Designing for the Ideal

Sometimes a designer doesn’t completely account for the reality of how a solution or product will be used, and instead designs around a set of requirements that seem to be fully representative of the problem at hand, but are actually narrower in scope. I call this designing for the ideal, because the designer typically chooses a band of requirements that play nicely with the favored solution — content that looks great or inputs that behave wonderfully within the design as it is being crafted. More often than not though, when the product is released into the real world the designer is in for a rude awakening.

There was a bit of designing for the ideal, I think, when the three major browsers — Safari, Chrome and Firefox — each started presenting a gallery of a user’s most visited Web pages within new tabs, instead of just a blank page or a user’s designated starting page. This feature has been around for a while now, but it’s remained broken for quite a long time.

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Are Design Books Meant to Be Read?

The folks at Unit Editions, a boutique publisher of amazing graphic design books, keep turning out stuff that I can’t resist. Back in June I pre-ordered their “most ambitious Unit publication to date — a numbered, limited edition, deluxe monograph of the legendary Herb Lubalin, one of the foremost graphic designers of the 20th century,” written by noted design writer and Unit Editions co-founder Adrian Shaughnessy.

Lubalin

It arrived in the mail recently and boy does this thing announce itself. It ships in a cardboard box, but when you open it up, the book is enclosed in another cardboard box, this one printed with some fancy graphics and the name of the book on the spine (I’m not exactly sure if I’m meant to save this second box or not). Open that, and you finally get to the book itself, wrapped in a screen-printed dust jacket — it’s interesting to me how in print design the more enclosed the content and the harder it is to get to, the more special it’s meant to feel.

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An Interview with Charles Adler of Kickstarter

Folks, today I’m kicking off a series of occasional interviews with designers-turned-entrepreneurs. The first installment features Charles Adler, who co-founded Kickstarter with Perry Chen and Yancey Strickler. Kickstarter, of course, is the crowdfunding phenomenon that has upended seed economics for new products and projects — the verb “to kickstart” has become practically synonymous with the wildly successful campaigns that the company hosts. To me, one of the many fascinating aspects of Kickstarter is how they’ve leveraged design on many levels to produce increasingly disruptive, real world results.

Charles and I have become friendly over the past year, being both New Yorkers and even neighbors in Brooklyn — we frequently run into one another at Ft. Greene Park when he’s walking his ten-year old mutt Buster and I’m walking my ten-year old mutt Mister President. In this email interview, he talks about the origins of his interests in design and entrepreneurship, and how the two have meshed together in his role at Kickstarter.

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Follow Up to “Built to Not Last”

The response to my post yesterday about the durability of Apple’s products has been much more robust than I expected.

A lot of people have challenged me to name at least a few modern electronic devices that age well in the manner I’m describing. I admit: it’s very difficult to do that. Many people have cited Moore’s Law, the principle that guides every digital product’s life cycle, as being so thoroughly in opposition to designing and building products that last that it renders my argument inherently flawed. You just can’t build digital devices for the long haul, they say, because “planned obsolesence” will always do these devices in, make them irrelevant even if they do survive the ravages of time.

This is true to some extent. As I said above, I’m certainly not advising Apple on a purely business level that it would be a good idea to reverse course and make new devices user-upgradeable and repairable.

But I would say that just because these devices might no longer be wanted in their eighth, ninth, tenth years of their lives and so on, that doesn’t mean that it’s not possible to build them more ruggedly, and it certainly doesn’t mean they can’t be built so that they acquire an emotionally appealing patina as they age, increasing their desirability if only to a select few.

There’s very little keeping Apple from making an iPod or iPhone or iPad that would last for a decade or more, even if to do so would mean its software could no longer be practically updated at some point (in fact that already happens, which is totally fair, but almost invariably, the hardware begins to break down at that point too). And there’s very little keeping Apple from engineering their devices in such a way that they get better looking over time. Their margins are certainly healthy enough to impose this kind of challenge upon themselves.

It’s true, there’s not necessarily a business case to do this, but that is not the only thing Apple will be judged on in the decades to come. And that’s what I’m talking about here: how will future generations look back at Apple, and by extension its customers? Did we all live our lives by more than just the bottom line? Or were the late twentieth and early twenty-first century the decades in which we irrevocably decided that everything should be disposable (or even recyclable) after just two or three years?

It may sound like I’m picking on Apple, but I think that’s a specious criticism, too. Apple regularly claims exceptionalism in the kinds of products they build; it’s fair game then to at least raise the issue of doing things their peers clearly won’t. This is the brand they built: a company that makes truly great products, products that make a dent in the universe. To me, doing even a little bit to counter the notion that everything is disposable is right in line with that.

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Built to Not Last

Not long after its announcement last week, Kyle Wiens of iFixIt disassembled one of Apple’s new Retina MacBook Pros and wrote at Wired.com that “the display is fused to the glass, which means replacing the LCD requires buying an expensive display assembly. The RAM is now soldered to the logic board — making future memory upgrades impossible. And the battery is glued to the case.” His conclusion was that it’s “the least repairable laptop we’ve ever taken apart.”

This has sparked some debate on both the customer friendliness and environmental responsibility of this kind of manufacturing, There’s no denying that the Retina MacBook Pro is clearly not built for user-serviceable repair or upgrade. Obviously, it follows the same path that Apple has taken with its products over the past decade-plus; from the iPod to the iPhone to the MacBook Air to the iPad, Apple hardware has become less and less accessible over time.

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The Art of Apps

Opening a week from Monday, at the SoHo Gallery for Digital Art here in New York City: an exhibition of beautiful user interface designs for iPhone and iPad apps called “The Art of Apps.”

This is an idea that came from my friend Benjamin Hindman, a master events impresario and CEO of of One Clipboard. Ben wanted to create an exhibition around great digital design, and together we decided to focus it on some of the gorgeous user interface design work being done for iOS. Together, we pulled in a few of our favorite app designers, who all graciously agreed to lend work to the show: Piictu, Tweetbot, Paper, Path, Behance and forthcoming (and beautiful) app Cameo. I’m humbled that none of these stellar folks balked at the idea of including Mixel too.

The R.S.V.P. list is open right now at this Splash page, so if you’ll be around on 14 May, please come by and see the show.

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Get on the Bjango Wagon

Marc Edwards over at Bjango is an extremely knowledgable and talented app designer and developer. If you make apps and you’re not reading his blog, you’re missing out on a great education. Last year he wrote a phenomenally helpful article on “pixel-perfect vector nudging” in Photoshop that was probably the single most useful tip I read anywhere in 2011. These articles are free, but I’d pay real money for them, just as I paid for his excellent Skala Preview, a Mac OS X desktop application and iOS app that lets you send real-time previews of your Photoshop work to your iPad or iPhone. It’s simple, elegant and awesome. This morning he also updated his shockingly comprehensive iOS Photoshop Actions and Workflows to version 1.2, with some minor tweaks and support for Photoshop CS6 (already!). In short, Marc is making incredible contributions to the field; give him a bit of your attention and, if Skala Preview strikes your fancy, a bit of your money. You’ll be well rewarded.

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Some Generalizing about Specializing

When I worked at The New York Times, I used to have friendly arguments with a colleague about the role of information architects on a digital design team. The debate was over the things that an information architect does — evaluating goals, planning features, constructing wireframes — were things that should be the purview of visual designers instead. We would go back and forth over the usefulness of dividing these responsibilities, segregating the nitty gritty planning from the visual execution. Put another way, the question was whether the information architect was even necessary?

I invariably argued in favor of information architects because I’ve always felt that there is a significant population of talented designers and thinkers who can envision, plan and manage a user experience design solution even in spite of their inability to render the user interface itself in Photoshop, Illustrator, HTML etc. What’s more, there are lots of visual designers of the ‘heads down’ type, who are superb craftspeople but are not very adept at the holistic thinking necessary to plan out the entirety of a user experience, or capable of the articulation necessary to convince others of a particular UX strategy.

Things seem to be changing. For one, the term “information architect” seems to have gone out of style. What I hear a lot more these days is “user experience designer.” Now, I dislike few things as much as debating the semantics of these particular job titles, but it does strike me that part of the shift to this nomenclature has to do with the fact that, more and more, what employers want is a single person who can do both the feature planning and the visual execution.

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Android Doubles Down on Design

It’s probably a good idea for everybody involved in design to follow closely what happens with Android Design, a portal that Google launched yesterday as part of a new initiative to raise the mobile platform’s user experience to the next level. Aimed squarely at Android developers, the site sets out a creative vision (tied closely to the awkwardly-named Ice Cream Sandwich, or Android 4.0 release); its central tenets are “enchant me,” “simplify my life,” and “make me amazing.” Those three ideas are supported by a series of design principles and a library of design patterns and building blocks that should make it easier for developers to adhere to the vision.

All in all Android Design is a well-executed package, and it’s significant in that it’s the first — or at least the most cogent — articulation of what designing for Android is all about. It puts forward clearly delineated concepts that Android developers should hold in their heads when they set out to create a product on this platform, and backs those up by identifying the specific, tactical methods that Google feels are most effective at arriving at these ends. Good stuff.

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