For men of a certain age, Pink Floyd represents a milieu—brooding, melancholy, emo before emo had a name. I started listening to Floyd in high school and being a kid who always felt like an outsider, The Wall really resonated with me. In college, I started exploring their back catalog and Animals and Wish You Were Here became my favorites. Of course, as a designer, I have always loved the album covers. Storm Thorgerson and Hipgnosis’ surreal photos were mind-bending and added to the music’s feelings of alienation, yearning, and the aching beauty of being lost.

I hadn’t listened to the music in a while but the song “Two Suns in the Sunset” from *The Final Cut *periodically pops into my head. I listened to the full album last Sunday. On Tuesday, I pulled up their catalog again to play in the background while I worked and to my surprise, all the trippy cover art was replaced by white type on a black surface!

The classic image of the prism and rainbow for The Dark Side of the Moon was replaced by “A PRISM REFRACTS LIGHT INTO THE SPECTRUM.” It’s essentially alt text for all the covers—deadpan captions where the surreal images used to be.

“ROWS OF HOSPITAL BEDS ON A BEACH” for 1987’s A Momentary Lapse of Reason.

“A WALL OF WHITE BRICKS WITH RED GRAFFITI” for The Wall.

“TWO MEN IN SUITS SHAKING HANDS ONE MAN IS ON FIRE” for Wish You Were Here.

And my favorite—“PHOTO WITHIN A PHOTO WITHIN A PHOTO” for Ummagumma.

What is going on? Are they broken images replaced by alt text? Some folks on the internet think it is a protest against AI art.

But in reality, it’s part of a marketing campaign because Pink Floyd’s official website has also been wrapped in a black cloth…

Maybe it’s not cloth. Looks more like black plastic. And that’s because it’s very likely coinciding with the 50th anniversary of Wish You Were Here, which famously shipped to stores wrapped in black shrink-wrap, forcing buyers to just buy the record on faith.

There was a conceptual reason behind it of course. From Wikipedia:

Storm Thorgerson had accompanied the band on their 1974 tour and had given serious thought to the meaning of the lyrics, eventually deciding that the songs were, in general, concerned with “unfulfilled presence”, rather than [former lead vocalist and founding band member Syd] Barrett’s illness. This theme of absence was reflected in the ideas produced by his long hours spent brainstorming with the band. Thorgerson had noted that Roxy Music’s Country Life was sold in an opaque green cellophane sleeve – censoring the cover image – and he copied the idea, concealing the artwork for Wish You Were Here in a black-coloured shrink-wrap (therefore making the album art “absent”).

I’m curious to see if there is a big reveal tomorrow, the actual anniversary of my favorite Pink Floyd album, and maybe the most fitting tribute to absence they could pull off.

UPDATE 9:05 PM, September 11, 2025:

At midnight Eastern Time, Apple Music updated with a new pre-release album from Pink Floyd with cover art—the 50th anniversary edition of Wish You Were Here. It’ll be fully released on December 12.

Today’s Apple keynote opened with a classic quote from Steve Jobs.

Then a video played, focused on the fundamental geometric shapes that can be found in Apple’s products: circles in the HomePod, iPhone shutter button, iPhone camera, MagSafe charging ring, Digital Crown on Apple Watch; rounded squares in the charging block, Home scene button, Mac mini, keycaps, Finder icon, FaceID; to the lozenges found in the AirPods case, MagSafe port, Liquid Glass carousel control, and the Action button on Apple Watch Ultra.

Then Tim Cook repeated the notion in his opening remarks:

At Apple, design has always been fundamental to who we are and what we do. For us, design goes beyond just how something looks or feels. Design is also how it works. This philosophy guides everything we do, including the products we’re going to introduce today and the experiences they provide.

Apple announced a bunch of products today, including:

• AirPods Pro 3 with better active noise canceling, live translation, and heart rate sensing (more below)
• Apple Watch Series 11, thinner and with hypertension alerts and sleep score
• iPhone 17 with a faster chip and better camera (as always)
• iPhone Air at 5.6 mm thin! They packed all the main components into a new full-width camera “plateau” (I guess that’s the new word for camera bump)
• iPhone 17 Pro / Pro Max with a faster chip and even better camera (as always), along with unibody construction and cool vapor cooling (like liquid cooling, but with vapor), and a beefy camera plateau

Highlights

Live Translation is Star Trek’s Universal Translator

In the Star Trek universe, humans regularly speak English with aliens and the audience hears those same aliens reply in English. Of course, it’s television and it was always explained away—that a “universal translator” is embedded in the comm badge all Starfleet crew members wear.

With AirPods Pro 3, this is becoming real! In one demo video, Apple shows a woman at a market. She’s shopping and hears a vendor speak to her in Spanish. Through her AirPods, she hears the live translation and can reply in English and have that translated back to Spanish on her iPhone. Then, in another scene, two guys are talking—English and Italian—and they’re both wearing the new AirPods and having a seamless conversation. Amazing.

Heart Rate Monitoring in AirPods

Apple is extending its fitness tracking features to AirPods, specifically the new AirPods Pro 3. These come with a new sensor that pulses invisible infrared light at 256 times per second to detect blood flow and calculate heart rate. I’m always astonished by how Apple keeps extending the capabilities of its devices to push health and fitness metrics, which—at least their thesis goes—helps with overall wellbeing. (See below.)

Full-Width Camera Bump

Or, the new camera plateau. I actually prefer the full width over just the bump. I feel like the plain camera bump on my iPhone 16 Pro makes the phone too wobbly when I put it on its back. I think a bump that spans the full width of the phone will make it more stable. This new design is on the new iPhone Air and iPhone 17 Pro.

To Air or Not to Air?

I’m on the iPhone Upgrade Program so I can get a new phone each year—and I have for that last few. I’m wondering if I want to get the Air this time. One thing I dislike about the iPhone Pros is their weight. The Pro is pretty heavy and I can feel it in my hand after prolonged use. At 165 grams, the Air is 17% lighter than the 16 Pro (199 grams). It might make a difference.

Overall Thoughts

Of course, in 2025, it’s a little striking that Apple didn’t mention much about AI. Apple framed AI not as a standalone product but as an invisible layer woven through AirPods, Watch, and iPhone—from Live Translation and Workout Buddy nudges to on-device models powering health insights and generative photo features. Instead of prompts and chatbots, Apple Intelligence showed up as contextual, ambient assistance designed to disappear into the flow of everyday use. And funnily enough, iOS 26 was mentioned in passing, as if Apple assumed everyone watching had seen the prior episode—er, keynote—in June.

It’s interesting that the keynote opened with that Steve Jobs quote about design. Maybe someone in Cupertino read my piece breaking down Liquid Glass where I argued:

People misinterpret this quote all the time to mean design is only how it works. That is not what Steve meant. He meant, design is both what it looks like and how it works.

(Actually, it was probably what Casey Newton wrote in Platformer about Liquid Glass.) 

If you step back and consider why Apple improves its hardware and software every year, it goes back to their implied mission: to make products that better human lives. This is exemplified by the “Dear Apple” spot they played as part of the segment on Apple Watch.

Apple’s foray into wearables—beyond ear- and headphones—with Apple Watch ten years ago was really an entry into health technology. Lives have been saved and people have gotten healthier because Apple technology enabled them. Dr. Sumbul Ahmad Desai, VP of Health mentioned their new hypertension detection feature could notify over one million people with undiagnosed hypertension in its first year. Apple developed this feature using advanced machine learning, drawing on training data from multiple studies that involved over 100,000 participants. Then they clinically validated it in a separate study of over 2,000 participants. In other words, they’ve become a real force is shaping health tech.

And what also amazes me, is that now AirPods Pro 3 will help with health and fitness tracking. (See above.)

There’s no doubt that Apple’s formal design is always top-notch. But it’s great to be reminded of their why and how these must-buy-by-Christmas devices are capable of solving real world problems and bettering our lives. (And no, I don’t think having a lighter, thinner, faster, cooler phone falls into this category. We can have both moral purpose and commercial purpose.)

President Trump signed an executive order creating America by Design, a national initiative to improve the usability and design of federal services, both digital and physical. The order establishes a National Design Studio inside the White House and appoints Airbnb co-founder and RISD graduate Joe Gebbia as the first Chief Design Officer. The studio’s mandate: cut duplicative design costs, standardize experiences to build trust, and raise the quality of government services. Gebbia said he aims to make the U.S. “the most beautiful, and usable, country in the digital world.”

Ironically, this follows the gutting of the US Digital Service, left like a caterpillar consumed from within by parasitic wasp larvae, when it was turned into DOGE. And as part of the cutting of thousands from the federal workforce, 18F, the pioneering digital services agency that started in 2014, was eliminated.

Ethan Marcotte, the designer who literally wrote the book on responsive design and worked at 18F, had some thoughts. He points out the announcement web page weighs in at over three megabytes. Very heavy for a government page and slow for those in the country unserved by broadband—about 26 million. On top of that, the page is full of typos and is an accessibility nightmare.

In other words, we’re left with a web page announcing a new era of design for the United States government, but it’s tremendously costly to download, and inaccessible to many. What I want to suggest is that neither of these things are accidents: they read to me as signals of intent; of how this administration intends to practice design.

The National Design Studio has a mission to turn government services into as easy as buying from the Apple Store. Marcotte’s insight is that designing for government—at scale for nearly 350 million people—is very different than designing in the private sector. Coordination among agencies can take years.

Despite what this new “studio” would suggest, designing better government services didn’t involve smearing an animated flag and a few nice fonts across a website. It involved months, if not years, of work: establishing a regular cadence of user research and stakeholder interviews; building partnerships across different teams or agencies; working to understand the often vast complexity of the policy and technical problems involved; and much, much more. Judging by their mission statement, this “studio” confuses surface-level aesthetics with the real, substantive work of design.

Here’s the kicker:

There’s a long, brutal history of design under fascism, and specifically in the way aesthetics are used to define a single national identity. Dwell had a good feature on this in June…

The executive order also brought on some saltiness from Christopher Butler, lays out the irony, or the waste.

The hubris of this appointment becomes clearer when viewed alongside the recent dismantling of 18F, the federal government’s existing design services office. Less than a year ago, Trump and Elon Musk’s DOGE initiative completely eviscerated this team, which was modeled after the UK’s Government Digital Service and comprised hundreds of design practitioners with deep expertise in government systems. Many of us likely knew someone at 18F. We knew how much value they offered the country. The people in charge didn’t understand what they did and didn’t care.

In other words, we were already doing what Gebbia claims he’ll accomplish in three years. The 18F team had years of experience navigating federal bureaucracy, understanding regulatory constraints, and working within existing governmental structures—precisely the institutional knowledge required for meaningful reform.

Butler knew Joe Gebbia, the appointed Chief Design Officer, in college and calls out his track record in government, or lack thereof.

Full disclosure: I attended college with Joe Gebbia and quickly formed negative impressions of his character that subsequent events have only reinforced.

While personal history colors perspective, the substantive concerns about this appointment stand independently: the mismatch between promised expertise and demonstrated capabilities, the destruction of existing institutional knowledge, the unrealistic timeline claims, and the predictable potential for conflicts of interest.

Government design reform is important work that requires deep expertise, institutional knowledge, and genuine commitment to public service. It deserves leaders with proven track records in complex systems design, not entrepreneurs whose primary experience involves circumventing existing regulations for private gain.

If anything this yet another illustration of this administration’s incompetence.

Apple’s annual developer conference kicked off today with a keynote that announced:

• Unified Version 26 across all Apple platforms (iOS, iPadOS, macOS, watchOS, tvOS, visionOS)
• “Liquid Glass” design system. A complete UI and UX overhaul, the first major redesign since iOS 7
• Apple Intelligence. Continued small improvements, though not the deep integration promised a year ago
• Full windowing system on iPadOS. Windows comes to iPad! Finally.

Of course, those are the very high-level highlights.

For designers, the headline is Liquid Glass. Sebastiaan de With’s predictive post and renderings from last week were very spot-on.

I like it. I think iOS and macOS needed a fresh coat of paint and Liquid Glass delivers.

There’s already been some criticism—naturally, because we’re opinionated designers after all!—with some calling it over the top, a rehash of Windows Vista, or an accessibility nightmare.

The new Liquid Glass design language acts like real glass, refracting light and bending the image behind it accordingly.

In case you haven’t seen it, it’s a visual and—albeit less so—experience overhaul for the various flavors of Apple OSes. Imagine a transparent glass layer where controls sit. The layer has all the refractive qualities of glass, bending the light as images pass below it, and its edges catching highlights from a light source. This is all powered by a sophisticated 3D engine, I’m sure. It’s gorgeous.

It’s been 12 years since the last major refresh, with iOS 7 bringing on an era of so-called flat design to the world. At the time, it was a natural extension of Jony Ive’s predilection for minimalism, to strip things to their core. What could be more pure than using only type? It certainly appealed to my sensibilities. But what it brought on was a universe of sameness in UI design. 

**

The design team at Apple studied the physical properties of real glass to perfect the material in the new versions of the OSes.

With the release of Liquid Glass, led by Apple’s VP of Design, Alan Dye, I hope we’ll see designers add a little more personality, depth, and texture back into their UIs. No, we don’t need to return to the days of skeuomorphism—kicked off by Mac OS X’s Aqua interface design. I do think there’s been a movement away from flat design recently. Even at the latest Config conference, Figma showed off functionality to add noise and texture into our designs. We’ve been in a flat world for 12 years! Time to add a little spice back in.

Finally, it’s a beta. This is typical of Apple. The implementation will be iterated on and by the time it ships later this year in September, it will have been further refined. 

I do miss a good 4-minute video from Jony Ive talking about the virtues of software material design though…

Tommy Geoco and team are finally out with the results of their 2024 UX Design Tools Survey.

First, two quick observations before I move on to longer ones:

• The respondent population of 2,200+ designers is well-balanced among company size, team structure, client vs. product focus, and leadership responsibility
• Predictably, Figma dominates the tools stacks of most segments

Surprise #1: Design Leaders Use AI More Than ICs

From the summary of the AI section:

Three clear patterns emerge from our data:

1. Leadership-IC Divide. Leaders adopt AI at a higher rate (29.0%) than ICs (19.9%)
2. Text-first adoption. 75.2% of AI usage focuses on writing, documentation, and content—not visuals
3. Client Influence. Client-facing designers show markedly higher AI adoption than internal-facing peers

That nine-point difference is interesting. The report doesn’t go into speculating why, but here are some possible reasons:

• Design leaders are experimenting with AI tools looking for efficiency gains
• Leaders write more than design, so they’re using AI more for emails, memos, reports, and presentations
• ICs are set in their processes and don’t have time to experiment

I believe that any company operating with resource constraints—which is all startups—needs to embrace AI. AI enables us to do more. I don’t believe—at least not yet—mid- to senior-level jobs are on the line. Engineers can use Cursor to write code, sure, but it’s probably better for them to give Cursor junior-level tasks like bug fixes. Designers should use AI to generate prototypes so that they can test and iterate on ideas more quickly. 

The data here is stale, unfortunately. The survey was conducted between November 2024 and January 2025, just as the AI prompt-to-code tools were coming to market. I suspect we will see a huge jump in next year’s results.

Surprise #2: There’s Excitement for Framer

I’m surprised about Framer winning the “Future of Design” award. Maybe it’s the name of the award; does Framer really represent the “future of design”? Ten percent of respondents say they want to try this. 

I’ve not gone back to Framer since its early days when it supported code exports. I will give them kudos that they’ve pivoted and built a solid business and platform. I’m personally weary of creating websites for clients in a closed platform; I would rather it be portable like a Node.js app or even WordPress. But to each their own.

Not Surprised at All

In the report’s conclusion, its first two points are unsurprising:

1. AI enters the workflow. 8.5% of designers cited AI tools as their top interest for 2025. With substantial AI tooling innovation in early 2025, we expect widespread adoption to accelerate next year.

Like I mentioned earlier, I think this will shift big time. 

1. Design-code gap narrows. Addressing the challenge faced by 46.3% of teams reporting inconsistencies between design system specifications and code implementations.

As I said in a previous essay on the future of product design, the design-to-code gap is begging to be solved, “For any designer who has ever handed off a Figma file to a developer, they have felt the stinging disappointment days or weeks later when it’s finally coded.…The developer handoff experience has been a well-trodden path full of now-defunct or dying companies like InVision, Abstract, and Zeplin.”

Reminder: The Tools Don’t Make You a Better Designer

Inevitably, someone in the comments section will point this out: Don’t focus on the tool. To quote photographer and camera reviewer Ken Rockwell, “Cameras don’t take pictures, photographers do. Cameras are just another artist’s tool.” Tools are commodities, but our skills as craftspeople, thinkers, curators, and tastemakers are not.

I was sitting on a barstool next to my wife in a packed restaurant in Little Italy. We were the lone Kansas City Chiefs supporters in a nest full of hipster Philadelphia Eagles fans. After Jon Batiste finished his fantastic rendition of the national anthem, and the teams took the field for kickoff, I noticed something. The scorebug—the broadcast industry’s term for the lower-third or chyron graphic at the bottom of the screen—was different, and in a good way.

I posted about it seven minutes into the first quarter, saying I appreciated “the minimalistic lower-thirds for this Super Bowl broadcast.” It was indeed refreshing, a break from the over-the-top 3D-animated sparkling. I thought the graphics were clear and utilitarian while being exquisitely-designed. They weren’t distracting from the action. As with any good interface design, this new scorebug kept the focus on the players and the game, not itself. I also thought they were a long-delayed response to Apple’s Friday Night Baseball scorebug.

Anyhow, as a man of good taste, John Gruber also noticed the excellence of the new graphics. Some of his followers, however, did not.

It looks as if they just let an intern knock something up in PowerPoint and didn’t bother having someone check it first. Awful. 👎

The scorebug is absolutely horrible! I really hope they don’t adopt this for the 2025 season, or I will riot. Horrible design and very distracting especially the score, this looks like something out of Fortnite.

Gruber has a wonderful and in-depth write-up about FOX Sports’ new NFL scorebug. Not only does it include a good design critique, but also a history lesson about the scorebug, which surprisingly, didn’t debut until 1994.

Until 1994, the networks would show the score and time remaining when they cut to a commercial break, and then show it again when they came back from commercials.

I had totally forgotten about that.

Better look at the new scorebug displayed during a pre-game broadcast test.

James Poniewozik, writing for The New York Times:

Whether they work in sand or spores, heavy-handed metaphor is the true material of choice for all these opening titles. The series are different in genres and tone. But all of them seem to have collectively decided that the best way to convey the sense of epic event TV is with an overture of shape-shifting, literal-minded screen-saver art.

His point is that a recent trend in “prestige TV” main titles is to use particle effects. Particle effects—if you don’t know—are simulations in 3D software that produce, well, particles that can be affected by gravity, wind, and each other—essentially physics. Particles can be styled to look like snow, rain, smoke, fireworks, flower petals, water (yes, water is just particles; see this excellent video from Corridor Digital), or even Mordor’s orc hoards. This functionality has been in After Effects for decades in 2D but has been making its way into 3D packages like Cinema 4D and Blender. There’s a very popular program now called Houdini, which does particle systems and other simulations really well. My theory is that because particle effects are simpler to produce and workstations with GPUs are cheaper and easier to come by, these effects are simply more within reach. They certainly look expensive.

Anyhow, I love it when mainstream media covers design. It brings a necessary visibility to our profession, especially in the age of generative AI. The article is worth checking out (gift article) because Poniewozik embeds a bunch of videos within it.

This is also an excuse to plug one of my favorite TV main title sequences of all time, True Blood by Digital Kitchen. It’s visceral, hypnotic, and utterly unstoppable. I watched it every time.

In an interview with Watch the Titles! in 2009, Rama Allen, lead designer and concept co-creator of the sequence:

After dipping ourselves in Southern Gothic, from Powers Boothe in Southern Comfort to digesting a pile of Harry Crews novels, one of the biggest ideas we latched onto was “the whore in the house of prayer.” This delicate balance of the sacred and profane co-existing creates powerful imagery. Editorially, we collided the seething behind-the-curtains sexuality of the South into the fist-pounding spirituality of Pentecostal healings to viscerally expose the conflicts we saw in the narrative of the show. Holy rollers flirt with perversion while godless creatures seek redemption.

Another all-time favorite of mine is, of course, Mad Men by Imaginary Forces. Looking at this sequence again after having finished the series, it’s impressive how well it captures Don Draper’s story in just over 30 seconds.

In an interview with Art of the Title in 2011, creative directors Steve Fuller and Mark Gardner point out the duality of the 1950s and ’60 eras’ characters—projecting respectability while giving in to their vices. This contrast became a key influence on the sequence’s design, reflecting the tension between their polished exteriors and hidden complexities.

Steve Fuller:

Yeah, one thing that Matthew [Weiner] said kept echoing in my head. He said, “This is an era of guys wanting to be the head of the PTA but also drink, smoke, and get laid as much as possible.” That was the kind of dual life these guys were leading and that’s what was interesting.

The best titles give the viewer a sense of the story and its world while being visually interesting and holding the audience for up to a minute while the name cards roll.

Appearing on Joe Rogan’s podcast, this week, Meta CEO Mark Zuckerberg said that Apple “[hasn’t] really invented anything great in a while. Steve Jobs invented the iPhone and now they’re just kind of sitting on it 20 years later.”

Let’s take a look at some hard metrics, shall we?

I did a search of the USPTO site for patents filed by Apple and Meta since 2007. In that time period, Apple filed for 44,699 patents. Meta, nee Facebook, filed for 4,839, or about 10% of Apple’s inventions.

You can argue that not all companies file for patents for everything, or that Zuck said Apple hasn’t “really invented anything great in a while.” Great being the keyword here.

He left out the following “great” Apple inventions since 2007:

• App Store (2008)
• iPad (2010)
• Apple Pay (2014)
• Swift (2014)
• Apple Watch (2015)
• AirPods (2016)
• Face ID (2017)
• Neural engine SoC (2017)
• SwiftUI (2019)
• Apple silicon (2020)
• Vision Pro (2023) [arguable, since it wasn’t a commercial success, but definitely a technical feat]

The App Store, I’d argue, is on the same level as the iPhone because it opened up an entire new economy for developers, resulting in an astounding $935 billion market in 2025. Apple Watch might be a close second, kicking off a $38 billion market for smartwatches.

Let’s think about Meta’s since 2007, excluding acquisitions*:

• Facebook Messenger (2011)
• React (2013)
• React Native (2015)
• GraphQL (2015)
• PyTorch (2016)
• Ray-Ban Stories (2021)
• Llama (2023)

*Yes, excluding acquisitions, as Zuckerberg is talking about inventions. That’s why WhatsApp, Instagram, and Quest are not included. Anything I’m missing on this list?

As you can see, other than Messenger and the Ray-Ban glasses, the rest of Meta’s inventions are aimed at developers, not consumers. I’m being a little generous.

Update 1/12/2025

I’ve added some products to the lists above based on some replies to my Threads post. I also added a sentence to clarify excluding acquisitions.

Obviously, Covid-19 wreaked havoc on the world and countless lives this past year. We all know someone who caught the virus or died from it, or we were infected ourselves. We tried to do our part by staying home to limit our exposure to other people. We stayed away from our loved ones to protect them and to slow the spread. To keep ourselves occupied, many of us took up baking, cooking, knitting, or exercising. I started on what would become a yearlong path of learning about whatever interested me.

YouTube as a Gateway to Knowledge

Video site YouTube saw an explosion in traffic from people bored in lockdown. I was one of them. At first, I was simply trying to learn how to optimize my work-from-home setup. Channels such as Podcastage and Curtis Judd taught me about microphones, and I upgraded my audio setup.

Then the YouTube recommendation engine took over, and I started to encounter other channels that were audio-adjacent: photography, videography, video editing, filmmaking, visual effects, and 3D animation. From these channels, I rediscovered my love for all those things. (I’m no stranger to these mediums and crafts, but the further along in my career I got, the less I did these things day to day.) Here’s a list of those channels:

• The Art of Photography: Camera gear reviews, but more importantly—photography assignments. It’s shot beautifully and focuses on how to use photography as an expressive medium.
• DSLR Video Shooter: Mostly mirrorless camera gear reviews but he has some crazy build guides like “Full Youtube Studio on ONE SINGLE STAND!” that are fun to watch.
• Gerald Undone: I love this guy’s dry wit and general demeanor. He gets incredibly detailed and nerdy in is A/V gear reviews.
• Parker Walbeck: This channel focuses more on the techniques involved in videography, including shooting to edit, which is something they preach a lot.
• Lessons From the Screenplay and Just Write: I love these two channels because they focus on narrative storytelling. I have always been fascinated with how creators create because it inspires me, often influencing my own work, so seeing these two channels break down movie scripts is very fun.

Editing a Newsletter

By May or so, I really wanted to make something that I could share. I decided to take my obsessive reading of the news and of design articles and turn it into a newsletter called designspun. Each week I linked to notable design-related articles while trying to put some context around them. Maybe there was something bigger in the zeitgeist., or I could connect something happening in business or tech news to design. It was fun, a lot of hard work, and lasted about fifteen issues until I no longer had time for it. I appreciated being able to do it though, as it allowed me to flex my writing muscle a little.

Now in 3D

My experience with 3D software began with Adobe Dimensions (which has recently been reincarnated as something completely different), FormZ, and Electric Image in the 1990s. I eventually learned Cinema 4D at some point but only ever had the need for 3D every once in a while.

But with the run-up to the 2020 election, I picked up C4D again to make some pro-Biden art. After working on marketing campaigns and digital product design for so many years, I had forgotten how joyful it was to play in 3D space. So I decided to relearn C4D again (along with Maxon’s GPU renderer Redshift, and most recently, a particle system called X-Particles), just to be able to make some art.

It culminated this weekend with this piece, which I call “Gold #1.”

I also put it up on OpenSea as an NFT to experiment with what might happen.

Keep On Learning

My year of following my curiosity continues. While I still very much enjoy sitting back and watching a great TV series or movie, I would very much rather learn something. Who knows what will be next.

I have always liked writing. I don’t fancy myself a professional writer in any way. Still, I like having an outlet (or outlets) for my random musings as I work through understanding the world, be it design, technology, or whatever. While I have published various blogs in the past or written articles and essays on Medium, I want my content hosted on a platform I own and control. So, I’m consolidating everything here on my personal site, which may become a haphazard amalgam of subjects.

This is officially the first post on this site, but I will be bringing in posts from the various past platforms and backdating them to their original publication dates.

I will also use this site to post links to stories and articles I’m reading. It will inevitably be an assortment of design, tech, Apple, and politics.

To borrow from one of my favorite authors, Jack Kerouac: I have nothing to offer except working through my own confusion.

Thank you for the indulgence.

The Apple Mac turned 30 years old today. I got my first Mac in 1985 actually after weeks if not months of convincing my father to spend his hard-earned money on it. Every weekend and after many school days, I’d take the bus over to Computerland on Van Ness in San Francisco and just play with the Mac on display for hours at a time.

Embarrassingly this is one of my first MacPaint paintings. Bear in mind that I was 12 years old at the time.

I have been a Mac user since 1985, when I was in the seventh grade. For months I lusted after the Mac on display at Computerland on Van Ness Avenue in San Francisco. I’d go there after school just to play with MacPaint. It simply captured my imagination. Finally, after many weeks of begging, I got my dad to buy me a 512K Mac. Thus began my love affair with Apple.

Imagine how lucky I felt when I actually began working on the brand and on Pixar in 2001-2002. It was such a privilege to be so close to the magic and to Steve Jobs himself.

The Steve Jobs I knew was human. Not a god. Not someone who could distort reality. Just a man.

But he was sharp and always focused with his opinions and observations. He demanded perfection. Always.

I was a lowly pixel pusher when I worked directly with him. In addition to Pixar.com, I also designed some pitch slides for him. His feedback was always direct and always right. Yes it was surreal to have him call me on the phone and for me to load slides on his Mac.

Near the end of my tenure at Pixar, I wanted to do more. I was hoping to build a little design department there. But Steve didn’t think I was ready, and he told me so—directly. Even though I was crushed at the time, it was probably one of the best pushes I ever got to do better, to stay hungry, and to stay foolish.

Thank you, Steve. You changed me—and more importantly, the world—for the better.

With everyone sharing their sweet Steve moments, I have to share mine.

I was working at Apple in the motion graphics group within the Graphic Design department. I was assigned to work on the intro animation for the Mac OS X 10.3 Panther setup assistant. We went through the normal design process with our stakeholders (people in charge of “MacBuddy”) and got to an animation that was essentially swarms of dots that formed each of the different translations of “Welcome” on the screen. And then we showed this nearly-final animation to someone higher at the top—forgive me, I’ve forgotten who this was—and he killed it because the dots looked too much like sperm. OK, they kinda did. (Think about swirling points of light but with motion trails. We tried increasing the motion blur, but it was no use.)

It was back to the drawing board and I presented more ideas. Eventually, Steve got involved and started looking at the animations. Each week my boss would show Steve a new revision of it, and each time we got a little closer. Then on Round 14, the week my boss was on vacation, I had to go present it to Steve Jobs.

He was eager to see this new revision. No pleasantries. No introductions (actually he knew me from Pixar). Just got right down to business. But he did say this to me, “Wow. We spend more time on MacBuddy than Microsoft does on all of its UI.” And then he chuckled.

The presentation was quick and he only had a couple of pretty minor notes. I think I had one more revision and it was finally done.

What my time at Apple and working with Steve taught me was this: Keep going until it’s right. Don’t settle.

Thank you, Steve.

Fellow Razorfisher and social media guru Shiv Singh asks, in the age of social media, do big ideas matter less? Truth be told, I’ve been thinking about how to craft my reaction to this since I first read a similar tweet from Michael Lebowitz, CEO of Big Spaceship about how the old ad agency creative partnerships are being replaced with other roles.

@bigspaceship: where(sic) putting the art director & copywriter together was the structure of the tv age, we put strategy, tech, design and production together

The quick gist is that there’s a shift towards execution versus concept. The art school I went to had a very strong and simple philosophy that it taught its students: concept is king. In crits we were always asked, “Why did you pick that typeface?” or “What is that color supposed to signify?” or “Why did you choose that style of photography?” etc. There had to be a reason for all the elements in our designs and that reason had to be rooted in the concept.

Concept was not about layout. A concept (or idea) was your point of view on the message you’re trying to convey. And the acid test for whether the concept was a true concept was whether or not you could verbally sum it up in just a couple of sentences and have a completely different design to support that concept.

Oftentimes the word “concept” gets thrown around in our industry. It has become a stand-in for almost any creative deliverable. Three designs are not three concepts. A concept, however, can be executed in three different ways.

Next time, a more direct reaction to if big ideas still matter. Hint: They do.

Yesterday the design and advertising community was abuzz over the leaked presentation deck (PDF) for the new Pepsi logo by the Arnell Group. Yes it is absolutely a work of pure horseshit. But, I was reminded of the decks that my colleagues and I create every day and how somebody’s horseshit may be someone else’s chocolate cake.

We all have to sell our work. Ideally the concepts and ideas come from a well-formed strategy, but that doesn’t always happen. Many times the strategy must back into the creative. In other words sometimes you might have a great idea that you’ll need to justify after the fact.

This is even more true if you’re dealing with a purely formal exercise such as redesigning an iconic logo like Pepsi’s. A good design strategy would be to do the due diligence and look at the different historical variations of the logo and then just have at it, coming up with dozens if not hundreds of iterations. But afterwards when you find the new design you subjectively like, you’re going to need to explain in an intelligent, tangible, evidence-based manner detailing how you arrived at that solution—especially if you’re getting paid $1 million for the effort. So that’s when you break out the horses and shovels.

(via Brand New)

Update: Validation that the Arnell strategy deck is all BS from a freelancer:

(the logo design) nothing to do with any of that bullshit on the PDF, that was (I believe) just a way to keep the client entertained (like we, viewers of this PDF were) and make them feel like their money (1.2B) was worth something.