The Hurry Up and Wait Startup

I’ve gone on record with my general lack of enthusiasm for magazines on the iPad, at least the way they’ve been imagined so far, but I think the self-described “social magazine” Flipboard shows a lot of promise. It’s a smart idea but like a lot of the smartest ideas it’s not a particularly ingenious one on its face: the app aggregates recommendations and links to content made by people within your social network. The beauty is in its execution, which happens to be gorgeous and an example of truly superior user experience design (from what I’ve seen so far). Flipboard’s developers have built an impressive mechanism for automated layout intelligence, and the pages within the app winningly transcend the paradigm of digital templates as aesthetically unremarkable, one-size-fits-all showcases for content.

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Settling Scores with MLB At Bat

MLB At BatOne of my favorite uses for my increasingly useful iPad is to keep current with The New York Yankees, an activity made possible — and enjoyable — with the outstanding MLB At Bat app. For baseball fans like myself who have canceled their cable service and therefore have little access to regular gameday broadcasts, paying just a fraction of the cost of a ballpark ticket once for an app that gives this kind of access for the full season is a bargain: it offers of course a full box score, an excellent complement of statistics, play-by-play summaries, radio simulcasting and, most importantly for me, a healthy trove of after-the-fact video.

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This One Goes to Eleven (and Up)

The surprise announcement that I posted last week about bringing my career at The New York Times to an end took forever to write. I’m generally a slower writer than I’d like to be, and with something as tricky as that, it takes me at least a dozen drafts to even get the tone right.

There was a lot to fit in too, and in the end I edited out some thoughts that I originally would have liked to include. Mostly, I wanted to discuss why I felt it was time for me to leave. That’s a fairly big subject with several different facets, but I wanted to touch on one of those facets today, maybe the biggest motivation in my departure: my daughter Thuy is rapidly approaching her first birthday. In fact, yesterday she hit the eleven-month mark.

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Origins of “Inception”

Among the many interesting things about Christopher Nolan’s superb new movie “Inception” is the fact that it borrows so clearly from so many genres and yet seems to belong to none of them in particular. Its premise of dream-surfing pyrotechnics is heavily sci-fi and yet the movie is conspicuously absent of any specific technology (as cannily observed by Jeremy Keith). In many ways it’s a modernized espionage thriller of the sort perfected in recent years by Tony Gilroy, including of course the “Bourne” trilogy he wrote as well as the corporate cloak and dagger of “Duplicity,” the underrated romantic spy comedy he directed. It clearly owes a debt to heist films as well, but feels less like a romping caper like “The Italian Job” (in either of its two incarnations) than the comparatively quiet and primitive choreography of “Le cercle rouge.”

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A Change

For many months now I’ve been thinking about the long-term trajectory of my career, wrestling with some serious questions about what it is I want to do with the few talents I’m lucky enough to have. After a lot of internal debate, I came to the conclusion that the time is right for me to make a change in my job. So about two and a half weeks ago, I formally resigned my position as design director of NYTimes.com. My last day will be this coming Friday, 16 July.

It wasn’t an easy decision. I’ve been at The New York Times for four and a half years now, four and a half years that will doubtless figure prominently in my life for years to come. There were some rough patches, as there are with any job, but on the whole it’s been the best job I’ve ever had. I got to work on some of the most rewarding projects anywhere, alongside a diverse population of some of the smartest people I’ve ever met, and I had the thrilling privilege of playing a bit part in the world’s best journalism.

However, I never set out to work in journalism. I’m a designer at heart, and what I’m compositionally best suited for is the challenge of designing user experiences, hopefully superb user experiences. Of course, at this moment in history when technology is realigning the world in such tumultuous ways, it’s true that there’s a profound overlap between design and the news — it’s true that in many ways the delivery of the news is the same as its user experience. For these past several years, I found that overlap to be a tremendously satisfying arena within which to work, but journalism in and of itself has only been a part of my motivation.

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FaceTime Means Crying Time

Apple just released four new commercials for the FaceTime video calling feature available as part of iPhone 4. You can see them all here. Every single one of them is an emotional depth charge, so be careful — you’re bound to choke up as you watch. I’m taking a cynical attitude to them because they’ve undermined my exterior facade of emotional imperviousness; I teared up at least a little bit after each of the first three, and have yet to work up the composure to watch the last one. They’re among the most effective commercials I can remember seeing.

Among all of Apple’s iPhone marketing efforts, these commercials in particular offer such an interesting contrast to the competition. Compare them to the shockingly unfriendly, aggressively technical nature being used by Verizon to market the Droid phones. Those advertisements and commercials are nearly dystopian in nature, promising customers a sci-fi-style onslaught of technical prowess. The Droid message seems to be, “Resistance is futile.” I just find it hard to get behind that, in no small part because I’m still a sobbing mess over here from these FaceTime commercials.

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I’m Feeling Lucky

Last week, Google announced a new feature that lets users customize Google.com with their own pictures. When I read about this, I groaned; here was another perfect example of Google peddling unbridled visual pollution in its unconscious drive to become the new Microsoft, purveyor of aesthetic misfires. I just couldn’t imagine a photograph that I’d like to see running in the background of their home page, the only truly elegant product that Google has ever designed. I mean, what would the point be?

Then Laura showed me the photo she uploaded. I stand corrected.

See the full-size image here.

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What I Said About Apple and Typography

I watched with dismay yesterday when the comment thread for my post, “Better Display, Same Typography,” a rant about Apple’s lackluster efforts in typography on all of its platforms, went a bit astray. Lots of commenters understood what I was trying to say, but many others didn’t.

Many thought I was criticizing the forthcoming iBooks for iPhone, which is understandable because the photo included in the post was of exactly that — iBooks for iPhone displaying a less-than-sterling example of typographic chops. But I wasn’t singling out iBooks, or the iOS even, so it’s my fault for not being sufficiently explicit.

What I meant was that, on all of its platforms, Apple has far from exceeded expectations it has itself set for typography. Just take one look at the Fonts panel that appears in any Cocoa app (e.g., TextEdit) to see what I mean. It hasn’t changed in nearly a decade, and it’s still far more difficult to use than it should be. (I also urge everyone to read Stephen Coles’ blog post, which I linked to, for more details on Apple’s infractions on the iPad.)

Maybe most disappointing of all, though, were the comments that asserted that no one cares about this stuff except for typographic prima donnas like myself, that it matters not one whit to the world at large. I readily admit that most people will never care whether Apple changes its ways here or not — it goes without saying that Apple more than satisfies the general public’s appetite for stellar design already — but that doesn’t mean that they should be let off the hook.

Fine typography is important; it’s a tradition that goes back for centuries, that has helped us elevate our communication and that informs our sense of self and civilization. Now, it’s true that in the midst of the digital revolution we’re living through, we may have to leave many such traditions behind, but fine typography doesn’t have to be one of them. There’s no technological or business reason why we can’t make the tools for rich typography more readily available.

In fact, we have much of what we need in place already, largely thanks to Apple: an ocean of beautifully rendered and thoughtfully constructed fonts, a desktop operating system with an audience that’s highly receptive to the craft, a mobile platform that unites visual design with hardware design, and increasingly capable displays for rendering great type. All we lack is the dedicated passion of people who are in a position to bring it all together, to carry it that last mile — or to fulfill the promise that such laudable work has established. That’s why I believe Apple should do a better job.

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Better Screen, Same Typography

Three years ago I waited in line to buy the original iPhone and I haven’t upgraded since, so I’m definitely warming up my credit card for Apple’s newly announced iPhone 4. I admit that it took some will power to sit out the subsequent releases of the iPhone 3G and the iPhone 3GS; the not-insignificant speed gains that those models brought would’ve come in really handy. Still, neither of those updates struck me as particularly impressive. They were incremental, at best, where iPhone 4 seems like a major leap forward.

Even the new phone’s screen, the so-called Retina Display, is an important development on its own. Its incredibly high concentration of pixels (326 ppi, or four times the density of previous iPhones) promises a quality of resolution that’s positively print-like, where the pixels seem to disappear to the eye and rendering of curved shapes is much smoother. The advent of higher and higher density screens like this one will continue to have some subtle but important changes on the way we practice design for digital media, eventually pushing us to work in a resolution-independent framework that’s currently foreign to most.

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The New New Typography

This coming Monday, I’ll have the honor of speaking at The Museum of Modern Art here in New York City as part of their PopRally event series. This particular event highlights MoMA’s current exhibition “The New Typography,” which includes a selection of seminal works from the eponymous design movement of the 1920s and 1930s. All of the pieces included in the exhibition are drawn from the personal collection of the legendary designer Jan Tschichold. Though the show is fairly small and intimate, there are some legendary and amazing selections to be seen there.

I’ll be joining Stephen Doyle of Doyle Partners, Chester Jenkins of Village, and moderator Juliet Kinchin (MoMA Curator of Architecture and Design), on stage in a conversation about typography in the twenty-first century and how it both draws upon and departs from the work of the New Typography from nearly a century ago. Needless to say, I’m very humbled. The event begins in one of the auditoriums at the museum’s main galleries on Fifty-third Street, and then continues upstairs with a private group viewing of the exhibition. I hope you can join us! Get your tickets here.

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