As someone who has managed and worked with designers for most of my adult life, I get a lot of calls from people looking to check references on someone I’ve worked with or find out from me if there are other designers they should be talking to.
When I think about the range of critique I’ve provided in these situations, the term I always use to describe the very best designers I’ve ever worked with is five-tool designer.
Five-tool player is actually a baseball term used to describe someone who can hit for average, hit for power, run the bases, throw, and field. It’s the highest compliment you can pay to a player and is generally reserved for only the most complete athletes, like Ken Griffey Jr. and Willie Mays. In fact, Major League Baseball estimates there are only 8 five-tool players in the game today.
Everyone looks for slightly different things in the designers they hire, but for me, there are five tools that stand above the rest.
The first book I checked off my list this year was one I had heard about thousands of times since I was little but never actually read: 1984 by George Orwell.
I think what finally got me over the edge was this Reading List for the Resistance from Jason Kottke, so thanks Jason.
I very much enjoyed the book, and in a way, I’m glad that I waited until this very instant to read it. I think my younger self would have dismissed it as delusional and irrelevant, as I tend to retreat from science fiction the moment it feels implausible to me.
Reading the 1949 novel now though, at a moment in which the stiff boot of authoritarianism threatens to become part of American lives for the first time, I’m struck by how prescient it now seems.
There are a lot ideas from the book that feel more and more familiar in today’s world, but the one I can’t get away from is the concept of newspeak. For those who haven’t read the book, newspeak is a new language developed by the oppressive government that drastically reduces the amount and complexity of words in order to drastically reduce the amount and complexity of thought amongst the citizenry. The idea is, if you can remove say, 95% of words from the English language, new generations will not be able to formulate the undesirable thoughts represented by the eliminated words (think “coup”, “resistance”, “steal”, etc).
The end result is something of a pidgin. Very basic sentences, using a tiny subset of words, representing the minimal amount of thought necessary to keep the wheels of the totalitarian society running.
It strikes me that many of our communication channels today — while not being created with any sort of negative intent — may have ended up with similar properties:
“What did you ship last quarter?”
“When is this going to ship?”
“Real artists ship.”
The verb “ship” has a long history in the software development world and before that, the physical world. In the physical world, it originally meant “to transport something on a vessel”, and in the software world, it meant “to press a tape/disk/CD and send it out to consumers”. Since then, it has come to simply mean “release”, and even then, usually not in any sort of final form.
Everyone inside tech companies loves shipping. It’s the culmination of a lot of hard work and creativity from designers, engineers, PMs, researchers, and any number of other people, and when it’s good it puts a dent in the universe. It is no wonder then that so much of the machinery of tech organizations is centered around shipping.
But should it be? Especially given how much shipping itself has changed in the last couple of decades?
AIGA just published a fantastic rundown of all Olympic logos, as graded by Milton Glaser. Glaser is a legend, having created some of the most iconic design work of the 20th century, including the I ❤️ NY logo and the fantastic poster for Bob Dylan’s Greatest Hits.
Logos, however, are a subjective endeavor, and one man’s trash is another man’s treasure. In other words, there is little objective truth in logo design… only a preponderance of opinions and feelings. It is possible to objectively grade a logo’s craftsmanship by looking for transgressions in things like alignment and stroke width, but in terms of how a mark makes you feel, beauty is much more personal.
With that in mind, there were some things in Glaser’s grading that I agree with and some that I disagree (even strongly) with, and thus, I decided to re-rank them according to a few criteria:
With those criteria in mind, here is my re-ranked list, in order of worst to best. Since I’ve ordered it this way, instead of by year, there is also a lot more snark at the beginning, but bear with me. Additionally, it’s important to remember that in practice, logos often go through many layers of politicking, compromising, and otherwise watering-down of what may have once been something much more impressive. Sometimes it is the designer’s fault that something didn’t turn out great and sometimes it is external factors entirely.
Results. Metrics. Impact.
When deciding how to evaluate employees, these are often the things companies land on. It makes sense on its face. If a company’s goal is to, say, grow its customer base from X to Y in 12 months, what better way to align employees to that objective than to try and directly measure their contribution towards it? You worked on Project A and it singlehandedly got the company 20% closer to its goal? Congrats, you are judged to be a successful employee and you will likely enjoy everything that goes along with that.
But what if you worked on Project B — not even by choice but because you were assigned it — and it ended up being a failure? Your results were terrible, you didn’t move metrics, and your project had no impact. Then what?
Welcome to the controversial world of employee evaluation in product design & development.
Here’s the unfortunate truth — several billion people have a slot machine their pocket.
An important essay on the responsibility we have as designers to provide experiences which enrich lives as opposed to merely illusions of enrichment. If you work on digital products, this is a great gutcheck. If you use digital products, this is a wake-up call to take control of your precious attention.
I had only been to San Francisco on random business trips and a couple of times with my family when I was very young. It seemed like a place I might live if I had never found Seattle.
It was go-time now though.
A drawn-out dance of interviews over the course of six months resulted in an offer to move down to the City and join Twitter to lead its Design team. My wife and I had never considered leaving Seattle before, but the opportunity to join Doug, Dick, and a few other people I knew designing a product that reached hundreds of millions of people was exactly the sort of thing you drop everything for.
“We can always hightail it back up here the second things go to hell.”
It’s been 7 years since I last redesigned Mike Industries, and it feels like even longer. The old design still holds up considering the largely desktop audience it was designed for, but since it’s May 1st Reboot Day, and I’ve had some time on my hands since leaving Twitter, I thought I’d release a shiny new version today.
Say hello to Mike Industries, Version 3.
What is wrong with the old Version 2, you ask? Well:
While I’ve spent the last few months putting this together, it only occupied a day or two of time per week. Lots of fits and starts, including periods of frustration and reflection where I’ve asked myself “Why am I not just moving everything to Medium?”
Pardon the mess around here as I move around some furniture and get ready to start publishing on Mike Industries again, but I wanted to share a handful of sites, apps, and interactive projects that stuck out to me as I finished judging The Pixel Awards today. These projects were from about 20 different categories ranging from Fashion to Experimental to Student Work, so they may all be great at very different things. I found them all delightful and a reminder of the great work going on in our industry. Was also surprised at how many hamburger menus I saw across much of the field, but that’s a topic for another day!
Thank you to the Pixel Awards for having me as a judge. These were my faves:
I remember the first time I heard of a real product described as a teleportation machine. It was only a couple of years ago, actually. A founder of a popular photo sharing network described the ultimate purpose of his product as a means to teleport anywhere around the world. I remember reading that sentence and thinking “this is a really great product, but it doesn’t actually make me feel like that.”
Maybe it was the fact that individual photos only provide a split-second glance into someone’s world. Maybe it was that filtering, cropping, and opportunistic life-editing sometimes creates a veneer that doesn’t feel like real life. Most of all though, I think it’s because the experience wasn’t live.
The difference between something typed or captured minutes before you see it and something you experience simultaneously — cooperatively — with the person doing the broadcasting is transformative.
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