This is the kind of press release I like.
Remember when I wrote about Web Audio weirdness on iOS? Well, this is a nice little library that wraps up the same hacky solution that I ended up using.
It’s always gratifying when something you do—especially something that feels so hacky—turns out to be independently invented elsewhere.
Before the hagiographical praise for working with an iPad Pro, Robin nails the fundamental shape of the design process:
I had forgotten that there are two modes of design, just as there is in writing.
The first mode is understanding the problem, getting a ten-thousand foot view of the land. It’s getting people to acknowledge that this really is the problem we need to agree upon. This work needs to happen in a sketchbook in the form of messy, back-of-the-napkin drawings or in writing. All this helps you to form a proper argument and focus your thoughts.
The second mode of design is taking that ten-thousand foot view and zooming all the way in to the hairs on the back of the rabbit; figuring out the precise UI and components, the copywriting, the animations, the everything else. This should be done in a design tool like Figma or Sketch. And this is when we should be talking about color palettes, icons, design systems, and consistency.
The problem with almost all design work is that first phase never really happens. People don’t take that ten thousand foot view of the problem and are focusing instead on the pixels; they’re trapped by the system they know too well.
Yes, yes, yes! Spot on:
I think people get stuck in that second mode because productivity in design is often tied to “how many pages or frames did I design today?” when productivity should instead be thought of as “how did my understanding of the problem change?
Craig writes about reading and publishing, from the memex and the dynabook to the Kindle, the iPhone, and the iPad, all the way back around to plain ol’ email and good old-fashioned physical books.
We were looking for the Future Book in the wrong place. It’s not the form, necessarily, that needed to evolve—I think we can agree that, in an age of infinite distraction, one of the strongest assets of a “book” as a book is its singular, sustained, distraction-free, blissfully immutable voice. Instead, technology changed everything that enables a book, fomenting a quiet revolution. Funding, printing, fulfillment, community-building—everything leading up to and supporting a book has shifted meaningfully, even if the containers haven’t. Perhaps the form and interactivity of what we consider a “standard book” will change in the future, as screens become as cheap and durable as paper. But the books made today, held in our hands, digital or print, are Future Books, unfuturistic and inert may they seem.
James re-imagines the Barbican as an airship drifting free of central London.
Trent offers some excellent advice for dealing with the effects of the iPad’s retina display on your websites. That advice is: don’t panic.
Harry’s 15 minute case-study presentation at UX London was excellent. He says the lesson is that we shouldn’t be afraid to make mistakes, but there’s another lesson here too: testing with users will save your ass.
Josh nails it: publishers need to stop thinking in terms of issues:
Publishers and designers have to start thinking about content at a more atomic level, not in aggregated issues. That’s how we already understand news as consumers, and we have to start thinking that way as publishers, too. This is why Flipboard, Instapaper, and other aggregators are so interesting: they give you one container for the whole universe of content, unbound to any one publisher.
This is a thoroughly enjoyable, frustratingly addictive two-player game for the iPad.
I look forward to seeing Eyes Wide Shut as a series of Foursquare check-ins.
This looks like a beautiful way to present information, although it seems a real shame that the information is locked to just one class of device.
Y’know, I think this comparison actually makes a lot of sense.
A very cute Christmas message from Torchbox.
A handy list of installed fonts on the iPhone and iPad.
By far the best use of an iPad I've seen.
A timely reminder: don't hide information behind mouseover events.
Adam Greenfield is spot-on here, dismantling Apple's "imitate real world objects" design guideline for iPhone and iPad apps.
Paul doesn't need an iPad. Neither do I. Neither do you. Paul is spending his money elsewhere.
A nice collection of free apps for your mobile device. No app store required, thanks to offline storage.
Charles Stross peers into his dilithium crystal ball and tells tales of the future as decided by Apple.