iconography
An icon is a symbol equally incomprehensible in all human languages
An icon is a symbol equally incomprehensible in all human languages. There's a reason why humans invented phonetic languages.
A universal correspondence
In 1923 Kandinsky proposed a universal correspondence between the three elementary shapes and the three primary colors: the dynamic triangle is inherently yellow, the static square is intrinsically red, and the serene circle is naturally blue.
The series ▲■● represents Kandinsky’s attempt to prove a universal correlation between color and geometry; it has become one of the most famous icons of the Bauhaus. Kandinsky conceived of these colors and shapes as a series of oppositions: yellow and blue represent the extremes of hot/cold, light/dark, and active/passive, while red is the intermediary between them. The triangle, square, and circle are graphic equivalents of the same polarities.
BeOS Icons
Rethinking Twitter Verification
An Article by Terence EdenThe main problem, I think, is that no one knows what "Verified" means.
If I were in charge (which I'm not) there would be various types of ticks.
🤖 is a bot
🆔 proved their legal identity
🏭 is run by a brand
⚖ is run by a government department
👮 Official law enforcement
😎 CelebrityAnd so on.
What happened when I stopped using Emojis
An Article by Clo S.In March 2021, I went through a fun self-imposed experiment: no emoji for 2 weeks. Not on social media, not in private messages, not even as Slack or Discord reactions. No emoticon either: the goal was to communicate without illustrations, only with words. I did a semi-rigorous (a.k.a. half-assed) diary study, taking notes on my feelings and behaviour.
The vanishing designer
Visionary designers have lost their conceptual integrity to an industrial complex optimized for consensus, predictability, and short-term business gain. The rise of customer-obsession mantra and data-driven culture cultivated a generation of designers who only take risk-free and success-guaranteed steps towards the inevitable local maxima of design monotony.
The same, the same, the same
Look around us. Every business is an app and every app feels the same, because every designer has the same resume, follows the same process, graduates from the same program, uses the same tool, scrolls the same Dribbble feed, reads the same Medium articles, expects the same career outcome, lives in the same ideology bubble.
Design as an engineering problem
The Silicon Valley giants, testifying with their runaway success, claimed to have “solved” design as an engineering problem. The solution substituted the human essence of design — intuition, ingenuity, and taste— with the tangibles, measurables, and deliverables.
Companies say they are “design-driven”, but designers are actually driven by dashboards filled with metrics like CSAT, NPS, CES, DAU, MAU. We rigorously run tests, studies, experiments as if innovative ideas are hidden in spreadsheets, waiting to be extracted by data scientists.
The heat death of design
Losing the design diversity means falling into a singular narrative of how design must be done, which grants unfair and self-reinforcing advantage to the mainstream while discouraging, stifling, or even punishing the idiosyncratic designers who bring unorthodox but remarkably innovative processes to the table. The true opportunity cost is the diverse future that humanity can no longer access.
A future without diversity is fundamentally stagnant: imagine designs so standardized that you can’t tell them apart. While every design is guaranteed to be good, none will be great. New designs are marginally better than previous ones with the rate of improvement eventually approaching zero. We have reached the heat death of design.
Design with courage
- Make a bold decision (that is controversial).
- Make a mistake (as a result of a bold decision).
- Challenge “conventional wisdom”.
- Challenge authority (that preaches conventional wisdom).
- Challenge hierarchy (that perpetuates conventional wisdom).
- Ignore the committee (and the need to converge).
- Decide who your clients are (and aren’t).
- Ignore clients that aren’t (especially those who pay the most).
- Cultivate clients if none exists (instead of compromising your design).
- Be a generalist (and ignore your job title).
- Be a specialist (who specializes in being a generalist).
- Design things from scratch (and build them yourself from scratch).
- Design things that no one wants (yet).
- Design freely (and think freely).