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The design blog that connects the dots others miss. Written by Roger Wong.
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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!
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:
I rewatched the 1982 film TRON for the umpteenth time the other night with my wife. I have always credited this movie as the spark that got me interested in computers. Mind you, I was nine years old when this film came out. I was so excited after watching the movie that I got my father to buy us a home computer—the mighty Atari 400 (note sarcasm). I remember an educational game that came on cassette called “States & Capitals” that taught me, well, the states and their capitals. It also introduced me to BASIC, and after watching TRON, I wanted to write programs!
The Atari 400’s membrane keyboard was easy to wipe down, but terrible for typing. It also reminded me of fast food restaurant registers of the time.
Back in the early days of computing—the 1960s and ’70s—there was no distinction between users and programmers. Computer users wrote programs to do stuff for them. Hence the close relationship between the two that’s depicted in TRON. The programs in the digital world resembled their creators because they were extensions of them. Tron, the security program that Bruce Boxleitner’s character Alan Bradley wrote, looks like its creator. Clu looked like Kevin Flynn, played by Jeff Bridges. Early in the film, a compound interest program who was captured by the MCP’s goons says to a cellmate, “if I don’t have a User, then who wrote me?”
The programs in TRON looked like their users. Unless the user was the program, which was the case with Kevin Flynn (Jeff Bridges), third from left.
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.
In the 2011 documentary Jiro Dreams of Sushi, then 85 year-old sushi master Jiro Ono says this about craft:
Once you decide on your occupation… you must immerse yourself in your work. You have to fall in love with your work. Never complain about your job. You must dedicate your life to mastering your skill. That’s the secret of success and is the key to being regarded honorably.
Craft is typically thought of as the formal aspects of any field such as design, woodworking, writing, or cooking. In design, we think about composition, spacing, and typography—being pixel-perfect. But one’s craft is much more than that. Ono’s sushi craft is not solely about slicing fish and pressing it against a bit of rice. It is also about picking the right fish, toasting the nori just so, cooking the rice perfectly, and running a restaurant. It’s the whole thing.
Therefore, mastering design—or any occupation—takes time, experience, or reps as the kids say. So it’s to my dismay that Suff Syed’s essay “Why I’m Giving Up My Design Title — And What That Says About the Future of Design” got so much play in recent weeks. Syed is Head of Product Design at Microsoft—er, was. I guess his title is now Member of the Technical Staff. In a perfectly well-argued and well-written essay, he concludes:
In Part I of this series on the design talent crisis, I wrote about the struggles recent grads have had finding entry-level design jobs and what might be causing the stranglehold on the design job market. In Part II, I discussed how industry and education need to change in order to ensure the survival of the profession.
Like most Gen X kids, I grew up with a lot of freedom to roam. By fifth grade, I was regularly out of the house. My friends and I would go to an arcade in San Francisco’s Fisherman’s Wharf called The Doghouse, where naturally, they served hot dogs alongside their Joust and TRON cabinets. But we would invariably go to the Taco Bell across the street for cheap pre-dinner eats. In seventh grade—this is 1986—I walked by a ComputerLand on Van Ness Avenue and noticed a little beige computer with a built-in black and white CRT. The Macintosh screen was actually pale blue and black, but more importantly, showed MacPaint. It was my first exposure to creating graphics on a computer, which would eventually become my career.
Desktop publishing had officially begun a year earlier with the introduction of Aldus PageMaker and the Apple LaserWriter printer for the Mac, which enabled WYSIWYG (What You See Is What You Get) page layouts and high-quality printed output. A generation of designers who had created layouts using paste-up techniques with tools and materials like X-Acto knives, Rapidograph pens, rubyliths, photostats, and rubber cement had to start learning new skills. Typesetters would eventually be phased out in favor of QuarkXPress. A decade of transition would revolutionize the industry, only to be upended again by the web.
For my series on the Design Talent Crisis (see Part I, Part II, and Part III) I interviewed five recent graduates from California College of the Arts (CCA) and San Diego City College. I’m an alum of CCA and I used to teach at SDCC. There’s a mix of folks from both the graphic design and interaction design disciplines.
If these enthusiastic and immensely talented designers are available and you’re in a position to hire, please reach out to them!
In Part I of this series, I wrote about the struggles recent grads have had finding entry-level design jobs and what might be causing the stranglehold on the design job market.
When I met Benedict Allen, he had just finished with Portfolio Review a week earlier. That’s the big show all the design students in the Graphic Design program at San Diego City College work toward. It’s a nice event that brings out the local design community where seasoned professionals review the portfolios of the graduating students.
Allen was all smiles and relief. “I want to dabble in different aspects of design because the principles are generally the same.” He goes on to mention how he wants to start a fashion brand someday, DJ, try 3D. “I just want to test and try things and just have fun! Of course, I’ll have my graphic design job, but I don’t want that to be the end. Like when the workday ends, that’s not the end of my creativity.” He was bursting with enthusiasm.
This is the first part in a three-part series about the design talent crisis. Read Part II and Part III.
Erika Kim’s path to UX design represents a familiar pandemic-era pivot story, yet one that reveals deeper currents about creative work and economic necessity. Armed with a 2020 film and photography degree from UC Riverside, she found herself working gig photography—graduations, band events—when the creative industries collapsed. The work satisfied her artistic impulses but left her craving what she calls “structure and stability,” leading her to UX design. The field struck her as an ideal synthesis, “I’m creating solutions for companies. I’m working with them to figure out what they want, and then taking that creative input and trying to make something that works best for them.”
Since graduating from the interaction design program at San Diego City College a year ago, she’s had three internships and works retail part-time to pay the bills. “I’ve been in survival mode,” she admits. On paper, she’s a great candidate for any junior position. Speaking with her reveals a very thoughtful and resourceful young designer. Why hasn’t she been able to land a full-time job? What’s going on in the design job market?
For nearly three years, Arc from The Browser Company has been my daily driver. To be sure, there was a little bit of a learning curve. Tabs disappeared after a day unless you pinned them. Then they became almost like bookmarks. Tabs were on the left side of the window, not at the top. Spaces let me organize my tabs based on use cases like personal, work, or finances. I could switch between tabs using control-Tab and saw little thumbnails of the pages, similar to the app switcher on my Mac. Shift-command-C copied the current page’s URL.
All these little interface ideas added up to a productivity machine for web jockeys like myself. And so, I was saddened to hear in May that The Browser Company stopped actively developing Arc in favor of a new AI-powered browser called Dia. (They are keeping Arc updated with maintenance releases.)
They had started beta-testing Dia with college students first and just recently opened it up to Arc members. I finally got access to Dia a few weeks ago.
But before diving into Dia, I should mention I also got access to another AI browser, Perplexity’s Comet about a week ago. I’m on their Pro plan but somehow got an invite in my email. I had thought it was limited to those on their much more expensive Max plan only. Shhh.
When I was younger, I had a sheet of US Bicentennial stamps and I always loved the red, white, and blue star. Little did I know then that I would become a graphic designer.
The symbol, designed by Bruce Blackburn at Chermayeff & Geismar is a multilayered stylized five-pointed star. It folds like bunting. Its rounded corners evoke both a flower and a pinwheel at the same time. And finally, the negative space reveals a classic, pointed star.
I was in London last week with my family and spotted this ad in a Tube car. With the headline “Humans Were the Beta Test,” this is for Artisan, a San Francisco-based startup peddling AI-powered “digital workers.” Specifically an AI agent that will perform sales outreach to prospects, etc.
Artisan ad as seen in London, June 2025
I’ve long left the Bay Area, but I know that the 101 highway is littered with cryptic billboards from tech companies, where the copy only makes sense to people in the tech industry, which to be fair, is a large part of the Bay Area economy. Artisan is infamous for its “Stop Hiring Humans” campaign which went up late last year. Being based in San Diego, much further south in California, I had no idea. Artisan wasn’t even on my radar.
I kind of expected it: a lot more ink was spilled on Liquid Glass—particularly on social media. In case you don’t remember, Liquid Glass is the new UI for all of Apple’s platforms. It was announced Monday at WWDC 2025, their annual developers conference.
The criticism is primarily around legibility and accessibility. Secondary reasons include aesthetics and power usage to animate all the bubbles.
Before I go and address the criticism, I think it would be great to break down the team’s design thinking and how Liquid Glass actually works.
Apple’s annual developer conference kicked off today with a keynote that announced:
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.
The Talking Heads have released a new music video for an old song. Directed by Mike Mills—who is not only a filmmaker but also a graphic designer—and starring Saoirse Ronan, the video for the band’s first hit, “Psycho Killer” is a wonderful study on the pressures, anxieties, and joys of being a young person in today’s world. It was made to celebrate the band’s 50th anniversary.
On Instagram, the band said, “This video makes the song better- We LOVE what this video is NOT - it's not literal, creepy, bloody, physically violent or obvious.”
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:
I knew instantly that the brand identity was paying homage to Eadweard Muybridge’s famous photographic studies of a galloping horse. It’s a logo for an AI video company.
The whole case study from Jody Hudson-Powell and Luke Powell of Pentagram is great.
Nearly three weeks after it was introduced at Figma Config 2025, I finally got access to Figma Make. It is in beta and Figma made sure we all know. So I will say upfront that it’s a bit unfair to do an official review. However, many of the tools in my AI prompt-to-code shootout article are also in beta.
Since this review is fairly visual, I made a video as well that summarizes the points in this article pretty well.
I remember two years ago, when my CEO at the startup I worked for at the time, said that no VC investments were being made unless it had to do with AI. I thought AI was overhyped, and that the media frenzy over it couldn’t get any crazier. I was wrong.
Looking at Google Trends data, interest in AI has doubled in the last 24 months. And I don’t think it’s hit its plateau yet.
Four months into his role as interim CEO, Tom Conrad has been remarkably candid about Sonos’ catastrophic app launch. In recent interviews with WIRED and The Verge, he’s taken personal responsibility—even though he wasn’t at the helm, just on the board—acknowledged deep organizational problems, and outlined the company’s path forward.
But while Conrad is addressing more than many expected, some key details remain off-limits.
The interim CEO has been surprisingly direct about the scope of the failure. “We all feel really terrible about that,” he told WIRED, taking personal responsibility even though he was only a board member during the launch.
Last week, Figma held their annual user conference Config in San Francisco. Since its inception in 2020, it has become a significant UX conference that covers more than just Figma’s products and community. While I’ve not yet had the privilege of attending in person, I do try to catch the livestreams or videos afterwards.
Nearly 17 months after Adobe and Figma announced the termination of their merger talks, Figma flexed their muscle—fueld by the $1 billion breakup fee, I’m sure—by announcing four new products. They are Figma Draw, Make, Sites, and Buzz.
With these four new products, Figma is really growing up and becoming more than a two-and-half-product company, and is building their own creative suite, if you will. Thus taking a big swing at Adobe.
I’ve been seeing this new ad from Coinbase these past few days and love it. Made by independent agency Isle of Any, this spot has on-point animation, a banging track, and a great concept that plays with the Blue Screen of Death.
I found this one article about it from Little Black Book:
“Crypto is fundamentally updating the financial system," says Toby Treyer-Evans, co-founder of Isle of Any, speaking with LBB. "So, to us it felt like an interesting place to start for the campaign, both as a film idea and as a way to play with the viewer and send a message. When you see it on TV, in the context of other advertising, it’s deliberately arresting… and blue being Coinbase’s brand colour is just one of those lovely coming togethers.”
There has been an explosion of AI-powered prompt-to-code tools within the last year. The space began with full-on integrated development environments (IDEs) like Cursor and Windsurf. These enabled developers to use leverage AI assistants right inside their coding apps. Then came a tools like v0, Lovable, and Replit, where users could prompt screens into existence at first, and before long, entire applications.
A couple weeks ago, I decided to test out as many of these tools as I could. My aim was to find the app that would combine AI assistance, design capabilities, and the ability to use an organization’s coded design system.
While my previous essay was about the future of product design, this article will dive deep into a head-to-head between all eight apps that I tried. I recorded the screen as I did my testing, so I’ve put together a video as well, in case you didn’t want to read this.
Product design is going to change profoundly within the next 24 months. If the AI 2027 report is any indication, the capabilities of the foundational models will grow exponentially, and with them—I believe—will the abilities of design tools.
The AI foundational model capabilities will grow exponentially and AI-enabled design tools will benefit from the algorithmic advances. Sources: AI 2027 scenario & Roger Wong
The TL;DR of the report is this: companies like OpenAI have more advanced AI agent models that are building the next-generation models. Once those are built, the previous generation is tested for safety and released to the public. And the cycle continues. Currently, and for the next year or two, these companies are focusing their advanced models on creating superhuman coders. This compounds and will result in artificial general intelligence, or AGI, within the next five years.
In the 1980s and ’90s, Emigre was a prolific powerhouse. The company started out as a magazine in the mid-1980s, but quickly became a type foundry as the Mac enabled desktop publishing. As a young designer in San Francisco who started out in the ’90s, Zuzana Licko and Rudy VanderLans were local heroes (they were based across the Bay in Berkeley). From 1990–1999 they churned out 37 typefaces for a total of 157 fonts. And in that decade, they expanded their influence by getting into music, artists book publishing, and apparel. More than any other design brand, they celebrated art and artists.
Here is a page from a just-released booklet (with a free downloadable PDF) showcasing their fonts from the Nineties.
