Peter Saville, the British designer closely associated with Factory Records, is offering free downloads of some of the fonts he used in designing record sleeves and other work for New Order, Joy Division, and other Factory Records artists.
(thx, mark)
Update: Several Peter Saville fans from around the world have written in to say that the above site is not Peter Saville's official site (this is). It's also unclear whether those fonts were indeed made by Saville (probably not) or ever offered for download free of charge (probably definitely not). But they're still neat fonts, so download at your own risk.
Update: Kai has identified some of the fonts offered as shoddy versions of the following:
Joy Division Closer - Trajan (Adobe)
Blue Monday - Engravers Gothic (Bitstream)
New Order 1981 - Futura (Bauer)
New Order 1993 - Handel Gothic (Linotype)
New Order Ceremony - Albertus (Mecanorma)
New Order 316 - BT Incised 901 (Bitstream) = Antique Olive (Linotype)
New Order Regret - Rotis Serif (Agfa)
In this case, you get what you pay for, I guess.
Panic has released Coda, a new web development app for OS X. Panic co-founder Cabel Sasser describes it thusly:
We build websites by hand, with code, and we've long since dreamed of streamlining the experience, bringing together all of the tools that we needed into a single, elegant window. While you can certainly pair up your favorite text editor with Transmit today, and then maybe have Safari open for previews, and maybe use Terminal for running queries directly or a CSS editor for editing your style sheets, we dreamed of a place where all of that can happen in one place.
Ever since I switched to a Mac, I've been seeking a suitable replacement/upgrade for Homesite. I limped along unsatisfied with BBEdit and am finally getting into the groove with TextMate, but the inter-app switching -- especially between the editor, FTP client, and the terminal -- was really getting me down. John Gruber has a nice preview/review of Coda:
Each of Coda's components offers decidedly fewer features than the leading standalone apps dedicated to those tasks. (With the possible exception of the terminal - I mean, come on, it's a terminal.) This isn't a dirty secret, or the unfortunate downside of Coda only being a 1.0. Surely Coda will sprout many new features in the future, but it's never going to pursue any of these individual apps in terms of feature parity.
The appeal of Coda cannot be expressed solely by any comparison of features. The point is not what it does, but it how it feels to use it. The essential aspects of Coda aren't features in its components, but rather the connections between components.
Panic's implicit argument with Coda is that there are limits to the experience of using a collection of separate apps; that they can offer a better experience - at least in certain regards - by writing a meta app comprising separate components than they could even by writing their own entire suite of standalone web apps. Ignore, for the moment, the time and resource limitations of a small company such as Panic, and imagine a Panic text editor app, a Panic CSS editor app, a Panic web browser, a Panic file transfer/file browser app - add them all together and you'd wind up with more features, but you'd miss the entire point.
Panic co-founders Steven Frank and Cabel Sasser both weigh in on the launch. Has anyone given Coda a shot yet? How do you find it? I'm hoping to find some time later today to check it out and will attempt to report back.
Miranda July, who you might remember from her film Me and You and Everyone We Know, has a book coming out in May, a collection of stories called No One Belongs Here More Than You. The book has a web site that's one of the most effective and creative I've seen in a long time. Here's a screenshot of one of my favorite pages, just to give you a taste:
The really intriguing thing about the site is that it breaks pretty much every rule that contemporary web designers have for effective site design. The site is a linear progression of images, essentially 30 splash pages one right after another. It doesn't have any navigation except for forward/back buttons; you can't just jump to whatever page you want. July barely mentions anything about the book and only then near the end of the 30 pages. There's no text...it's all images, which means that the site will be all but invisible to search engines. No web designer worth her salt would ever recommend building a site like this to a client.
Yet it works because the story pulls you along so well; July's using the site's narrative to sell a book that is, presumably, chock full of the same sort of narrative. If you think the site sucks and quickly click away, chances are you're not going to like the book either...it's the perfect self-selection mechanism. The No One Belongs Here More Than You site is a lesson for web designers: the point is not to make sites that follow all the rules but to make sites that will best accomplish the primary objectives of the site.
Every few months, the blogosphere addresses the matter of gender diversity of speakers at conferences about design, technology, and the web. The latest such incidents revolved around the lack of women speakers at the the Future of Web Apps conference in San Francisco last September1 and the Creativity Now conference put on by Tokion in NYC last October. Each time this issue is raised, you see conference organizers publicly declare that they tried, that diversity is a very important issue, and that they are going to address it the next time around.
With that in mind, I collected some information2 about some of the most visible past and upcoming conferences in the tech/design/web space. I'm reasonably sure that the organizers of these conferences were aware of at least one of the above recent complaints about gender diversity at conferences (they were both linked widely in the blogosphere), so it will be interesting to see if those complaints were taken seriously by them.
Future of Web Apps - San Francisco
September 13-14, 2006
0 women, 13 men. 0% women speakers.
Tokion Magazine's 4th Annual Creativity Now Conference
October 14-15, 2006
6 women, 30 men. 17% women speakers.
PopTech 2006
October 18-21, 2006
8 women, 30 men. 21% women speakers.
Web Directions North
February 7-10, 2007
5 women, 16 men. 24% women speakers.
LIFT
February 7-9, 2007
10 women, 33 men. 23% women speakers.
Future of Web Apps - London
February 20-22, 2007
1 woman, 26 men. 4% women speakers.
TED 2007
March 7-10, 2007
12 women, 41 men. 23% women speakers.
SXSW Interactive 2007
March 9-13, 2007
147 women, 378 men. 28% women speakers.
164 women, 373 men. 31% women speakers. (updated 2/22/2007)
165 women, 379 men. 30% women speakers. (updated 3/31/2007)
BlogHer Business '07
March 22-23, 2007
43 women, 0 men. 100% women speakers.
An Event Apart Boston 2007
March 26-27, 2007
1 woman, 8 men. 11% women speakers.
O'Reilly Emerging Technology Conference
March 26-29, 2007
9 women, 44 men. 17% women speakers.
12 women, 79 men. 13% women speakers. (updated 3/31/2007)
Web 2.0 Expo 2007
April 15-18, 2007
17 women, 91 men. 16% women speakers.
Future of Web Design
April 18, 2007
2 women, 12 men. 14% women speakers.
4 women, 16 men. 20% women speakers. (updated 3/31/2007)
GEL 2007
April 19-20, 2007
2 women, 11 men. 15% women speakers.
1 woman, 16 men. 6% women speakers. (updated 3/31/2007)
MIX07
April 30 - May 2, 2007
0 women, 4 men. 0% women speakers.
8 women, 89 men. 8% women speakers. (updated 3/31/2007)
The New Yorker Conference 2007
May 6-7, 2007
3 women, 21 men. 13% women speakers. (updated 2/28/2007)
6 women, 29 men. 17% women speakers. (updated 3/31/2007)
Dx3 Conference 2007
May 15-18, 2007
5 women, 48 men. 9% women speakers. (updated 3/2/2007)
5 women, 70 men. 7% women speakers. (updated 3/31/2007)
An Event Apart Seattle 2007
June 21-22, 2007
0 women, 9 men. 0% women speakers.
1 women, 9 men. 10% women speakers. (updated 3/31/2007)
From this list, it seems to me that either the above concerns are not getting through to conference organizers or that gender diversity doesn't matter as much to conference organizers as they publicly say it does. The Future of Web Apps folks seem to have a particularly tin ear when it comes to this issue. For their second conference, they doubled the size of the speaker roster and added only one woman to the bill despite the complaints from last time. This List of Women Speakers for Your Conference compiled by Jen Bekman is a little non-web/tech-heavy, but it looks like it didn't get much use in the months since its publication. Perhaps it's time for another look. (If you think this issue is important, Digg this post.)
Update: To the above list, I added An Event Apart Boston 2007 and corrected a mistake in the count for GEL 2007 (they had one more woman and one less man than I initially counted.) Ryan Carson from Carson Systems, the producers of The Future of Web Apps conferences, emailed me this morning and said that my "facts just aren't correct" for the count for their London conference. He stated that the number of speakers they had control over was only 13. Some of the speakers were workshop leaders (the workshops "are very different" in some way) and others were chosen by sponsors of the conference, not by Carson Systems. I'm keeping the current count of 27 total speakers as listed on their speakers page this morning...they're the people they used to promote the conference and they're the people at the conference in the front of the room, giving their views and leading discussions for the assembled audience. (thx, erik, mark, and ryan)
Update: I added the Future of Web Design conference to the above list. (thx, jeff)
Update: Hugh Forrest wrote to update me on the latest speaker numbers for SXSW Interactive 2007 (he keeps close watch on them because the issue is an important and sensitive one to the SXSW folks)...the ones on their site were less than current. In cases where counts are updated (and not inaccurate due to my counting errors), I will append them to the conference in question so that we can see trends. I plan to update the above list periodically, adding new conferences and keeping track of the speaker numbers on upcoming ones.
[1] Sadly, when I Googled "future of web apps women" while doing some research for this post, Google asked "Did you mean: 'future of web apps when'"? ↩
[2] All statistics as of 2/22/2007. Consider the gender counts rough approximations...in some cases, I couldn't tell if a certain person was a man or a woman from their name or bio. ↩
[3] This conference has released only a very incomplete speaker list. ↩
A friend of mine who works at the University of Nebraska-Lincoln emailed to let me know that they've posted both audio and video of a talk that Chris Ware gave at the school last week. If you're short on time, the real meat of the video starts around 18:30 when Ware starts a slideshow that delves into his process. In addition to his series of Thanksgiving-themed New Yorker covers from last year, he also talks about some of his other work, including Rusty Brown and the strip he did for the NY Times Magazine.
Serious Eats is looking for a web designer who's familiar with blogs, isn't afraid of a little PHP code, and is located in (or is planning on relocating to) NYC. Serious Eats is a start-up that is focused on sharing food enthusiasm through blogs and online community. You'll be working with a fine group of folks. SE is headed up by Ed Levine, who Gourmet editor-in-chief Ruth Reichl calls the "missionary of the delicious" and Meg Hourihan, who co-founded blogger.com and happens also to be married to me. Alaina Browne, formerly of A Full Belly and Mule Design, and Adam Kuban, pizza and burger expert, round out SE's crew of passionate food people.
Fringe benefits: you can't imagine all the culinary goodies that make their way into that office everyday. Meg comes home and casually says things like, "oh, we had a private tasting of the new Haagen-Dazs flavors in the office today" all the freaking time. If you're a web designer with an interest in food, this is your place.
Took in The Art of the Book lecture at the 92nd Street Y last night. Milton Glaser, Chip Kidd ("a modern day Truman Capote" I heard him described as afterward), Dave Eggers, with Michael Beirut moderating. One of the most interesting comments came late in the proceedings from Dave Eggers, who described one of the main goals of the McSweeney's design staff as attempting to design the books as well and as beautifully as they could as objects so that people would be compelled to save them. That way, even if people didn't have time to read them soon after purchase, they couldn't bear to throw/give the book away and would instead put it on their shelf in the hopes -- McSweeney's hopes, that is -- that the buyer would at some point pull it down off the shelf and give it another try.
This design goal runs counter to the design process behind most contemporary book jackets, which are engineered almost entirely for the purpose of eliciting in the potential buyer a "buy me" reaction within two seconds of spotting them. McSweeney's, as a champion of authors, wants the writing to be read while most major publishing companies, as champions of their shareholders, want books to be purchased. People buying books is important to the goal of getting the writing within them read, but McSweeney's emphasis on designing books to last in people's homes is a clever way to pursue that goal after the sale.
Michael Bierut on his design process, written in plain language that the client never gets to hear (but maybe they should):
When I do a design project, I begin by listening carefully to you as you talk about your problem and read whatever background material I can find that relates to the issues you face. If you're lucky, I have also accidentally acquired some firsthand experience with your situation. Somewhere along the way an idea for the design pops into my head from out of the blue. I can't really explain that part; it's like magic. Sometimes it even happens before you have a chance to tell me that much about your problem! Now, if it's a good idea, I try to figure out some strategic justification for the solution so I can explain it to you without relying on good taste you may or may not have. Along the way, I may add some other ideas, either because you made me agree to do so at the outset, or because I'm not sure of the first idea. At any rate, in the earlier phases hopefully I will have gained your trust so that by this point you're inclined to take my advice. I don't have any clue how you'd go about proving that my advice is any good except that other people - at least the ones I've told you about - have taken my advice in the past and prospered. In other words, could you just sort of, you know...trust me?
It is like magic. Reminds me of something Jeff Veen wrote last year on his process:
And I sort of realized that I do design that way. I build up a tremendous amount of background data, let it synthesize, then "blink" it out as a fully-formed solution. It typically works like this:
- Talk to everybody I possibly can about the problem.
- Read everything that would even be remotely related to what I'm doing. Hang charts, graphs, diagrams, and screenshots all over my office.
- Observe user research; recall past research.
- Stew in it all, panic as deadline approaches, stop sleeping, stop eating.
- Be struck with an epiphany. Instantly see the solution. Curse my tools for being too slow as I frantically get it all down in a document.
- Sleep for three days.
Like I said when I first read Jeff's piece, in my experience, a designer gets the job done in any way she can and then figures out how to sell it to the client, typically by coming up with an effective (and hopefully at least partially truthful) backstory that's crammed into a 5-step iterative process, charts of which are ubiquitous in design firm pitches.
Last week, Vanity Fair published an article about the U.S. Air Force's response to 9/11. In writing the article, Michael Bronner makes extensive use of audio tapes from the control room of NORAD's Northeast headquarters and in the online version, you can listen to audio clips of those tapes. As you can see in the screenshot below, not only are the transcripts of the audio part of the main narrative (and not collected elsewhere or put into a separate footnote or sidebar), but the controls for playing the audio clips (PLAY | STOP) are presented inline as well:
That's a nice bit of design. No need for a clunky player or to download the clips at the end of the article when two simple text-only inline commands will do. In Beautiful Evidence, Edward Tufte argues for the placement of information in the location where it will do the most good for those attempting to understand the matter at hand, regardless of form:
Evidence is evidence, whether words numbers, images, diagrams, still or moving. It is all information after all. For readers and viewers, the intellectual task remains constant regardless of the particular mode of evidence: to understand and to reason about the materials at hand, and to appraise their quality, relevance, and integrity.
The examples that Tufte cites in the book are all visual and published on paper. This is an instance where web publishing provides for a better way to design for the information at hand than print. (thx to david for kickstarting this post)
The Independent has a great infographic on its cover today depicting which countries support the immediate ceasefire in the Middle East demanded by the UN and which do not:
That message would take up less space as words, but somehow the impact wouldn't be quite the same. (thx, g)
Here's part of a fun pixel illustration of Communication City by eboy:
Click through to see the whole image. eboy did the illustration for a Fortune magazine article on the resurgence of internet companies. The company also does amazingly intricate futuristic posters of cities. Oh, and this T-Mobile HotSpot map of London...I could go on and on.
Luke Wroblewski wrote an article for Boxes and Arrows about using colors found in nature as inspiration for color palettes used in designing web sites. Unfortunately, the photos showing Luke's examples don't appear to be working on the site (the images have been fixed...thx, Lars), but Dave Shea published an image that illustrates Luke's technique.
When you're on the beach in the Caribbean as I was recently, it's difficult for the color palette to escape your notice. I whipped up this collection of colors from some of my photos (coming soon) from Mexico:
From left to right, you've got the pale blue of the ocean close to shore, the light brown of the sand, the green of the lush vegetation, and the deep clear blue of the sky.
Update: A couple people asked, so here are the hex values for the above colors: 3DB8AE, FFEDD8, 396600, and 0050A2, respectively.
MoMA just opened their show about Pixar last week and on Friday, we went to a presentation by John Lasseter, head creative guy at the company. Interesting talk, although I'd heard some of it in various places before, most notably in this interview with him on WNYC. Two quick highlights:
- Lasseter showed colorscripts from Pixar's films (which can be viewed in the exhibition). A colorscript is a storyboarding technique that Pixar developed to "visually describe the emotional content of an entire story through color and lighting". They are compact enough that the entire story fits on a single sheet and if you're familar enough with the films, you can follow along with the story pretty well. But mostly it's just for illustrating the mood of the film. Very cool technique (that could certainly be adopted for web design and branding projects).
- Near the end of the talk he showed a 2-3 minute clip of Cars, prefacing it with an announcement that it had never before been shown outside of Pixar.[1] Some of the CGI wasn't completely finished, but it was certainly enough to get the gist. When the first preview trailer for Cars was released, I was skeptical; it just didn't look like it was going to be that good. Based on the clip Lasseter showed and some of his other comments, I'm happy to report that I was wrong to be so skeptical and am very much looking forward to its release in 2006.
At 15 minutes long, the Q&A session at the end of his talk was too short. The MoMA audience is sufficiently interesting and Lasseter was so quick on his feet and willing to share his views that 30 to 40 minutes of Q&A would have been great.
[1] For you Pixar completists and AICN folks out there, the clip showed Lightning McQueen leaving a race track on the back of a flat-bed truck, bound for a big race in California. As the truck drives across the US, you see the criss-crossing expressways of the city stretch out into the long straight freeways of the American west, the roads literally cutting into the beautiful scenery. A cover of Tom Cochran's Life is a Highway plays as the truck drives. The world of the movie features only cars, no humans...the cars are driving themselves.
At the risk (ha!) of missing it, I waited until this late in the game to check out Safe: Design Takes On Risk at the MoMA. Great show. Two of my favorite items:
- Safe Bedside Table by James McAdam. If the need should arise in the middle of the night, the top of the table separates from the leg and can be worn on the arm as a shield while you use the leg to beat the crap out of a surprised burglar.
- Suited for Subversion by Ralph Borland. Don this highly visable suit before heading out for a day of protesting. It's padded to protect against police brutality, an optional wireless camera acts as a witness to the day's events, and a speaker amplifies the wearer's heatbeat, letting those around him know that's he's scared, anxious, exhilarated, or simply human.
For you armchair museum goers, what looks to be the entire exhibition is available online.
Also, the MoMA around holiday time, not so crowded. (Well, relatively so. There were still a fair number of people there, just not so many as in the Build-A-Bear store on 5th Avenue.)
Ok, one last wrap-up post about Hong Kong and then we're focusing on the matter at hand in Bangkok (short summary: having a great time so far here). So, three things I really liked about/in Hong Kong and then some miscellaneous stuff.
1. Octopus cards. I really can't say enough about how cool these cards are. Wikipedia provides a quickie definition: "The Octopus card is a rechargeable contactless stored value smart card used for electronic payment in online or offline systems in Hong Kong." It's a pay-as-you go stored value card...you put $100 bucks on it and "recharge" the card when it's empty (or when it's even more than empty...as long as your balance is positive when you use it, you can go into a HK$35 deficit, which you pay when you recharge the card). You can use it on pratically any public transportation in the city: buses, trains, MTR, trams, ferries, etc. It works with vending machines, at 7-Eleven, McDonald's, Starbucks, and the supermarket. You don't need to take it out of your wallet or purse to use it, just hold it near the sensor. Your card is not tied to your identity...there's no PIN, you can pay cash, they don't need to know your credit card number, SS#, or anything like that. They even make watches and mobile phones that have Octopus built it, so your phone (or watch) becomes your wallet. Mayor Bloomberg, if you're listening, NYC needs this.
2. The on-train maps for the MTR. Here's a (sort of blurry) photo (taken with my cameraphone):
The current stop blinks red -- in this case, Tsim Sha Tsui (blinking not shown, obviously) -- with the subsequent stops lit in red. If the next stop connects to another line, that line blinks as well. A small green arrow indicates which direction you're traveling and there's an indictor (not shown) which lights up either "exit this side" or "exit other side" depending which way the doors are going to open. Great design.
3. Muji! We located one in Langham Place (an uber-story mall) in Mong Kok (for reference, the store in Silvercord in TST listed on their site has closed). Muji is kind of hard to describe if you've never been to one of their stores before (and if you live in the US, you probably haven't because they're aren't any, aside from a small outpost in the MoMA Store). Adam (see previous link) roughly translates the name as "No Brand, Good Product", so you can see why I like it so much. They sell a wide variety of products (take a look at their Japanese-only online store for an idea of what they carry); at the Monk Kok store, they had snacks & drinks, some furniture (made out of sturdy cardboard), their signature pens and notebooks (a display of the former was completely surrounded by a moat of teenaged girls, so much so that I didn't get a chance to test any of the super-thin pens), some clothes (including some great pants that they didn't have in anything approaching my size), dishes, cosmetics, bath products, and containers of all shapes, sizes, and uses. I wanted one of everything, but settled for a couple of shirts (with absolutely no logos or markings, inside or out, to indictate that they are Muji products).
m1. Big Buddha, worth the trip. It'll better when the tram from Tung Chung and back is built, although then you'll miss the boat ride (fun) and the bus ride (harrowing at times).
m2. The Peak Tram. Touristy, but also worth the trip. The weird/ugly anvil-shaped building at the top is currently under construction, so the views will be much better when its finished. Go at night for the best view.
m3. The view from the waterfront in Kowloon of the Hong Kong skyline at night is one of the best in the world.
m4. Speaking of, Hong Kong is a night-time city. All the buildings are lit up, there's a nightly light show at 8pm (think Laser Floyd without the music), and buildings that appear monolithic in the daytime transform at night, either by disappearing into the darkness while leaving a graceful trace of their outline or acting as huge screens for projected light shows. Reminded me of Vegas in this respect.
m5. We had tea in the lobby of the InterContinental Hotel (go for the view, it's incredible) and the live band played the theme song from The Lord of the Rings. I tried to get a recording of it with my phone (iPod was back in our hotel room), but it didn't turn out so well. Very weird; we were cracking up and expecting the theme from Superman or even 3's Company to follow.
m6. Oh, I'm sure there's more, so I'll add it here as I think of stuff.
The AIGA has podcasts and presentation materials up for some of the speakers from the Design Conference (my full coverage here). Several of the main stage speeches are up, as well as backstage interviews with some of the participants. In particular, I would recommend:
- Audio of the main stage presentation and interview with Juan Enriquez.
- Audio of the main stage presentation by Bill Strickland on The Design of Leadership.
- Audio of the main stage presentation by Milton Glaser and Nicholas Negroponte.
- Audio of the main stage presentation by Murray Moss, although I'm not sure how well this one would work if you listened to it without the slides.
- The PDF of Stefan Sagmeister's presentation doesn't make too much sense without the audio, but the last 50 or so slides are worth checking out for the design candy.
These aren't just for designers; they're perfectly fine for non-designers as well. Here's the RSS file with all the resources...it should work well with your favorite podcasting software or newsreader. It's great that the AIGA is making these presentations freely available...you're getting a lot of the conference for free here. If I remember correctly, not even O'Reilly offers the presentations or podcasts for download after their events like Etech.
Update: Wrong again! IT Conversations has several podcasts from the last Etech conference. (thx tim)
Here's a sampling of the rest of the AIGA Design Conference, stuff that I haven't covered yet and didn't belong in a post of it's own:
- Juan Enriquez gave what was probably my favorite talk about what's going on in the world of genetics right now. I've heard him give a variation of this talk before (at PopTech, I think). He started off talking about coding systems and how when they get more efficient (in the way that the Romance languages are more efficient than Chinese languages), the more powerful they become in human hands. Binary is very powerful because you can encode text, images, video, etc. using just two symbols, 1 and 0. Segue to DNA, a four symbol language to make living organisms...obviously quite powerful in human hands.
- Enriquez: All life is imperfectly transmitted code. That's what evolution is, and without the imperfections, there would be no life. The little differences over long periods of time are what's important.
- Enriquez again: The mosquito is a flying hypodermic needle. That's how it delivers malaria to humans. We could use that same capability for vaccinating cows against disease.
- Along with his list of 20 courses he didn't take in design school, Michael Bierut offered some advice to young designers:
1. Design is the easy part.
2. Learn from your clients, bosses, collaborators, and colleagues.
3. Content is king.
4. Read. Read. Read.
5. Think first, then design.
6. Never forget how lucky you are. Enjoy yourself.
- Nicholas Negroponte: If programmers got paid to remove code from sofware instead of writing new code, software would be a whole lot better.
- Negroponte also shared a story about outfitting the kids in a school in Cambodia with laptops; the kids' first English word was "Google", and from what Negroponte said, that was followed closely by "Skype". He also said the children's parents loved the laptops because at night, it was the brightest light in the house.
- Christi recorded Milton Glaser's mother's spaghetti recipe. "Cook until basically all of the water is evaporated. Mix in bottle of ketchup; HEINZ ketchup."
- Ben Karlin and Paula Scher on the challenges of making America, The Book: Books are more daunting than doing TV because print allows for a much greater density of jokes. In trying to shoot the cover image, they found that bald eagles cannot be used live for marketing or advertising purposes. The solution? A golden eagle and Photoshop. And for a spread depicting all the Supreme Court Justices in the buff, they struggled -- even with the Web -- to find nude photos of older people until they found a Vermont nudist colony willing to send them photos because they were big fans of The Daily Show.
- Bill Strickland blew the doors off the conference with his account of the work he's doing in "curing cancer" -- his term for revitalizing violent and crime-ridden neighborhoods -- in Pittsburgh. I can't do justice to his talk, so two short anecdotes. Strickland said he realized that "poor people never have a nice day" so when he built his buildings in these poor black neighbohoods, he put nice fountains out front so that people coming into the building know that they're entering a space where it's possible to have a good day. Another time, a bigwig of some sort was visiting the center and asked Strickland about the flowers he saw everywhere. Flowers in the hood? How'd these get here? Strickland told him "you don't need a task force or study group to buy flowers" and that he'd just got in his car, bought some flowers, brought them back, and set them around the place. His point in all this was creating a place where people feel less dissimilar to each other...black, white, rich, poor, everybody has a right to flowers and an education and to be treated with respect and to have a nice day. You start treating people like that, and surprise!, they thrive. Strickland's inner city programs have produced Fulbright Scholars, Pulitzer Prize winners, and tons of college graduates.
- I caught 30 minutes of David Peters' presentation of Typecast: The Art of the Typographic Film Title and realized I should have gotten there in time to see the whole thing. I could sit and watch cool movie titles all day long. Among the titles he showed were Bullit, Panic Room, Dr. Strangelove, Barbarella, The Island of Dr. Moreau, and Superman. The title sequence for Napoleon Dynamite (which was discussed on Design Observer last year) was shown later in the main hall.
- At the closing party at the Museum of Science, we checked out the cool Mathematica exhibit that was designed by Charles and Ray Eames, two designers who were also pretty big science/math nerds.
- And some final thoughts from others at the conference. Peter Merholz says that "form-makers", which make up the vast majority of the AIGA audience, "are being passed by those who are attempting to use design to serve more strategic ends". (That's an interesting thought...) A pair of reviews from Speak Up: Bryony was a bit disappointed with the opening Design Gala but left, like everyone else, in love with emcee John Hockenberry while Armin noted that the preservation of digital files is a big concern for museums in building a collection of graphic design pieces...in 35 years, how are you going load that Quark file or run that Flash movie?
For more of what people are saying about the conference, check out IceRocket. There's a bunch of photos on Flickr as well.
I quite enjoyed Sagmeister's presentation on happiness...where else but a design conference would you find a talk on that topic?[1] Early in, he suggested that visualizing happiness with design is easy (photos of someone laughing or a smiley face will do it) but that creating design that provokes happiness in the viewer is something else entirely. He then shared three designs that have made him happy recently:
- Emma Gasson made a day-planner with room for 82 years, the current life expectancy of a British citizen. It looked to be about a foot thick.
- Omnivisu. Richard The and Willy Sengewald constructed a kiosk in Berlin with video cameras inside. When you look into the kiosk through the viewfinder (very much like peering into a pair of binoculars), the cameras record your eyes and beam the video to a nearby location where the images are projected onto a building which rather looks like it's got a head. When you blink into the kiosk, the building's head blinks also.
- Ji Lee pastes empty speech bubbles over advertisements on the streets of Manhattan, people often fill them in, and Lee returns to photograph the results.
Sagmeister wrapped up his talk with a list of things he has learned and how he's used that list in a recent series of projects:
- "everything i do always comes back to me"
- "trying to look good limits my life"
- "everybody thinks they are right"
- "money does not make me happy"
- "thinking life will be better in the future is stupid. i have to live now"
- "complaining is silly. act or forget."
- "having guts always works out for me"
"Complaining is silly..." is my favorite, both as advice and his implementation of the design. A few of these are in this video shot by Hillman Curtis.
[1] Ok, maybe at a clown conference, but still.
As part of my ongoing series of thoughts about conference badge and program design (Poptech 2004, Web 2.0 2004, PopTech 2003), here's a quick review of the AIGA conference badges and programs. The badges are pretty good. Both first and last names are printed in large type for easy glancing and the schedule fits in the badge holder.
The badge lanyards are not the usual string/cloth, but a simple length of thin hollow plastic tube that's looped together with a small piece of plastic that fits inside the tube like so:
If the lanyard is too long (as they often are at these things) and your badge is hanging down to your belt buckle, just grab a scissors, cut a bit off one end of the tube, and stick it back together. The program is a small thick book which I've left in my hotel room the entire time, preferring to rely on the Web site for event descriptions and the smaller schedule that fits in the badge holder for times, room numbers, etc. The schedule is actually not a booklet, but a series of folding pieces, one for each day of the conference, so when Friday is over, you can take the Friday schedule out of your badge holder and leave it behind, which is kind of handy.
Some miscellaneous bits I haven't had a chance to post yet about the conference:
- Congressman Barney Frank didn't talk at all about "Design and Civic Leadership", but he did say he was in favor of limiting free speech in one small way: he would ban the use of metaphors in the discussion of public policy.
- Dj Spooky on the standarization (i.e. Gapization, Starbucksification, etc.) of American retail (paraphrased): If you think about it, the US is almost more totalitarian than the Soviet Union was; we buy our own uniforms.
- Peter Merholz on the death of user experience: What people not call "user experience" used to be called "design" (by the Eames generation). The term "user experience" was necessary because "design" had become associated almost exclusively with the way something looked. The pretty, the aesthetic. Who did Peter blame? Professional organizations (including the AIGA) and designers themselves. Peter notes that design is making a comeback, particularly in the business press, something I noted in earlier in the week.
- From the Three Minds blog, a summary of a presentation by Murray Moss of 10 things that he likes right now. Well, not so much things as ideas or trends. Or commerce...all of the items he showed are on sale in his Soho store/gallery.
- More blog action from the conference: Peterme has some quick thoughts, David Panarelli has several posts from Friday (1, 2, 3, 4, 5, 6) and UnBeige tells us about Ellen Lupton, Dj Spooky, a David Carson sighting (I totally didn't know he was here...seeing his work for the first time made me want to be a designer, so I may have to accost him and gush a little), and then promptly goes off to nap. Nap!? That's allowed??
More tomorrow, already the last full day of the conference.
As part of the conference within a conference for students, Michael Bierut listed 20 courses he did not take in design school (I think I got all of them):
Semiotics
Contemporary Performance Art
Traffic Engineering
The Changing Global Financial Marketplace
Urban planning
Sex Education
Early Childhood Development
Economics of Commerical Aviation
Biography as History
Introduction to Horticulture
Sports Marketing in Modern Media
Modern Architecture
The 1960s: Culture and Conflict
20th Century American Theater
Philanthropy and Social Progress
Fashion Merchandising
Studies in Popular Culture
Building Systems Engineering
Geopolitics, Military Conflict, and the Cultural Divide
Political Science: Electoral Politics and the Crisis of Democracy
His point was that design is just one part of the job. In order to do great work, you need to know what your client does. How do you design for new moms if you don't know anything about raising children? Not very well, that's how. When I was a designer, my approach was to treat the client's knowledge of their business as my biggest asset...the more I could get them to tell me about what their product or service did and the people it served (and then talk to those people, etc.), the better it was for the finished product. Clients who didn't have time to talk, weren't genuinely engaged in their company's business, or who I couldn't get to open up usually didn't get my best work.
Bierut's other main point is, wow, look at all this cool stuff you get to learn about as a designer. If you're a curious person, you could do worse than to choose design as a profession.
I'm sitting in a huge room filled with ~2,000 people at the opening remarks of the AIGA Design Conference and there's no single other person on Bonjour (formerly Rendezvous) in iChat:
I may be the only person in the entire room with his laptop open. Instead, everyone is listening to the speakers. Like Jeff, I'm torn: is this lack of a back channel a good thing or does the presence of an online component of a conference make the experience more rewarding?
One of the pre-conference events was a talk at Fenway Park followed by a tour of the ballpark. Janet Marie Smith, VP of planning and development for the Sox, kicked things off with how the team (especially the new management) works really hard to preserve the essential character of Fenway while at the same time trying to upgrade the park (and keep it from getting torn down). She talked about the advertisements added to the Green Monster, which was actually not a purely commercial move but a throwback to a time when the Monster was actually covered with ads.
Lots of talk and awareness of experience design...the Red Sox folks in particular kept referring to the "experience" of the park. One of the speakers (can't recall who, might have been Jim Dow) talked about how other ballparks are becoming places where only people who can afford $100 tickets can go to the games and what that does to the team's fan base. With Fenway, they're trying to maintain a variety of ticket prices to keep the diversity level high...greater diversity makes for a better crowd and a better fan base and is quite appropriate for Boston (and New England in general), which has always been an area with vibrant blue collar and blue blood classes.
Janet also referred to the "accidental" design of the park. Like many other urban ballparks built in the late 19th/early 20th centuries, the placement of the streets constrained the design of Fenway and made it rather an odd shape....these days larger plots are selected where those types of restraints are removed. And over time, the game has changed, the needs of the fans have changed, and the fire codes have changed and the park has changed with the times. In the dead ball era, the walls of the stadium weren't for hitting home runs over; their sole function was to keep people on the street for catching the game for free, so the Fenway outfield ran over 500 feet in right field -- practically all the way to the street -- where there's now 30 rows of seats. Jim Holt observed that American butts have gotten bigger so bigger seats are called for. Fire codes helped that change along as well...wooden seats, bleachers, and overcrowding are no longer a large part of the Fenway experience (save for the wooden seats under the canopy).
The design talk continued on the tour of the park. Our guide detailed how ballparks are built around specific ballplayers. Yankee Stadium was the house that Ruth built but it was also seemingly (but not literally) built for him with a short trip for his home run balls to the right field wall. Boston added a bullpen to make the right field shorter for Ted Williams. Barry Bonds does very well at PacBell/SBC/WhateverItsCalledTheseDays Park. And more than that, the design of Fenway also dictated for a long time the type of team that they could field, which had some bearing on how they did generally. Players who played well in Fenway (i.e. could hit fly balls off of the Monster in left) often didn't do so well in other parks and the team's away record suffered accordingly.
In preparation for the AIGA design conference[1], I'm looking over the session descriptions and speaker list. The theme for this year is "Design", which seems a little broad but somehow appropriate given how much design has been taken up by the press (especially the business and tech press) recently as something Important and the design profession may be in need of a little wagon circling to figure out how to effectively explain design to someone who is all fired up about incorporating it into their business process because they read a blurb in Fast Company about Jonathan Ive and the iPod.
My knowledge of and involvement with the AIGA up to this point has been fairly minimal, which either makes me the ideal person (fresh eyes!) or a horrible choice (head up ass!) to cover their design conference. I'm particularly interested in learning how they've incorporated the fast-changing disciplines of Web and digital design into the mix. When I was working in Minneapolis as a Web designer in the late 90s, my company got me an AIGA membership, but I never used it because although they were trying to be more relevant to those of us working on the Web, my perception is that the AIGA was still largely a graphic design organization and I was finding more of what I was looking for on Web design sites like A List Apart. Now that the Web design profession has matured (and Web design practitioners along with it), it seems to fit better with where the AIGA is going (and vice versa). After all, design is design, no matter what word you stick in front of it.
So, back to the speakers list, I'm looking forward to hearing from Michael Bierut, Lella and Massimo Vignelli, Steven Heller, Matthew Carter, John Maeda, Peter Merholz and Jesse James Garrett from Adaptive Path, Ze Frank, Stefan Sagmeister, Steff Geissbuhler, Caterina Fake, and Milton Glaser (but no Malcolm Gladwell or Errol Morris, both of whom I swear were on earlier speaker lists), some of whom you may recognize from past mentions on kottke.org. They've also added some sessions in response to Hurricane Katrina on design, safety, risk, and disaster management, which is an excellent use of the opportunity of having a bunch of designers in the same place.
If you want to follow along with the complete conference coverage here on kottke.org, here's the AIGA 2005 page. As I mentioned previously, I'll be opening up comments on most posts (incl. this one), but will be active in gardening off-topic and trolling comments.
[1] I just realized all these URLs are going to break when the next conference rolls around in two years or so, which is disappointing. Would be nice to have something like http://designconference.aiga.org/2005 that would permanently point to this year's festivities. Bloggers like permanent links (well, this one does anyway).
From September 15-18, I will be attending the AIGA Design Conference in Boston. As an experiment (for both the AIGA and me), I will be covering the event at their request[1] on kottke.org. I'll be covering the conference as a blogger, but the easiest way to think about it in terms of a conference is that I'm a speaker[2]...a sort of roving speaker with the readers of kottke.org as the audience and my topic is the conference itself.
As usual, I have no solid plan as to how this is going to work exactly, but I'm looking forward to seeing how the conference goes and adapting accordingly. I'm hoping to provide a moving snapshot of the event so that readers of kottke.org can follow along fairly well without being at the conference. I'll probably have comments open on most posts so hopefully those reading along at home and those reading along at the conference can have some dialogue, with each little world spilling over into the other a bit.
One other quick thing...if you're going to be at the conference and plan to blog it, let me know...I'll definitely be linking to other people's stuff. I'm sure Design Observer and Speak Up will be covering things pretty well. I'll also be watching Flickr and del.icio.us for links and photos...I'd suggest tagging relevent entries with aigadc2005 for easy aggregation.
More next week as the conference draws near.
[1] Disclaimer: Kottke.org's budget for covering out-of-town conferences with costly entry fees is limited, so I'm exploring other ways of gaining access to be able to bring you some interesting content that you might not get otherwise. The AIGA is a curious organization and they're looking at various ways of using weblogs, so they asked me to come and blog the conference as an experiment. To make it economically feasible for me to be there, they are paying me a small speaker's honorarium and putting me up in a hotel.
In talking with the AIGA about this, they've made it exceedingly clear that I'm to consider myself independent and write whatever I want about the conference, which is pretty much what I intend to do. If I thought the hotel room and honorarium would be a problem w/r/t my objectivity in covering the event, I would have declined them both. The bottom line is that if money were no object (if the conference were free and took place entirely within walking distance of my apartment), I'd want to go and write about it anyway.
[2] Although I will also be appearing on a related panel about blogs, journalism, and design with Steve Heller, Michael Bierut, Armin Vit, and Jen Bekman.
Update: I've changed the first paragraph slightly, from "covering the conference as a blogger/journalist" to "covering the conference as a blogger", which under the circumstances is more accurate. I am not a journalist in this instance or any other.
Nike is catching some shit for appropriating some imagery for one of their skateboarding events from a 1984 album cover by Dischord Records' Minor Threat. Dischord is alledging that Nike stole the image:
No, they stole it and we're not happy about it. Nike is a giant corporation which is attempting to manipulate the alternative skate culture to create an even wider demand for their already ubiquitous brand. Nike represents just about the antithesis of what Dischord stands for and it makes me sick to my stomach to think they are using this explicit imagery to fool kids into thinking that the general ethos of this label, and Minor Threat in particular, can somehow be linked to Nike's mission. It's disgusting.
Here are the images (original on the left):
Setting aside the difference in philosophy between the two parties, this is obviously an homage on Nike's part (or rather, on the part of the designers working on this campaign for Nike...they probably love skating and that album and are paying their respects). Graphic design, filmmaking, pop culture, and music is full of stuff like this...sampling and ripping and riffing and homages are all part of the deal. Seems like a punk label like Dischord should be aware of that but in the above quote they sound more like a big company afraid of losing their intellectual property. Isn't punk all about taking without permission? Or does that not apply when you don't like the folks doing the taking? Lighten up, Dischord.
Update: Nike has apologized for producing the poster. Lame.
Update #2: I'm getting a ton of mail about this, the most about a single post in quite awhile. Without exception, you all disagree with me.
My recent design refresh is already bearing fruit around these parts. Behold the new photo album template, which you can see in the Ireland photos, some recent Paris photos, photos from the High Line, etc. The album pages are the first non-white background pages to make it onto kottke.org in quite awhile, which was part of the reason for the design refresh. I tried the photos on white, but I felt they looked better on a darker background, so I went with that. The photos are also larger than they previously were, up from 600 pixels wide to 720 pixels. The file sizes are also quite large (sorry!)...BetterHTMLExport doesn't do the best job in compressing jpgs while preserving image quality. Photoshop's "Save for Web" does a much better job, but that would be a lot more time consuming for me. The search for the perfect solution goes on...
But my favorite part of the albums are the navigation. If you mouseover the right half of the photo, you get an arrow overlaid on the photo that suggests that you can click to move to the next photo (which, of course, you can). Then you can click on the left side of the photo to go back. If you're using Safari or Firefox or anything but IE really, the arrow images are tranparent png files that blend in with the photo in the background. Fun!
Up next: the photo page needs some help.
Made a few changes to the design of the site just now. If it looks a little goofy, you may need to press shift-reload or restart your browser to load the new stylesheet (I can't believe it's 2005 and I still need to say this...come on, browser makers). The header and footer are different (site-wide), as is the front page. It's a continuation of the tag idea I introduced here almost a year ago and an amalgam of a couple different designs I've been tinkering with for the last few months...with the combination, I finally got it where I want it. It looks pretty much the same as the last design (yellow tab/banner at the top), but it's going to be more flexible going forward...and I just plain like it better than the last one (which I got tired of pretty quickly).
Update: The menu is gone for now, so the rest of this probably isn't going to make much sense.
If you take a look at the front page of kottke.org, you'll notice a pulldown at the top of the content column (on the left). When you mouse over the menu, you're presented with a list of choices of what to display in that column and when you click one of those choices, the content is requested from the server and displayed using Ajax. More on the Ajax stuff in a bit.
Back to the menu (go try it out...this will all make a lot more sense if you do), this is a baby step in my desire to get rid of (or at least drastically de-emphasize) the fairly useless archive page**. From the front page, you can now see not only all the latest posts but also only the movie posts, the latest remaindered links, the latest book reviews, etc. You can also request 50 random posts (which is my favorite feature of this whole thing; it's a great way to surf the archives...and find some really horrible writing), a compilation of my favorite posts, some recent photos of mine from Flickr, and my del.icio.us inbox. It's a really fast way to get at a large chunk of the recent archives (dare I say the Long Tail of kottke.org?) and does so in a better way than the archives page.
Oh, and just for the hell of it, I whipped up a little RSS reader that pulls in posts from Boing Boing, waxy.org, Gawker, and the NY Times (cached so that feeds aren't requested every time someone looks at the page) and presents them in the familiar kottke.org format. So that's fun too.
Using Ajax for this was a no-brainer (it's better than loading all that content ahead of time and having it in hidden layers or something), but I'm going to let you in on a little secret: Ajax is a ridiculously easy technology to implement***, especially if you're using something like Movable Type which quickly and easily outputs chunks of XHTML. The XMLHttpRequest part of this took all of 10 minutes to implement, just put the following in the header of your XHTML file (code adpated from Guide to Using XMLHttpRequest (with Baby Steps)):
<script type="text/javascript">
<!--
var xmlhttp=false;
/*@cc_on @*/
/*@if (@_jscript_version >= 5)
try {
xmlhttp = new ActiveXObject("Msxml2.XMLHTTP");
} catch (e) {
try {
xmlhttp = new ActiveXObject("Microsoft.XMLHTTP");
} catch (E) {
xmlhttp = false;
}
}
@end @*/
if (!xmlhttp && typeof XMLHttpRequest != 'undefined') {
xmlhttp = new XMLHttpRequest();
}
function getMyHTML(serverPage, objID) {
var obj = document.getElementById(objID);
xmlhttp.open("GET", serverPage);
xmlhttp.onreadystatechange = function() {
if (xmlhttp.readyState == 4 && xmlhttp.status == 200) {
obj.innerHTML = xmlhttp.responseText;
}
}
xmlhttp.send(null);
}
//-->
</script>
and then you can get an XHTML chunk called "chunk2.html" from the server and put it into the "goeshere" div when you click on the "Change it!" link like so:
<p><a href="javascript://" onclick="getMyHTML('chunk2.html','goeshere')">Change it!</a></p>
<div id="goeshere">Hey, this text will be replaced.</div>
That's it...you don't need to write a whole bunch of JavaScript to parse XML data files and use the DOM to stick each bit of information into the right spot or anything like that. Even the RSS feeds I'm pulling in are processed on the server and pulled into the browser as a whole XHTML chunk. And like I said before, Movable Type, Wordpress, TextPattern, or any other CMS that can output XHTML can be used to generate files that you can then swap in. It's pretty easy to get MT to publish XHTML files containing the last 30 Trackbacks to your site, the 50 most recent comments, a list of the most commented on entries, or dozens of other options.
So that's the easy part. The interesting aspect of Ajax is not the technology but how to apply it sensibly (i.e. using it to solve design problems). One of the problems with Ajax is that the data you're bringing in dynamically often cannot be bookmarked and it breaks the back button. Something like the front page of kottke.org is a perfect place for it though. All the posts on the front page are permalinked and no one links to a specific post that's shown on the front page because that information will scroll off the page in two weeks or so; people link to the post's permanent location instead. When you select different types of content with the pulldown, all the posts returned are permalinked and there's a link to the permanent location for each type of content as well (if you're viewing the latest movies, there's a permanent link to the movies page). Plus, the page still works just fine if the JavaScript doesn't work on your browser or mobile device and you can still get to everything via the archives page.
It's all a bit rough and needs more refinement than most of the stuff I usually launch on kottke.org (there's several things I don't quite like about it), but I wanted to get it out there and get some feedback. Bug reports are especially welcome, but please note that if you're not on IE 5.5+, Firefox, or Safari, it might not work at all. (The line-height on the pulldown is a little bit screwy on IE on the PC and there's an odd flicker on Firefox on the PC...any ideas?) And apologies in advance if any of the above code is wrong or confusing...like I said, this is all a bit more slapdash than usual and I'll correct as necessary.
** I've touched on this before, but most weblogs' archive pages are pretty useless, mine included. They should help people discover and find the non-current posts on a site and a list of links to each month's worth of posts isn't that helpful. The categories are more helpful, but it's still a lot of clicking around. The jury is still out on tag clouds. Two current archive page favorites are Binary Bonsai's (Live Archives section, lists of latest entries, most commented on, personal favorites) and Subtraction's (category descriptions, # of posts in each archive, list of post titles for each of the last few months). Like I said above, my goal is to get rid of the archive page altogether.
*** Obviously there's a lot more you can do with Ajax that is more complicated, but for a lot of applications, the "assemble the data on the server and then just shove it into an id'd div" approach works pretty well, even if it does require a little more bandwidth.
I've always liked the old designer's adage of "good, fast, or cheap, pick two". That is, a project can be completed quickly, it can be done cheap, and it can be done well, but you need to choose which two of those you want. If you want a good project done quickly, it's gonna be expensive. Fast and cheap? It's gonna suck. In his talk at SXSW, Jason Fried outlined another pick two scenario clients need to be aware of: "fixed scope, fixed timeframe, or fixed budget". Here are some more variations:
Elegant, documented, on time.
Privacy, accuracy, security.
Have fun, do good, stay out of trouble.
Study, socialize, sleep.
Diverse, free, equal.
Fast, efficient, useful.
Cheap, healthy, tasty.
Secure, usable, affordable.
Short, memorable, unique.
Cheap, light, strong.
In considering these sets of trade-offs -- accepting that they are cliches and therefore both overly general but also fairly accurate across a range of diverse situations -- two questions come to mind.
- Why is "pick two out of three" the rule? Why not "one out of two" or "four out of six"? Or is "pick two out of three" just a cultural assumption?
- Is there some underlying scientific or economic relationship here? What do the situations in which "pick two" logic applies have in common? In clumsily casting about for an appropriate explanation/metaphor, I considered the triangle (all interior angles add up to 180 degrees), thermodynamics and entropy, Boyle's Law, Hooke's Law, the Heisenberg Uncertainty Principle (although that's a "one out of two" thing), Ohm's Law, and Newton's Second Law of Motion, but none seem to fit well.
I've poked around a bit online looking for discussions of "pick two" systems and have come up empty. Anyone have any ideas about this? Any good resources to check out? Something tells me I'm missing something obvious here. (Or onto something interesting.)
I'm at the Adobe Ideas conference today, so posting may be a little slow. Or non-existant because this is the first conference I've been to in, oh, 4 years that doesn't have wifi available to the attendees (I had to retreat to Bryant Park for lunch to soak up some free wireless). For all the talk about connectivity during the keynote, there isn't much evidence of it so far. :(
Anyway, Adobe announced Creative Suite 2 today, as rumored. One feature that got the crowd oohing and aahing was the Vanishing Point tool in Photoshop. It lets you map the perspective out on an image and then place text, images, etc in the proper perspective on that map. Perhaps some more later when I get to a connection again.
Update: got a better look at CS 2...looks pretty sweet. Looks like Adobe has learned quite a bit from Apple: Bridge does for design assets what iTunes has done for music files (and, with lesser success, iPhoto does for photos); namely it abstracts the file structure away (mostly) and gives the designer all kinds of views/tools with which to keep track of your work. This is something one needs to spend time with to fully gauge the impact of, but from what little I saw, Adobe has done a great job with Bridge. (And it reads RSS!!?!) I know Apple is heading in this direction with Spotlight, but I've decided that I never want to see the file system ever again...just give me views into each type of data or project that I'm doing, tools to manipulate that data, and let the OS worry about where it's storing things.
Photobloggers take note, Photoshop CS has been updated with photographers in mind. The Spot Healing Brush hides blemishes with a click or two. Three new filters deal with noise reduction (woo!), lens correction, and "smart" sharpening (superior to the current Unsharp Mask). There's new features for mainpulating RAW images and also an exposure filter for non-RAW images, with an f-stop range of -20 to +20 (how's that for overkill?).
Jeff Veen has a good post describing his working method in approaching design and how it has a lot to do with the inspiration that occurs after stewing in lots of collected data:
This leads me to believe that doing research in web design -- for me at least -- has more to do with Method Acting than ethnography. Robert De Niro used this technique as he prepared for his roll as Travis Bickle in Taxi Driver, spending a month pulling late night shifts as a cab driver. He did this not to mimic those in the profession, but to be able to react on screen in a way that they would. Applied back to design: Rather than figure out how to design for your audience, design for yourself after becoming like your audience. At that point, I find, snap decisions become good decisions.
The piece is a summary/continuation of his How to Inform Design talk at SXSW, which struck a nerve with me when I heard it because I'd always felt a little strange (insecure is probably a better word) working in exactly the way Jeff describes. Everyone else, with their mountains of data, carefully crafted use case scenarios, iron-clad five step design processes, personas, and strategic analysis made my off-the-cuff process feel a little inadequate. Several years ago, I figured out that a significant part of a designer's job was to (somehow) come up with the correct solution for a given problem and then sell that decision to the client. For me, like Jeff, the solution would usually arrive fairly late in the game after I'd been soaking in the problem for 90% of the available time. But like he says, you can't sell client services with that approach, which is why you need to sell all the fancy sounding stuff and just get it done right however you can.
Last week, I wondered aloud whether Google's switch from dictionary.com to answers.com for their "definition" links was driven by concern for their users or was just a business deal:
The cynic in me feels like money had to have changed hands in order for this to have happened (maybe Google is an investor in GuruNet, maybe GuruNet paid for that placement), but the optimist in me says that Google is still a weird little company where the members of project teams can stumble across a better resource that will make their users happier and more productive and implement it on the live site quickly, even if the company that provides that resource could be considered a competitor.
Marissa Meyer, Product Manager for Google, was kind enough to respond to my query about it:
This decision was driven off of concern for our user experience. We are not paying answers.com for this service nor are they paying us. They were willing to work with us and design a website that we felt represented an improvement for our users over what was offered on dictionary.com (no pop-ups, dense information presentation).
That a $50 billion American company is so focused on the experience presented to its users, well, it's pretty impressive.
I'll write more in-depth about a few of the speakers here, but for now, here are some soundbites (my comments in brackets):
- Andrew Zolli: All societies have an image of the future. Those that have optimistic images have better outcomes than those with pessimistic images. [The US right now seems optimistic overall, but getting a bit more pessimistic. At PopTech this year and last, about 1/2 the speakers said during their talks something to the effect of "we're screwed".]
- Malcolm Gladwell talking about a chapter from Blink:
One of the many ways in which asking someone what they think isn't necessarily the best way to find out what they want: people move away from the more sophisticated idea and they go for the simpler choice because they don't have the necessary "vocabulary" to explain their real feelings. [You may prefer The Hours to Goldeneye, but when asked to justify that choice, you may find yourself favoring the Bond flick more than you would if you didn't have to justify it.]
- Frans de Waal studies primate behavior to gain insight into human behavior. One of his findings: aggression does not disperse, it brings primates together more often than normal. [Destruction is creative. Creativity is destructive. Or something.]
- Bruce Mau: Not all countries have embraced democracy, but most have embraced traffic (individual transportation). [There are many different ways in which openness can be introduced into a culture.]
- Thomas Barnett: China is 30% Marxist Communist, 70% The Sopranos.
- Phillip Longman: Secular societies that cannot reproduce will be replaced by fundamentalist countries where children are an economic asset and a gift from God. And in Brazil, television viewing time predicts birth rate...the more TV a woman watches, the less likely she is to have children.
Jot - Bringing structured data to wikis. Actually let's not use the word wiki, because Jot isn't that. It's part Word, part Excel, part database, but deployed through a Web browser and published as Web content (as well as email and probably in other ways as time goes on). If you had asked me a year and a half ago what software I would like to build if I had the money, time, and programming chops to do it, a wiki-ish program with structured data capability where you don't have to worry about people learning the wiki-ish formatting syntax would have been near the top of the stack. (The last remaining big wiki problem is that the fundamental unit of wikis is the page. Wikis need to be less dependant on the page (think chunks instead, like weblog posts)...TiddlyWiki is a good step in this direction.)
Rojo - Sigh. This is moving toward what Kinja was supposed to be.
I stupidly left the music panel yesterday before Danger Mouse could drop some science about the music industry:
Artists are responsible, because for some reason we think we should be millionaires for making people smile. But I don't worry too much, because it will be over soon. There won't be a market for making people smile because kids will just do it for free.
Thanks to Veen for the quote (visit his post for another good DM quote.)
Mary Meeker - Don't forget about China. There is huge Web/mobile/gaming business going on in China right now. If you believe Jared Diamond's hunch (which I do), the so-called dominance of Western Civilization in the world is just a blip on the radar as far as China's actual dominant position goes.
Jason Fried, Jeff Veen, and I did a workshop yesterday on Design for Web 2.0. In preparing for the informal chat we had among ourselves and with the audience, we prepared a list of questions to consider. There's about 15 of them, presented here unedited without context or answers:
- Right now, Web design feels like talking to the del.icio.us API and blending Flickr RSS with Upcoming iCal subscriptions. What happens when design(ers) has little to do with what's on the page?
- Blogs democratized publishing, now "tags" could be considered to democratize information architecture. What's behind this? Are powerful tools in the hands of millions really better than well-trained experts?
- How do we justify the high upfront costs of doing user research? Is there a magic bullet formula that will tell us if it's worth it?
- I love quick wins. Find something you can fix in two weeks. Measure how it works now. Fix it. See how the numbers change. Repeat until you run out of stuff. Why is this so shocking to corporate Web sites?
- It feels to me that IT departments still operate under the assumption that technology is a precious resource that should be guarded carefully and trickled out. This is like a pair of handcuffs to most Web teams. Why do so many enterprises treat their Web sites like shrink-wrapped software and not publications?
- Can usability drive innovation? What's the balance between giving the user what they need but also giving them what they do not yet know that they need?
- How do you go about designing for groups? When the "user" is a collection of people rather than a single person?
- Do brochureware sites still have a place on today's Web?
- What does user experience mean in the context of cross-media services? How do you keep it consistent when you're using T-Mobile's interface to email your photos to Flickr or updating your blog with your TiVo using your Blackberry as an input device?
- home pages -> sites -> "posts" -> ????
- Q for Veen re: your content management is a process, not a software package mantra. Is there a lesson here for software in general?
- How would you design a web-based application differently today than 3 years ago? What do we have in our design war chests today that is capable of making the experience feel 3-years more mature?
- Do you think design "talk" is too focused on technological achievement ("Look mom, no tables!") these days, or is it a step in the right direction?
- Should one design fit all? Should designers worry about their web designs working on alternate devices by default, or should each device have its own unique design?
- What is your feeling on Personas? Do they really help drive the visual design process or are they just process for process sake? What does it really mean to know your audience might be represented by a 30-something single female who likes to watch Friends, prefers paying her bills by mail, gets coffee every morning at Starbucks, and has a 56K connection at home?
- Who should we follow into the Web 2.0? What are some of the best examples of interaction design today?
I've opened the comments if you'd like to discuss any of these questions amongst yourselves.
Two years ago, Calvin Trillin wrote an article for the New Yorker about Shopsin's, an eccentric eatery in the West Village with about 9 billion menu items:
What does happen occasionally is that Kenny gets an idea for a dish and writes on the specials board -- yes, there is a specials board -- something like Indomalekian Sunrise Stew. (Kenny and his oldest son, Charlie, invented the country of Indomalekia along with its culinary traditions.) A couple of weeks later, someone finally orders Indomalekian Sunrise Stew and Kenny can't remember what he had in mind when he thought it up. Fortunately, the customer doesn't know, either, so Kenny just invents it again on the spot.
Shopsin's has moved to another Village location since the article came out, but they've still got that big old menu. If you dare, feast your eyes on a tour de force of outsider information design, all 11 pages of the Shopsin's General Store menu (PDF, 188K).
You want chicken fried eggs with a side of pancakes? Page 6. On page 1, there's gotta be 100 soups alone, including Pistachio Red Chicken Curry. I lost count after 40 different kinds of pancakes on page 10. In amongst the kate, gregg, tamara, and sneaky pete sandwiches on page 2, you'll find the northern sandwich: peanut butter & bacon on white toast. There appears to be nothing that's not on the menu, although I looked pretty hard for foie gras and couldn't find it. If they did have it, you could probably get it chicken fried with whipped cream on top.
On page 8, page 11, and the front of their Web site, you'll find the restaurant rules:
- No cell phone use
- One meal per person minimum (everyone's got to eat)
- No smoking
- Limit four people per group
On that last point, the menu has something additional to add (page 4):
Party of Five
you could put a chair at the end
or push the tables together
but dont bother
This banged-up little restaurant
where you would expect no rules at all
has a firm policy against seating
parties of five
And you know you are a party of five
It doesn't matter if one of you
offers to leave or if
you say you could split into
a party of three and a party of two
or if the five of you come back tomorrow
in Richard Nixon masks and try to pretend
that you don't know each other
It won't work: You're a party of five
even if you're a beloved regular
Even if the place is empty
Even if you bring logic to bear
Even if you're a tackle for the Chicago Bears
it won't work
You're a party of five
You will always be a party of five
Ahundred blocks from here
a hundred years from now
you will still be a party of five
and you will never savor the soup
or compare the coffee
or hear the wisdom of the cook
and the wit of the waitress or
get to hum the old -time tunes
among which you will find
no quintets
-- Robert Hershon
Love it, love it, love it, and I have to get my ass over there one of these days.
Back in November, Meg and I went to the Cooper Hewitt National Design Museum to check out the Design Triennial. Of course, I meant to write more about what I saw, but never got around it. Yusuke Obuchi's project popped into my head this morning, probably my favorite piece from the show. Obuchi's Wave Garden is a prototype for an ocean-powered power plant. The motion of the ocean causes flexible tiles to bend, the mechanical stress of the bending generates electricity (via the piezoelectric effect), and the electricity is collected to run blenders for making Californians' beloved smoothies.
And that would be fantastic by itself, but if Californians wisely use energy during the week, the power plant becomes a floating public park on the weekends:
Demand for the energy the Wave Garden produces on weekdays determines its function on the weekend, when energy consumption declines. If Californians have consumed little energy, they are rewarded: the tiles rise to the surface to form recreational platforms and swimming ponds. But if weekday demand is too high, the garden remains strictly a power plant. Acting as a barometer of energy use, the Wave Garden makes invisible power visible.
New York Times architectural critic Herbert Muschamp called it Best in Show:
No contest, really. This is the kind of work critics dream of finding. Even as pure sculpture, the project is stunning. But it is also a fine example of green design. Conceived as a power plant to replace a nuclear reactor in Southern California, this floating marine installation would harvest energy from Pacific waves. On weekends, it would surface above the waves to create a public beach and park roughly half the size of Central Park.
Yusuke and his work were also mentioned in a review of the Triennial for Metropolis. Here are some photos of the Wave Garden (another photo from the Metropolis piece).
Jesse James Garrett of Adaptive Path will be in NYC on July 22 to teach a one-day course on The Elements of User Experience. The course will be based on his excellent book of the same name and his essay on The Nine Pillars of Successful Web Teams:
This presentation provides a framework for user-centered Web design with clear explanations and vivid illustrations that you can put to immediate use. During this full-day seminar, Jesse will show you how to apply his concepts to simplify the complex challenges of creating products that meet business goals while satisfying user needs. Along the way, he'll share his insights on the next wave of user experience innovation.
If you're interested in attending, kottke.org readers can register with promotional code AFT38 to get 15% off the cost of the course.
Victor speculates that eBay's not-so-great site design might be responsible for their success:
Conventional wisdom - at least with the folks I hang out with - says that auctions, plus EBay's first-mover advantage - is such a compelling experience that people will tolerate the bad design. But what if EBay is succeeding because of its bad design? What if, like a flea market's rough, seller-created environment, the amateur design communicates the idea of bargain?
I remember talking about this issue with Stewart and Jason in preparation for our panel on Simplicity in Web Design for SXSW 2002. I can't recall if we talked specifically about eBay, but we did discuss The Drudge Report and Google. Drudge maintains his independant DIY credibility with the site's amateur design and Google's simple design and unprofessional visual branding gained the allegience of geeks and general Web users looking for no-nonsense search results.
Like Peter, I believe eBay could benefit significantly by a "tightening up of their experience", but Victor is right in emphasizing the importance of the site's flea market feel. Useful design doesn't necessarily need to be "slick" or "high tech" (a feeling which eBay needs to stay well away from, except when it comes to their security and fraud prevention efforts). Look at Ikea. They're known for cheap home furnishings and housewares, yet they focus a great deal of attention on design, not only for their products, but for their stores, catalogs, factories, signage, etc. eBay could definitely achieve a similarly successful balance with their site.
Nice fluffy article in the NY Times about the design process that led to the TiVo remote control, complete with a thumbs-up (bing!) from usability quote-whore Jakob Nielsen. I like TiVo and all, but why does tech journalism have to be so soft all the time?
The TiVo remote has a really huge, much-discussed design flaw, namely that you cannot tell which end to point at the TV unless you look at the remote or take a few seconds to feel for the buttons in your hand (if the room is dark). I've been using TiVo for almost 4 years now and while I've learned to look at the remote before I pick it up, the symmetry problem still gets me more than it should.
Here's another pitch that the Times let sail by in the article: "TiVo holds four design patents on the remote's basic shape and key layout." Say what? Trademark maybe, but how do you patent the shape of a remote control? By now, this question has a fairly pat and dissatisfying answer ("well, the busted and overworked patent system let us so we did"), but I'm tired of seeing patents like this given credibility by being mentioned in big newspapers.
Update: Neil sent me a link to the USPTO's guidelines for granting design patents. Here's their definition of design:
A design consists of the visual ornamental characteristics embodied in, or applied to, an article of manufacture.
If businesses buying design don't have any idea what design is, I guess you can't expect the US gov't to have any better understanding.
Paul DePodesta is the assistant GM for the Oakland A's, a team whose winning ways have been documented in Michael Lewis's excellent Moneyball (my review). DePodesta took part in CSFB's 2003 Thought Leader Forum, presenting his ideas on The Genesis, Implementation, and Management of New Systems. He starts off talking about the situation in Cleveland, where he worked before going to the A's:
Despite this situation, I was grappling with a significant issue: the Indians were very successful at this time. We kept winning the division year after year, selling out every game in our stadium and the owner took the team public at one point and was making more money than any other owner. Thomas Kuhn wrote in The Structure of Scientific Revolutions, "As in manufacture so in science-retooling is an extravagance to be reserved for the occasion that demands it." There was no crisis in Cleveland, at least not on the surface.
Success breeds complacency and isn't conducive to creating an atmosphere of critical analysis or innovation. Peter Merholz riffs about this in the context of user experience on the Web:
One of the most annoying realities of a user experience professional's life is eBay, because it seems to flout everything we stand for. The Web's most popular 'pure play' sports a remarkably unwieldy and unattrac
