obviously, we do that with other human faces, but also with when there are no human features involved. Only the recognition of our body’s proportions in a design is enough for us to perceive the design as being familiar and harmonic.

This is the reasoning behind headless mannequins. We subconsciously take what is on display and substitute ourselves for the mannequin due to the lack of ‘human’ in the image.
So faces add a human touch to your website – they help you trigger your emotions, which make them a powerful design element. Here are 10 effects human faces can have on your visitors.

Human faces are very powerful. User Experience designer Aarron Walter describes in his book Designing for Emotion why we appreciate human faces so much. He explains that we are constantly exploring the world around us by looking for something familiar. Familiarity gives us a feeling of comfort and reassurance.

When we see a face, we are automatically triggered to feel something or to empathize with that person. If we recognize content on a website — such as a problem, dilemma, habit or whatever else — we feel connected and understood.

Since we know ourselves so well, we unconsciously try to relate everything we see to ourselves. Obviously, we do that with other human faces, but also with when there are no human features involved. Only the recognition of our body’s proportions in a design is enough for us to perceive the design as being familiar and harmonic.

This is the reasoning behind headless mannequins. We subconsciously take what is on display and substitute ourselves for the mannequin due to the lack of ‘human’ in the image.
So faces add a human touch to your website – they help you trigger your emotions, which make them a powerful design element. Here are 10 effects human faces can have on your visitors.

On crossing the imaginary line drawn from Punta Mala to Azuera the ships from Europe bound to Sulaco lose at once the strong breezes of the ocean. They become the prey of capricious airs that play with them for thirty hours at a stretch sometimes. Before them the head of the calm gulf is filled on most days of the year by a great body of motionless and opaque clouds. On the rare clear mornings another shadow is cast upon the sweep of the gulf.

The dawn breaks high behind the towering and serrated wall of the Cordillera, a clear-cut vision of dark peaks rearing their steep slopes on a lofty pedestal of forest rising from the very edge of the shore. Amongst them the white head of Higuerota rises majestically upon the blue. Bare clusters of enormous rocks sprinkle with tiny black dots the smooth dome of snow.

Then, as the midday sun withdraws from the gulf the shadow of the mountains, the clouds begin to roll out of the lower valleys. They swathe in sombre tatters the naked crags of precipices above the wooded slopes, hide the peaks, smoke in stormy trails across the snows of Higuerota. The Cordillera is gone from you as if it had dissolved itself into great piles of grey and black vapours that travel out slowly to seaward and vanish into thin air all along the front before the blazing heat of the day. The wasting edge of the cloud-bank always strives for, but seldom wins, the middle of the gulf. The sun—as the sailors say—is eating it up. Unless perchance a sombre thunder-head breaks away from the main body to career all over the gulf till it escapes into the offing beyond Azuera, where it bursts suddenly into flame and crashes like a sinster pirate-ship of the air, hove-to above the horizon, engaging the sea.

On crossing the imaginary line drawn from Punta Mala to Azuera the ships from Europe bound to Sulaco lose at once the strong breezes of the ocean. They become the prey of capricious airs that play with them for thirty hours at a stretch sometimes. Before them the head of the calm gulf is filled on most days of the year by a great body of motionless and opaque clouds. On the rare clear mornings another shadow is cast upon the sweep of the gulf.

The dawn breaks high behind the towering and serrated wall of the Cordillera, a clear-cut vision of dark peaks rearing their steep slopes on a lofty pedestal of forest rising from the very edge of the shore. Amongst them the white head of Higuerota rises majestically upon the blue. Bare clusters of enormous rocks sprinkle with tiny black dots the smooth dome of snow.

Then, as the midday sun withdraws from the gulf the shadow of the mountains, the clouds begin to roll out of the lower valleys. They swathe in sombre tatters the naked crags of precipices above the wooded slopes, hide the peaks, smoke in stormy trails across the snows of Higuerota. The Cordillera is gone from you as if it had dissolved itself into great piles of grey and black vapours that travel out slowly to seaward and vanish into thin air all along the front before the blazing heat of the day. The wasting edge of the cloud-bank always strives for, but seldom wins, the middle of the gulf. The sun—as the sailors say—is eating it up. Unless perchance a sombre thunder-head breaks away from the main body to career all over the gulf till it escapes into the offing beyond Azuera, where it bursts suddenly into flame and crashes like a sinster pirate-ship of the air, hove-to above the horizon, engaging the sea.