All of my work stems from the simplest of ideas that go back to the earliest civilisations: making clothing from one piece of cloth. It is my touchstone. I believe that all forms of creativity are related.

Issey Miyake passed away this month. My preferred watch between 2013–2015 was a Miyake piece called the TO Watch, and I recently learned it was designed by Tokujin Yoshioka while perusing one of my favorite websites, Minimalissimo.

Although strikingly simple, it was difficult to ascertain the time because the hour and minute hands are reversed. Friends would chuckle when it would take me a few seconds to become confident I knew the correct time after looking down.

Perhaps it’s time to purchase a new model. It’s gorgeous.

When I envision the future of the smart home I see a gradual transition away from cold, hard, and clunky hardware towards a more playful, soft, and delightful aesthetic. A great example is a recent Google experiment called Little Signals:

Little Signals explores new patterns for technology in our daily lives. The six objects in this design study make use of different sensorial cues to subtly signal for attention. They keep us in the loop, but softly, moving from the background to the foreground as needed.

Take a slow walk around your home and notice how you have arranged each area. Your desk, shelf, table, bedside, entryway. You chose objects that feel personal and come together to create a feeling. Why can’t computers, big, small, and tiny, similarly join your other belongings?

Today’s tech products stand out. They make aggressive sounds. They interrupt. They should remain on your periphery and gently draw focus when necessary before quickly fading away.

Another example comes from Deutsche Telekom Design & Customer Experience and Layer:

As the tools of domestic technology become increasingly linked together, in a flow that integrates digital and analogue devices, the designs in the Connectivity Concept collection make that connection harmonious and fluid — digitally and aesthetically.

Imagine a family of products throughout your home that feel connected digitally and aesthetically. Google’s latest Nest Cam, Nest WiFi, and Nest Thermostat are pursuing an elevated elegance through a new hardware visual language, and subtle yet fun color options like sand, fog, sage, sky, and coral. As a result I find myself turning to Nest for my smart home needs. Unfortunately the software has not caught up with the hardware’s softness and delightful presence.

The last example is from Ikea, a company that my family still relies on for basic home necessities. The product photographed above looks pleasant atop a stack of books. No attennas; no flashing lights.

It will take time for Ikea to earn my technological trust, but I am excited to see them participating in this field. Perhaps someday I will venture into the new San Francisco Ikea and demo their WiFi speakers and smart air purifiers.

The most surprising part about this industry? Apple isn’t even mentioned.

The iPod was a groundbreaking piece of consumer electronics. With new generations introduced every year after its launch in 2001, the iPod product family reflected a period of rapid development in processing, storage, displays, and user interfaces, anticipating the iPhone’s blockbuster release in 2007.

This month we explore the evolution of the iPod from the inside out with our Lumafield Neptune CT scanner, guided by none other than Tony Fadell, the inventor of the iPod and the founder of Nest.

The scans of first generation iPod, sixth generation iPod, and the first generation iPod nano are fun to see, but the truly exciting part is the video with Tony Fadell talking about a few details from each iPod. For example iPods originally stored mp3s on tiny spinning harddrives, and simply dropping a harddrive on a table can easily cause damage to the harddrive’s head. I highly recommend watching the video.

When I was an intern at Apple in 2002, Tony told the interns the story of how the iPod came to be. The first iPod had recently launched, and during that summer the second geneartion model launched with 10 gigabytes of storage.

It’s hard to imagine how they designed, built, and launched the original iPod in just 8 months.

I have a long list of Apple products that I believe are unique, desirable, or just unusual waiting to be proudly displayed in my Apple museum. Recently I found myself endlessly browsing eBay (again) searching for something on the list and I came across an iMac in the original color: Bondi Blue. I have a fondness for blue and green Apple products like the iBook, Power Mac G3, and this iMac. I clicked Buy It Now not knowing that I would soon have a delightful email exchange with the owner.

The iMac belongs in the museum because it marks the beginning of Apple’s transition from a boring, confusing, beige 1990s into an artistic, colorful, opinionated 2000s. Steve Jobs had returned to Apple, eliminated most of the product line, elevated Jony Ive, and released the iMac.

I sold many iMacs when I worked at Computerware, a local Apple retail store before Apple had official stores. By the time I was employed there Apple was selling models with new colors (including Blue Dalmation and Flower Power) and FireWire ports for connecting digital video cameras.

The iMac was notable in the computer industry for many reasons:

• Prominent Apple ports were removed breaking compatibility with old keyboards and mice. USB and the ability to plug and unplug peripherals without restarting was the future.
• There was no disk drive. If you wanted to move a file to another computer you were expected to use the internet.
• Plug in power, plug in the keyboard and mouse, and plug in the modem. Simplicity was part of the Jeff Goldblum ad campaign showing off how easy it was to set up an iMac.
• Pick it up with a handle. Apple brought back the mentality that a computer should be approached not as a mysterious, heavy box, but as something you could simply pick up and move.

Below is the culmination of the email exchange I had with the iMac’s owner.

This iMac is pretty early in the build cycle. I think it’s an early Rev. B model. It was made early November 1998. I sold a bunch of Bondi iMacs when they came out. The most memorable aspect of being an Apple Reseller in the 1990s was frequently going to Macworld Keynotes (mostly in New York plus one in Boston). The best was in 1999 for the introduction of WiFi and the iBook. The single best computer theater I saw was when Phil Shiller jumped from a window above the stage to a waiting Steve Jobs to show the iBook was not connected to any wires.

He was at the event when Phil Schiller jumped to show that the iBook’s internet connection was wireless using Apple’s AirPort card. Incredible.

I am a computer industry living fossil. I began writing assembler language small subroutines in 1974 on punch cards. Short 10-15 lines of code subs to do a very specific individual task. Assembler was a very compact language. I worked as a Cobol programmer for about a dozen years. I ran large scale projects. My first encounter with Apple was 1983 testing the Lisa. I was invited to Apple in 1986 or 87 to take a look at a new technology they were working on. After being led deep inside a building we emerged into a lab and were shown what was to be called QuickTime. Exciting stuff. In my early corporate days around 1981 I sat in the back of the room for a demo conducted by Phil Estridge of IBM (he and his team died when a Delta jet went down in a storm on approach to Dallas. IBM never recovered from that loss). He was demonstrating what was to become the IBM PC. He had the team from Microsoft showing off DOS… Bill Gates and Paul Allen. Who knew then what was to be.

I’ve never even seen a Lisa and I had no idea QuickTime development started in the late 1980s!

We were at the introduction of the Newton. The wife was at the intro of Apple’s first laptop. We went to the intro of the IIfx. The list goes on.

I have a Newton Messagepad H1000 and an eMate 300 in the museum. Clearly I must find more “fossils” out there to hear old Apple stories and purchase their relics.

A couple weeks ago the blogosphere celebrated Mac OS X’s (now macOS) 20th anniversary. It’s comical to reflect on the early days of Mac OS X. I installed Mac OS 10.0 (the first version was 10.0 and each year incremented by .1) on my Power Mac G3 400 (Blue & White) and immediately lost access to my modem. This was before we had DSL so my only connection to the Internet was through America Online. (Napster was extremely slow with a maximum speed of 5 kilobytes per second.)

Fortunately I could still access my printer through Classic mode. I had the fast, quiet Apple LaserWriter 4/600 PS which could only connect to a modern Mac using a $100 Ethernet to LocalTalk adapter. I would write in Microsoft Word in Mac OS X, and then open the same document in Classic mode to print. (Eventually Mac OS 10.1 was released and I was forced to purchase a new HP printer that had proper driver support.)

I vividly remember the first time Mac OS 10.0 launched. I clicked and held down on the top of a window, and dragged the mouse to move the window to a new location on the screen. The entire window moved with my mouse! In Classic Mac OS (8, 8.5, 9, etc.) only an outline of a window moved when you dragged it around. Seeing the entire window move was exhilarating. I’m sure this is difficult to imagine after so many years of being accustomed to this behavior. Think of the first time you saw spinning rims on a car. You brain halted and said “Wait that’s possible?” For me it was similar to the moment Steve Jobs swiped to unlock an iPhone the first time.

Podcasters have discussed how slow Mac OS 10.0 and 10.1 were, and I honestly do not remember this. I’m not disputing their statements, but perhaps I was distracted by the lickable (Steve Jobs famously said “We made the buttons on the screen look so good you’ll want to lick them”) Aqua interface, and the anxiety from taking Introduction to Computer Science. (Remember CodeWarrior?) Apple and my G3 were still a big part of my personality, but I was just beginning my college career.

Here are some podcasts that I recommend listening to if you want to feel nostalgic about macOS:

• Daring Fireball: Russian Nesting Doll Code
• Accidental Tech Podcast: Fort of HomePods
• Mac Power Users: Twenty Years of OS X

My favorite story from this era comes from Imran Chaudhri, an Apple designer who worked closely with Steve Jobs, in the form of a couple Tweets:

in 1995, while interning at apple, i bought a NeXT cube for $150 at stanford surplus

while designing mac os X with steve, he liked to tell us how the NeXT was better

so i started bringing in my cube to win arguments by showing him that things weren’t as good as he remembered

this happened so often that it got to the point where if he walked in and saw the cube in the room, he’d just let it go

still the best $150 i’ve spent

happy 20 years mac os x!

I’m dying to add a NeXTcube to my collection.

Designers beginning their careers or looking for their next gig often express similar frustrations when working on portfolio case studies: “Where do I begin?!” After writing a few paragraphs they become frustrated and unsure of their progress. The design must be beautiful! I’m a designer, right? My case study better be perfect! Fortunately there is a solution to this problem.

When working on your case study it is crucial that you separate the design from the content. Do not start with a blinking cursor. Do not jump right in to Wordpress or Squarespace or Tumblr (I once used Tumblr to build a portfolio). Look at the screenshot below. How can you possibly juggle how your portfolio should look while trying to write?

Here is how I approach writing case studies. Remember high school or college English classes? Remember essays? Start with a pencil, Google Docs, Pages (I used Pages to write all of my essays at Cornell), or a basic text editor (I use iA Writer) and focus on the content at a high level. I quickly wrote an outline for an app I worked on in 2015. (Sadly it is gone forever because competing against Facebook in the social networking space is not ideal.) Here are some questions to consider:

• What is the problem you and your team tried to solve? Perhaps it’s “There are no apps for me to look at my friends’ product reviews.”
• What is the story you want to tell? Perhaps it’s “I worked with a small team to build a beautiful app but in the end we learned that we failed to find a real problem.”
• What sections do you need? Perhaps it’s introduction, problem, exploration, solution, and outcome.
• What images do you need to include? Perhaps you need screenshots of how product reviews look on typical social networking apps, prototypes, illustrations that convey the goals of a few prototypes, marketing materials, and final mockups.
• Where will you put images? Avoid using so many images that they get in the way of telling a story.

Write a thorough outline. Getting more information out of your head at this stage will help you efficiently write the details later.

Now convert each line of text into a few sentences or paragraph. Fill in the details. Get into a writing flow. Again: you are not thinking about design. You are focusing on content. Typography and colors come later. Tell your story!

Once you are confident that the content is ready (including images captions because they are a fun way to inject personality), you can select a content management system and browse templates. I’ve used so many (even Carbonmade!) and they all have pros and cons. If you want to discuss in detail please feel free to Tweet me. In my opinion it is wholly unnecessary to design and build a template from scratch now. Even Jekyll has templates (although most are pretty scrappy looking).

OK you’ve selected a template and you’re ready to write. Wait you already wrote everything in Pages (seriously give it a try)! Just simply copy and paste your text and upload your images. When your content is already written, building your portfolio is fast and easy. After inputting everything you can focus on the design. Tweak your typography. Mess with colors. Try different templates. You are free to experiment. You finished the hard part; now comes the fun.

As discussed last week in my post about portfolio presentations, designers inevitably have to share their work when applying for a job. What I witness often is the uninspiring real estate tour (or “harbor tour” if you are from the UK). Designers present a high fidelity mockup and talk about the navigation, content, buttons, personas, colors, etc. They are skipping the most important part: the problem.

Every project, flow, and mockup must be presented as part of a problem/solution pair. What is the problem you are trying to solve, and why is this solution ideal? For example, when I applied to become a product designer at Salesforce, I presented my work at iControl Networks (now Alarm.com). I did not start with an interface; I started with a very high-level problem: security systems are old. They run on POTS, are not connected to broadband, do not support new technologies like Zigbee or Z-Wave, and, most importantly, are difficult to use.

Wait! Is this the right problem? No! This immediately jumps to the technology. Why should the hiring manager care that security systems are old? How can you connect the hiring manager to a real world problem? People purchase a security system because they want to protect their family. But what happens when you leave your home?

Problem: I’m not home, and I want to know that my family is safe.

Solution: Build a system that allows people to quickly know that their family is safe.

By the way, I’m not exaggerating; this is really how I presented my portfolio. One slide to talk about the problem, and another for the solution.

Family. Everyone can relate to that. After grounding the audience to the purpose of the company, it’s now time to discuss my team’s role. When you configure a home with a dozen sensors, a security panel, a few cameras, a couple thermostats, and a bunch of smart plugs, it becomes overwhelming trying to ascertain the state of your family and home. Instead of showing the final interface, demonstrate the design challenge.

Oh that’s not ideal. Should I jump to the main event here and show the final interface? No! First explain why a lot of data is overwhelming. The hiring manager can’t appreciate the awesome final mockup without first understanding why it’s awesome. In the image above the user is forced to scan a list of devices’ icons and states, and then make an interpretation about the state of their home. That’s time-consuming and frustrating. There must be a better way. Perhaps a symbol.

One symbol to summarize all activity in the home. The problem here is there’s so much device and sensor activity that you may not be confident you fully comprehend everything after glancing at one symbol. Windows may be open, people may be tripping motion sensors while walking around, the security panel may be in a specific arm state, etc. This can be solved by including a few words to summarize the state of the home.

You can see this concept coming together after a few slides. It’s important to note that the audience has still not seen high fidelity mockups. First I dedicated time to establish context by explaining the problem, and now I’m walking you through how we solved it. By now the audience should have a clear idea of the interface’s structure and purpose. It’s time to add fidelity.

We arrived. The symbol plus a couple text snippets like “Armed Stay. All Quiet.” tells the user that the security panel is armed, no sensors are tripped, and all devices are online. Here is where you remind the audience what the problem is and explain why this solution is ideal. There’s a lot of data produced by sensors and devices. This interface allows the user to launch the app, glance at the interface, and feel confident that their family and home are safe. We started with a list of devices and their individual states, and ended with a symbol paired with a few words.

Without context mockups are just pictures. They may be beautiful or innovative, but context is what enables the hiring manager to understand what they are looking at and why. A problem/solution pair connects your mockups to a complete user experience. At the end of your presentation the hiring manager should be confident that you can solve her problems.

After speaking with many designers through Out of Office Hours and, as a new design leader, interviewing many candidates for a position on my team, I detected a theme with portfolio presentations.

First, the candidate provides a link to a portfolio website, and the hiring manager is intrigued by both its content and aesthetics. The portfolio includes long-form posts that the manager can leisurely read. The candidate then excels during the initial phone screens with a fun conversation about their experiences and a summary of a recent project or two. Then comes the most exciting part: the group presentation.

A common mistake I witness is the recycling of materials: the candidate presents their website instead of an artifact that is appropriate for a presentation. A website is an asynchronous presentation. I can click around, read at my own pace, and take the necessary time to understand each detail. Take a look at the complexity of a website and imagine someone speaking to you while you attempt to decipher its content. Navigation, title, paragraphs of text, images, etc.

A presentation is different. People listening to your voice cannot simultaneously digest a detail-rich website. Listeners require something simple to view so they can subconsciously transition between the words you are speaking, and the content on screen. One moment your words are the primary focus and the content is on the periphery. The next moment they are interpreting the content and your voice moves to the periphery. If a website is on the screen it is highly unlikely that listeners can both follow your words and paragraphs of text. A PowerPoint, Keynote, or Google Slides presentation is crucial for focus. The applicant is forced to reduce and simplify. Take a look at a simple slide.

With only a title, a few words, and an image I can quickly ascertain the information the applicant is conveying. Within a couple seconds my primary focus transitions from your voice to the slide and back to your voice. Listeners will miss less of the nuances of your speaking style, personality, and information.

I highly recommend preparing both a portfolio and a presentation when applying for a product design role. Please reach out on Twitter if you have questions. I’d be delighted to review your portfolio and presentation.

Normally I ignore Apple rumors, but it’s rare to read about one that indicates a reversal in design. MG Siegler writes about Apple laptop speculation:

Mainly, since Apple is clearly feeling nostalgic, I want them to bring back the glowing Apple logos on the back of MacBooks — something they seem to want to do themselves if you just look at all their recent marketing!

Nostalgic for the sake of nostalgia? Or is Apple considering returning to an era of prioritizing function over form?

Previously Apple’s PowerBook and original MacBook laptops had a number of features that provided reassurance. The MagSafe connector had a small light with two colors: orange to indicate charging, and green to indicate a full battery. Those tiny lights weren’t crucial features, but they helped reassure me that the computer was working properly. Do computers mostly work properly? Of course! But it’s nice to be reassured.

Older Apple laptops had a button on the battery (when batteries were visible and detachable). One tap of the button lit up 1, 2, 3, or 4 lights to indicate if the battery was 25%, 50%, 75%, or 100% charged. This saved me from opening the laptop and entering my password just to learn the battery’s charge state. Again, not crucial but reassuring.

There was also a white light that glowed when the laptop was in its sleep state. It increased and decreased in brightness like a person breathes in and out of their lungs. That subtle glow told me that there were no problems entering the sleep state. Once every couple of years my laptop (even the 2016 MacBook Pro) will be stubborn and not want to actually go to sleep. Is this problem that only occurs every few years worth building a feature to remedy? Of course not. But the light was there and I appreciated it.

Apple’s modern laptops are svelte, minimalist, and vague similar to the iPhone. One could argue that the iPhone exterior could be more beneficial to the user with lights to indicate power, cellular strength, WiFi strength, and battery availability like the Status Bar. That would be more consistent with Apple’s older laptops. Each of those indicators are solved with software on the iPhone, and I assume Apple’s industrial design team arrived at the same conclusion for laptops: users can learn the state of the laptop by looking at the screen. The problem is laptops and phones are not used or perceived the same way. Phones are much closer to us in the sense that they are always one second away from use. They never go to sleep. They are never shut. Compare this to laptops which We walk away from for hours or days at a time. Laptops remain mysterious with more potential for problems.

Perhaps it’s time to reconsider the laptop’s sleek but helpless aesthetic and provide users with bits of information that build trust and confidence. A bunch of lights surrounding the surface may sound tacky, but there is a balance between reassuring and unattractive.

Throughout my career in user interface design I have sought to create balance and harmony through a combination of whitespace, typography, color, and content. One tool I have never fully embraced is the grid. I first began trying in approximately 2010 using GuideGuide, an early Photoshop plugin. With GuideGuide you can enter a few values and a perfect grid appears on your artboard. However, whenever I try to enforce a rigid grid I end up breaking it more often than allowing it to lead.

Elements on the page beg to be placed a few pixels away from a gutter. Text boxes become constrained. It’s frustrating as a designer to ignore something you carefully configured.

The above example from Figma and UI2, their updated design system, is a masterful example of both grid design and implementation. I plan on encouraging my team to think about how new designs can embrace a simple grid.