It would not be unfair to call Hempel a writer’s writer, but it might be misleading—she’s a reader’s writer, too. Some of her stories contain only a few lines; few run longer than ten or twelve pages. None rely on high-concept mechanics or lofty language. She demands very little of her readership, and then delivers in spades. Hempel has been called a miniaturist—fair enough—but if her stories tend to be small in scale, they drill as deep as fiction goes. Emotionally charged, fantastically precise, an Amy Hempel story is a miracle of efficiency.
If this joke epitomizes the collective frustration that developers have with CSS, then at the risk of ruining the fun, I thought it would be interesting to dissect the bug at its heart, as a case study in why people get frustrated with CSS.
Browsing through a well-crafted interface is like reading a great story (or flipping through a great comic book). As designers, why are we not incorporating screenwriting techniques more often into our process?
The web is where Postel’s Law meets Murphy’s Law, so we can’t treat web development as if it were just another flavor of software. Instead we must work with the grain of the web. There are tried and tested approaches to building for the web that will result in experiences that are robust, flexible, and resilient.
We have lost control over our content. To change this, we need to reconsider the way we create and consume content online. We need to create a new set of tools that enable an independent, open web for everyone.
Flying through the night, while the world beneath us is at sleep, is a pretty common thing as a longhaul pilot. Depending on the direction of the flight the crew and the passengers either have a short night up ahead if flying eastbound or almost eternal darkness if headed westwards.
Six weeks after first learning about the company, I’m convinced that it somehow manages to eclipse Tesla and SpaceX in both the boldness of its engineering undertaking and the grandeur of its mission. The other two companies aim to redefine what future humans will do—Neuralink wants to redefine what future humans will be.
Technology, science and creativity combine to create evocative images which show the sensuality and beauty of the bird’s movements and which are, at the same time, clues for those wishing to identify or recognize them.
As we grow ever reliant on digital products and services, designers are being asked to create experiences that can work seamlessly across a multitude of platforms, all without slowing delivery or impeding maintainability. Design systems address this need.
Imagine you were asked to design a city. How might you layout its roads and major features? What shape might it take? Few designers get this opportunity, but these questions faced the designers of Brasília, which was to become Brazil’s new capital in 1960.
There are many practical design books about tools and methods, but very few that cover the mindset of making. What are the opportunities, problems, and possibilities of the creative practice? And once the work is done, what happens when it is released into the world?
Life appears to emerge in patterns of pixels in this demonstration of the “Video Feedbackteria” phenomena, seen within an interactive projection at the Museum of Contemporary Art Santa Barbara. These strange behaviors occur between a video camera and projector, without a computer.
Typesetting on the web has evolved from a quirky afterthought into an invaluable practice. Within a span of twenty years complex interfaces that adapt to their environment, as well as an overwhelming number of typefaces, have bloomed all around us. Likewise, using animations and transitions or balancing display text in conjunction with powerful OpenType features became not only possible but expected. So where do we go from here? What are the skills we need to contribute to the future of typography? And what do two ghostly figures from the 15th century have to do with that future?