The Wii as Salesman

WiiSince its debut late last year, there’s been no shortage of adulatory commentary about the Nintendo Wii, which is probably the reason I’ve abstained from writing about it here.

Suffice it to say, I think it’s a home run of a console, a real breakthrough device that has expanded our collective idea of what non-gamers — regular people — can expect from video gaming. I know, because while I’ve long been a huge technology enthusiast, video games had left me cold for about fifteen years. Before the Wii was introduced, I never gave a serious thought to owning a PlayStation or an Xbox.

Now I own a Wii. Or rather, my girlfriend does, because I bought one for her as a gift in February. We play it regularly, and we consistently marvel at its elegant learning curve and high degree of fun. It’s a wonderful example of smart, empathetic design.

But I think I’ve found a flaw in it: it has the wrong form factor.

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Lately at AIGA New York

AIGATime for a quick round-up of matters relating to AIGA New York, of which I am a board member. When last we left our story, I had endeavored to bring more digital design into the fold when it comes to programming the New York chapter’s events. We started last fall with a Jeffrey Zeldman Small Talk which was quite successful, I think.

Things have been a little quiet since, but only because it’s taken some time to cook up some more interesting things. First off, we’re nearing the final stages of a new redesign of the AIGANY.org Web site. You may recall that I sent out an open call for New York-based design studios interested in helping us with this project last August. I got disappointingly few replies to that call, but as it turns out, one of the respondents — a terrific shop called Kind Company — was the perfect fit. Look for a brand new site from them soon.

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Layers Cake

Adobe Photoshop 7One sure sign that you’re getting old is when you notice yourself stubbornly refusing to move up to newer versions of your software. For instance, I’ve been using Adobe Photoshop version 7.0 more or less since it was first released. And though this version was released five years ago in 2002, and though I own a full version of Adobe Creative Suite ( newer, but no spring chicken, itself), it’s still the version that I prefer to launch every time I sit down to work in front of my Intel-based iMac.

I realize that, compared to more recent editions, version 7.0 is quite feature-limited. But in some ways, I prefer those limitations, especially its inability to nest layer folders. I know, that’s a little nuts, but I find that being restricted to a single level of layer folders helps me keep all the constituent layers in my files organized. I’m the kind of obsessive nut who likes to properly name every layer in my files, and to keep them neatly organized; I’ve found that nesting those folders works against that.

Most of all, I stick to Photoshop 7.0 because it’s fast. It boots up almost as quickly on my aging 12-in. PowerBook G4 as it does on my much newer, much faster iMac, which lets me work on the same files whether I’m at home or at work. I’ve long considered the secret to using Adobe software to be to run older versions on newer hardware, and this is my primary evidence that doing so works.

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Making Your Site Look Like Mine

Even with all the email that I receive, I’m still the kind of person who finds it very difficult not to reply to a message that someone has sent me, especially if the sender has posed a question of some kind. As a result, I often find myself writing familiar replies to queries that come in over and over, from different people. These are generally earnest questions about the way I work, where I draw inspiration from, advice on design, etc.

I’m more than happy to provide answers and to give something back in my small way, but it’s becoming a harder and harder job to pull off. I have a continual backlog of emails flagged for follow-up, and catching up feels like a kind of treadmill sometimes.

So I’m going to start, here, publishing an occasional series of blog posts covering answers to some of those frequently asked questions. When I get around to it, I’ll collate them and post them in an evergreen spot on the site.

The question I want to tackle in this inaugural post is commonly posed something like, “Can I use the design of Subtraction.com for my site?” Variants include, “Can I make a WordPress theme (or similar template) from your design?” or, “I just redesigned my site and it looks a lot like Subtraction.com, do you mind?”

The answer to the first two questions is “no,” and the answer to the last is, “yes.” But with comments.

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A Hugh Influence

There was such an encouragingly substantive response to my post about the apparently problematic quality differential between panels and lectures at South by Southwest Interactive this year that I felt compelled to do something useful with them. Specifically, I felt that I should share the comments with Hugh Forrest, the indefatigable and remarkably responsive Event Director who somehow manages to move mountains to make the festival happen year after year.

It only seemed appropriate to do so, because Hugh, based on my limited contact with him, has always seemed to be a good guy open to reasonable feedback on how to improve the festival that he’s been involved with for years. So I sent him an email pointing him to the post on Sunday night and received a lengthy and very thoughtful response the very next day.

We exchanged a few more emails, debating the ideas in my original post as well as those from the comment thread, and I found myself in the opposite position from where I’d been before: having shared Subtraction readers’ comments with Hugh, I now wanted to share Hugh’s comments with readers. So, with his consent, I’m going to excerpt a few of his remarks from the email thread here.

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SXSW Sxetches

DoodlesWhat kind of photographer am I if I don’t bring my camera around with me wherever I go? Not much of one, apparently. Lately, I’ve been frustrated with the total bulk that my Nikon D70 requires when I travel — lenses, flash, batteries, etc.

In fact, I didn’t bring it with me to this year’s South by Southwest Interactive festival, choosing to leave it at home so that I could move more quickly through the airport (bringing it along would have required me to check one bag). This is why I have no photographs from the show, but if you’re looking for visual documentation, there’s some wonderful shots from Lisa Whiteman at her Flickr account, and similarly beautiful work from Naz Hamid on his Flickr account, too.

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Oh Yeeaahh!

Yeeahh!It’s been about a year now since I first started thinking about creating some kind of definitive documentation about my approach to designing for the Web with the typographic grid as my primary layout tool. I spent a few weeks last summer putting a lot of those thoughts down on paper, but nothing much became of them.

Then, a few months ago, in preparation for a workshop at Carson Systems’ Future of Web Apps conference, I started thinking about how to visually represent the problem-solving process that I go through when designing new interfaces with grid layouts. At first, I started thinking about disassembling and then reassembling one of the designs in my portfolio. But that seemed as if it wouldn’t be quite satisfactory, as I wanted the ability to talk openly about all the different factors that go into a design solution, without worrying about offending colleagues or clients.

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Missing Class at SXSW

SXSW 2007Here’s where I come clean a bit and stop vaguely assigning blame to this year’s South by Southwest Interactive Festival panel participants as a faceless group. The truth is that I’m guilty of exactly what I outlined in my previous entry — the unconscientious lack of preparation and conversational inexactness that can torpedo a panel discussion. And worse.

On Saturday afternoon, almost immediately after doing a two-person, twenty-five minute lecture with Mark Boulton called “Grids Are Good,” I joined my former colleague and business partner Chris Fahey on his panel, “High Class and Low Class Web Design.”

It goes without saying that the concept of class is a touchy topic. In a series of blog posts last year, Chris wrote at length about why we, as designers, don’t talk about class, and why we may be operating within the constraints of class-mindedness without realizing it or acknowledging it. These were complex, ambitious and thoughtful articles, and if you work in Web design and have interest in this subject, you’d do well to read them for yourself.

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Panels and Growing Pains at SXSW

SXSW 2007As a way of making up for the fact that I did very little (read: zero) blogging from the 2007 South by Southwest Interactive Festival this year, I’m going to try and offer a somewhat hefty post this evening about it. Rather than recounting all of the individual events that occurred between late last Friday evening, when I arrived, and Monday afternoon, when I left, I’m going to sort of give a high-level summary of my major complaints about this year’s festival content and how I, personally, contributed to that problem. This entry is going to be so substantial, in fact, that I’m going to split it into two parts. Read on for the first, and be sure to read the second when you’re done.

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Southern Fried

T.G.I. Interwebr’s Grill Slide 4Whew. I’m back from the 2007 South by Southwest Interactive Festival and feeling a bit burnt out, in part because the show was bigger than ever this year. While I can’t say that its ferocious growth has caused South by Southwest to lose its singular usefulness as the friendliest and most thoroughly stimulating of digital conferences, scaling up nevertheless has its pluses and minuses.

That’s getting ahead of myself, though. I’m a little too fatigued to fully expand on that, but you can expect a post about this year’s experience in Austin in a day or two.

In the meantime, I’m going to offer up a little something from one of my appearances at the festival: my presentation at Monday night’s 20×2 event, the annual adjunct to the festival proper in which twenty participants are asked to answer a single, purposefully vague question in two minutes flat, using whatever creative powers they can summon.

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