About
I am Iordanis Passas, and I built RUCF because I got tired of pretty numbers
I am a graphic and type designer turned creative director, working across brand identity, typefaces, UI design and front-end. Born and raised in Athens, I have worked out of London, Berlin and Malta, and I now design from Syros in the Greek islands.
Most of my career has been spent making things look inevitable (identities, dashboards, product interfaces, type systems), carried from first concept through to quality assurance for organisations of very different temperaments: the World Health Organisation, Coca-Cola, Marks & Spencer, SKY, Vogue and Netcompany-Intrasoft among them. Somewhere in the middle of it I noticed the same conversation repeating in every product review: a satisfaction score going up, a funnel going down, and a room full of intelligent people picking whichever number supported the roadmap they already wanted.
RUCF is my answer to that. It refuses to average behaviour and perception together, and it forces anyone using it to say how they know each figure. It is deliberately unflattering, which is the point: a framework that always agrees with you is a marketing asset, not an instrument.
Where the method comes from
Type design trains you to care about costs nobody notices. A terminal cut two degrees short, a sidebearing one unit too tight: no reader consciously registers either, and every reader feels them in how long they stay on the page. You do not fix that by asking readers what they think of the sidebearings. They have no idea. You fix it by measuring the thing itself. Silent friction is that same problem wearing product clothes, and it is the thing this framework was built to find.
The product side of my work taught the rest the unglamorous way: user-centric UX and UI design, prototyping, A/B testing, and facilitating IBM Design Thinking sessions where the loudest opinion in the room is made to write its assumption down and defend it. A stretch as creative director owning brand and product end to end, including reporting work for organisations that audit their own claims for a living, taught me how quickly a number becomes a decoration.
More recently I studied Designing and Building AI Products and Services at MIT, mostly to understand where classification can and cannot be trusted. That is why AI-classified inputs enter this framework capped at 0.50 confidence until a human validates a sample. I mentor designers on ADPList, which is where a lot of the framework's language got stress-tested by people with no reason to be polite about it.
On the typography
Type design is the part of my practice that shaped this site most. Numbers are set in a monospaced face with tabular figures so a score never jitters as it counts up, scores never appear without their confidence, and the confidence bar is deliberately the most repeated mark on the site. If you remember one graphic from RUCF, it should be four segments, two of them empty.
The mark in question.
I also build small design tools as a habit: a font pairing tool, an accessible colour matrix generator, a kinetic typography generator, among others, all free at ipassas.com. The scorecard on this site is the same instinct applied to measurement: if a method only works inside a consultancy deck, it does not work.
The full sourced argument for the framework, and the conditions under which it should be rejected, lives in the manifesto.