Style
Something akin to style
A particular deficiency of which they all partake
Illa de la Discòrdia
The discoveries you make in the making
Style is an expression of the interest you take in the making of every sentence.
It emerges, almost without intent, from your engagement with each sentence.
It's the discoveries you make in the making of the prose itself.Where ambiguity rules, there is no "style"—or anything else worth having.
Pursue clarity instead.
In the pursuit of clarity, style reveals itself.Substance over style
By the 1930s, the teardrop shape, known since the turn of the century to be the form of least resistance, was incorporated into Boeing and Douglas aircraft, and, being the contemporary artifact that best symbolized the future, the airplane set the style for things generally. The most static of mundane objects were streamlined for no functional purpose, and chromed and rounded staplers, pencil sharpeners, and toasters were hailed as the epitome of design.
...Though all design is necessarily forward-looking, all design or design changes are not necessarily motivated by fickle style trends. The best in design always prefers substance over style, and the lasting concept over the ephemeral gimmick.
Style consists in distinction of form
Writing about style in architecture, the nineteenth-century theorist Viollet-le-Duc asserted that "style consists in distinction of form," and complained that animals expressed this better than the human species. He felt that his contemporaries had "become strangers to those elemental and simple ideas of truth which lead architects to give style to their designs," and he found it "necessary to define the constituent elements of style, and, in doing so, to carefully avoid those equivocations, those high-sounding but senseless phrases, which have been repeated with all that profound respect which most people profess for that which they do not understand."
The signature
It has long been understood that striving for originality as an end in itself is the mark of an inferior artist. The personal style of a good artist is never something that has been deliberately cultivated and forced but something that has appeared unsought as inevitably as the personal style of a man's handwriting.
But since artists of note are seen to have a distinct personal style, no artist can hope to make a reputation in a competitive society unless he too can show a distinctive style which easily differentiates his work from that of other artists and draws attention to it. Therefore artists of little capability or uncertain vocation will take great care to make their work look 'different', whereas those with any certainty in them will know that their work cannot help but look different from that of other people any more than signatures can.
It is worth reflecting that the fact of the unmistakable individuality of each man's signature is one foundation of modern commerce everywhere. To establish the individuality of it one need not write it vertically up the page in letters two inches high. And yet there are only twenty six letters, and everyone else uses them too.
An engine of technological difference
Whether at the level of national "technological styles" that shape and differentiate the nature of "same" technologies in different national contexts, or the simple but consequential variations by which industrial commodities are brought into, enlivened, and sustained within the circumstances of individual homes and lives, repair may constitute an important engine by which technological difference is produced and fit is accomplished.
A concept of style
It is a concept based not on the classification of various physical features of architecture and urban design but on the problem-solving process itself. We have seen that the final outcome of a design process is strongly determined by at least three aspects of that process:
- the subject matter of the organizing principles which are adopted,
- the manner in which these principles are interpreted and reinterpreted in the context of the problem at hand, and
- the sequent of applying such organizing principles.
Consistency in style among the output of designers can thus be understood as a habitual way of doing things, of solving problems.
Style is not separate from substance
Young writers often suppose that style is a garnish for the meat of prose, a sauce by which a dull dish is made palatable. Style has no such separate entity; it is nondetachable, unfilterable. The beginner should approach style warily, realizing that it is an expression of self, and should turn resolutely away from all devices that are popularly believed to indicate style - all mannerisms, tricks, adornments. The approach to style is by way of plainness, simplicity, orderliness, sincerity.
The young writer should learn to spot them - words that at first glance seem freighted with delicious meaning but that soon burst in air, leaving nothing but a memory of bright sound.
Eyes which do not see
Our epoch is fixing its own style day by day. It is there under our eyes—Eyes which do not see.
All the work of an epoch
Style is a unity of principle animating all the work of an epoch, the result of a state of mind which has its own special character.
Our own epoch is determining, day by day, its own style.
Our eyes, unhappily, are unable yet to discern it.Shoes
It was perhaps a pedantic matter over which to come to such a decision, but shoes are supreme symbols of aesthetic, and hence by extension psychological, compatibility. Certain areas and coverings of the body say more about a person than others: shoes suggest more than pullovers, thumbs more than elbows, underwear more than overcoats, ankles more than shoulders.
Controlled!
Braun design is greatly reduced - stripped of all that is unnecessary. Nevertheless, there is a strong aesthetic characterized by balance, order and harmony.
Self-control is very important. Although my own taste is involved it always has to be under control. Not suppressed though! Controlled!
When design gets too easy
Design has invariably exhibited styles because some clear limitations on freedom of choice are psychologically necessary to nearly all designers. When design gets too easy it becomes difficult.
Who did the teaching, then?
It has been contended sometimes that our response to works of art is entirely learnt and in no way innate; but the questions 'Who did the teaching, then? and how?' have not, I fancy, been much investigated. This contention is very true of our responses to styles and fashions, but it is not true of our response to beauty.
Typography exists to honor content
In a world rife with unsolicited messages, typography must often draw attention to itself before it will be read. Yet in order to be read, it must relinquish the attention it has drawn. Typography with anything to say therefore aspired to a kind of statuesque transparency. Its other traditional goal is durability: not immunity to change, but a clear superiority to fashion. Typography at its best is a visual form of language linking timelessness and time.
Typographic style
Literary style, says Walter Benjamin, “is the power to move freely in the length and breadth of linguistic thinking without slipping into banality.” Typographic style, in this large and intelligence sense of the word, does not mean any particular style – my style or your style, or Neoclassical or Baroque style – but the power to move freely through the whole domain of typography, and to function at every step in a way that is graceful and vital instead of banal.
No-nonsense
Admittedly, though, however alert and aware I felt, I was probably more aware of the effects the lecture seemed to be having on me than of the lecture itself, much of which was over my head, and yet was almost impossible to look away from or not feel stirred by. This was partly due to the substitute's presentation, which was rapid, organized, undramatic, and dry in the way of people who know that what they are saying is too valuable in its own right to cheapen with concern about delivery or 'connecting' with the students. In other words, the presentation had a kind of zealous integrity that manifested not as style but as the lack of it. I felt that I suddenly, for the first time, understood the meaning of my father's term 'no-nonsense', and why it was a term of approval.
A Search for Structure
A Book by Cyril Stanley SmithThe Art of Looking Sideways
A Book by Alan FletcherCover art for Alan Fletcher's wonderfully expansive commonplace book.
Dieter Rams: As Little Design as Possible
A Book by Sophie Lovell & Dieter RamsThe Design of Design
A Book by Frederick P. Brooks, Jr.The Nature and Art of Workmanship
A Book by David PyeThe Craftsman
A Book by Richard SennettThe Nature and Aesthetics of Design
A Book by David PyeUI and Capability
An Article by Ryan SingerI’m very conscious of whether I am affording a feature or styling it. It’s important to distinguish because they look the same from a distance.
...Affording a capability and styling it are both important. But it’s essential to know which one you are doing at a given time. Style is a matter of taste. Capability and clarity are not. They are more objective. That person standing at the edge of the chasm cares more about accomplishing their task than the details of the decor.
Whomst styles?
An Article by Robin SloanThis is a “whostyle”: an attempt to carry the ~timbre~ of an author’s voice, in the form of their design sensibility, through into a quotation. It’s the author who defines their whostyle; the quoting site just honors it, a frame around their words.
I think the whostyle makes a few arguments. Among them:
- Text is more than a string of character codes. Its design matters, typography and layout alike; these things support (or subvert!) its affect, argument, and more.
- The web should be more colorful and chaotic, along nearly every dimension. The past five years have brought a flood of new capabilities, hugely expressive — let’s use them!
- Quoting is touchy, and anything you can do to cushion it with respect and hospitality is a plus.
Design System as Style Manual With Web Characteristics
An Article by Dorian TaylorIn my opinion, what makes a designer competent is precisely their ability to credibly justify their conclusions. If you can’t do this as a designer—no matter how successful your results are—then neither I nor anybody else can tell if you aren’t just picking things at random.
What I am proposing, then, is no less than to make a designer’s entire line of reasoning a matter of permanent record. On the surface is the familiar set of prescriptions, components, examples and tutorials, like you would expect out of any such artifact. Attached to every element, though, is a little button that says You click it, and it tells you. The proximate explanation will probably not be very satisfying, so you click on the next until you get to the end, at which point you are either satisfied with the explanation, or you aren’t.
Steve Jobs
You'll know it's there
Jobs's father had once taught him that a drive for perfection meant caring about the craftsmanship even of the parts unseen. Jobs applied that to the layout of the circuit board inside the Apple II. He rejected the initial design because the lines were not straight enough.
In an interview a few years later, after the Macintosh came out, Jobs again reiterated that lesson from his father: "When you're a carpenter making a beautiful chest of drawers, you're not going to use a piece of plywood on the back, even though it faces the wall and nobody will ever see it. You'll know it's there, so you're going to use a beautiful piece of wood on the back. For you to sleep well at night, the aesthetic, the quality, has to be carried all the way through."
The Apple Marketing Philosophy
Markkula wrote his principles in a one-page paper titled "The Apple Marketing Philosophy" that stressed three points.
The first was empathy, an intimate connection with the feelings of the customer: "We will truly understand their needs better than any other company."
The second was focus: "In order to do a good job of those things that we decide to do, we must eliminate all of the unimportant opportunities."
The third and equally important principle, awkwardly named, was impute. It emphasized that people form an opinion about a company or product based on the signals that it conveys. "People DO just a book by its cover," he wrote. "We may have the best product, the highest quality, the most useful software etc.; if we present them in a slipshod manner, they will be perceived as slipshod; if we present them in a creative, professional manner, we will impute the desired qualities."
Not just in the details
There falls a shadow, as T.S. Eliot noted, between the conception and the creation. In the annals of innovation, new ideas are only part of the equation. Execution is just as important.
The improvements [over Xerox] were in not just the details but the entire concept. The mouse at Xerox PARC could not be used to drag a window around the screen. Apple's engineers devised an interface so you could not only drag windows and files around, you could even drop them into folders. The Xerox system required you to select a command in order to do anything...the Apple system transformed the desktop metaphor into virtual reality by allowing you to directly touch, manipulate, drag, and relocate things. And Apple's engineers worked in tandem with its designers to improve the desktop concept by adding delightful icons and menus that pulled down from a bar atop each window and the capability to open files and folders with a double click.
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.
If it could save a person's life, would you find a way to make it faster?
"If it could save a person's life, would you find a way to shave ten seconds off the boot time?" [Jobs] asked. Kenyon allowed that he probably could. Jobs went to a whiteboard and showed that if there were five million people using the Max, and it took ten seconds extra to turn it on every day, that added up to three hundred million or so hours per year that people would save, which was the equivalent of at least one hundred lifetimes saved per year. "Larry was suitably impressed, and a few weeks later he came back and it booted up twenty-eight seconds faster," Atkinson recalled. "Steve had a way of motivating by looking at the bigger picture."
We might as well make them beautiful
The Macintosh team came to share Jobs's passion for making a great product, not just a profitable one. "Jobs thought of himself as an artist, and he encouraged the design team to think of ourselves that way too," said Hertzfeld. "The goal was never to beat the competition, or even to make a lot of money. It was the do the greatest thing possible, or even a little greater." He once took the team to see an exhibit of Tiffany glass at the Metropolitan Museum in Manhattan because he believed they could learn from Louis Tiffany's example of creating great art that could be mass-produced. Recalled Bud Tribble, "We said to ourselves, 'Hey, if we're going to make things in our lives, we might as well make them beautiful.'"
Models and iterations
Every month or so, Manock and Oyama would present a new iteration based on Jobs's previous criticisms. The latest plaster model would be dramatically unveiled, and all the previous attempts would be lined up next to it. That not only helped them gauge the design's evolution, but it prevented Jobs from insisting that one of his suggestions had been ignored.
For a computer to be friendly
Even though Steve didn't draw any of the lines, his ideas and inspiration made the design what it is. To be honest, we didn't know what it meant for a computer to be 'friendly' until Steve told us.
It's not just a little thing
At one point Kare and Atkinson complained that he was making them spend too much time on tiny little tweaks to the title bar when they had bigger things to do. Jobs erupted. "Can you imagine looking at that every day?" he shouted. "It's not just a little thing, it's something we have to do right."
Real artists sign their work
When the design was finally locked in, Jobs called the Macintosh team together for a ceremony. "Real artists sign their work," he said. So he got out a sheet of drafting paper and a Sharpie pen and had all of them sign their names. The signatures were engraved inside each Macintosh.
Whole widgets
Jobs believed that for a computer to be truly great, its hardware and its software had to be tightly linked. When a computer was open to running software that also worked on other computers, it would end up sacrificing some functionality. The best products, he believed, were "whole widgets" that were designed end-to-end, with the software closely tailored to the hardware and vice versa.
A ripple through the universe
As every day passes, the work fifty people are doing here is going to send a giant ripple through the universe. I know I might be a little hard to get along with, but this is the most fun thing I've done in my life.
Customers don't know what they want
At the end of the presentation someone asked whether he thought they should do some market research to see what customers wanted. "No," he replied, "because customers don't know what they want until we've shown them." Then he pulled out a device that was about the size of a desk diary. "Do you want to see something neat?" When he flipped it open, it turned out to be a mock-up of a computer that could fit in your lap, with a keyboard and a screen hinged together like a notebook. "This is my dream of what we will be making in the mid- to late eighties," he said. They were building a company that would invent the future.
All sorts of ways to use the machine
Jobs wanted to sell Pixar's computers to a mass market, so he had the Pixar folks open up sales offices—for which he approved the design—in major cities, on the theory that creative people would soon come up with all sorts of ways to use the machine. "My view is that people are creative animals and will figure out clever new ways to use tools that the inventor never imagined."
One keyboard at a time
His frustration with Apple was evident when he gave a talk to a Stanford Business School club at the home of a student, who asked him to sign a Macintosh keyboard. Jobs agreed to do so if he could remove the keys that had been added to the Mac after he left. He pulled out his car keys and pried off the four arrow cursor keys, which he had once banned, as well as the top row of F1, F2, F3 ... function keys. "I'm changing the world one keyboard at a time," he deadpanned. Then he signed the mutilated keyboard.
Think Different.
They debated the grammatical issue: If "different" was supposed to modify the verb "think," it should be an adverb, as in "think differently." But Jobs insisted that he wanted "different" to be used as a noun, as in "think victory" or "think beauty." Also, it echoed colloquial use, as in "think big." Jobs later explained, "We discussed whether it was correct before we ran it. It's grammatical, if you think about what we're trying to say. It's not think the same, it's think different. Think a little different, think a lot different, think different. 'Think differently' wouldn't hit the meaning for me"
Ban PowerPoints
One of the first things Jobs did during the product review process was ban PowerPoints. "I hate the way people use slide presentations instead of thinking," Jobs later recalled. "People would confront a problem by creating a presentation. I wanted them to engage, to hash things out at the table, rather than show a bunch of slides. People who know what they're talking about don't need PowerPoint."
Which ones do I tell my friends to buy?
The product review revealed how unfocused Apple had become. The company was churning out multiple versions of each product because of bureaucratic momentum and to satisfy the whims of retailers..."I had people explaining this to me for three weeks," Jobs said. "I couldn't figure it out." He finally began asking simple questions, like, "Which ones do I tell my friends to buy?"
When he couldn't get simple answers, he began slashing away at models and products. Soon he had cut 70% of them..."I came out of the meeting with people who had just gotten their products canceled and they were three feet off the ground with excitement because they finally understood where in the heck we were going."
After a few weeks Jobs finally had enough. "Stop!" he shouted at one big product strategy session. "This is crazy." He grabbed a magic marker, padded to a whiteboard, and drew a horizontal and vertical line to make a four-squared chart. "Here's what we need," he continued. Atop the two columns he wrote "Consumer" and "Pro"; he labeled the two rows "Desktop" and "Portable." Their job, he said, was to make four great products, one for each quadrant. "The room was in dumb silence," Schiller recalled.
That feeling of putting care into a product
I always understood the beauty of things made by hand. I came to realize that what was really important was the care that was put into it. What I really despise is when I sense some carelessness in a product.
Unlike some designers, [Ive] didn't just make beautiful sketches; he also focused on how the engineering and inner components would work.
He became head of [the design department at Apple] in 1996, the year before jobs returned, but wasn't happy. Amelio had little appreciation for design.
There wasn't that feeling of putting care into a product, because we were trying to maximize the money we made. All they wanted from us designers was a model of what something was supposed to look like on the outside, and then engineers would make it as cheap as possible. I was about to quit.
To be truly simple
Why do we assume that simple is good? Because with physical products, we have to feel we can dominate them. As you bring order to complexity, you find a way to make the product defer to you. Simplicity isn't just a visual style. It's not just minimalism or the absence of clutter. It involves digging through the depth of the complexity. To be truly simple, you have to go really deep. For example, to have no screws on something you can end up having a product that is so convoluted and so complex. The better way is to go deeper with the simplicity, to understand everything about it and how it's manufactured. You have to deeply understand the essence of a product in order to be able to get rid of the parts that are not essential.
Total collaboration
The process of designing a product at Apple was integrally related to how it would be engineered and manufactured. Ive described one of Apple's Power Macs. "We wanted to get rid of anything other than what was absolutely essential," he said. "To do so required total collaboration between the designers, the product developers, the engineers, and the manufacturing team. We kept going back to the beginning, again and again. Do we need that part? Can we get it to perform the function of the other four parts?"
Pure and seamless
The connection between the design of a product, its essence, and its manufacturing was illustrated for Jobs and Ive when they were traveling in France and went into a kitchen supply store. Ive picked up a knife he admired, but then put it down in disappointment. Jobs did the same. "We both noticed a tiny bit of glue between the handle and the blade," Ive recalled. They talked about how the knife's good design had been ruined by the way it was manufactured. "We don't like to think of our knives as being glued together," Ive said. "Steve and I care about things like that, which ruin the purity and detract from the essence of something like a utensil, and we think alike about how products should be made to look pure and seamless."
When we make a model and realize it's rubbish
Much of the design process is a conversation, a back-and-forth as we walk around the tables and play with the models. He doesn't like to read complex drawings. He wants to see and feel a model. He's right. I get surprised when we make a model and then realize it's rubbish, even though based on the CAD renderings it looked great.
He loves coming in here because it's calm and gentle. It's a paradise if you're a visual person. There are no formal design reviews, so there are no huge decision points. Instead we can make the presentations fluid. Since we iterate every day and never have dumb-ass presentations, we don't run into major disagreements.
A ritual of unpacking
I love the process of unpacking something. You design a ritual of unpacking to make the product feel special. Packaging can be theater, it can create a story.
The iMac
Ive and his team worked with Apple's Korean manufacturers to perfect the process of making the cases, and they even went to a jelly bean factory to study how to make translucent colors look enticing. The cost of each case was more than $60 per unit, three times that of a regular computer case. Other companies would probably have demanded presentations and studies to show whether the translucent case would increase sales enough to justify the extra cost. Jobs asked for no such analysis.
Topping off the design was the handle nestled into the iMac. It was more playful and semiotic than it was functional. This was a desktop computer; not many people were really going to carry it it around. But as Ive later explained:
Back then, people weren't comfortable with technology. If you're scared of something, then you won't touch it. I could see my mum being scared to touch it. So I thought, if there's this handle on it, it makes a relationship possible. It's approachable. It's intuitive. It gives you permission to touch. It gives a sense of deference to you.
We'll slap a little color on this piece of junk
"The one thing Apple's providing now is leadership in colors," Gates said as he pointed to a Windows-based PC that he jokingly had painted red. "It won't take long for us to catch up with that, I don't think."
Jobs was furious, and he told a reporter that Gates, the man he had publicly decried for being completely devoid of taste, was clueless about what made the iMac so much more appealing than other computers. "The thing that our competitors are missing is they think it's about fashion, and they think it's about surface appearance," he said. "They said, We'll slap a little color on this piece of junk computer, and we'll have one, too."
The Apple Store
"Ron [Johnson] thinks we've got it all wrong. He thinks [the Apple store] should be organized not around products but instead around what people do." There was a pause, then Jobs continued. "And you know, he's right." He said they would redo the layout, even though it would likely delay the planned January rollout by three or four months. "We've only got one chance to get it right."
Jobs liked to tell the story—and he did so to his team that day—about how everything he had done correctly had required a moment when he hit the rewind button. In each case he had to rework something that he discovered was not perfect.
The iPod
Suddenly everything had fallen into place: a drive that would hold a thousand songs; and interface and scroll wheel that would let you navigate a thousand songs; a FireWire connection that could sync a thousand songs in under ten minutes; and a battery that would last through a thousand songs.
"We suddenly were looking at one another and saying, 'This is going to be so cool,'" Jobs recalled. "We knew how cool it was, because we knew how badly we each wanted one personally."
Cannibalize yourself
Like many companies, Sony worried about cannibalization. If it built a music player and service that made it easy for people to share digital songs, that might hurt sales of its record division. One of Jobs's business rules was to never be afraid of cannibalizing yourself. "If you don't cannibalize yourself, someone else will."
The job of art is to chase ugliness away
Bono later explained that not all corporate sponsorships were deals with the devil.
The 'devil' here is a bunch of creative minds, more creative than a lot of people in rock bands. The lead singer is Steve Jobs. These men have helped design the most beautiful art object in music culture since the electric guitar. That's the iPod. The job of art is to chase ugliness away.
The right kind of building can do great things for a culture
"Steve had this firm belief that the right kind of building can do great things for a culture," said Pixar's president Ed Catmull.
Despite being a denizen of the digital world, or maybe because he knew all too well its isolating potential, Jobs was a strong believer in face-to-face meetings. "There's a temptation in our networked age to think that ideas can be developed by email and iChat," he said. "That's crazy. Creativity comes from spontaneous meetings, from random discussions. You run into someone, you ask what they're doing, you said 'Wow,' and soon you're cooking up all sorts of ideas."
When our tools are broken, we feel broken
In his piece [for Time] Lev Grossman correctly noted that the iPhone did not really invent many new features, it just made those features a lot more usable. "But that's important. When our tools don't work, we tend to blame ourselves, for being too stupid or not reading the manual or having too-fat fingers...When our tools are broken, we feel broken. And when somebody fixes one, we feel a tiny bit more whole."
Scoop it up and whisk it away
At one point Jobs looked at the model [for the first iPad] and was slightly dissatisfied. It didn't feel casual and friendly enough, so that you would naturally scoop it up and whisk it away. Ive put his finger, so to speak, on the problem: They needed to signal that you could grab it with one hand, on impulse. The bottom edge needed to be slightly rounded, so that you'd feel comfortable just scooping it up rather than lifting it carefully.
A pedestrian cloak
Even before the iPad went on sale, Jobs was thinking about what should be in the iPad 2...there was a peripheral issue that he focused on that most people hadn't thought about: The cases that people used covered the beautiful lines of the iPad and detracted from the screen. They made fatter what should be thinner. They put a pedestrian cloak on a device that should be magical in all of its aspects.
To read things that are not yet on the page
My passion has been to build an enduring company where people were motivated the make great products. Everything else was secondary...the products, not the profits, were the motivation.
Some people say, "Give the customers what they want." But that's not my approach. Our job is to figure out what they're going to want before they do. I think Henry Ford once said, "If I'd asked customers what they wanted, they would have told me, 'A faster horse!'" People don't know what they want until you show it to them. That's why I never rely on market research. Our task is to read things that are not yet on the page.
Click
I'm about fifty-fifty on believing in God. For most of my life, I've felt that there must be more to our existence than meets the eye.
I like to think that something survives after you die. It's strange to think that you accumulate all this experience, and maybe a little wisdom, and that it just goes away. So I really want to believe that something survives, that maybe your consciousness endures.
But on the other hand, perhaps it's like an on-off switch. Click! And you're gone.
...Maybe that's why I never liked to put on-off switches on Apple devices.