Recently, we got our entire team to actively research and contribute ideas for optimization on our website and ran multiple tests. This post is a narrative of what we did after.
Who Is This Post for?
This post will help SaaS growth-hackers, marketers, and optimization experts to predict the business value from a test.
The aim of this post is to not only share the tests we ran on our website, but also introduce a revenue-based framework that predicts the business impact of an A/B test and prioritizing on the basis of it.
Need for a Model
After we propelled our team to suggest ideas for testing, we had more than 30 hypotheses looking at us, but no distinct way of knowing which of these to take up first. Of course, there is a range of prioritizing frameworks available, but we particularly wanted to look at the ones that would directly impact our revenue.
This framework helped us project the potential impact on the revenue from each test. Here’s what we did: Step 1
We decided to identify high-impact pages and winnow the pages that were not as important for our business, that is, pages where no goal conversions take place. We looked at Google Analytics for pages with the:
Highest Amount of Traffic (We used “New Users” to nullify visits by existing customers.)
Highest Number of Goal Conversions (Goal conversion, which contributes to your overall business goal, is the main goal for your website. In our case, this meant all qualified lead-generating forms. A free trial or request a demo qualifies a visitor as a lead with a genuine interest in our product; or, as the industry popularly refers to it, a Marketing Qualified Lead.)
This gave us a list of pages which were high-value in terms of, either traffic generation or last touch before conversions.
We identified the following key pages:
Blog pages (All)
Our main objective was to project an estimated increase in the revenue due to a particular test. If your test increases the conversion rate by say 20%, what would this mean for your business and, in turn, the revenue?
This is how our marketing funnel looked like:
Note: You should use data from the recent 3–6 months, and the average (mean) of each step. This is to accurately reflect what to expect from your testing and be relevant to your business.
For each of the “Key Pages” we identified in the first step, we also dug out the corresponding numbers at each funnel stage. We’ve explained each stage of the funnel and how it is calculated:
a) Key Page Traffic: The total number of pageviews per Key Page (new users in our case). You can find the data in Google Analytics.
b) Total Conversions: The total number of leads generated from each particular page. If there is an additional qualification your company follows, source this data from your preferred CRM or Marketing Automation software. For example, at VWO, we use Clearbit to qualify our leads in Salesforce.
c) Opportunities:The total number of opportunities generated for your sales team. This data will be available in your CRM; make sure to count qualified opportunities only.
d) Customers: The total number of customers created in a month.
e) MRR (New):Or monthly recurring revenue, means revenue booked on a monthly basis; you can use this to estimate annual recurring revenue, or ARR, as well.
Now that we had all the numbers needed in our arsenal, I decided to calculate some more internal benchmarks. This gave us the performance of our marketing and/or sales funnel.
We computed the conversion rate of a particular page, using the following formula: Existing conversion rate = (Total Conversions Key Page Traffic); this is represented as %
The conversion of your leads into opportunities: (Opportunities ÷ Total conversions) × 100, represented as %
The conversion rate of opportunities into customers: (Customers ÷ Opportunities) × 100, represented as %
The average revenue per user or ARPU: Total MRR ÷ Total number of paying customers
Now all you have to do is to impute these numbers in this template. The model uses all of that data and projects how much revenue increase or decrease you can estimate based on your test results. This estimate can give you a good idea of where to begin or prioritize your testing.
Step 4 (Optional)
This is where it may get tricky. At VWO, we sell both Enterprise plans and Standard plans. So to be fair, we must estimate each cohort with separate data and individual conversion rates. For example, Opportunity creation % for an Enterprise plan may be lower, but a Standard plan is easier to convert. You may want to decide what type of plan do you want to focus on. We, for instance, used website traffic and Alexa rank as the benchmark for lead qualification. We attributed more value to the leads that came in through key pages and prioritized them. This led us to the next step, which is the qualification rate of the said lead of high value. This rate may be in the range 30–50%, depending on your definition. It was interesting to note that each page had a different qualification rate. For example, we get better quality leads from our Request a demo page than we do from our free trial or blog post page.
After we had the model in place, we played around with the increase or decrease in our conversion rates. This was to identify what would be our best optimization opportunities?
The free trial pages and the home page were among the high-priority pages, in terms of the impact of revenue. (Unfortunately, I can’t share the exact numbers with you.) We first looked at the hypotheses on the free trial page:
Test 1 – Free Trial Page
Our hypothesis was “Illustrating VWO features and social proof on the free trial page will compel users to sign up for the free trial.” Here is a screenshot of what it looks like in VWO.
Bonus tip: VWO has recently launched a new capability called PLAN that lets you manage and prioritize your testing hypotheses. To learn more about this capability, visit the VWO evolution page.
This is what the control looked like:
Our heatmap data also showed a lot of users clicking the features page after accessing the free trial page.
Screenshot of heatmap data:
We created a variation which included the features we offer to solve this issue. Here’s a screenshot of the same.
We came up with a more targeted copy and changed the existing CTA to Request A Demo. Here is what the variation looked like:
We also wanted to change our positioning due to our foray into Conversion Optimization. The results from this test were that our variation beat the control and had more than 31% improvement in the conversion rate. Based on the first example, we have already implemented the new free-trial page as our main free-trial page now.Based on the second test, we updated our current home page. All in all, this model helped us correctly predict the best optimization opportunities, make our testing better, and more strategically aligned to business goals. Let me know your experience with this model and how you go about testing. Would love to hear your feedback on this!
For luxury companies and upscale lifestyle service providers, excellence in experience is an essential component of the value delivered. Conceptually different from the mass market, the luxury domain relies not only on offering the highest differentiated products and services, but on delivering experiential value.
Adopting technology and embracing a digital presence through platforms and initiatives, the luxury industry today is tackling the challenge of designing an unparalleled user experience (UX) online. In this article, we’ll present a case study and share observations on the peculiarities of the UX design of a luxury lifestyle service platform and its mobile apps.
Editor’s Note: When it comes to elections, we are each given a choice in how to express our opinions and beliefs. Some designers and developers use their skills to further articulate their choice in one person. Here’s a glimpse into how Topple Trump!, an interactive responsive quiz game, was designed and built — combined with some valuable lessons learned along the way. This article is about techniques and strategies, so please avoid political flame in the comments.
Creating an online quiz that is simple to use, looks great and is really fun to play is one thing. Basing it on Donald Trump’s polarizing presidential campaign is another.
The brainchild of Parallax director and developer Andy Fitch, Topple Trump! has gone on to win numerous awards. But it was a real team effort that brought the game to life. Here’s a glimpse into precisely how that happened, touching on the development process, design considerations and some valuable lessons learned along the way.
Did you know you have a superpower? No, I’m not talking about super-strength, sticking to walls or pushing metal claws out of your forearms (although you might have those as well, for all I know).
If you work on the web — which I assume you do if you’re reading this — your superpower is side projects. Unlike your regular job, where you have to listen to your boss or please your client, a side project lets you take on an alternate identity, one of which you’re in charge and no one can stop you.
There is no winner in the battle between iOS and Android, and we all know that. If a product succeeds on one platform, it will undoubtedly be ported to the other. Sometimes app developers don’t even bother waiting, and release apps for both platforms simultaneously. For designers this means only one thing — they will have to adapt an application’s UI and UX to another platform while ensuring a consistent design language across the product.
There are three different scenarios for UI multiplatform adaptation: retaining brand consistency; aligning with the conventions specific to the platform; and seeking a balance between the two. We decided to analyze these three approaches by looking at the most popular apps out there so that you get some insight into what method might work best for you.
In UX design, few things are more intricate than time and personal time management — only a good arsenal of mobile design patterns and information architecture principles can save you. This is the story of redesigning the UX for a popular calenda tool on Android: Business Calendar. We’ll cover designing systems, interaction design problems, scaling across screens and platforms, research, and big business decisions and their outcomes.
Business Calendar started out as a side project, a one-man show, and is now run by a team of eight in Berlin. The app was very successful right from the time Android entered the mainstream market, and it now has an active user base of 2 million. But instead of modernizing the design and usability regularly, the developers focused on implementing user requests and customization options. Outdated design and new features stuffed in had made the app heavy and complex — full of features, hard to maintain for the team, hardly accessible for new users.
In the first part of the case study about Mail.Ru Group product design unification, I described our first approach — a mobile web framework. Aside from creating a unified visual style and interaction principles for a dozen services, we’ve also transformed our design process from the classic “prototype → design mock-up → HTML → implementation” approach for every screen, to a modern and more efficient framework-based approach.
In this second part I’ll show how we have improved the same technology to embody larger versions of these products and made our “Bootstrap on steroids” more powerful. In the spring of 2012, our business unit acquired 11 content-based projects: Auto, Events Guide, Health, Horoscopes, Kids, Lady, Moto, News, Sports, TV, and Weather. Many of them are very successful in their market niche in Russia; however, they each have their own history, often with outsourced designs that led to inconsistencies.
Web-based interactive experiences are widely used in the modern age for a variety of reasons, predominantly for the advertising of premium high-street products and services. After discovering the little-known clip-path property of CSS, I embarked upon a five-month interactive production journey of my own with a different purpose: to raise awareness of the struggles of 30 similarly little-known endangered species.
This article explores the inspiration for the project and aspects of how different parts were built, and I’ll dive into how you can use this greatly underrated line of CSS for your own projects.
In Pieces1 is an interactive exhibition of 30 of the world’s most distinct but, sadly, endangered species. The experience is an informational reminder of the beauty we are in danger of losing every day, but it’s also a showcase of evolutionary distinction, because many of the species evolved in ways that make them genetically special. Users are told the stories and struggles of these unique lifeforms, as well as invited to dive into numerical data, download wallpapers and even obtain a poster featuring the entire collection — all completely viewable on mobile devices.
Inspiration: CSS Clip Paths And Animation
In Pieces started as experimentation and tinkering in code, not a grand plan for an interactive piece to help conservation, as romantic as that notion sounds. I remember reading about the polygon property of CSS’ clip-path in mid-2014 and learning of its amazing potential. A few months went by and I was surprised not to see it used much on the web, probably eclipsed by the attention given to SVG, canvas and WebGL. I felt that clip-path provided an opportunity to dive into something untouched and explore what could be made from it. At the same time, creating a project in pure CSS felt (rather ironically) cutting-edge.
If you’re not familiar with CSS’ clip-path or its polygon possibilities, Dirk Schulze has a great tutorial2. As one example, turning a regular div into a triangle is possible with a snippet of code:
The very first thing I wanted to see was whether the polygon property could have a conversation with CSS transitions, and how smoothly their first date would go. I was happy to see that the two were a natural union, especially when an easing curve is thrown in to add fluidity:
With this established, I wanted to think up a way that would make the polygon aesthetic matter and become some sort of visual simile — polygon animals seemed a natural visual area to explore. First, I want to get one thing straight: Polygonal species are not a new thing in terms of art direction. Hundreds of projects have used polygons to form animals, and they are easily findable on websites such as Behance (search for “polygon animals”3). This point is very important when I talk about the “idea.” I’ve seen some really nice comments on the project, and some have included references to “origami” or “polygon style,” but they miss the mark a little in that the idea is not a visual style, but rather about the formation of the species through “pieces” and the analogy that their existence lies “in pieces,” and thus they themselves are all “in pieces.” Without this aspect, the project simply becomes visual periphery.
I think there is something very romantic and interesting in linking a piece of new technology directly with an idea and in designing and developing it in a way that hooks into and works directly around that idea. This really gets to the core of what In Pieces is about.
Other ideas came quickly after this initial experiment, such as the discovery that one animal would require around 30 pieces, which led to the decision to create 30 species, and the idea to use the polygonal forms to create data visualizations of species’ numerical histories and other statistics. Let’s dive into some specific parts and see how they were achieved and how you can use them for your own interactive projects.
Creating the Polygon Animals
Each triangular piece was hand-coded from scratch, because no tool or framework existed to help me. If you inspect the code for the species, you will see that they are made of 30 divs placed on top of each other, nested in a series of parent divs. Each of the 30 divs in turn contains a child that is essentially one of the 30 pieces.
Perhaps the simplest aspect of the project was how the original illustrations were crafted in Adobe Illustrator. It was a tough task to create all 30, but it was also the most straightforward part of the project, the main restriction being the number of polygons. The second figure below shows the asset that was produced in the tracing phase.
$('body').on('click', function (e)
var mouseX = e.pageX;
var mouseY = e.pageY;
var shapesoffsetX = $('.polygon-wrap').offset().left;
var shapesoffsetY = $('.polygon-wrap').offset().top;
var shapesmouseX = mouseX - shapesoffsetX;
var shapesmouseY = mouseY - shapesoffsetY;
var mousepercentX = shapesmouseX / polygonswidth;
var mousepercentY = shapesmouseY / polygonsheight;
var finalmouseX = (mousepercentX) * 100 ;
var finalmouseY = (mousepercentY) * 100 ;
var normalisedX = parseFloat(finalmouseX).toFixed(3);
var normalisedY = parseFloat(finalmouseY).toFixed(3);
nodecount = nodecount+1;
if (nodecount < 3)
nodescss = nodescss + normalisedX + '% ' + normalisedY + '% ,';
if (nodecount == 3)
nodescss = nodescss + normalisedX + '% ' + normalisedY + '% );';
nodescss = '-webkit-clip-path: polygon( ';
nodecount = 0;
mouseX and mouseY
This picks up the position of the mouse at the point of the click.
This is the distance of the div from the top left of the browser window.
shapesmouseX and shapesmouseY
This finds where the mouse is in the context of polygon-wrap.
mousepercentX and mousepercentY
This calculates the percentage value of the mouse’s position in the context of polygon-wrap.
finalmouse and normalised
These values turn these decimal percentages into usable CSS values.
This is how many times the user has clicked on the screen, from 0 to 3, before looping back to 0. Because the pieces are triangles, three points are required for each.
So, what’s going on here? Essentially, this function enables you to click three times over the flat PNG to find percentage plots in the context of the div you’re plotting. As you click, a string variable is sequentially made up until the third click outputs the full CSS line within an alert, ready to be copied and pasted.
Once you have your code copied, it’s easy to paste, but I also needed to make sure that the appropriate shard was being colored while I did this. Copying every color from Adobe Illustrator and then pasting into Sublime seemed too lengthy a process, and there’s an app for that. I can’t recommend Sip76 enough because it directly copies the color you’ve picked to the clipboard, ready to be outputted to the code:
I was able to output the code for all 30 pieces of each animal, one by one, using this tracing process. But there was still work to do — one of the big problems in rendering this style is the anti-aliasing between two shapes. If you fit two vectors perfectly alongside each other, you get a very faint but noticeable line running through, just as you do in Illustrator. So, I needed to very slightly overlap each vector via the Inspector and, thus, required a way to pinpoint which polygons were the troublemakers. This is where another of CSS polygons’ great advantages comes in: They automatically mask background images within the shape. So, I created repeating background images of all 30 numbers to track which polygons were which:
For me, polygon clip paths provide something special via masking like this. I used it to solve a problem (and later used it for the blood effect upon the “smash”), but ultimately I think extremely creative things can be done with the effect. One awesome potential lies in the fact that if you move a polygon, the image doesn’t follow the polygon — you’re altering the mask. If you mix the excellent performance that one polygon alone has when transitioning with a background image that can move simultaneously, then I think something really cool lies beyond. Maybe it will be the stem for a new personal project. Another thing to bear in mind is that you can mask elements, not just images. In fact, a few paragraphs down I go into a bit of detail on the “shimmering” effect on the species, which does exactly that.
I couldn’t find a way personally, but I’d bet with more digging you’d also find a way to make the polygons visually “outlines” (like the frog image a few paragraphs above). Again, this could lead to a supercool scientific look. It’s a tool with so much potential, and I’m excited to see new things made with it.
How The Species Change
In Pieces rests heavily on the addition, removal and alteration of class names, and the species themselves are no different. Changing the class name on one lone parent div to the respective species allows for the appropriate CSS changes to the elements inside it. The species are kept within an array, like so:
For reference, #animalchanger is the parent div that controls the species, which is set to a string variable from the array animalList. This line determines the index (i.e. integer) for the current species’ name in the array. This is used to create the variable newAnimal — the name of the new species, depending on which button the user has clicked. As an example, the “Next species” button would be this:
newAnimal = prevAnimal + 1;
Of course, a whole host of other stuff is going on simultaneous to this, but with the index of the new animal established, this is then pushed into the div’s class:
You now know how the polygons are created and that the alteration of the species’ polygons is processed via class changes to the parent div. Now to delve into the fun stuff, animation! As mentioned, everything is based on CSS, and the movement is no different; a wide variety of base transition settings are used to adapt the movement to the appropriate action taking place. Before we start with the CSS, I should mention that in the last coding example, another thing is calculated: the direction the user is going in (left to right or right to left).
if (prevAnimal > newAnimal)
This assigning of a “direction” class leads to the species flowing in the direction that you are browsing and is done via two SASS for loops, depending on which of the two classes is in play.
As you can see, there is a variety of speeds and delays for different properties. Sass’ for loop is utilized to alter both the transition’s duration and the transition’s delay, depending on which index the polygon has. For example, in a left-to-right movement, the 10th polygon will transition with a duration of .7 seconds and a delay of .4 seconds. The reverse direction is calculated simply by reversing the order — subtracting the index of the polygon from 31 instead.
Contrary to the impression of some, the species are not moved with CSS animations. The reason I veer away from CSS animation is that I don’t like the visible “cut” if the animation is interfered with halfway through. Instead, I’ve adjusted two classes that loop through two states: primary and secondary movement.
There is new CSS for each state, and the polygons simply move to a new place, change color or otherwise alter as an override. Importantly, as soon as the “animation phase” kicks in (after a species has completed its transformation), the transition durations and delays on the polygons from the previous code are overwritten to be synchronized and faster.
Below, you can see the two class sets in play: animalStates controls the movement of the Golden Poison Frog’s vocal sac, while animalStatesSecondLevel controls the sporadic changing of the eye through just one movement. This dual-layered approach to movement is seen across the set of species to create depth and disrupt visual repetition.
One of the quickest visual effects to implement on the website was the subtle shimmering effect that happens every few seconds across the species, adding an extra splash of 3D gloss to the mix. These shimmers take advantage of the excellent masking that clip-path gives you by default: Anything contained within an element that has a CSS clip-path applied to it will be seen only within the masked area. For the shimmer, I created a full-width and -height pseudo-element that lies within each shard.
The shimmer is created by each pseudo-element simply fading in and out with transition delays. This sequential fade creates the nice flowing effect. Consider how bad this would look if the separated delays weren’t present. I’m using RGBa’s alpha value to change the transparency of the pseudo-elements, rather than opacity: RGBa is a lot less processor-intensive. Using opacity in my initial experiments led to huge glitches, as I’ll explain shortly.
Clip paths are supported by all major browsers except for Internet Explorer, but one factor takes Firefox out of the equation as well. Firefox supports the technology, but only as an SVG-referenced path, meaning that alteration of the coordinate would need to be done outside of CSS. I’m sure someone with more of a developer’s brain could find a way to get this working across all browsers, but what I value in this project is, first, that it’s unabashedly experimental and, secondly, that it works across most mobile devices with good performance. The latter is absolutely key: Outside of the normal CSS media queries you would expect, getting the project to work on mobile was very much like dealing with Retina devices.
The fallback I went with for In Pieces is a simple image slideshow of the species. The idea is still there: Visually it’s very similar, but with the transition effects taken away.
Working With “Retina” And Bugs
With the technology still prefixed, it’s no surprise that you might encounter a number of problems when using CSS’ clip-path, especially when transitions are involved. First, they despise being overlapped with elements transitioning between opacity values — sometimes you’ll get visual “static” showing up, like an old television set that can’t find a signal.
The same goes for large transformations. As mentioned, I use a heavy sandwich of parent divs to translate, rotate and scale the species. Without this nesting, transforming the polygons directly created huge problems, which at one point almost ended the project prematurely.
In principle, Retina devices have no problem with clip-path, and you will probably be fine if your use of them is simple (i.e. for a few objects). But with 30 polygons, I found problems that probably relate back to the overlapping opacity issue. For example, you may notice that on non-Retina desktop screens, I have a nice vignette around the species that make the visuals appear a little more complete. Whether this used CSS gradients or an image didn’t matter — Retina screens and Safari choked unless this was taken away. So, it’s maintained as a “nice to have” for Chrome on non-Retina screens.
So much is going on within the website that it’s no surprise I had to do a lot of tinkering to maintain good performance. As noted above, Retina doesn’t play as nicely (this tends to be the case across intensely interactive content) and needed some things taken away. But I also did a lot of neat tricks with CSS to get performance running more smoothly, and they can be taken away and used again. I’ve talked about Sass’ for loops — 30 objects all being transitioned with slight delays to add depth to visual movement. But when used properly, this can also improve performance.
Imagine that you’re moving 30 objects at the same time; you are asking a lot of the browser, and it makes sense that this would create problems. If you have a speed of 0.199 seconds and a delay of 0.2 seconds on each object, you would fix the problem by moving only one object at a time. The fact that the same amount of total movement happens doesn’t matter: If the animation is done as a chain, performance is immediately improved by 30 times. Also, note that the “.99” kills any overlap in that instance. Of course, 0.2 × 30 would mean a total of 6 seconds, which would become draining to the user. So, in my case, I went for somewhere in the middle, with the number of shapes moving at once spread out, for a good visual but better performance. This is a great trick because it’s usable for so many things (it’s used across the website for delayed transitions) but also adds so much depth to the visual.
This approach was taken a little deeper in the introduction to the website — specifically on PCs. Unfortunately, I discovered quite late that PCs seemed to be very chuggy on the very first part of the website, which concerned me immensely. I tried a lot of things, but in the end the solution was a mixture of things — one of which was to alter the amount of crossover that transitioned elements had within their timelines. On PC, transitions are made faster to prevent overlap, and that helped a lot.
How To: Main Menu
One of my favorite parts of the website is the main menu because of how it was built. I can imagine this technique probably has quite a lot of uses, and it is actually used again in the data visualization part.
The menu system looks like the height and width of the circle you see, but the entire div is actually anchored on a central parent div of no height or width. This div — positioned centrally — contains 30 separate divs for each species, and pseudo-elements within each are used extensively to give the little interactive touches upon opening and hovering. But all of that is pretty simple stuff — the part I want to delve into is how these were actually positioned. Below is a very simplified version of what’s going on:
Here, 30 div elements are being referred to here as div. I’m utilizing a Sass for loop to use each div’s central anchor (still the very center of the circle — each one is positioned absolutely on top of each other) to transform it from this center, depending on which child it is. Now, 12 degrees fits into 360 degrees 30 times; thus, 12 degrees is the value used to rotate each sequential div. The effect is completed by moving each div away from the center by 230 pixels.
Little Touches: Data Visualization
Tools such as D38 are really expanding what can be done with interactive data visualization, as we escape the constraints of squares, circles and rectangles to create tactile communication of information. But CSS polygons can be used in this way, too, very simply. In the data visualization charts in In Pieces, I use the same technique as I did for the main menu to position dates and numbers around the circular form, using a single div, while changing clip paths to sweep and move between shapes to tell a data-led story. Here’s a line of code used to generate a quick and easy polar chart, as used in the diagram above:
One thing you might notice in the piece is that the charts sometimes move from 8 data points to 4, 5 or 6. When doing something like this, you must maintain the same number of polygon coordinates to transition between. Much like in many other programming languages, if you have a different number of points, then CSS’ clip-path doesn’t know how to process movement, and so it simply pops the next state into place. For, say, a 6-point data chart, I just made the 2 “mute” data points have coordinates of 50% 50%, meaning that the points seamlessly zip to the center.
Little Touches: Type Scratchiness
Throughout the project, major headers rustle and agitate with life via a looping scratchiness within the type itself. This is done with another little fairly new CSS trick that I’ve kept my eye on for some time: masking imagery within text.
Targeting only WebKit browsers, the following code is used to achieve the effect:
It essentially mixes the basic CSS text-masking technique now available to use in WebKit browsers with a CSS animation that simply moves the background image between a set of different places with quick-spurt movements, resulting in the scratchy effect. Simples!
Little Touches: Ambiguous Iconography And Tinkering With The Mental Journey
One piece of feedback I got several times relates to the user interface’s readability — specifically, the icons, especially those linking to the desktop wallpaper and data visualizations. It was a rare case of being pleased by negative feedback because it was actually exactly what I wanted. Essentially, I believe that if you have an experience like this one (I’m definitely not speaking of corporate websites, product-selling websites, etc.), spelling everything out spoils a lot of the user’s journey of discovery. You could probably guess that the icon on the right indicates desktop wallpaper or “imagery,” for instance, but it’s certainly not clear — however, this is completely intentional. Users who click the icon get a surprise when they open the window, another layer of content. Would people have clicked if they already knew what it is, and thus would people ever know that these desktop wallpapers are just a click away? I think that cleverly tinkering with the way a user mentally explores a website is just as important as creating a completely clear path for them.
The same could even be said of the most important call to action on the entire website — “What’s the threat?” The button jumps out with a subtle animation to engage the user, but the terminology doesn’t really explain a thing about what’s to come — the “smash moment.” Psychologically changing how a user is presented with information alters how they read it, in a state of surprise and intrigue.
The reaction to In Pieces totally blew me away. We could have endless discussion about whether a WebKit-only website is suitable for client projects (and it’s a worthy argument to have) but actual hit numbers and public response has to take on importance. I think that CSS polygons have great potential for future projects, and I hope to see the technology used in crazier, more creative ways than what I have achieved.
I’ve had many moments while traveling of trying to get to the bottom of why the project worked out so well. The message is important, and I think it shows how a side project with a genuinely good cause can reach more people, because the general public is more intelligent than we in the industry sometimes give it credit for. I think a project with no commercial intention can be appreciated by a user in 2015, and I find that interesting when taking on client work.
I think it’s an interesting project for designer-developers to look at because there’s something about one or two people being in control of the whole thing that results in complete communication harmony. From concept to design to development, all of the parts speak directly to one another, and by the end they are holding hands in a circle rather than being separate things that are nice in their own right. The polygon style wouldn’t work visually without the technology behind it, and the technology wouldn’t be saying anything without the cause or message, and this concept would be nothing without the “pieces” element that the polygon style brings. I’ve mentioned to many friends that I don’t believe that the design, idea, development, sound or overall journey offered by the project is the best, each taken on its individual merit. But because they all communicate in unity, they become bigger than the sum of their parts. And I think that this potential provides a great opportunity for hybrid designer-developers.
Please note that Bryan’s code could have been written in different ways. The point of the article is to highlight the approach and the result of an experiment. – Ed.
Scores of articles have been written about improving conversions—articles that discuss seemingly mundane details like button size, headline length, brand color and even typography.
Yet even after testing these suggestions, you may not see a lift in conversions. In fact, tables may turn and you could actually see lower conversion rates. (That’s why you need to know a couple of things before a/b testing.)
However, today I am going to show you, along with proofs and examples, something that’s proven to increase conversions every single time.
Can’t wait? Let’s jump in.
How a Simple Shift in Focus Can Improve Your Conversions Many Times Over Click To Tweet
Excellent customer support creates a positive vibe
Let me first share this story that I found on Quora.
This was the question that was posed.
“Shouldn’t Indians buy products from Flipkart or Snapdeal only to help it beat Amazon in India, at least?”
And the answer.
“I’m sorry but I disagree. My father recently wrote a book on Hijackings of Indian Airlines aircraft called IA’s Terror Trail, and self-published it.
As a self-claimed Digital Marketer, I went on to create a website for it and make it live on different social media. I did that, and then proceeded to Flipkart and asked them if they could upload my book there. They replied saying that they do not accept first time authors, and that we should contact an independent publisher. Those publishers demanded 50% of our proceeds, which obviously wasn’t feasible.
I then approached Amazon, who went step-by-step with me on how to upload it. They use our book as a personalized ad where relevant to the audience, and provide feedback as and when needed.
Flipkart, despite being supposedly an Indian company, refused to help out a newbie like us, while an e-commerce giant helped when it mattered.” (Source)
It seems, at least in this case, that good customer service beats patriotism. This answer went on to receive over 7,500 upvotes on Quora. Although, Amazon is a giant and doesn’t need this kind of publicity, imagine what it could do for a small and upcoming company.
86 percent of consumers will pay more for a better customer experience.
89 percent of consumers began doing business with a competitor following a poor customer experience.
79 percent of consumers who shared complaints about poor customer experience online had their complaints ignored.
50 percent of consumers give a brand only one week to respond to a question before they stop doing business with them.
86 percent is a big number, especially since those customers seem to value customer service infinitely more than price or other factors.
To put it another way,
Now let’s go over some ways by which we can deliver excellent customer service with practical examples of the same.
World’s second-largest home improvement retailer triples conversions with a FAQ section
The trouble with being the second-largest home improvement retailer is that you get lots of customer support questions. LOTS.
Two hundred employees handled over 130,000 inquiries every month for Build.com, but out of all those calls and chats, questions submitted through the website’s contact form received the lowest priority.
So much so that replies to those questions took 9 hours. Needless to say, customers left miffed.
Upon reviewing this issue, Build.com discovered that customer support personnel were answering the same questions again and again. There was a need for a centralized system that customers could make use of.
That’s when Build.com used NanoRep’s product knowledgebase software to install product FAQ pages on their product pages.
Along with FAQs, question boxes were also placed so that the customers could search for queries.
As a result of these changes in answering customer queries, the company saw significant improvements over the following months:
Conversion rates more than tripled as a result of the improved customer experience
40% increase in the number of questions asked by potential customers
70% fewer questions answered by humans
Agents personally answered an average of six times fewer questions each day
Product FAQ was managed automatically, with minimal human involvement
Improved business intelligence and analytics
Excellent support gives 156% lift in conversions for Proposify
As part of their commitment to become a customer-friendly company, Proposify invested in Groove’s help desk software. Customer support widgets, examples of which are shown below, were added all over the site.
“Many online consumers want help from a live person while they are shopping online; in fact, 44% of online consumers say that having questions answered by a live person while in the middle of an online purchase is one of the most important features a website can offer.”
Also according to the Oracle Survey I quoted earlier in the article, 73% of customers want friendly support executives while only 33% care about brand reputation.
But surveys alone aren’t enough proof. So I decided to reach out to customer support personnel at PowerUpHosting and MaxCDN, since I am a customer of both these services. Interestingly, in both cases I purchased the services because they had LiveChat and I had tons of questions.
However, when I asked them to provide me stats regarding how (or if) LiveChat improved their conversions, it took a lot of convincing.
Persistence finally paid off.
Finally Udit Goenka from PowerUpHosting got in touch with me. Earlier on they used only Skype to provide customer support but it took a lot of time and most customers weren’t happy using Skype. They wanted something spot-on and finally decided to implement LiveChat.
As with everything, they also split tested to see if their results were pure luck or if LiveChat, in fact, made a difference. Here’s the mail excerpt:
“On an average we talk to around 140-150 people on website’s LiveChat every single day (Until March 2015). A whopping 30% who contact us through LiveChat purchase instantly. We capture rest of the 70% as potential leads out of which around 57% sign up eventually.
The above Sales purely come from LiveChat Sales (There are customers who comes to our website and purchase right away). Another pattern we have seen is, most of the customers prefer to talk to someone before making the purchase. We have seen an average retention percentage of 82% of those customers who had a talk over chat versus 37% of people who purchased directly.
We decided to do some split testing then.
We decided to turn off our LiveChat for a period of 7 days, and saw a huge sales drop of around 55% on a weekly basis, this number was nasty and massive, so we decided to have chat on 24/7.
For $35/month worth of investment per Sales Agent, this is one of the best investments you can ever make in your business. Once you start getting traffic, I would recommend anyone having a website to embed a livechat right away.”
Didn’t read it fully? No problem, here’s TL;DR version:
30% of users who contact through Livechat make a purchase instantly.
Over 82% of the users who contact through LiveChat have a lower attrition rate.
Plus it costs just $35/mo per LiveChat representative.
According to Kris from MaxCDN
“We received about a 34% conversion improvement due to live chat. We have 24/7 live chat coverage as well. 24-hour coverage makes a big difference”
Improving customer support and answering customer queries using LiveChat is one of the best things that you can do TODAY to improve your conversions. User studies, live stats, everything points toward this.
Yes, you heard that right. The age old debate has finally been put to rest. For many years now, researchers have presented us with conflicting studies about whether women find bearded men more attractive or the clean-shaven ones. For every research that claims the smooth clean-cut look is more desirable among women, there are two counter studies claiming face fuzz is the way to go. But now, a US-based eCommerce website has finally A/B tested their way to the truth. Read on..
AdonisClothing is a US-based eCommerce store exclusively dealing in men’s fashion. However, what sets them apart from other e-shops is that they don’t sell directly to men. Their target audience is women who shop for their boyfriends and spouses. Their website encourages women to shop for a ‘complete makeover of the guy’ and that’s one of the reasons their average order value is on a higher side at $90. Also, according to the company’s CEO Jason Johansson, 80% of their repeat customers are women.
Like many eCommerce websites, AdonisClothing had a lot of visitors coming to their product pages, but very few were adding products to cart. So JJ (he insists on being called that – says the two letters add to his personality), started his conversion optimization strategy from the product pages.
Here’s how the product page originally looked.
JJ came up with a curious test idea very few would have imagined, forget even testing it out. He tested out the photos of the models on the product pages — clean-shaved against bearded ones! When asked what made him test out chin carpet when the whole CRO world is perfectly busy testing out the optimum UX and design, JJ had a quaint answer. He explains how his fiancee kept pestering him to grow his stubble, much to his disdain.
“She always said that I looked better in a beard, but I never agreed. So one night, I had this epiphany that why not ask a larger set of people. And what better way to do that than my website — which is mostly visited by women,” he said.
Here’s how the variation looked:
The test was run for 15 days on over 36,000 visitors (of which 70% can be safely assumed to be women). The goal being tracked was clicks on ‘Add to Shopping Bag’ button. Well, what do you guess. The Variation outperformed the Control by a stubbly 49.73%, resulting in a 33% increase in sale orders. The variation had a staggering 98% statistical significance.
Woah! What happened here?
JJ is understandably stoked. He came up with one of the strangest testing ideas and managed to achieve remarkable results which will not only be helpful for other eCommerce stores in the coming future but also the research community.
“I think this piece of data will be used even years from now by researchers and marketers to support their views. I feel exceptionally proud of having come up with this test idea,” said JJ.
Why the Variation won?
1. Bearded men are perceived as healthier, more attractive