There are four signs your idea has legs:People pay you money: Several people start to pay for your product, ideally people you don’t have a direct connection toContinued usage: People continue to use your prototype product, even if it’s hackyStrong emotion: You’re hearing hatred for the incumbents (i.e. pain) or a deep and strong emotional reaction to your idea (i.e. pull)Cold inbound interest: You’re seeing cold inbound interest in your product

Every prosumer collaboration product, including Figma, Notion, Coda, Airtable, Miro, and Slack, spent three to four years wandering in the dark until they stumbled on something that clicked.

When I first started meeting founders, I wanted to help with anything and everything. Unfortunately, that's neither realistic or possible. For example, I have many responsibilities at my day job that must come first. Over time, I have honed in my pitch to be explicit about how I can and can't help. See the notes above about ways to be helpful, and find your own unique combination of value to bring to the table.

My contract typically looks like this: We agree to meet ~X hours per quarter/half/year Multiply by Y contracting rate Y ⨉ X = some dollar amount Z Divide Z by the startup's latest price per share to arrive at a number of advisor shares to grant

Be founder-friendly! It's a big deal and a lot of paperwork to get a smaller check or advisor on the cap table (unless they already have a lot of operational infrastructure in place) – this usually means being relaxed about the commitment paperwork or helping out pro-bono for the first few hours while they work through the logistics.

Finding founders you work well with can be a numbers game; you won't be sure what you like doing until you've met a handful of founders, done several advisory meetings, and poked at different types of problems. It's okay to dip your toe and warm up to the process before committing a lot of time and energy to this. I started slow, and have been steadily sharpening my own intuition about what kinds of products and founders get me excited, and where I can add unique value

The key design skill is less about beautiful all-encompassing Figma documentation with all the kinds of journey maps and personas, or mastering a “process”. It’s about being so keenly situationally aware of what unknowns are in front of you so you can pick out what tools or design activities target them precisely.

It's not helpful to think of design as process of discovering, defining, ideating and delivering (or whatever version of those double diamond steps you prefer) because following those steps often does not get you closer to a solution.

TikTok looked at what makes their content unique. Applying an OOUX mindset, the most interesting object is the “post” populating the feed. Two things stand out. First, the videos are very short, with only a couple of seconds of runtime. Which meant the usual distinction between browsing and watching made little sense. Second, opting for a truly mobile experience, their videos would be portrait mode. This meant users could browse and watch in the same orientation, one video at a time. The design decision to merge the browse and watch experience into one stream with autoplay broke all kinds of conventions. Yet, by doing so, it created a unique and engaging experience that is even borderline addictive.

Tinder understood that the selection moment is what makes them unique. They wanted to provide a quick and easy method for their key interaction to decide if a user is a match or not.

Games felt like they were about sparkles and tension. Great app UX is about minimalism and simplicity. Fortunately, I found Raph Koster, the author of A Theory of Fun. Raph is known as a “Game Grammarian” and deeply deconstructs how games are made.

Another more modern example is this landing page for PayPal. Notice how the page clearly invites you to choose. Are you a “Personal” user or a “Business” user? As you mouse over each section, the story unfolds, expanding your choices, offering you things you can easily understand and identify with. Each branch has a clear call to action. This is a beautiful story telling sequence that pulls you in and gets you to become an active part of the on-boarding process.

There are clearly 3 distinct versions of jumping going on here: Initial jump. Simple button pressLong jump. Long button pressLanding jump. Timed jump What’s so interesting here is that there is only one ‘thing’ you’re learning: jumping. But by stressing subtle aspects of how to jump, the game builds up variations of it. A basic jump gets you over things, a long jump can “open” and landing a jump can “attack”. A boring app designer like me would assume you’d need 3 different verbs/buttons for this but Super Mario does this with a single “Jump” action.

APPSEach feature is in isolation, how it is done usually has little relation to other features (other that using a style guide).GAMESBuild a game through a single, mechanic that grows in expressive power by adding modifiers like time, special keys, or timing.

APPSJust throw in a bunch of features into a pot.GAMESUnderstand everything is a journey. Work hard to make everything a closely connected arc of events that help the user create a narrative that matches the overall story.

APPSAssume users are at a constant skill level.GAMESUse hints constantly and patiently to move users to the next level.

APPSTend to offer users a large toolbox and let them figure out how to get started.GAMESHave a clear understanding of the journey and say “Start here first”.

The Mac took a very hardware driven concept, turning on your computer, and turned it into theater. Yes it had the boot sound, but it then showed a promise, a compromise of the final desktop and as it booted, ‘inflated’ that promise with the final working model. Why people loved the Mac is often misunderstood. I’d claim that it’s this dedication to taking people on a carefully crafted story, one which allowed users to craft a compatible narrative, that is at the heart of this devotion.

To win the level you must first cross the street. To cross the street requires that you move the frog. To move the frog requires that you understand joystick timing. Each of these sub levels have their own feedback considerations: Street: the cars movementFrog: How it moves, how far it jumps each timeJoystick: Direction and speed of movement (it’s quite slow actually) Games understand that each of these levels has their own set of feedback, motivation and learning that must take place. This level of deconstruction, in a 30 year old game no less, blew my mind. Games were complex! They really paid attention to detail. There was a lot here to understand.

The computer example here is desktop menus. “Selecting a menu item” is actually a fractal cascade of skills where you first start horizontally browsing the menu bar, with a click, you shift into a vertical mode but keep the same basic highlight approach. For hierarchical menus, you need to understand the graphic hint that there is something deeper and then navigate over to reveal and then select that menu. Anyone who has taught beginning computer users the menu system knows how hard it is to master hierarchical menus. It’s takes practice to find, reveal and track over to that menu. There is a fractal cascade of skills required.

Raph has a great quote in his book for this: “Fun is just another word for learning”. In order to have fun, you must learn. I find this inspiring as app design wants your users to learn but we’ve rarely appreciated this could be fun. Games understand that in order to learn you must start thinking in layers. Begin with a basic skill and slowly add more, getting better one layer at a time.

At Tokyo Disneyland, for example, you can create elaborate in-reach prop displays that will never, ever be disturbed or broken by guests — rules are rules. (By the same token, I once got politely yelled at there for ducking under a chain to shortcut a completely, 100% empty line. I absolutely had to walk through the entire, empty switchback. And that’s fair, I was breaking the rules!) Whereas here in America, if your prop is not literally bolted down, it’s likely to show up on eBay / Van Eaton within the week.

honestly, a lot of it, I think, is just that some designers are amazing at imagining things, but not as amazing at imagining them surrounded by the universe. That beautiful thing you’re working on, it lives in a window on your monitor tucked under a title bar, and that’s as tricky as it gets. What if you can’t imagine your thing in its final context? What if you aren’t great at predicting human behaviors other than your own?

good design isn’t just beautiful and incredible and boundary-pushing, it also remembers what it means to be human.

As the construction industry matured, and best practices were commodified, the percentage of buildings requiring the direct involvement of architects plummeted. Builders can now choose from an array of standard layouts that cover most of their needs; materials and design questions, too, have been standardized, and reflect economies of scale more than local or unique contextual realities.

Cities have lots of rules and regulation about how things can be designed and built, reducing the need for and value of creativity

The situation is similar in our field. In 2009, companies might ask a designer to “imagine the shoe-shopping experience on mobile,” and such a designer would need to marshal a considerable number of skills to do so: research into how such activity happens today and how it had been attempted online before and the psychology of people engaged in it; explorations of many kinds of interfaces, since no one really knew yet how to present these kinds of information on smartphones; market investigations to determine e.g. “what % of prospective shoppers have which kinds of devices, and what designs can accommodate them all”; testing for raw usability: can people even figure out what to do when they see these screens? And so on.In 2023, the scene is very different. Best practices in most forms of software and services are commodified; we know, from a decade plus of market activity, what works for most people in a very broad range of contexts. Standardization is everywhere, and resources for the easy development of UIs abound.

It’s also the case that if a designer adds 15% to a design’s quality but increases cycle time substantially, is another cook in the kitchen, demands space for ideation or research, and so on, the trade-off will surely start to seem debatable to many leaders, and that’s ignoring FTE costs! We can be as offended by this as we want, but the truth is that the ten millionth B2B SaaS startup can probably validate or falsify product-market-fit without hiring Jony Ive and an entire team of specialists.

We design apps downstream of how Apple designs iOS. There’s just not that much room for innovating in UI at the moment

Today, for a larger-than-ever percentage of projects, some good libraries and guidelines like Apple’s HIG can get non-designers where they need to go. Many companies could probably do very well with1 designer to do native design + create and maintain a design systemPMs and executives for ideationFront-end engineers working off of the design system / component library to implement ideasSo even where commodification doesn’t mean no designers, it still probably means fewer designers.

If, for example, they land AR / VR, we will once again face a world of businesses who need to figure out how their goods and services make sense in a new context: how should we display Substack posts in AR, for example? Which metaphors should persist into the new world? What’s the best way to shop for shoes in VR? What affordances empower the greatest number of people?

But there will at least be another period when engineers who “just ship” will produce such massively worse user interfaces that software designers will be important again.

“design process” and “design cycles” are under pressure and may face much more soon. Speed helps, and so too does a general orientation towards working with production however it’s happening. This basically sums to: “Be less precious, and try to fit in in whatever ways help your company ship.”

being capable of more of the work of making software can mean becoming better at strategy and ideation, such that you’re ever executive’s favorite collaborative partner; you listen well, you mock fast (maybe with AI), and you help them communicate; or it can mean becoming better at execution, learning, for example, to code.

With the comprehensive application of Artificial Intelligence into the creation and post production of images, it seems questionable if the resulting visualisations can still be considered ‘photographs’ in a classical sense – drawing with light. Automation has been part of the popular strain of photography since its inception, but even the amateurs with only basic knowledge of the craft could understand themselves as author of their images. We state a legitimation crisis for the current usage of the term. This paper is an invitation to consider Synthography as a term for a new genre for image production based on AI, observing the current occurrence and implementation in consumer cameras and post-production.

In recent years Sketch’s Mac-ness has become a liability. Requiring every person in a large design organization to use a Mac is not an easy sell. Plus, a new generation of “internet native” users expect different things from their software than old-school Mac connoisseurs: Multiplayer editing, inline commenting, and cloud sync are now table-stakes for any successful creative app.

At the time of Sketch’s launch most UX designers were using Photoshop or Illustrator. Both were expensive and overwrought, and neither were actually created for UX design. Sketch’s innovation wasn’t any particular feature — if anything it was the lack of features. It did a few things really well, and those were exactly the things UX designers wanted. In that way it really embodied the Mac ethos: simple, single-purpose, and fun to use.

Apple pushed hard to attract artists, filmmakers, musicians, and other creative professionals. It started a virtuous cycle. More creatives using Macs meant more potential customers for creative Mac software, which meant more developers started building that software, which in turn attracted even more customers to the platform.And so the Mac ended up with an abundance of improbably-good creative tools. Usually these apps weren’t as feature-rich or powerful as their PC counterparts, but were faster and easier and cheaper and just overall more conducive to the creative process.

Apple is still very interested in selling Macs — precision-milled aluminum computers with custom-designed chips and “XDR” screens. But they no longer care much about The Mac: The operating system, the software platform, its design sensibilities, its unique features, its vibes.

The term-of-art for this style is “skeuomorphism”: modern designs inspired by their antecedents — calculator apps that look like calculators, password-entry fields that look like bank vaults, reminders that look like sticky notes, etc.This skeuomorphic playfulness made downloading a new Mac app delightful. The discomfort of opening a new unfamiliar piece of software was totally offset by the joy of seeing a glossy pixel-perfect rendition of a bookshelf or a bodega or a poker table, complete with surprising little animations.

There are literally dozens of ways to develop cross-platform apps, including Apple’s own Catalyst — but so far, none of these tools can create anything quite as polished as native implementations.So it comes down to user preference: Would you rather have the absolute best app experience, or do you want the ability to use an acceptably-functional app from any of your devices? It seems that users have shifted to prefer the latter.

Unfortunately the appeal of native Mac software was, at its core, driven by brand strategy. Mac users were sold on the idea that they were buying not just a device but an ecosystem, an experience. Apple extended this branding for third-party developers with its yearly Apple Design Awards.

for the first time since the introduction of the original Mac, they’re just computers. Yes, they were technically always “just computers”, but they used to feel like something bigger. Now Macs have become just another way, perhaps the best way, to use Slack or VSCode or Figma or Chrome or Excel.

visionOS’s story diverges from that of the Mac. Apple is no longer a scrappy upstart. Rather, they’re the largest company in the world by market cap. It’s not so much that Apple doesn’t care about indie developers anymore, it’s just that indie developers often end up as the ants crushed beneath Apple’s giant corporate feet.

I think we’ll see a lot of cool indie software for visionOS, but also I think most of it will be small utilities or toys. It takes a lot of effort to build and support apps that people rely on for their productivity or creativity. If even the wildly-popular Mac platform can’t support those kinds of projects anymore, what chance does a luxury headset have?

John Watson looks down at his screen, and we see the message he’s reading on our screen as well. Now, we’re used to seeing extradiegetic text appear on screen with the characters: titles like “Three Years Earlier” or “Lisbon” serve to orient us in a scene. Those titles even can help set the tone of the narrative - think of the snarky humor of the character introduction chyrons on Burn Notice. But this is different: this is capturing the viewer’s screen as part of the narrative itself [1] It’s a remarkably elegant solution from director Paul McGuigan. And it works because we, the viewing audience, have been trained to understand it by the last several years of service-driven, multi-platform, multi-screen applications.

The connection between Sherlock’s intellect and a computer’s becomes more explicit in one of my favorite scenes, later in the episode. Sherlock is called to the scene of the murder from which the episode takes its title.[3] We watch him process the clues from the scene and as he takes them in, that same titling style appears, now employed in a more conventional-seeming expositional mode

But then the shot reverses, and it’s not quite so conventional after all. The titling isn’t just what Sherlock is understanding, it’s what he’s seeing. In the same way that text-message titling can take over our screens because whatever we’re watching TV on is just another screen in a multiplatform computing system, this scene tells us that Sherlock views the whole world through the head-up display of his own genius.

Reddit is rumored to have plans to go public, but they need better leadership than the current team. Huffman has shown no leadership skills. He doesn’t know how to read the room. Most importantly, he lacks the social empathy to lead a social platform. Even more disappointing is the lack of comments or intervention from Reddit co-founder Alexis Ohanian, the always chatty — who seems to have advice for every other founder, except for his co-founder. […] In an attempt to monetize the content generated by the community, Huffman forgot that it is the people who make the platform. The community is the platform. It is something the owners of social media platforms forget. […] It happened with MySpace. It has happened with Twitter. It is now happening with Reddit. They never learn from past mistakes. They assume that because they own the platform, they own the community. Every time they forget that important thing, they erode the community’s trust. And once that trust goes, so does the unfettered loyalty. People start looking for options.

I have zero faith in Steve Huffman’s ability to lead Reddit. What kind of chief executive officer posts this comment after a massive community backlash?

closing off 3rd party API access mostly serves an IPO, not OpenAI. If Reddit merely wanted to restrict the ability to scrape its data, they could have done so without killing off clients – e.g. via licensing deals. However, perhaps if access to training data is seen as an elbows-out brawl, I could see how Reddit would be extremely protective of its data. I mean, lyrics websites, map makers, and dictionaries go to great lengths to protect their data. It would not be a giant stretch for Reddit to do so as well.

Huffman is right that, in the end, the whole situation reflects a product problem: the native Reddit apps, both on desktop and on mobile, are ugly and difficult to use. (In particular, I find the nested comments under each post bizarrely difficult to expand or collapse; the tap targets for your fingers are microscopic.) Reddit didn’t really navigate the transition to mobile devices so much as it endured it; it’s little wonder that millions of the service’s power users have sought refuge in third-party apps with more modern designs.

Inspired by biological form and motion, the Dynamic Island is designed to feel like a living organism, with a deliberate elasticity that serves as a playful contrast to the fixed nature of the hardware it embodies.

The products that we build contain complex flows and highly interactive elements. As a result, there's so many important decisions that we need to make. SwiftUI helps by quickly surfacing all of those important details that need your attention, for example, how an image should look when it's loading or how a button appears when it's pressed. These are the types of things that make a product feel complete. They're easily hidden in static design tools but are quickly surfaced when working in a dynamic tool like SwiftUI.That's because SwiftUI makes it easy to build your designs on device. In doing this, you gain a more complete understanding of what you're making. Separate parts now interact together, and you can begin to evaluate the experience as a whole. This process quickly reveals what's working in your design and what still needs attention or polish. On Maps, we've found this to be tremendously helpful.

Jeremie and his team spent time in the city to understand its “soul”, and conducted surveys that asked thousands of businesses, residents and visitors about their aspirations and perceptions of Christchurch. They discovered that its image as the “Garden City” was important, as well as being a good place to balance work and leisure, leading them to create the promise: “Christchurch is a playground for people.”

“There is a problem within the games industry where we don’t value institutional knowledge,” Moon said. “Companies will prioritize bringing someone from outside rather than keeping their junior or mid-level developers and training them up. We are shooting ourselves in the foot by not valuing that institutional knowledge. You can really see it in Tears of the Kingdom. It’s an advancement of what made Breath of the Wild special.”