Cold Arrival

It’s 11 degrees Fahrenheit as I step off the plane at Toronto Pearson International. I’ve been up for nearly 24 hours and am about to trek through the gates toward Canadian immigration. Getting here from 73-degree San Diego was a significant challenge. What would be a quick five-hour direct flight turned into a five-hour delay, then cancelation, and then a rebook onto a red-eye through SFO. And I can’t sleep on planes. On top of that, I’ve been recovering from the flu, so my head was still very congested, and the descents from two flights were excruciating.

After going for a short secondary screening for who knows what reason—the second Canada Border Services Agency officer didn’t know either—I make my way to the UP Express train and head towards downtown Toronto. Before reaching Union Station, the train stops at the Weston and Bloor stations, picking up scarfed, ear-muffed, and shivering commuters. I disembark at Union Station, find my way to the PATH, and headed towards the CN Tower. I’m staying at the Marriott attached to the Blue Jays stadium.

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.

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.

Fabricio Teixeira and Caio Braga, in their annual The State of UX report:

Despite all the transformations we’re seeing, one thing we know for sure: Design (the craft, the discipline, the science) is not going anywhere. While Design only became a more official profession in the 19th century, the study of how craft can be applied to improve business dates back to the early 1800s. Since then, only one thing has remained constant: how Design is done is completely different decade after decade. The change we’re discussing here is not a revolution, just an evolution. It’s simply a change in how many roles will be needed and what they will entail. “Digital systems, not people, will do much of the craft of (screen-level) interaction design.”

Scary words for the UX design profession as it stares down the coming onslaught of AI. Our industry isn’t the first one to face this—copywriters, illustrators, and stock photographers have already been facing the disruption of their respective crafts. All of these creatives have had to pivot quickly. And so will we.

I recently read a post on Threads in which Stephen Beck wonders why the New York Times needs an external advertising agency when it already has an award-winning agency in-house. You can read the back-and-forth in the thread itself, but I think Nina Alter’s reply sums it up best:

Creatives need to be free to bring new perspectives. Drink other kool-aid. That’s much of the value in agencies.

This all got me thinking about the differences between working in-house and at an agency. As a designer who began my career bouncing from agency to agency before settling in-house, I’ve seen both sides of this debate firsthand. Many of my designer friends have had similar paths. So, I’ll speak from that perspective. It’s biased and probably a little outdated since I haven’t worked at an agency since 2020, and that was one that I owned.

The British automaker Jaguar unveiled its rebrand last week, its first step at relaunching the brand as an all-EV carmaker. Much ink has been spilled about the effort already, primarily negative, regarding the toy-like logotype in design circles and the bizarre film in the general town square.

Jaguar’s new brand film

I’ve always been a maker at heart—someone who loves to bring ideas to life. When AI exploded, I saw a chance to create something new and meaningful for solo designers. But making Griffin AI was only half the battle…

Birth of an Idea

About a year ago, a few months after GPT-4 was released and took the world by storm, I worked on several AI features at Convex. One was a straightforward email drafting feature but with a twist. We incorporated details we knew about the sender—such as their role and offering—and the email recipient, as well as their role plus info about their company’s industry. To accomplish this, I combined some prompt engineering and data from our data providers, shaping the responses we got from GPT-4.

Playing with this new technology was incredibly fun and eye-opening. And that gave me an idea. Foundational large language models (LLMs) aren’t great yet for factual data retrieval and analysis. But they’re pretty decent at creativity. No, GPT, Claude, or Gemini couldn’t write an Oscar-winning screenplay or win the Pulitzer Prize for poetry, but it’s not bad for starter ideas that are good enough for specific use cases. Hold that thought.

I decided to re-platform my personal website, moving it from WordPress to React. It was spurred by a curiosity to learn a more modern tech stack like React and the drama in the WordPress community that erupted last month. While I doubt WordPress is going away anytime soon, I do think this rift opens the door for designers, developers, and clients to consider alternatives.

First off, I’m not a developer by any means. I’m a designer and understand technical things well, but I can’t code. When I was young, I wrote programs in BASIC and HyperCard. In the early days of content management systems, I built a version of my personal site using ExpressionEngine. I was always able to tweak CSS to style themes in WordPress. When Elementor came on the scene, I could finally build WP sites from scratch. Eventually, I graduated to other page builders like Oxygen and Bricks.

So, rebuilding my site in React wouldn’t be easy. I went through the React foundations tutorial by Next.js and their beginner full-stack course. But honestly, I just followed the steps and copied the code, barely understanding what was being done and not remembering any syntax. Then I stumbled upon Cursor, and a whole new world opened up.

I was floored. Under immense pressure, under the highest of expectations, Kamala outperformed, delivering way beyond what anyone anticipated. Her biography is what makes her relatable. It illustrates her values. And her story is the American story.

When she talked about her immigrant parents, I thought about mine. My dad was a cook and a taxicab driver. My mother worked as a waitress. My sister and I grew up squarely in the middle class, in a rented flat in the San Francisco working class neighborhood of North Beach (yes, back in the 1970s and ‘80s it was working class). Our school, though a private parochial one, was also attended by students from around the neighborhood, also mostly kids of immigrants. Education was a top value in our immigrant families and they made sacrifices to pay for our schooling.

Because my mother and father worked so hard, my parents taught my sister and me the importance of dedication and self-determination. Money was always a worry in our household. It was an unspoken presence permeating all decisions. We definitely grew up with a scarcity mindset.

Apple finally launched its Vision Pro “spatial computing” device in early February. We immediately saw TikTok memes of influencers being ridiculous. I wrote about my hope for the Apple Vision Pro back in June 2023, when it was first announced. When preorders opened for Vision Pro in January, I told myself I wouldn’t buy it. I couldn’t justify the $3,500 price tag. Out of morbid curiosity, I would lurk in the AVP subreddits to live vicariously through those who did take the plunge.

After about a month of reading all the positives from users about the device, I impulsively bought an Apple Vision Pro. I placed my order online at noon and picked it up just two hours later at an Apple Store near me.

Many great articles and YouTube videos have already been produced, so this post won’t be a top-to-bottom review of the Apple Vision Pro. Instead, I’ll try to frame it from my standpoint as someone who has designed user experiences for VR. 

Let me tell you a story…

Imagine a smoky wood-paneled conference room. Five men in smart suits sit around a table with a slide projector in the middle. Atop the machine is a finned plastic container that looks like a donut or a bundt cake. A sixth man is standing and begins a pitch.

Technology is a glittering lure, but there’s the rare occasion when the public can be engaged on the level beyond flash, if they have a sentimental bond with the product.

My first job, I was in-house at a fur company with this old pro copywriter—Greek named Teddy. And Teddy told me the most important idea in advertising is “new.” Creates an itch. You simply put your product in there as a kind of calamine lotion.

But he also talked about a deeper bond with the product. Nostalgia. It’s delicate, but potent.

Courtesy of Lions Gate Entertainment, Inc.

Designing since 1985

I’ve been a designer for as long as I can remember. I usually like to say that I started in the seventh grade, after being tenacious enough to badger my father into buying my first Macintosh computer and then spending hours noodling in MacPaint and MacDraw. Pixel by pixel, I painstakingly drew Christopher Columbus’s ship, the Santa Maria, for a book report cover. I observed the lines of the parabolic exterior of Saint Mary’s Cathedral, known colloquially in San Francisco as “the washing machine,” and replicated them in MacDraw. Of course, that’s not design, but that was the start of my use of the computer to make visuals that communicate. Needless to say, I didn’t know what brand strategy even was, or why it’s important, but we’ll get there.

After years of rumors and speculation, Apple finally unveiled their virtual reality headset yesterday in a classic “One more thing…” segment in their keynote. Dubbed Apple Vision Pro, this mixed reality device is perfectly Apple: it’s human-first. It’s centered around extending human productivity, communication, and connection. It’s telling that one of the core problems they solved was the VR isolation problem. That’s the issue where users of VR are isolated from the real world; they don’t know what’s going on, and the world around them sees that. Insert meme of oblivious VR user here. Instead, with the Vision Pro, when someone else is nearby, they show through the interface. Additionally, an outward-facing display shows the user’s eyes. These two innovative features help maintain the basic human behavior of acknowledging each other’s presence in the same room.

I know a thing or two about VR and building practical apps for VR. A few years ago, in the mid-2010s, I cofounded a VR startup called Transported. My cofounders and I created a platform for touring real estate in VR. We wanted to help homebuyers and apartment hunters more efficiently shop for real estate. Instead of zigzagging across town running to multiple open houses on a Sunday afternoon, you could tour 20 homes in an hour on your living room couch. Of course, “virtual tours” existed already. There were cheap panoramas on real estate websites and “dollhouse” tours created using Matterport technology. Our tours were immersive; you felt like you were there. It was the future! There were several problems to solve, including 360° photography, stitching rooms together, building a player, and then most importantly, distribution. Back in 2015–2016, our theory was that Facebook, Google, Microsoft, Sony, and Apple would quickly make VR commonplace because they were pouring billions of R&D and marketing dollars into the space. But it turned out we were a little ahead of our time.

Update: A 18” x 24” screenprinted version of this poster is now available at my Etsy shop.

Michael C. Bender, writing for the Wall Street Journal in early September 2019:

[Trump rally regulars] describe, in different ways, a euphoric flow of emotions between themselves and the president, a sort of adrenaline-fueled, psychic cleansing that follows 90 minutes of chanting and cheering with 15,000 other like-minded Trump junkies.

“Once you start going, it’s kind of like an addiction, honestly,” said April Owens, a 49-year-old financial manager in Kingsport, Tenn., who has been to 11 rallies. “I love the energy. I wouldn’t stand in line for 26 hours to see any rock band. He’s the only person I would do this for, and I’ll be here as many times as I can.”

Sixteen months before the insurrection at the United States Capitol on January 6, 2021, Donald Trump was already in the midst of touring the southeastern US, holding rallies to support his 2020 re-election bid. During his initial run for the 2016 election, he held 323 rallies, creating a wake of fans who held onto every one of his words, whether by speech, interview, or tweet. Some diehards would even follow him across the country like deadheads following The Grateful Dead, attending dozens of rallies.

Update: A 18” x 24” screen-printed version of this poster is now available at my Etsy shop. It’s four colors: red, blue, black, and gold; and printed on thick 100 lb French Paper Co. cover stock. Proceeds will be donated to help Ukraine.

“…I want a man like Putin
One like Putin, full of strength
One like Putin, who won’t be a drunk
One like Putin, who wouldn’t hurt me
One like Putin, who won’t run away!”

— Lyrics from a popular Russian pop song, “One Like Putin,” from 2010.

Vladimir Putin has long been regarded as a divine hero in Russia. Propagandist imagery such as him riding shirtless on horseback, shooting a tiger with a tranquilizing dart to save a group of journalists, racing in an F1 car on a track, or defeating an opponent in martial arts, help cultivate an image of Putin as a strong, masculine savior—the only one who could lead Russia against the West. These and many more staged acts of supposed strength and bravery have turned him into a sex symbol in the country for women and a man’s man for men.

The leaked draft of the majority opinion of Supreme Court justices seeking to overturn Roe v. Wade and Planned Parenthood v. Casey created a political firestorm in Washington, DC, and across the country. But, leak aside, the ruling—should it become final—is shocking. First, it reverses a 49-year precedent about the federal right to abortion. And according to legal experts, the reasoning that author Justice Samuel Alito uses could undo rights such as same-sex marriage, the right to contraception, and interracial marriage.

In a report about the leak, NPR political correspondent Mara Liasson says the leak is “…going to spark this bigger debate that we’ve been having about whether the United States is turning into a minority rule country. A majority of the justices on the court were appointed by presidents who didn’t get a majority of the popular vote. And in some cases, the conservative justices were confirmed by senators representing a minority of voters.”

On the surface, I knew she was correct, but I wanted to dive into the numbers and see for myself. Once I did, I wanted to create a visual to show it.

I can’t remember the last time I picked up a newspaper. At least ten years, maybe even twenty. But this morning, as I walked into my hotel restaurant for breakfast, they had one copy of today’s San Francisco Chronicle left. And I grabbed it.

I used to read the Chronicle all the time. Whether I bought it for a quarter from one of the hundreds of yellow and blue machines that dotted every corner in downtown San Francisco, from a newsstand sold by someone wearing fingerless gloves but whose fingertips were black with ink, or from somewhere within ten feet of my front door depending on the paperboy’s aim that morning.

I rarely read each story in every edition of the Chronicle. Instead, I had some favorite sections. I’d usually read the main stories in the A section and then US news. The B section was world news, which I often skipped. Usually, a few stories in the C section, Business, piqued my interest. And I always read through the Datebook, the paper’s entertainment and lifestyle area.

I recently came across Creative Selection: Inside Apple’s Design Process During the Golden Age of Steve Jobs by former software engineer Ken Kocienda. It was in one of my social media feeds, and since I’m interested in Apple, the creative process, and having been at Apple at that time, I was curious.

I began reading the book Saturday evening and finished it Tuesday morning. It was an easy read, as I was already familiar with many of the players mentioned and nearly all the technologies and concepts. But, I’d done something I hadn’t done in a long time—I devoured the book.

Ultimately this book gave more color and structure to what I’d already known, based on my time at Apple and my own interactions with him. Steve Jobs was the ultimate creative director who could inspire, choose, and direct work. 

I was feeling emotionally off today and I wasn’t quite sure until I realized that the events of January 6, 2021 deeply affected me as a patriotic American. At the time, I thought it was the culmination—the last act of a power-hungry, extremist wing of our country. Donald Trump and his deliberate peddlers of lies and misinformation had incubated and unleashed this insurrectionist mob against the Capitol, against the United States.

But I was wrong. It was not the last act. It did not end. In fact, it continued to fester. One year on, as much as 21 million Americans think that Joe Biden did not legitimately win the 2020 election, and that Trump should be restored via violent means. That’s more than the population of New York state (19.3M)!

I struggle to understand what caused this, much less what the solution might be. Yes, the obvious cause was the Big Lie that Trump actually won the 2020 election. With the Republican Party constantly attacking the legitimacy of a free and fair election for months, it worked its base up into a frothy frenzy. But what caused that? Power? Maybe, but why? Why are they so hell-bent on holding onto power as to destroy our democracy?

This is the third article in a three-part series offering tips on how to get a job as a product or UX designer. Part 1 covers your resume and LinkedIn profile. Part 2 advises on your portfolio website.

Part 3: Interviewing

If you have stood out enough from the hundreds of resumes and portfolios a hiring manager has looked at, you’ll start the interview process.

From my point of view, as a design hiring manager, it’s all about mitigating risk. How do I know if you will do great work with us? How do I know that you’ll fit in with the team and positively change our dynamic? How do I know that your contributions will help get us to where we need to be?

Ultimately the interview process is very much like dating: we’re figuring out if we’re right for each other, slowly engendering trust, and showing interest—without overdoing it.

The interview process will vary for each company, but in general, it’ll be:

• An introductory screening call
• An interview with the hiring manager
• Interviews with other team members

This is the second article in a three-part series offering tips on how to get a job as a product or UX designer. Part 1 covers your resume and LinkedIn profile. Part 3 is about the interviewing process.

Part 2: Your Portfolio

As I mentioned in Part 1 of this series, portfolios used to be physical cases filled with your work, and you only had one of them. But now that portfolios are online, it’s much easier to get your work out there.

Much like resumes, many designers make the mistake of over-designing their portfolio website, trying to use it as a canvas to show their visual design or interaction chops. Don’t do it.

This is the first article in a three-part series offering tips on how to get a job as a product or UX designer. Part 2 advises on your portfolio website. Part 3 covers the interviewing process.

Part 1: Your Resume & LinkedIn Profile

(With apologies to Maxine Paetro, whose seminal 1979 book  How to Put Your Book Together and Get a Job in Advertising was highly influential in my early job search process in the mid-1990s.)

I graduated from design school in the spring of 1995. Yahoo! was incorporated just a couple of months before. AOL was still the dominant way everyone connected to the Internet. Tim Berners-Lee’s World Wide Web was still a baby, with just a tiny fraction of websites available. In other words, my design education was about graphic design—layout, typography, logos, print. Neither digital design nor UX design was taught or barely practiced yet. (The closest thing would be human-computer interaction, more computer science than design.)

The San Francisco graphic design scene back in the early- to mid-1990s was pretty close-knit. Most of the established practitioners in The City taught at the California College of Arts & Crafts (CCAC, but now shortened to California College of the Arts (CCA)), fertile ground for finding interns and junior designers. Regardless, all of us graduating seniors needed to have portfolios. Physical portfolios. Some books—another name for portfolio—were basic: a leather folio with plastic slip pages filled with mocked-up posters, booklets, or photos of projects. Or some designers would custom bind books with special hardware and print their work on fine paper, spending hundreds of dollars. But you had one book. So when applying for jobs, you had to leave your book with the design studio for a few days to a week! Which meant that job hunting was very slow going.

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.

Sometimes it takes a small push to get the creative obsessions going. Like the majority of the country, I’ve been appalled at Donald Trump’s presidency. From his administration’s cruel policies to just how awful of a man Trump has shown himself, I have been gritting my teeth for four years, waiting for him to lose his re-election bid. I was profoundly concerned about democracy in the United States and how it was being actively undermined by Trump and his band of far-right Republicans.

When Trump ran against Hillary Clinton in 2016, I made a poster and website called “Inside Trump’s Brain.” I knew back then how terrible of a president he would be, but had hoped he’d grow into the office. Boy, was I wrong.

So when Joe Biden won the Democratic nomination, I needed to do all I could to get him elected and make Trump a one-term president.

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.