published 18 December 2012
This is terrific, beautiful storytelling. Angelo Badalamenti, composer of the theme for TV series “Twin Peaks”, describes how the music came to life in a conversation with the show’s creator, David Lynch.
published 14 December 2012
I’ve waited literally months to share this.
The annual September campaign is past, and respect for the privacy and security of the Smiths has been given. I’m now free to share some of the details of our trip to Ethiopia this past summer.
Rewind a little bit. In 2011, you helped my company, Authentic Jobs, raise nearly $25,000 for charity: water in our annual campaign. That amount, or the sum of your generous donations, qualified our campaign for the chance to visit Ethiopia with Will Smith and his wife Jada Pinkett Smith.
But only two spots on the trip were given to each of the three qualifying campaigns, based on overall donation amount. I remember fielding the call from Paull Young, notifying me that our campaign was one of the three, while I was at the soccer fields watching my sons train. I was elated. And yet, simultaneously, I felt empty inside. You, all of you, had donated so charitably, and I didn’t feel worthy of an opportunity that every one of you should have been privy to.
Weeks passed before the details of the trip were finalized by charity: water, in large part due to working around the Smiths’ schedule. This afforded me plenty of time to continue lamenting the fact that I shouldn’t be the one to go; that all of you were equal suitors for the chance. In the end, I convinced myself that I would represent all of you on the trip. My wife, Suzanne, was the logical choice to occupy the second spot, having been at my side since founding Authentic Jobs seven years ago. I felt her perspective would be critical to sharing the experience with all of you.
Fast-forward to Summer 2012. We were on a flight. A rather long one. To Ethiopia. TO JOIN UP WITH WILL SMITH WOW THIS IS CRAZINESS SRSLY? And how were we supposed to address them? Mr. & Mrs. Smith? Agent Jay & Gloria? We asked ourselves this question numerous times, I assure you.
To clarify, and this is important clarification, the trip wasn’t about the Smiths. It wasn’t about visiting Africa with an international superstar and his celebrity wife. We were there to see the impact charity: water and its supporters (again, you) have made in one of the many regions where charity: water has brought clean drinking water to local villages through freshwater wells and other purification efforts. We were all in this together for three days.1 And it really felt like that.
For those three days from sun up to sun down, we traveled from village to village. Some villages were very remote requiring half-hour drives by car over rough terrain. Some had received a well already. Others were anticipating receiving a well. All were welcoming.
As we drove into each village, a welcoming party was there to greet us, sometimes numbering several hundred strong. Signs in both Tigrinya and English were waving, drums were beating, and we were expected to dance with the locals (which we did). It was a party unlike any other I’d ever seen. Most importantly, it was a gratitude party, as I’d call it. Have you ever attended one of those? I hadn’t prior to Ethiopia, and it was incredible to experience.
After the initial welcome, we were whisked away to the center of the village where we were fed and showered with gifts.
The expressions of gratitude continued, which were nearly redundant, for you could see the gratitude written all over their faces. Words weren’t necessary to convey their appreciation. It shone abundantly in their countenances.
There was plenty of walking, and during that time we had a few moments to chat with the Smiths. We joked about the scene in one of his movies where his face swells up from a food allergy. “That really happened to me as a kid,” he explained, but from a bee sting. “So we worked it into the movie.”
There were other times we shared meals together, back at the Gheralta Lodge. We sat right across the table from Will and Jada on a couple occasions, and they were genuinely pleasant.
Yet as I said earlier, we were all in this together. We were there for the locals, not the other way around. Will and Jada took every step in stride, as we all did. You can see, for example, the genuine interest and concern on Will’s face as he watched Suzanne give an impromptu speech at one of the schools we visited.
I was fortunate to capture her speech with my iPhone. I was seated with the rest of the locals, and pulling out my rather cumbersome Canon 7D didn’t feel right. So I quietly removed my phone from pocket and began filming. How grateful I am for doing that.
But of everything we experienced during the trip, nothing impacted us like the children. Consistently we were left behind by our group as we tried to communicate with them using hand gestures, as we took photos and showed them the images on the camera’s screen, and as we made them smile and laugh with high-fives and other Western gestures.
Just look at those faces. How can you not fall in love with that?
Below are video recaps from our trip. The first we produced, and the second was produced by charity: water. Most of the footage in both was captured with my Canon 7D camera, which records video exceptionally well.
As for the impact the children had on us, I’ll share more about that before the year is over. For now, please enjoy the videos and photos. More importantly, please share our campaign site on Facebook, Twitter, Pinterest, and consider donating generously to help us reach our $30,000 goal.
The ‘we’ being Suzanne and myself; Will and Jada Smith; Matt Hall and Dr. John Nosti of Smile Generation (the second qualifying campaign); charity: water founder Scott Harrison and two important staff members, Lindsay Ratowsky and Lauren Miller, who masterminded literally the entire trip. Jane Berentson of Inc. magazine, the third qualifying campaign, was unable to attend our trip but did attend another. ↩
published 6 December 2012
Tech conferences can be a hostile environment for presenting. Everybody has four devices, three IRC channels, mail, twitter, and a commit or two in flight while you are doing your thing onstage. Attendees know that the talks are going to be available later online. They can afford to tune you out because they’re here for the “hallway track”. Attempting to harness attention can feel as futile as spooning back the tide.
Every design decision you make, from the talk topic to the slide design, must help you combat this reality by making it easier to acquire and retain audience attention. Learning how to write a succinct talk abstract is half the battle. Know thine audience, and make sure the first sentence or two will pique their curiosity and leave them with a taste for more.
Idan’s full article, Designing Presentations, is wonderfully insightful, even for a speaking veteran like myself.
From my personal archives, see also 20 tips for better conference speaking. Three years after the article was authored, #1 on the list still remains my #1 tip. And it aligns nicely with the advice from Idan above.
published 13 November 2012
Apple didn’t make an arbitrary decision to withhold Retina on the Mini to save money, upsell more buyers to the iPad 4, or “force” the first generation of iPad Mini owners to upgrade next year. They chose not to ship a Retina iPad Mini because it would be significantly worse than the previous iPads in very important factors.
Imagine the fallout if a Retina Mini shipped with only three hours of battery life, or was inelegantly thick and heavy. Or, very importantly to the iPad’s market, imagine if its GPUs were slower and it ran existing iPad games extremely poorly….
That’s why we don’t have a Retina iPad Mini yet. It’s not only about price: it’s because the resulting product would suck in at least two other important ways.
Speaking of previous models, you can pick up refurbished iPads for as little as $319.
(For the record, I’m still strongly considering getting an iPad mini, even if that means ebaying it when the retina model comes out.)
published 1 November 2012
New York Times, yesterday:
[Steve Jobs] pushed the company’s software designers to use the linen texture liberally in the software for the company’s mobile devices. He did the same with many other virtual doodads that mimic the appearance and behavior of real-world things, like wooden shelves for organizing newspapers and the page-flipping motion of a book, according to people who worked with him but declined to be named to avoid Apple’s ire.
The management shake-up that Apple announced on Monday is likely to mean that Apple will shift away from such visual tricks, which many people within the company look down upon.
Yes, please. And a shift away from Jobs’ preference for skeuomorphism would perfectly align with this advice given shortly before his passing to Tim Cook:
“Among his last advice he had for me, and for all of you, was to never ask what he would do. ‘Just do what’s right,’” Cook said. Jobs wanted Apple to avoid the trap that Walt Disney Co. fell into after the death of its iconic founder, Cook said, where “everyone spent all their time thinking and talking about what Walt would do.”
Hats off to Tim Cook for following through on a dying wish.
published 22 October 2012
Mark Boulton, on adaptive content management:
For a long while, our content problems were hard problems and nobody wanted to confront them. But as far back as the monks, good designers have always concerned themselves with content however difficult it was. So let’s not think about our pages of content anymore, let’s think about bits of content. Let’s think about stories as collections of resources, meta data and links that never have a beginning, middle and end. Let’s think of our stories as adaptive. And let’s build systems so we can make them that way.
published 9 October 2012
Alex Cornell has compiled advice from 90 creative professionals such as Debbie Millman, Paula Scher, and Nicholas Felton, all on overcoming creative block. And he’s packaged it all neatly in a book titled Breakthrough!: Proven Strategies to Overcome Creative Block and Spark Your Imagination.
My advice is found on page 47. With Alex’s permission, reprinted below are my remarks.
My process for battling creative block is to not prescribe a process for battling creative block. By that I mean no two creative blocks are alike. To assume the same process can cure each and every block would be a little bit nutty, if you ask me.
Sometimes just plowing through a block works great for me. The more I crank out bad or mediocre ideas, the better my chances of cranking out good ones eventually. Then again, sometimes that doesn’t work.
Sometimes temporarily conceding defeat works great. I leave a design alone for a time, only to return victoriously later in the day or the following day. But sometimes that doesn’t work either.
Sometimes just staring at a screen or printed matter works great. In fact, I find I tend to stare at my designs, comtemplating the rightness or wrongness of them, more than I actually spend time designing those designs. Of course, that doesn’t always work.
Sometimes I get lucky and amazing designs slip from my fingers as if fate was in the driver’s seat. Rarely does that work for me.
So, how do I overcome creative blocks? By having several block-curing methods at my disposal, rather than a single method. Overcoming blocks is an art, not a science, and we all know art is much more about trial and error than established practices.
I’ve not read all of the other strategies yet, but I’ll be taking the (nearly) pocket-sized book with me on my flight this evening to Brooklyn Beta, where I’m positive I’ll hear epic war stories about overcoming creative block. (Creative block is an all-out war sometimes, is it not?)
published 18 September 2012
Kirby Ferguson speaking at TED on the topic of remixing:
Our creativity comes from without, not from within. We are not self-made. We are dependent on one another, and admitting this to ourselves isn’t an embrace of mediocrity and derivativeness. It’s a liberation from our misconceptions, and it’s an incentive to not expect so much from ourselves and to simply begin.
This is the same topic I’ll be speaking on — creativity and remixing existing matter — at ConvergeFL in Tallahassee, Florida (October 4–5).
published 14 September 2012
Brand New on the new eBay logo:
This logo is not bad. Let’s establish that. There is nothing wrong with it. The letters haven’t been mangled, the colors don’t induce puking, and the ™ is, amazingly, all lowercase to match the logo.
But this logo is not good either. Very far from good actually but unfortunately not so far that it demands the full berating it deserves. Of all the potential logos that could be done for eBay this is the absolute most boring and risk-averse logo that could have been both presented and selected.
published 20 August 2012
Not available for purchase (yet), but I love the idea behind Kunihiko Okano’s Quintet type family: Weights are given choral names and can be combined as a chorus, or used individually.
published 17 August 2012
Noah Stokes, on moving away:
Don’t get me wrong, we left an awesome community of close friends. I left an amazing community of professionals (hello, gentlemen). I was in the heart of billion dollar, zero-revenue, businesses. Start-ups. Mash-ups. Money. Undeniably, the hub of all things web. But I gave all these things up for something more, something real. For the past three weeks I’ve been working on the web, but I’m no longer in the web. It feels awesome.
Honestly, this is a beautifully written piece. For many of the same reasons as Noah’s, I passed up a chance to work at Apple and now live in a retirement town laden with the elderly, tourists, a gorgeous beach, nearly devoid of a web community. In the end, it’s the right place for our family — not just my career.
It’s also worth noting I spent most of my youth in Antioch, northeast of San Francisco. Noah’s article hits home even harder as that comes to mind.
published 15 August 2012
GRID bills itself as a “remarkable spreadsheet”. It looks nothing like a spreadsheet. It does look rather remarkable.
Reminds me of the now (somewhat) defunct Backpack and its unconventional approach to organizing data when it launched 7 years ago.
published 14 August 2012
Fonts optimized for screen rendering look cheap on the retina MacBook Pro — sometimes downright cheesy — in the same way they do when printed in a glossy magazine.
Great fonts, intricately designed for high-resolution output, aren’t just allowed, they are necessary for a design that truly sings on this display. In fact, if anything falls down on the software side, it’s Lucida Grande, Mac OS X’s system font. It was a stellar choice by Apple in 2001 and has served ably for more than a decade, primarily because it renders so crisply through Apple’s anti-aliasing algorithms. In short, Lucida Grande renders better than most fonts on pre-retina displays. But on the retina MacBook Pro, it looks like what it is: a font optimized for low-resolution displays. There’s a reason you seldom see Lucida Grande used in print.
Curious to know if this sentiment extends beyond the Lucidas and Verdanas to include webfonts, too. If it does, I worry we might see the type industry do an about-face with all the webfont optimization that’s taken place the last few years — just as it was beginning to hit critical mass.
(I don’t own a retina MBP and would love to hear your opinion over on the Twitter.)
published 9 August 2012
When you put pure black next to a set of meticulously picked colors, the black overpowers everything else. It stands out because it’s not natural. All of the ‘black’ everyday objects around you have some amount of light bouncing off of them, which means they aren’t black, they’re dark gray. And that light probably has a tint to it, so they’re not even dark gray, they’re colored-dark gray….
Bottom line is: when you find #000000 in your color picker, ask yourself if you really want pure black. You’re probably better off with something more natural. And if you’re feeling adventurous, try staying away from the left edge of the color picker altogether.
This is one of those things experienced web designers do without thought, whereas newcomers tend to choose blacks at the absolute end of the spectrum. You’ll notice the type on this site, for example, isn’t
#222. Background colors in light-on-dark designs, such as DesignersMX, are also a shade or two above pure black.
published 26 July 2012
- September 20–21: Circles Conference, Dallas | @circlesconf
- $175 (early bird special ends July 31)
- Authentic Jobs + charity: water
- I’ll give an inside look at what it’s like to run a for-profit company that rallies its customers and users to support a non-profit organization, and how others can do the same.
- September 27–29: HOW Interactive, Washington D.C.
October 29–31: HOW Interactive, San Francisco | @howinteractive
- $995 (early bird special ends August 15)
- Tools for Building Your Interactive Dream Team
- Insight and advice from successful companies, and stories and observations from my 13-year career in the web industry. Come prepared to take plenty of notes. Update: I failed to mention you’ll receive an additional $50 off with promo code CAMERON.
- October 4–5: Converge Florida, Tallahasse | @convergese
- $200 (registration begins August 1)
- The Burden of Creativity
- We’ve all been endowed with the ability to create. So why is it such a challenge? I’ll answer this question with a math equation, naturally (wink). I’ll also live sketch my presentation.