Podcast appearances and mentions of Susan Kare

reto atreverse susan kare

Play Episode Listen Later Apr 10, 2023 20:04

Gutenburg shipped the first working printing press around 1450 and typeface was born. Before then most books were hand written, often in blackletter calligraphy. And they were expensive. The next few decades saw Nicolas Jensen develop the Roman typeface, Aldus Manutius and Francesco Griffo create the first italic typeface. This represented a period where people were experimenting with making type that would save space. The 1700s saw the start of a focus on readability. William Caslon created the Old Style typeface in 1734. John Baskerville developed Transitional typefaces in 1757. And Firmin Didot and Giambattista Bodoni created two typefaces that would become the modern family of Serif. Then slab Serif, which we now call Antique, came in 1815 ushering in an era of experimenting with using type for larger formats, suitable for advertisements in various printed materials. These were necessary as more presses were printing more books and made possible by new levels of precision in the metal-casting. People started experimenting with various forms of typewriters in the mid-1860s and by the 1920s we got Frederic Goudy, the first real full-time type designer. Before him, it was part of a job. After him, it was a job. And we still use some of the typefaces he crafted, like Copperplate Gothic. And we saw an explosion of new fonts like Times New Roman in 1931. At the time, most typewriters used typefaces on the end of a metal shaft. Hit a kit, the shaft hammers onto a strip of ink and leaves a letter on the page. Kerning, or the space between characters, and letter placement were often there to reduce the chance that those metal hammers jammed. And replacing a font would have meant replacing tons of precision parts. Then came the IBM Selectric typewriter in 1961. Here we saw precision parts that put all those letters on a ball. Hit a key, the ball rotates and presses the ink onto the paper. And the ball could be replaced. A single document could now have multiple fonts without a ton of work. Xerox exploded that same year with the Xerox 914, one of the most successful products of all time. Now, we could type amazing documents with multiple fonts in the same document quickly - and photocopy them. And some of the numbers on those fancy documents were being spat out by those fancy computers, with their tubes. But as computers became transistorized heading into the 60s, it was only a matter of time before we put fonts on computer screens. Here, we initially used bitmaps to render letters onto a screen. By bitmap we mean that a series, or an array of pixels on a screen is a map of bits and where each should be displayed on a screen. We used to call these raster fonts, but the drawback was that to make characters bigger, we needed a whole new map of bits. To go to a bigger screen, we probably needed a whole new map of bits. As people thought about things like bold, underline, italics, guess what - also a new file. But through the 50s, transistor counts weren't nearly high enough to do something different than bitmaps as they rendered very quickly and you know, displays weren't very high quality so who could tell the difference anyways. Whirlwind was the first computer to project real-time graphics on the screen and the characters were simple blocky letters. But as the resolution of screens and the speed of interactivity increased, so did what was possible with drawing glyphs on screens. Rudolf Hell was a German, experimenting with using cathode ray tubes to project a CRT image onto paper that was photosensitive and thus print using CRT. He designed a simple font called Digital Grotesk, in 1968. It looked good on the CRT and the paper. And so that font would not only be used to digitize typesetting, loosely based on Neuzeit Book. And we quickly realized bitmaps weren't efficient to draw fonts to screen and by 1974 moved to outline, or vector, fonts. Here a Bézier curve was drawn onto the screen using an algorithm that created the character, or glyph using an outline and then filling in the space between. These took up less memory and so drew on the screen faster. Those could be defined in an operating system, and were used not only to draw characters but also by some game designers to draw entire screens of information by defining a character as a block and so taking up less memory to do graphics. These were scalable and by 1979 another German, Peter Karow, used spline algorithms wrote Ikarus, software that allowed a person to draw a shape on a screen and rasterize that. Now we could graphically create fonts that were scalable. In the meantime, the team at Xerox PARC had been experimenting with different ways to send pages of content to the first laser printers. Bob Sproull and Bill Newman created the Press format for the Star. But this wasn't incredibly flexible like what Karow would create. John Gaffney who was working with Ivan Sutherland at Evans & Sutherland, had been working with John Warnock on an interpreter that could pull information from a database of graphics. When he went to Xerox, he teamed up with Martin Newell to create J&M, which harnessed the latest chips to process graphics and character type onto printers. As it progressed, they renamed it to Interpress. Chuck Geschke started the Imaging Sciences Laboratory at Xerox PARC and eventually left Xerox with Warnock to start a company called Adobe in Warnock's garage, which they named after a creek behind his house. Bill Paxton had worked on “The Mother of All Demos” with Doug Engelbart at Stanford, where he got his PhD and then moved to Xerox PARC. There he worked on bitmap displays, laser printers, and GUIs - and so he joined Adobe as a co-founder in 1983 and worked on the font algorithms and helped ship a page description language, along with Chuck Geschke, Doug Brotz, and Ed Taft. Steve Jobs tried to buy Adobe in 1982 for $5 million. But instead they sold him just shy of 20% of the company and got a five-year license for PostScript. This allowed them to focus on making the PostScript language more extensible, and creating the Type 1 fonts. These had 2 parts. One that was a set of bit maps And another that was a font file that could be used to send the font to a device. We see this time and time again. The simpler an interface and the more down-market the science gets, the faster we see innovative industries come out of the work done. There were lots of fonts by now. The original 1984 Mac saw Susan Kare work with Jobs and others to ship a bunch of fonts named after cities like Chicago and San Francisco. She would design the fonts on paper and then conjure up the hex (that's hexadecimal) for graphics and fonts. She would then manually type the hexadecimal notation for each letter of each font. Previously, custom fonts were reserved for high end marketing and industrial designers. Apple considered licensing existing fonts but decided to go their own route. She painstakingly created new fonts and gave them the names of towns along train stops around Philadelphia where she grew up. Steve Jobs went for the city approach but insisted they be cool cities. And so the Chicago, Monaco, New York, Cairo, Toronto, Venice, Geneva, and Los Angeles fonts were born - with her personally developing Geneva, Chicago, and Cairo. And she did it in 9 x 7. I can still remember the magic of sitting down at a computer with a graphical interface for the first time. I remember opening MacPaint and changing between the fonts, marveling at the typefaces. I'd certainly seen different fonts in books. But never had I made a document and been able to set my own typeface! Not only that they could be in italics, outline, and bold. Those were all her. And she inspired a whole generation of innovation. Here, we see a clean line from Ivan Sutherland and the pioneering work done at MIT to the University of Utah to Stanford through the oNLine System (or NLS) to Xerox PARC and then to Apple. But with the rise of Windows and other graphical operating systems. As Apple's 5 year license for PostScript came and went they started developing their own font standard as a competitor to Adobe, which they called TrueType. Here we saw Times Roman, Courier, and symbols that could replace the PostScript fonts and updating to Geneva, Monaco, and others. They may not have gotten along with Microsoft, but they licensed TrueType to them nonetheless to make sure it was more widely adopted. And in exchange they got a license for TrueImage, which was a page description language that was compatible with PostScript. Given how high resolution screens had gotten it was time for the birth of anti-aliasing. He we could clean up the blocky “jaggies” as the gamers call them. Vertical and horizontal lines in the 8-bit era looked fine but distorted at higher resolutions and so spatial anti-aliasing and then post-processing anti-aliasing was born. By the 90s, Adobe was looking for the answer to TrueImage. So 1993 brought us PDF, now an international standard in ISO 32000-1:2008. But PDF Reader and other tools were good to Adobe for many years, along with Illustrator and then Photoshop and then the other products in the Adobe portfolio. By this time, even though Steve Jobs was gone, Apple was hard at work on new font technology that resulted in Apple Advanced Typography, or AAT. AAT gave us ligature control, better kerning and the ability to write characters on different axes. But even though Jobs was gone, negotiations between Apple and Microsoft broke down to license AAT to Microsoft. They were bitter competitors and Windows 95 wasn't even out yet. So Microsoft started work on OpenType, their own font standardized language in 1994 and Adobe joined the project to ship the next generation in 1997. And that would evolve into an open standard by the mid-2000s. And once an open standard, sometimes the de facto standard as opposed to those that need to be licensed. By then the web had become a thing. Early browsers and the wars between them to increment features meant developers had to build and test on potentially 4 or 5 different computers and often be frustrated by the results. So the WC3 began standardizing how a lot of elements worked in Extensible Markup Language, or XML. Images, layouts, colors, even fonts. SVGs are XML-based vector image. In other words the browser interprets a language that displays the image. That became a way to render Web Open Format or WOFF 1 was published in 2009 with contributions by Dutch educator Erik van Blokland, Jonathan Kew, and Tal Leming. This built on the CSS font styling rules that had shipped in Internet Explorer 4 and would slowly be added to every browser shipped, including Firefox since 3.6, Chrome since 6.0, Internet Explorer since 9, and Apple's Safari since 5.1. Then WOFF 2 added Brotli compression to get sizes down and render faster. WOFF has been a part of the W3C open web standard since 2011. Out of Apple's TrueType came TrueType GX, which added variable fonts. Here, a single font file could contain a number or range of variants to the initial font. So a family of fonts could be in a single file. OpenType added variable fonts in 2016, with Apple, Microsoft, and Google all announcing support. And of course the company that had been there since the beginning, Adobe, jumped on board as well. Fewer font files, faster page loads. So here we've looked at the progression of fonts from the printing press, becoming more efficient to conserve paper, through the advent of the electronic typewriter to the early bitmap fonts for screens to the vectorization led by Adobe into the Mac then Windows. We also see rethinking the font entirely so multiple scripts and character sets and axes can be represented and rendered efficiently. I am now converting all my user names into pig Latin for maximum security. Luckily those are character sets that are pretty widely supported. The ability to add color to pig Latin means that OpenType-SVG will allow me add spiffy color to my glyphs. It makes us wonder what's next for fonts. Maybe being able to design our own, or more to the point, customize those developed by others to make them our own. We didn't touch on emoji yet. But we'll just have to save the evolution of character sets and emoji for another day. In the meantime, let's think on the fact that fonts are such a big deal because Steve Jobs took a caligraphy class from a Trappist monk named Robert Palladino while enrolled at Reed College. Today we can painstakingly choose just the right font with just the right meaning because Palladino left the monastic life to marry and have a son. He taught jobs about serif and san serif and kerning and the art of typography. That style and attention to detail was one aspect of the original Mac that taught the world that computers could have style and grace as well. It's not hard to imagine if entire computers still only supported one font or even one font per document. Palladino never owned or used a computer though. His influence can be felt through the influence his pupil Jobs had. And it's actually amazing how many people who had such dramatic impacts on computing never really used one. Because so many smaller evolutions came after them. What evolutions do we see on the horizon today? And how many who put a snippet of code on a service like GitHub may never know the impact they have on so many?

new york university chicago google apple los angeles mother san francisco phd philadelphia evolution toronto german microsoft mit utah jobs press mac computers stanford dutch latin windows steve jobs images venice adobe monaco safari chrome vertical photoshop illustrator github iso crt firefox css whirlwind bill paxton xerox antique courier warnock times new roman transitional jm internet explorer fonts postscript trappist xml reed college w3c palladino guis old style nls aat ikarus xerox parc serif svgs blokland kerning karow woff john warnock susan kare all demos martin newell wc3 bill newman doug engelbart gutenburg online system ivan sutherland opentype macpaint truetype john baskerville jonathan kew

Love the internet? Thank women!

TechStuff

Play Episode Listen Later Mar 8, 2023 20:45

Bridget Todd host of There Are No Girls on the Internet steps in for Jonathan to celebrate women in tech for International Women's Day.See omnystudio.com/listener for privacy information.

women internet tech international women women in tech bridget todd susan kare there are no girls there are no girls on the internet

Reto 7: ATREVERSE

OMIPYMES-UNED

Play Episode Listen Later Sep 12, 2022 11:46

"La creatividad, es una aventura social." Susan Kare.

Driven By Her: Unsung Heroines

Ongoing History of New Music

Play Episode Listen Later Sep 8, 2022 27:03

Have you ever heard of a woman named Rosalind Franklin?...probably not, but you can draw a line from today's covid vaccines all the way back to her in the 1950s...she conducted some serious research into the makeup of rna molecules... Rosalind also did some groundbreaking research into the structure of DNA molecules...without her, Jim Watson and Francis Crick may not have discovered how DNA was constructed...they'd go on to win the Nobel prize in 1962...was Rosalind ever given the credit she deserved?...no... What about grace hopper?...ring any bells?...back in the 1940s, lieutenant Grace Hopper invented some computer programming techniques used by the army during World War II…this was the basis of Cobol, the compute language still used by business, finance, and administrative software today... Let's try Susan Kare...no?...she's the one who came up with the trash can icon and the command key on mac computers...she was integral to making the mac operating system as user-friendly as possible... Okay, here's a name you may know: Hedy Lamar...famous actress from old Hollywood in the 30s and 40s and one-time date of Howard Hughes, right?...but she also worked with a guy named George Antheil to come up with a radio “frequency hopping” technology that made today's Wi-Fi, cellular phones, Bluetooth, and gps communications possible...in fact, some call Hedy Lamar “the mother of Wi-Fi”...but does she get the appropriate credit for that?...nope... Those are just a few unsung heroines of technology...their work changed the world...and there are so many more in other fields, too...back in the late 1800s, Nellie Bly became the first investigative female journalist...effa Manley was the first woman to own a sports team...that was back in the 1930s...Beulah Henry was nicknamed “Lady Edison” because she was such a prolific inventor... And while we all know about Joan of Arc, what about Matilda of Tuscany?...she had a 40-year military career who successfully led troops against the Holy Roman Emperor again and again almost a thousand years ago...these are just a few unsung heroines from history... There are similar stories from the world of music: women who changed so much but have been given so little credit...let's see if we can't do a little bit to fix that... Learn more about your ad choices. Visit megaphone.fm/adchoices

Meaningful ~ Susan Kare

Little Box of Quotes

Play Episode Listen Later Jul 6, 2022 0:28

Would you like to receive a daily, random quote by email from my Little Box of Quotes? https://constantine.name/lboq A long long time ago I began collecting inspirational quotes and aphorisms. I kept them on the first version of my web site, where they were displayed randomly. But as time went on, I realized I wanted them where I would see them. Eventually I copied the fledgeling collection onto 3×5 cards and put them in a small box. As I find new ones, I add cards. Today, there are more than 1,000 quotes and the collection continues to grow. Hello, I'm Craig Constantine

drop meaningful quotes little box susan kare

Meaningful ~ Susan Kare

Little Box of Quotes

Play Episode Listen Later Jul 6, 2022 0:28

Would you like to receive a daily, random quote by email from my Little Box of Quotes?https://constantine.name/lboqA long long time ago I began collecting inspirational quotes and aphorisms. I kept them on the first version of my web site, where they were displayed randomly. But as time went on, I realized I wanted them where I would see them. Eventually I copied the fledgeling collection onto 3×5 cards and put them in a small box. As I find new ones, I add cards. Today, there are nearly 1,000 quotes and the collection continues to grow.My mission is creating better conversations to spread understanding and compassion. This podcast is a small part of what I do. Drop by https://constantine.name for my weekly email, podcasts, writing and more.

drop meaningful quotes little box susan kare

RMC Episode 611: Ron's Classic Mac Video Adapter

jazz musique pixel susan kare

Play Episode Listen Later Apr 24, 2022 40:21

James, John, and Ron discuss eBay finds: Sears print ad, Radius display card for SE/30, and Performa 560 Money Magazine Edition. Ron from Ron's Computer Videos talks about his Universal Plus/SE/Classic TTL Video Adapter, and news includes Jason Snell's old Mac nostalgia, A-Max Mac emulator for Amiga, and Susan Kare exhibit. Join our Facebook page, follow us on Twitter, watch us on YouTube, and visit us at RetroMacCast.

mac ebay sears amiga adapter radius jason snell performa susan kare classic mac

Susan Kare, obsédée du pixel

Les Matins Jazz

Play Episode Listen Later Apr 14, 2022 14:24

№145: 失传三十年的「通用魔术」竟然如此不凡！

Anyway.FM 设计杂谈

Play Episode Listen Later Feb 15, 2022 53:42

这是久违了的一期「正常」节目，但是当我回过头去剪辑的时候发觉这一期的自己并不是很「正常」，语速很快逻辑也不清晰，想来真的是因为太激动了，毕竟《General Magic》真的是一部让主播一号急不可待翻译了整片字幕、想分享给大家的纪录片~也许纪录片介绍的这家同名公司名字你不熟，也许产品你也没见过，但 General Magic 里的人物一个个都是大名鼎鼎，虽然全片有点儿「夸张」的气氛，但那段历史真的很热血，看着当时那些硬件、软件的原型和亲历者们的娓娓道来，一个产品设计师很难没有共鸣！# 内容提要05:20 · 本片和上一次我们聊的纪录片冥冥之中有所关联08:46 · 一不小心花了快一刻钟才讲完了本片梗概21:36 · 必须要介绍一下当时公司里那些牛人39:45 · 这个商业上彻底失败的产品他真的失败了吗？# 参考链接《通用魔术 General Magic》的豆瓣条目 2:37本台聊 Handspring 纪录片的那期播客 5:26本片里并没有采访到的一位联合创始 Bill Atkinson 6:54包含了不少额外内容和幕后花絮的美区 AppleTV+ 上的本片 7:26Magic Cap 操作系统的主界面 9:41JJ 翻译的中文字幕的下载地址 10:15《史蒂夫·乔布斯传》 10:50General Magic 创始人之一 Marc Porat 11:30阿斯彭研究所（Aspen Institute） 11:58时任 Apple CEO 的 John Sculley 12:51JJ 表示 Marc 的声音有点儿像 Lee Pace 13:06BGM: 片中多次用到的这首配乐是 Lights & Motion 的 Requiem 13:17另一位公司重要人物 Andy Herzfeld 13:44重要人物 #3: Joanna Hoffman 13:591987 年出版的《Apple human interface guidelines : the Apple desktop interface》 14:18「iPod 之父」Tony Fadell 16:51General Magic 推出的第一款产品 Sony Magic Link 19:58BGM: 片中的配乐《Slippery People》 21:13Marc 的姐姐 Ruth Porat 25:47后来做过美国联邦首席技术官的 Megan Smith 26:58Nest 智能温控器 30:02eBay 创始人 Pierre Omidyar 的故事 35:17本台的第二期节目就聊过 Susan Kare 35:46《星际迷航》里的通话器 38:12《霹雳游侠》里汽车的仪表盘 38:37同样使用 Magic Cap 的摩托罗拉 Envoy 41:20BGM: 本纪录片的原声音乐 @ Apple Music（美区） 51:21# 会员计划在本台官网(Anyway.FM) 注册会员即可 14 天试用 X 轴播放器和催更功能~ 开启独特的播客互动体验，Pro 会员更可加入听众群参与节目讨(hua)论(shui)~

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Blake Buettner (Worn & Wound) on value, the micro scene and Grand Seiko's growing pains

OT: The Podcast

Play Episode Listen Later Oct 21, 2021 66:35

Today's guest is Blake Buettner, watch media veteran and Managing Editor of Worn & Wound. Given his day job at the leading value-driven watch site, we naturally spend a lot of time chatting about what a value watch looks like in 2021 and whether or not a watch with four or more zeros in the price tag can be ‘value', On a related note we cover off the state of the micro-brand scene, and dive into two of the watch enthusiasts traditional darlings, Seiko and Grand Seiko, and what their rapid growth and changing focus (epitomised by the White Birch) means for the brand. We also find out how Blake is — indirectly — responsible for getting Andy into mechanical watches, what really makes for a daily wearer and the joy of clacky keyboards. All that plus Andy and Felix go hands-on with the Apple Watch Series 7. This episode of OT: The Podcast is brought to you by NOMOS Glashütte, listen in to find out about the new Autobahn limited editions, or learn more here. Want to be part of the OT: The Podcast community? Join our Discord! The home of the hot take. Shownotes - https://www.otpodcast.com.au/show-notes/s2e52 Apple Watch Series 7 Susan Kare, pioneering artist and designer You Season 3 trailer Maurice Lacroix Simon Nogueira x Aikon Urban Tribe Blake Buettner on Instagram Worn & Wound on Instagram Worn & Wound The Scout mindset by Julia Galef Sean Carroll's Mindscape Podcast FOLLOW US: https://www.instagram.com/ot.podcast/ https://www.facebook.com/otpodcastau https://www.instagram.com/andygreenlive/ https://www.instagram.com/fkscholz/ Submit an application to our quasi-professional watch matchmaking service, by email: otthepodcast@gmail.com If you liked our podcast - please remember to like/share and subscribe. If you liked our podcast - please remember to like/share and subscribe.

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Censored

I'm Sorry Okay?! - A Degrassi Podcast

Play Episode Listen Later May 25, 2021 78:35

When parents call for Spike's removal from school because of her pregnancy, Caitlyn publishes a protest.We mourn the lost joy of manic panic temporary hair dye, offer an ode to the designer of the Command keyboard icon (⌘) among others, Susan Kare, and take the time to identify the two genders: Hunx and Ze Hunks. See acast.com/privacy for privacy and opt-out information.

command spike censored susan kare hunx

There Are No Girls on the Internet x Stuff Mom Never Told You

There Are No Girls on the Internet

Play Episode Listen Later Mar 19, 2021 48:30

Have you ever wondered about the origins of some of the digital symbols and icons we use in the world of technology? Bridget Todd shares the story of Susan Kare, the woman behind some of the most iconic designs woven into the fabric of what it looks like to use computers and the internet. And speaking of, what does needlepoint have to do with it? Listen to find out!

internet girls susan kare

The Legacy of Susan Kare

Stuff Mom Never Told You

Play Episode Listen Later Mar 10, 2021 47:38

susan kare

Apple and NeXT Computer

Play Episode Listen Later Feb 15, 2021 14:12

Steve Jobs had an infamous split with the board of directors of Apple and left the company shortly after the release of the original Mac. He was an innovator who at 21 years old had started Apple in the garage with Steve Wozniak and at 30 years old while already plenty wealthy felt he still had more to give and do. We can say a lot of things about him but he was arguably one of the best product managers ever. He told Apple he'd be taking some “low-level staffers” and ended up taking Rich Page, Bud Tribble, Dan'l Lewin, George Crow, and Susan Barnes to be the CFO. They also took Susan Kare and Joanna Hoffman. had their eyes on a computer that was specifically targeting higher education. They wanted to build computers for researchers and universities. Companies like CDC and Data General had done well in Universities. The team knew there was a niche that could be carved out there. There were some gaps with the Mac that made it a hard sell in research environments. Computer scientists needed object-oriented programming and protected memory. Having seen the work at PARC on object-oriented languages, Jobs knew the power and future-proof approach. Unix System V had branched a number of times and it was a bit more of a red ocean than I think they realized. But Jobs put up $7 million of his own money to found NeXT Computer. He'd add another $5 million and Ross Perot would add another $20 million. The pay bands were one of the most straight-forward of any startup ever founded. The senior staff made $75,000 and everyone else got $50,000. Simple. Ironically, so soon after the 1984 Super Bowl ad where Jobs based IBM, they hired the man who designed the IBM logo, Paul Rand, to design a logo for NeXT. They paid him $100,000 flat. Imagine the phone call when Jobs called IBM to get them to release Rand from a conflict of interest in working with them. They released the first computer in 1988. The NeXT Computer, as it was called, was expensive for the day, coming in at $6,500. It sported a Motorola 68030 CPU and clocked in at a whopping 25 MHz. And it came with a special operating system called NeXTSTEP. NeXTSTEP was based on the Mach kernel with some of the source code coming from BSD. If we go back a little, Unix was started at Bell Labs in 1969 and by the late 70s had been forked from Unix System V to BSD, Unix version 7, and PWB - with each of those resulting in other forks that would eventually become OpenBSD, SunOS, NetBSD, Solaris, HP-UX, Linux, AIX, and countless others. Mach was developed at Carnegie Mellon University and is one of the earliest microkernels. For Mach, Richard Rashid (who would later found Microsoft Research) and Avie Tevanian, were looking specifically to distributed computing. And the Mach project was kicked off in 1985, the same year Jobs left Apple. Mach was backwards-compatible to BSD 4.2 and so could run a pretty wide variety of software. It allowed for threads, or units of execution and tasks or objects that enabled threads. It provided support for messages, which for object oriented languages are typed data objects that fall outside the scope of tasks and threads and then a protected message queue, to manage the messages between tasks and rights of access. They stood it up on a DEC VAX and released it publicly in 1987. Here's the thing, Unix licensing from Bell Labs was causing problems. So it was important to everyone that the license be open. And this would be important to NeXT as well. NeXT needed a next-generation operating system and so Avi Tevanian was recruited to join NeXT as the Vice President of Software Engineering. There, he designed NeXTSTEP with a handful of engineers. The computers had custom boards and were fast. And they were a sleek black like nothing I'd seen before. But Bill Gates was not impressed claiming that “If you want black, I'll get you a can of paint.” But some people loved the machines and especially some of the tools NeXT developed for programmers. They got a factory to produce the machines and it only needed to crank out 100 a month as opposed to the thousands it was built to produce. In other words, the price tag was keeping universities from buying the machines. So they pivoted a little. They went up-market with the NeXTcube in 1990, which ran NeXTSTEP, OPENSTEP, or NetBSD and came with the Motorola 68040 CPU. This came machine in at $8,000 to almost $16,000. It came with a hard drive. For the lower end of the market they also released the NeXTstation in 1990, which shipped for just shy of $5,000. The new models helped but by 1991 they had to lay off 5 percent of the company and another 280 by 1993. That's when the hardware side got sold to Canon so NeXT could focus exclusively on NeXTSTEP. That is, until they got acquired by Apple in 1997. By the end, they'd sold around 50,000 computers. Apple bought NeXT for $429 million and 1.5 million shares of Apple stock, trading at 22 cents at the time, which was trading at $17 a share so worth another $25 and a half million dollars. That makes the deal worth $454 million or $9,080 per machine NeXT had ever built. But it wasn't about the computer business, which had already been spun down. It was about Jobs and getting a multi-tasking, object-oriented, powerhouse of an operating system, the grandparent of OS X - and the derivative macOS, iOS, iPadOS, watchOS, and tvOS forks. The work done at NeXT has had a long-term impact on the computer industry as a whole. For one, the spinning pinwheel on a Mac. And the Dock. And the App Store. And Objective-C. But also Interface Builder as an IDE was revolutionary. Today we use Xcode. But many of the components go back all the way. And so much more. After the acquisition, NeXT became Mac OS X Server in 1999 and by 2001 was Mac OS X. The rest there is history. But the legacy of the platform is considerable. Just on NeXTSTEP we had a few pretty massive successes. Tim Berners-Lee developed the first web browser WorldWideWeb on NeXTSTEP for a NeXT . Other browsers for other platforms would come but his work became the web as we know it today. The machine he developed the web on is now on display at the National Museum of Science and Media in the UK. We also got games like Quake, Heretic, Stife, and Doom from Interface Builder. And webobjects. And the people. Tevanian came with NeXT to Apple as the Senior Vice President of Software Engineering. Jobs became an advisor, then CEO. Craig Federighi came with the acquisition as well - now Apple's VP of software engineering. And I know dozens of others who came in from NeXT and helped reshape the culture at Apple. Next.com still redirects to Apple.com. It took three years to ship that first computer at NeXT. It took 2 1/2 years to develop the iPhone. The Apple II, iPod, iPad, and first iMac were much less. Nearly 5 years for the original Mac. Some things take a little more time to flush out than others. Some need the price of components or new components to show up before you know it can be insanely great. Some need false starts like the Steve Jobs Steve Jobs famously said Apple wanted to create a computer in a book in 1983. That finally came out with the release of the iPad in 2010, 27 years later. And so the final component of the Apple acquisition of NeXT to mention is Steve Jobs himself. He didn't initially come in. He'd just become a billionaire off Pixar and was doing pretty darn well. His arrival back at Apple signified the end of a long draught for the company and all those products we mentioned and the iTunes music store and the App Store (both initially built on WebObjects) would change the way we consume content forever. His impact was substantial. For one, after factoring stock splits, the company might still be trading at .22 cents a share, which is what it would be today with all that. Instead they're the most highly valued company in the world. But that pales in comparison to the way he and his teams and that relentless eye to product and design has actually changed the world. And the way his perspectives on privacy help protect us today, long after he passed. The heroes journey (as described is a storytelling template that follows a hero from disgrace, to learn the mistakes of their past and reinvent themselves amidst a crisis throughout a grand adventure, and return home transformed. NeXT and Pixar represent part of that journey here. Which makes me wonder: what is my own Monomyth? Where will I return to? What is or was my abyss? These can be large or small. And while very few people in the world will have one like Steve Jobs did, we should all reflect on ours and learn from them. And yes that was plural because life is not so simple that there is one. The past, and our understanding of it, predicts the future. Good luck on your journey.

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The Unlikely Rise Of The Macintosh

Play Episode Listen Later Feb 9, 2021 21:14

There was a nexus of Digital Research and Xerox PARC, along with Stanford and Berkeley in the Bay Area. The rise of the hobbyists and the success of Apple attracted some of the best minds in computing to Apple. This confluence was about to change the world. One of those brilliant minds that landed at Apple started out as a technical writer. Apple hired Jef Raskin as their 31st employee, to write the Apple II manual. He quickly started harping on people to build a computer that was easy to use. Mike Markkula wanted to release a gaming console or a cheap computer that could compete with the Commodore and Atari machines at the time. He called the project “Annie.” The project began with Raskin, but he had a very different idea than Markkula's. He summed it up in an article called “Computers by the Millions” that wouldn't see publication until 1982. His vision was closer to his PhD dissertation, bringing computing to the masses. For this, he envisioned a menu driven operating system that was easy to use and inexpensive. Not yet a GUI in the sense of a windowing operating system and so could run on chips that were rapidly dropping in price. He planned to use the 6809 chip for the machine and give it a five inch display. He didn't tell anyone that he had a PhD when he was hired, as the team at Apple was skeptical of academia. Jobs provided input, but was off working on the Lisa project, which used the 68000 chip. So they had free reign over what they were doing. Raskin quickly added Joanna Hoffman for marketing. She was on leave from getting a PhD in archaeology at the University of Chicago and was the marketing team for the Mac for over a year. They also added Burrell Smith, employee #282 from the hardware technician team, to do hardware. He'd run with the Homebrew Computer Club crowd since 1975 and had just strolled into Apple one day and asked for a job. Raskin also brought in one of his students from the University of California San Diego who was taking a break from working on his PhD in neurochemistry. Bill Atkinson became employee 51 at Apple and joined the project. They pulled in Andy Hertzfeld, who Steve Jobs hired when Apple bought one of his programs as he was wrapping up his degree at Berkeley and who'd been sitting on the Apple services team and doing Apple III demos. They added Larry Kenyon, who'd worked at Amdahl and then on the Apple III team. Susan Kare came in to add art and design. They, along with Chris Espinosa - who'd been in the garage with Jobs and Wozniak working on the Apple I, ended up comprising the core team. Over time, the team grew. Bud Tribble joined as the manager for software development. Jerrold Manock, who'd designed the case of the Apple II, came in to design the now-iconic Macintosh case. The team would eventually expand to include Bob Belleville, Steve Capps, George Crow, Donn Denman, Bruce Horn, and Caroline Rose as well. It was still a small team. And they needed a better code name. But chronologically let's step back to the early project. Raskin chose his favorite Apple, the Macintosh, as the codename for the project. As far as codenames go it was a pretty good one. So their mission would be to ship a machine that was easy to use, would appeal to the masses, and be at a price point the masses could afford. They were looking at 64k of memory, a Motorola 6809 chip, and a 256 bitmap display. Small, light, and inexpensive. Jobs' relationship with the Lisa team was strained and he was taken off of that and he started moving in on the Macintosh team. It was quickly the Steve Jobs show. Having seen what could be done with the Motorola 68000 chip on the Lisa team, Jobs had them redesign the board to work with that. After visiting Xerox PARC at Raskin's insistence, Jobs finally got the desktop metaphor and true graphical interface design. Xerox had not been quiet about the work at PARC. Going back to 1972 there were even television commercials. And Raskin had done time at PARC while on sabbatical from Stanford. Information about Smalltalk had been published and people like Bill Atkinson were reading about it in college. People had been exposed to the mouse all around the Bay Area in the 60s and 70s or read Engelbart's scholarly works on it. Many of the people that worked on these projects had doctorates and were academics. They shared their research as freely as love was shared during that counter-culture time. Just as it had passed from MIT to Dartmouth and then in the back of Bob Albrecht's VW had spread around the country in the 60s. That spirit of innovation and the constant evolutions over the past 25 years found their way to Steve Jobs. He saw the desktop metaphor and mouse and fell in love with it, knowing they could build one for less than the $400 unit Xerox had. He saw how an object-oriented programming language like Smalltalk made all that possible. The team was already on their way to the same types of things and so Jobs told the people at PARC about the Lisa project, but not yet about the Mac. In fact, he was as transparent as anyone could be. He made sure they knew how much he loved their work and disclosed more than I think the team planned on him disclosing about Apple. This is the point where Larry Tesler and others realized that the group of rag-tag garage-building Homebrew hackers had actually built a company that had real computer scientists and was on track to changing the world. Tesler and some others would end up at Apple later - to see some of their innovations go to a mass market. Steve Jobs at this point totally bought into Raskin's vision. Yet he still felt they needed to make compromises with the price and better hardware to make it all happen. Raskin couldn't make the kinds of compromises Jobs wanted. He also had an immunity to the now-infamous Steve Jobs reality distortion field and they clashed constantly. So eventually Raskin the project just when it was starting to take off. Raskin would go on to work with Canon to build his vision, which became the Canon CAT. With Raskin gone, and armed with a dream team of mad scientists, they got to work, tirelessly pushing towards shipping a computer they all believed would change the world. Jobs brought in Fernandez to help with projects like the macOS and later HyperCard. Wozniak had a pretty big influence over Raskin in the early days of the Mac project and helped here and there withe the project, like with the bit-serial peripheral bus on the Mac. Steve Jobs wanted an inexpensive mouse that could be manufactured en masse. Jim Yurchenco from Hovey-Kelley, later called Ideo, got the task - given that trusted engineers at Apple had full dance cards. He looked at the Xerox mouse and other devices around - including trackballs in Atari arcade machines. Those used optics instead of mechanical switches. As the ball under the mouse rolled beams of light would be interrupted and the cost of those components had come down faster than the technology in the Xerox mouse. He used a ball from a roll-on deodorant stick and got to work. The rest of the team designed the injection molded case for the mouse. That work began with the Lisa and by the time they were done, the price was low enough that every Mac could get one. Armed with a mouse, they figured out how to move windows over the top of one another, Susan Kare designed iconography that is a bit less 8-bit but often every bit as true to form today. Learning how they wanted to access various components of the desktop, or find things, they developed the Finder. Atkinson gave us marching ants, the concept of double-clicking, the lasso for selecting content, the menu bar, MacPaint, and later, HyperCard. It was a small team, working long hours. Driven by a Jobs for perfection. Jobs made the Lisa team the enemy. Everything not the Mac just sucked. He took the team to art exhibits. He had the team sign the inside of the case to infuse them with the pride of an artist. He killed the idea of long product specifications before writing code and they just jumped in, building and refining and rebuilding and rapid prototyping. The team responded well to the enthusiasm and need for perfectionism. The Mac team was like a rebel squadron. They were like a start-up, operating inside Apple. They were pirates. They got fast and sometimes harsh feedback. And nearly all of them still look back on that time as the best thing they've done in their careers. As IBM and many learned the hard way before them, they learned a small, inspired team, can get a lot done. With such a small team and the ability to parlay work done for the Lisa, the R&D costs were minuscule until they were ready to release the computer. And yet, one can't change the world over night. 1981 turned into 1982 turned into 1983. More and more people came in to fill gaps. Collette Askeland came in to design the printed circuit board. Mike Boich went to companies to get them to write software for the Macintosh. Berry Cash helped prepare sellers to move the product. Matt Carter got the factory ready to mass produce the machine. Donn Denman wrote MacBASIC (because every machine needed a BASIC back then). Martin Haeberli helped write MacTerminal and Memory Manager. Bill Bull got rid of the fan. Patti King helped manage the software library. Dan Kottke helped troubleshoot issues with mother boards. Brian Robertson helped with purchasing. Ed Riddle designed the keyboard. Linda Wilkin took on documentation for the engineering team. It was a growing team. Pamela Wyman and Angeline Lo came in as programmers. Hap Horn and Steve Balog as engineers. Jobs had agreed to bring in adults to run the company. So they recruited 44 years old hotshot CEO John Sculley to change the world as their CEO rather than selling sugar water at Pepsi. Scully and Jobs had a tumultuous relationship over time. While Jobs had made tradeoffs on cost versus performance for the Mac, Sculley ended up raising the price for business reasons. Regis McKenna came in to help with the market campaign. He would win over so much trust that he would later get called out of retirement to do damage control when Apple had an antenna problem on the iPhone. We'll cover Antenna-gate at some point. They spearheaded the production of the now-iconic 1984 Super Bowl XVIII ad, which shows woman running from conformity and depicted IBM as the Big Brother from George Orwell's book, 1984. Two days after the ad, the Macintosh 128k shipped for $2,495. The price had jumped because Scully wanted enough money to fund a marketing campaign. It shipped late, and the 128k of memory was a bit underpowered, but it was a success. Many of the concepts such as a System and Finder, persist to this day. It came with MacWrite and MacPaint and some of the other Lisa products were soon to follow, now as MacProject and MacTerminal. But the first killer app for the Mac was Microsoft Word, which was the first version of Word ever shipped. Every machine came with a mouse. The machines came with a cassette that featured a guided tour of the new computer. You could write programs in MacBASIC and my second language, MacPascal. They hit the initial sales numbers despite the higher price. But over time that bit them on sluggish sales. Despite the early success, the sales were declining. Yet the team forged on. They introduced the Apple LaserWriter at a whopping $7,000. This was a laser printer that was based on the Canon 300 dpi engine. Burrell Smith designed a board and newcomer Adobe knew laser printers, given that the founders were Xerox alumni. They added postscript, which had initially been thought up while working with Ivan Sutherland and then implemented at PARC, to make for perfect printing at the time. The sluggish sales caused internal issues. There's a hangover when we do something great. First there were the famous episodes between Jobs, Scully, and the board of directors at Apple. Scully seems to have been portrayed by many to be either a villain or a court jester of sorts in the story of Steve Jobs. Across my research, which began with books and notes and expanded to include a number of interviews, I've found Scully to have been admirable in the face of what many might consider a petulant child. But they all knew a brilliant one. But amidst Apple's first quarterly loss, Scully and Jobs had a falling out. Jobs tried to lead an insurrection and ultimately resigned. Wozniak had left Apple already, pointing out that the Apple II was still 70% of the revenues of the company. But the Mac was clearly the future. They had reached a turning point in the history of computers. The first mass marketed computer featuring a GUI and a mouse came and went. And so many others were in development that a red ocean was forming. Microsoft released Windows 1.0 in 1985. Acorn, Amiga, IBM, and others were in rapid development as well. I can still remember the first time I sat down at a Mac. I'd used the Apple IIs in school and we got a lab of Macs. It was amazing. I could open a file, change the font size and print a big poster. I could type up my dad's lyrics and print them. I could play SimCity. It was a work of art. And so it was signed by the artists that brought it to us: Peggy Alexio, Colette Askeland, Bill Atkinson, Steve Balog, Bob Belleville, Mike Boich, Bill Bull, Matt Carter, Berry Cash, Debi Coleman, George Crow, Donn Denman, Christopher Espinosa, Bill Fernandez, Martin Haeberli, Andy Hertzfeld, Joanna Hoffman, Rod Holt, Bruce Horn, Hap Horn, Brian Howard, Steve Jobs, Larry Kenyon, Patti King, Daniel Kottke, Angeline Lo, Ivan Mach, Jerrold Manock, Mary Ellen McCammon, Vicki Milledge, Mike Murray, Ron Nicholson Jr., Terry Oyama, Benjamin Pang, Jef Raskin, Ed Riddle, Brian Robertson, Dave Roots, Patricia Sharp, Burrell Smith, Bryan Stearns, Lynn Takahashi, Guy "Bud" Tribble, Randy Wigginton, Linda Wilkin, Steve Wozniak, Pamela Wyman and Laszlo Zidek. Steve Jobs left to found NeXT. Some, like George Crow, Joanna Hoffman, and Susan Care, went with him. Bud Tribble would become a co-founder of NeXT and then the Vice President of Software Technology after Apple purchased NeXT. Bill Atkinson and Andy Hertzfeld would go on to co-found General Magic and usher in the era of mobility. One of the best teams ever assembled slowly dwindled away. And the oncoming dominance of Windows in the market took its toll. It seems like every company has a “lost decade.” Some like Digital Equipment don't recover from it. Others, like Microsoft and IBM (who has arguably had a few), emerge as different companies altogether. Apple seemed to go dormant after Steve Jobs left. They had changed the world with the Mac. They put swagger and an eye for design into computing. But in the next episode we'll look at that long hangover, where they were left by the end of it, and how they emerged to become to change the world yet again. In the meantime, Walter Isaacson weaves together this story about as well as anyone in his book Jobs. Steven Levy brilliantly tells it in his book Insanely Great. Andy Hertzfeld gives some of his stories at folklore.org. And countless other books, documentaries, podcasts, blog posts, and articles cover various aspects as well. The reason it's gotten so much attention is that where the Apple II was the watershed moment to introduce the personal computer to the mass market, the Macintosh was that moment for the graphical user interface.

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Perché abbiamo un reparto UX (e altre cose sulle icone google )

255 Tech Talks

Play Episode Listen Later Jan 15, 2021 23:08

https://www.255.it/ux Siamo tutti consumatori di icone, dal cruscotto dell'automobile agli smartphone siamo abituati a capire, interpretare e male interpretare quei simboli grafici. Ma cosa c'è dietro la progettazione di un icona? Nella puntata si fa riferimento al logo delle olimpiadi Tokyo 2020, in realtà quello citato non è il logo ufficiale, bensì un concept creato dal grafico Daren Newman. *** Una chiacchiera tra Paolo Meregalli e Gabriele del Vecchio, rispettivamente CEO e UX in 255. *** Canale Telegram: https://t.me/techtalks255 Canale Telegram per inviarci i tuoi feedback. https://t.me/techtalks255chat Citazioni e crediti: In realtà il logo delle olimpiadi citato non è quello ufficiale! resta comunque https://www.newscheck.it/logo_olimpiadi_tokyo_2020_finto_fake_ultime_notizie-4666204.html i sette principi di progettazione delle icone https://uxdesign.cc/7-principles-of-icon-design-e7187539e4a2 Susan Kare - https://vimeo.com/97583369 Rita Bertelli - http://ritabertelli.com/ https://material.io/design cover by Dani Donovan - https://twitter.com/danidonovan?s=20 --- Send in a voice message: https://anchor.fm/255/message

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Mercredi ! Femmes de sciences // 04.11.2020

sciences toutes femmes mercredi ada lovelace katherine johnson grace hopper lif la puce susan kare

Play Episode Listen Later Nov 4, 2020 27:30

Au programme ce mercredi ! Mercredi ! vous propose de découvrir cinq portraits de femmes. Toutes, par leurs travaux, ont profondément révolutionné les sciences. Vous irez à la rencontre de Ada Lovelace, Grace Hopper, Katherine Johnson, Radia Perlman et Susan Kare. Cette création radiophonique est réalisée par La Puce à l’oreille, plateforme québécoise de podcast. Les musiques de l’émission : Let the Rhythm Just – The Polish Ambassador feat Mr.Lif et Ayla Nereo Première diffusion / 07.03.2018

Femmes de sciences // 04.11.2020

Mercredi !

Play Episode Listen Later Nov 4, 2020 27:29

Au programme ce mercredi ! Mercredi ! vous propose de découvrir cinq portraits de femmes. Toutes, par leurs travaux, ont profondément révolutionné les sciences. Vous irez à la rencontre de Ada Lovelace, Grace Hopper, Katherine Johnson, Radia Perlman et Susan Kare.Cette création radiophonique est réalisée par La Puce à l’oreille, plateforme québécoise de podcast. Les musiques de l’émission :Let the Rhythm Just – The Polish Ambassador feat Mr.Lif & Ayla Nereo Première diffusion / 07.03.2018

sciences toutes femmes mercredi ada lovelace katherine johnson grace hopper lif la puce susan kare

Mercredi ! Femmes de sciences

sciences toutes femmes mercredi ada lovelace katherine johnson grace hopper lif la puce susan kare

Play Episode Listen Later Nov 3, 2020

Au programme ce mercredi ! Mercredi ! vous propose de découvrir cinq portraits de femmes. Toutes, par leurs travaux, ont profondément révolutionné les sciences. Vous irez à la rencontre de Ada Lovelace, Grace Hopper, Katherine Johnson, Radia Perlman et Susan Kare. Cette création radiophonique est réalisée par La Puce à l'oreille, plateforme québécoise de podcast. Les musiques de l'émission : Let the Rhythm Just – The Polish Ambassador feat Mr.Lif & Ayla Nereo Première diffusion / 07.03.2018

Episode 317: Best of MTJC: Test Backed Development

More Than Just Code podcast - iOS and Swift development, news and advice

Play Episode Listen Later Sep 27, 2020 82:50

This week we follow up on MTJC 2018 T-Shirts and the origins of Apple's Command Key. We also follow up on the Apple Store founders, Apple's GDPR profile downloads, Apple Watch usage and Apple's self driving cars. We discuss the Home Pod sales numbers, erroneous new Siri features, and a sophisticate worm virus and one of the first Internet hackers. We also chat about Apple's own podcasts and their use of original illustrations on the App Store. Picks: A handy Xcode keyboard shortcut to the Assistant Editor and App: the Human Story, Developing UIViews in Xcode Playgrounds and 1Password 7. Photo: Tim Mitra Originally broadcast: May 26th, 2018

What is 'good design'?

Softwire Techtalks

Play Episode Listen Later Jul 28, 2020 25:47

"Good design is not about what medium you're working in, it's about thinking hard about what you want to do and what you have to work with before you start" (Susan Kare). In this episode, Zoe Cunningham shares some insight into design skills and techniques, and how developers can work best with designers. Zoe is joined by Softwire UX Designers, Jake Turner and Ariana Ocampo. Hosted by Zoe Cunningham with Ariana Ocampo and Jake Turner

design jake turner susan kare zoe cunningham

Épisode #48 - Il est temps d'asseoir les femmes : Susan Kare

Culture Design

Play Episode Listen Later Jun 25, 2020 5:15

Susan Kare, la femme qui se cache derrière les premières icônes Apple et Windows ! Disponible sur Spotify, Deezer, iTunes Podcast, Youtube, l'application Podcast Addict... Retranscription écrite : https://massotmarion.wixsite.com/website/post/culture-design-il-est-temps-d-asseoir-les-femmes-susan-kare-s02e46 Musique d'intro & d'outro : www.youtube.com/watch?v=MkNeIUgNPQ8 Un podcast créé, produit et animé par Marion Massot, designer. Suivez-moi sur : Twitter : CultureDesign2 Facebook : Culture Design Instagram : Culturedesign_bymarion Twitter perso : Jedisigner Page Facebook : Marion Massot, designer et bien plus encore Site Web : https://massotmarion.wixsite.com/website/ Vous pouvez me soutenir sur la plateforme de financement participatif Tipeee : https://fr.tipeee.com/culture-design

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Skunkworks

Accelerate Business Transformation

Play Episode Listen Later May 14, 2020 16:38

A look at the use of skunkworks projects to circumvent bureaucratic hurdles. Full transcript of the episode with links to additional sources follows. === It was 1943. The world was at war. German engineering was producing an array of terrifying weapons, and even before the war, had already demonstrated working jet aircraft. German jet fighters and bombers could potentially leave the Allies nearly helpless to defend against this technological threat with their own outmoded fleet of propeller-driven craft. In this ecosystem of urgency, the US government approached airplane manufacturer Lockheed Martin with an incredible challenge. They wanted an American jet fighter to be developed. It would need to fly 600 MPH, maneuver and perform in intense aerial combat, and as if that weren't absurd enough, it needed to be ready to demonstrate in 180 days. Further constraints existed. Lockheed Martin was already using all of its floorspace for the war effort. How would it come up with a way to execute on this incredible directive? The answer came in the form of Lockheed Martin's Advanced Development Programs (ADP), now commonly known as "Lockheed Martin's Skunk Works." The ADP is now the most famous example of the rapid solution approach now generically referred to as a "skunkworks project." In the earliest part of the 1980s the personal computer market was dominated by Apple and Commodore, but IBM - who dominated the server-rooms of the IT departments at the time - had taken notice. IBM wanted to get a piece of the home user and desktop computer market, but - as dramatically stated in the PBS documentary Triumph of the Nerds, IBM's own estimate is that due to bureaucracy and internal controls, it would take nine months just to ship an empty box. The solution around this was a skunkworks project. IBM had been experimenting with "Independent Business Units" that could shrug off the limitations of normal IBM procedures and act swiftly to get things done. The skunkworks project it undertook became the IBM PC and the project's design choices became the new paradigm for business computing. The name "Skunk Works" has an interesting origin. Because the group tasked with this 180 day miracle had no floorspace, they had to set up shop under a circus tent by a plastics factory in Burbank, California. The fumes from the factory reminded workers of a recurring feature of the popular Lil' Abner comic strip, a smelly factory outside the fictional town of Dogpatch, Kentucky known as the "Skonk Works." This became the name of the group until the copyright owners of the Lil' Abner comic strip complained in the early 1960s and Lockheed Martin formally changed it to "Skunk Works" to appease the lawyers. The name stuck and has become synonymous with this kind of project. Another famous skunkworks project was the Apple Macintosh. The history of that project has become quasi-mythical because of books like Insanely Great, by Steven Levy and Revolution in the Valley by pioneering Mac programmer Andy Hertzfeld. This story was also heavily featured in PBS' Triumph of the Nerds. In 1981, Apple was primarily funded by sales of the Apple II, but it was desperately trying to create the next revolutionary personal computer. After some internal struggles, Steve Jobs took over a project that had originally been envisioned by Jef Raskin as a friendly and inexpensive home computer. Jobs changed the focus to make a revolutionary graphical user interface based machine. He embraced the "rebel" mentality for his team, famously telling them "It's better to be a pirate than join the Navy." The team took this mentality seriously enough to hoist a Jolly Roger flag over the remote office complex where the Mac team worked. While it was not an instant success financially, the Macintosh project would also change the world. You can purchase a hand-painted Mac Jolly Roger flag from original artist Susan Kare (but they are pricey!) Apple itself (and Microsoft, for that matter) took its transformative windows and desktop metaphor from an even earlier and more innovative skunkworks project - one run by XEROX. The big copier company had setup its legendary Palo Alto Research Center (PARC) facility and by the time Apple's Mac team got to visit, they had the Xerox Alto, a personal computer decades ahead of its time. Ethernet, the Graphical User Interface (GUI), the computer mouse, object-oriented programming (OOP), email, laser printers and a full concept of what is now the "modern office" all existed almost two decades before they would become ubiquitous parts of modern business. 1979 Xerox Alto commercial There's a lesson to be learned from the Xerox Alto, but we'll get back to that. Most skunkworks projects fail. We remember the successes but can't recall the failures because they never make it across the finish line into our consciousness. Researchers call this "Survivorship Bias" and it's important to keep in mind, but it also suggests a key concept to potential success: a successful skunkworks project keeps trying until it finds something that works. In Silicon Valley, where tech startups rise and fall like sparks above a campfire, the innovations and lessons learned have been distilled down into the pithy phrase "fail fast, fail often." As with any catchphrase, it is frequently misapplied, misunderstood, and misattributed - but the core lesson is to try things, see if they work, change if they don't, and keep trying until you find the formulation that succeeds. Of course, it helps to have a genius team. The original Lockheed Martin Skunk Works project was run by legendary engineer Clarence Leonard "Kelly" Johnson. His team consisted of 23 designers and 30 mechanics. Under a circus tent in the smelly shadow of the plastics factory, Johnson and his team put together a prototype in less than 150 days. That jet became the P-80 Shooting Star, America's first operational jet fighter. The same "skunkworks'' approach would be used to create the U2 Spy Plane, the SR71 Blackbird and the stealth fighter. Different leaders, different engineers and mechanics, but the same "outsiders on the inside'' method would drive their success. The P-80 Shooting Star (wikimedia) Apple's Macintosh team was full of superb engineers and programmers and their work continues to influence and inspire modern computing. Having Steve Jobs at the helm of the project, while certainly interpersonally challenging for the team, was also undeniably inspiring as well. The Mac team would dissolve shortly after the initial product release despite its accomplishments. Future successful Apple products like the iPod, iPhone, and iPad have not become synonymous with the skunkworks approach. The original Apple Macintosh (wikimedia) Most skunkworks projects are conducted by large businesses and should be funded accordingly, but sometimes these projects are done through stealth by rogue leadership. Often these are computer-related projects and have become known as Stealth IT or Rogue IT. As we'll discuss in a moment, the rise of such projects signals that your company has serious challenges that need to be identified. Such projects can be the result of interpersonal differences between the IT management and the business divisions, an IT delivery ability insufficiently fast at delivery, departmental functional needs not being addressed, or a variety of other causes. The emergence of such rogue efforts can also indicate that your knowledge workers have innovative ideas and are yearning to see them made real. Stealth IT is a bigger topic than we can address here, but it will be a future episode. These aren't technically skunkworks projects and therefore have to overcome not just the limits of doing the work without the blessing and funding of management but also with the risk of possible rejection of their output because of the manner in which it was created. Skunkworks projects have historically been behind amazing innovation, but they are not a magic potion for success. There are specific places where they've been most helpful. Because of the wildly different backgrounds that have driven the use of skunkworks projects, some of the things one can infer from looking at the examples may seem conflicted, but here are a few observations: Skunkworks projects are often used to break through corporate bureaucracy to allow quick innovation. Before throwing together a skunkworks project, you need to make sure that the obstacles faced are the kind that can be worked around. For instance, if the obstacles are statutory or regulatory, then a skunkworks project might not only be ineffective, but illegal. Kelly Johnson came up with a set of 14 rules for running a skunkworks project. I will put a link to those in the show notes. His rules are written specifically for a government contract aeronautics industry, but some key points are still applicable. I'm going to distill a few of these: A skunkworks project's leadership should effectively have total control of the project, reporting only to a limited and clearly identified executive management structure. The project should have designated office space away from the regular workers. Isolation and exceptionalism are vital to making a skunkworks effective. Restrict access to the team. Use a small team. Use an exceptional team. Minimize the number of reports required. Let the team focus on accomplishment, not documentation - but appropriate documentation must be part of the effort. Fund the project adequately. Reward your team because you'll be asking it to do the extraordinary. A skunkworks project calls for exceptional workers. It will be an extraordinary challenge to manage a team that will likely contain the arrogant and potentially iconoclastic. The lead will manage not just the technical challenges but also the interpersonal ones. Skunkworks teams are a means for building entrepreneurial spirit in a mature - perhaps even stagnant - corporate environment. They are not typically suitable for start-ups themselves. Finally, a skunkworks project must deliver! To quote Steve Jobs, "real artists ship." Skunkworks projects fit nicely into the human need for myth. The narrative of a rogue band of genius workers saving the company or even the world from some disastrous situation is literally the formula for thousands of movies, books and TV shows. But is that really the way business should get done? As much as I understand the visceral appeal of such narratives, it is possible that a successful company that is not using skunkworks is actually a sign of health. There are other ways to achieve innovation. Google famously has its 80/20 rule. Since the mid-2000s, it has encouraged its workforce to spend 80% of their time on primary work tasks, but 20% on innovative side projects. But even with all that, the company set up its X-project division, which is a skunkworks-style incubator. There is another way, a second route to achieving innovation, and that is adopting an internal policy of continuous integration and continuous delivery (CI/CD). In software, CI/CD means instead of producing single massive product rollouts, the engineers continuously provide updates and improvements with additional features and fixes. This becomes a reliable and continuous stream of innovation that never lets the project grow stale. This kind of corporate culture can avoid the need for a skunkworks approach because it is literally fed on the input and feedback from the users and that is a major pipeline for innovation and improvement. The bigger a company gets, the more mired in complex organizational structures, the slower it tends to move. The corporation becomes a victim of inertia, slow to turn or maneuver. A corporation is like a cargo ship maneuvering through an icy ocean. Icebergs are a threat that requires maneuverability, but bureaucracy can also be an ice-flow that stifles movement. We could think of our skunkworks projects as a kind of icebreaker, a ship that specializes in plowing through such ice and making safe passage for the bigger cargo ships. The CI/CD in this metaphor would be a large, maneuverable ship that avoids the ice entirely. I wondered, "Could the need for a skunkworks project counterintuitively be a canary-in-the-coalmine that a corporation is in danger of getting stuck in the ice?" But then the mixed-metaphor police gave me a warning ticket, so I decided to check and see what companies are still using this approach. Samsung, Google, Ford, Staples, IBM, and many massive corporations still use the skunkworks approach to foster innovation outside of bureaucratic constraints. I suspect there is some risk that business journalists have, to some degree, confused the skunkworks approach with the kind of "pure research" labs of the type that AT&T famously ran. Which brings us back to Xerox. In his book, The Master Switch, Tim Wu describes multiple examples of how massive corporations use their resources to find innovative solutions to problems, but then discover that their findings are so disruptive they threaten the structure currently funding their existence. Rather than monetize the new products at the risk of disrupting their own status quo, they succumb to the temptation to patent and bury the technologies. Again and again, this approach gives years to decades of protection to the old ways, but inevitably some outsider will find an unpatented approach to these institutionally suppressed innovations. It is shameful, but understandable, that innovations are often stifled because it is easier in the short term to maintain the status quo. It takes extraordinary leadership and vision to risk disruption in order to overcome the inertia of the mentality of "if it ain't broke don't fix it." Such corporate pivots are more often the result of desperation than insight. Which brings us back to Xerox. The PARC team handed Xerox the future of business, but Xerox leadership didn't know what to do with it. Unexploited by Xerox, the various innovations of PARC crept out into the world either directly at the hands of individual creators, or through the emulation of their innovations by competitors like Apple. Innovations are going to happen - but who will control them? Suppression of innovation is a dead end, it just sometimes takes a decade or more to prove it. So what is the right answer to your innovation needs? Do you need a skunkworks project? Do you need to adopt CI/CD in your organization? Will your stifling of discovery make your smartest and boldest workers break off and become entrepreneurs? There's lots to consider here. As always, Apex Process Consultants are here to help you figure this out with our team of expert consultants and software tools designed to foster innovation and help you accelerate YOUR business transformation. Check our show notes for links about the companies and people in this episode.

america tv american california google apple future innovation german microsoft revolution iphone jobs kentucky silicon valley valley navy nerds mac triumph isolation ipads fund ibm researchers pbs reward steve jobs samsung att allies agile ipods mph staples adp minimize burbank suppression lockheed martin parc commodore xerox macintosh shooting stars restrict ci cd ethernet icebergs apple ii jolly roger oop skunk works tim wu survivorship bias kelly johnson steven levy apple macintosh ibm pc dog patch insanely great master switch susan kare xerox alto andy hertzfeld jef raskin apple's mac

Windows 3.x

Play Episode Listen Later Jan 15, 2020 9:39

Welcome to the History of Computing Podcast, where we explore the history of information technology. Because by understanding the past prepares us to innovate the future! Today we're going to look at one of the more underwhelming operating systems released: Windows 1.0. In our previous episode, we covered Windows 1.0. Released in 1985, it was cute. Windows 2 came in 1987 and then Windows 3 came in 1990. While a war of GUIs had been predicted, it was clear by 1990 that Microsoft was winning this war. Windows 3.0 sold 10 million licenses. It was 5 megabytes fully installed and came on floppies. The crazy thing about Windows 3 is that it wasn't really supposed to happen. IBM had emerged as a juggernaut in the PC industry, largely on the back of Microsoft DOS. Windows 1 and 2 were fine, but IBM seeing that Microsoft was getting too powerful would not run it on their computers. Instead, they began work on a new operating system called OS/2, which was initially released in 1987. But David Weise from the Windows team at Microsoft wanted to reboot the Windows project. He brought in Murray Sargent and the two started work in 1988. They added a debugger, Microsoft Word, Microsoft Excel, and Microsoft PowerPoint, and I'm pretty sure everyone knew they were on to something big. IBM found out and Microsoft placated them by saying it would kill Windows after they spent all this money on it. You could tell with the way they upgraded the UI, with how they made memory work so much better, and with the massive improvements to multitasking. Lies. They added File Manager, which would later evolve into File Explorer. They added the Control Panel which lives on to the modern era of Windows and they made it look more like the one in the Mac OS at the time. They added the Program Manager (or progman.exe), parts of which would go on to Windows Explorer and other parts which would form the Start Menu in the future. But it survived until XP Service Pack 2. They brought us up to 16 simultaneous colors and added support for graphics cards that could give us 256 colors. Pain was upgraded to Painbrush and they outsourced some of the graphics for the famed Microsoft Solitaire to Susan Kare. They also added macros using a program called Recorder, which Apple released the year before with Macro Maker. They raised the price from $100 to $149.95. And they sold 4 million copies in the first year, a huge success at the time. They added a protected mode for applications, which had supposedly been a huge reason IBM insisted on working on OS/2. One result of all of this was that IBM and Microsoft would stop developing together and Microsoft would release their branch, then called Windows NT, in 1991. NT had a new 32-bit API. The next year they would release Windows 3.1 and Windows for Workgroups 3.1, which would sell another 3 million copies. This was the first time I took Windows seriously and it was a great release. They replaced Reverse with the now-iconic Minesweeper. They added menuing customization. They removed Real Mode. They added support to launch programs using command.com. They brought in TrueType fonts and added Arial, Courier New, and the Times New Roman fonts. They added multimedia support. And amongst the most important additions, they added the Windows Registry, which still lives on today. That was faster that combing through a lot of .ini files for settings. The Workgroups version also added SMB file sharing and supported NetBIOS and IPX networking. The age of the Local Area Network, or LAN, was upon us. You could even install Winsock to get the weird TCP/IP protocol to work on Windows. Oh and remember that 32-bit API, you could install the Win32 add-on to get access to that. And because the browser wars would be starting up, by 1995 you could install Internet Explorer on 3.1. I remember 3.11 machines in the labs I managed in college and having to go computer to computer installing the browser on each. And installing Mosaic on the Macs. And later installing Netscape on both. I seem to remember that we had a few machines that ran Windows on top of CP/M successor Dr DOS. Nothing ever seemed to work right for them, especially the Internets. So… Where am I going with this episode? Windows 3 set Microsoft up to finally destroy CP/M, protect their market share from Microsoft and effectively take over the operating system, allowing them to focus on adjacencies like Internet and productivity tools. This ultimately made Bill Gates the richest man in business and set up a massive ride in personal computing. But by the time Windows 95 was announced, enough demand had been generated to sell 40 million copies. Compaq, Dell, Gateway, HP, and many others had cannibalized the IBM desktop business. Intel had AMD nipping at their heels. Mother board, power supply, and other components had become commodities. But somehow, Microsoft had gone from being the cutesy little maker of BASIC to owning the market share for Operating systems with NT, Windows 95, 98, Millenium, 2000, XP, 7, 8, 10, and it wasn't until Google made Android and ChromeOS. They did it, not because they were technologically the best solution available. Although arguably the APIs in early Windows were better than any other available solution. And developing Windows NT alongside 95 and on once they saw there would be a need for a future OS was a master-stroke. There was a lot of subterfuge and guile. And there were a lot of people burned during the development but there's a distinct chance that the dominance of a single operating system really gave the humans the ability to focus on a single OS to care about and an explosion in the number of software titles. Once that became a problem, and was stifling innovation, Steve Jobs was back at Apple, Android was on the rise, and Linux was always an alternative for the hacker-types and given a good market potential it's likely that someone could have built a great windowing system on top of it. Oh wait, they did. Many times. So whether we're Apple die-hards, Linux blow-hards, crusty old Unix grey beards, or maybe hanging on to our silly CP/M machines to write scripts on, we still owe Microsoft a big thanks. Without their innovations the business world might have been fragmented so much on the operating system side that we wouldn't have gotten the productivity levels we needed out of apps. And so Windows 95 replaced Windows 3, and Windows 3 rode off into the sunset. But not before leaving behind a legacy of the first truly dominant OS. Thanks for everything, Microsoft, the good and the bad. And thanks to you, sweet listeners. It's been a blast. You're the best. Unlike Windows 1. Till next time, have a great day!

Microsoft Windows 1.0

Play Episode Listen Later Jan 12, 2020 11:45

Welcome to the History of Computing Podcast, where we explore the history of information technology. Because understanding the past prepares us to innovate the future! Today we're going to look at one of the more underwhelming operating systems released: Windows 1.0. Doug Englebart released the NLS, or oN-Line System in 1968. It was expensive to build, practically impossible to replicate, and was only made possible by NASA and ARPA grants. But it introduced the world to the computer science research community to what would be modern video monitors, windowing systems, hypertext, and the mouse. Modern iterations of these are still with us today, as is a much more matured desktop metaphor. Some of his research team ended up at Xerox PARC and the Xerox Alto was released in 1973, building on many of the concepts and continuing to improve upon them. They sold about 2,000 Altos for around $32,000. As the components came down in price, Xerox tried to go a bit more mass market with the Xerox Star in 1981. They sold about 25,000 for about half the price. The windowing graphics got better, the number of users were growing, the number of developers were growing, and new options for components were showing up all over the place. Given that Xerox was a printing company, the desktop metaphor continued to evolve. Apple released the Lisa in 1983. They sold 10,000 for about $10,000. Again, the windowing system and desktop metaphor continued on and Apple quickly released the iconic Mac shortly thereafter, introducing much better windowing and a fully matured desktop metaphor, becoming the first computer considered mass market that was shipped with a graphical user interface. It was revolutionary and they sold 280,000 in the first year. The proliferation of computers in our daily lives and the impact on the economy was ready for the j-curve. And while IBM had shown up to compete in the PC market, they had just been leapfrogged by Apple. Jobs would be forced out of Apple the following year, though. By 1985, Microsoft had been making software for a long time. They had started out with BASIC for the Altair and had diversified, bringing BASIC to the Mac and releasing a DOS that could run on a number of platforms. And like many of those early software companies, it could have ended there. In a masterful stroke of business, Bill Gates ended up with their software on the IBM PCs that Apple had just basically made antiques - and they'd made plenty of cash off of doing so. But then Gates sees Visi On at COMDEX and it's not surprise that the Microsoft version of a graphical user interface would look a bit like Visi, a bit like what Microsoft had seen from Xerox PARC on a visit in 1983, and of course, with elements that were brought in from the excellent work the original Mac team had made. And of course, not to take anything away from early Microsoft developers, they added many of their own innovations as well. Ultimately though, it was a 16-bit shell that allowed for multi-tasking and sat on top of the Microsoft DOS. Something that would continue on until the NT lineage of operating systems fully supplanted the original Windows line, which ended with Millineum Edition. Windows 1.0 was definitely a first try. IBM TopView had shipped that year as well. I've always considered it more of a windowing system, but it allowed multitasking and was object-oriented. It really looked more like a DOS menu system. But the Graphics Environment Manager or GEM had direct connections to Xerox PARC through Lee Lorenzen. It's hard to imagine but at the time CP/M had been the dominant operating system and so GEM could sit on top of it or MS-DOS and was mostly found on Atari computers. That first public release was actually 1.01 and 1.02 would come 6 months later, adding internationalization with 1.03 continuing that trend. 1.04 would come in 1987 adding support for Via graphics and a PS/2 mouse. Windows 1 came with many of the same programs other vendors supplied, including a calculator, a clipboard viewer, a calendar, a pad for writing that still exists called Notepad, a painting tool, and a game that went by its original name of Reversi, but which we now call Othello. One important concept is that Windows was object-oriented. As with any large software project, it wouldn't have been able to last as long as it did if it hadn't of been. One simplistic explanation for this paradigm is that it had an API and there was a front-end that talked to the kernel through those APIs. Microsoft hadn't been first to the party and when they got to the party they certainly weren't the prettiest. But because the Mac OS wasn't just a front-end that made calls to the back-end, Apple would be slow to add multi-tasking support, which came in their OS 5, in 1987. And they would be slow to adopt new technology thereafter, having to bring Steve Jobs back to Apple because they had no operating system of the future, after failed projects to build one. Windows 1.0 had executable files (or exe files) that could only be run in the Windowing system. It had virtual memory. It had device drivers so developers could write and compile binary programs that could communicate with the OS APIs, including with device drivers. One big difference - Bill Atkinson and Andy Hertzfeld spent a lot of time on frame buffers and moving pixels so they could have overlapping windows. The way Windows handled how a window appeared were in .ini (pronounced like any) files and that kind of thing couldn't be done in a window manager without clipping, or leaving artifacts behind. And so it was that, by the time I was in college, I was taught by a professor that Microsoft had stolen the GUI concept from Apple. But it was an evolution. Sure, Apple took it to the masses but before that, Xerox had borrowed parts from NLS and NLS had borrowed pointing devices from Whirlwind. And between Xerox and Microsoft, there had been IBM and GEM. Each evolved and added their own innovations. In fact, many of the actual developers hopped from company to company, spreading ideas and philosophies as they went. But Windows had shipped. And when Jobs called Bill Gates down to Cupertino, shouting that Gates had ripped off Apple, Gates responded with one of my favorite quotes in the history of computing: "I think it's more like we both had this rich neighbor named Xerox and I broke into his house to steal the TV set and found out that you had already stolen it." The thing I've always thought was missing from that Bill Gates quote is that Xerox had a rich neighbor they stole the TV from first, called ARPA. And the US Government was cool with it - one of the main drivers of decades of crazy levels of prosperity filling their coffers with tax revenues. And so, the next version of Windows, Windows 2.0 would come in 1987. But Windows 1.0 would be supported by Microsoft for 16 years. No other operating system has been officially supported for so long. And by 1988 it was clear that Microsoft was going to win this fight. Apple filed a lawsuit claiming that Microsoft had borrowed a bit too much of their GUI. Apple had licensed some of the GUI elements to Microsoft and Apple identified over 200 things, some big, like title bars, that made up a copyrightable work. That desktop metaphor that Susan Kare and others on the original Mac team had painstakingly developed. Well, turns out that they live on in every OS because Judge Vaughn Walker on the Ninth Circuit threw out the lawsuit. And Microsoft would end up releasing Windows 3 in 1990, shipping on practically every PC built since. And so I'll leave this story here. But we'll do a dedicated episode for Windows 3 because it was that important. Thank you to all of the innovators who brought these tools to market and ultimately made our lives better. Each left their mark with increasingly small and useful enhancements to the original. We owe them so much no matter the platform we prefer. And thank you, listeners, for tuning in for this episode of the History of Computing Podcast. We are so lucky to have you.

tv history apple microsoft modern jobs nasa os pc ps mac basic windows ibm bill gates steve jobs gem api atari us government apis visi nt macos whirlwind xerox altos othello cupertino cpm arpa microsoft windows altair ninth circuit notepad nls xerox parc comdex reversi bill atkinson susan kare xerox alto andy hertzfeld ibm pcs

RMC Episode 506: Unicorn with Rainbow

Play Episode Listen Later Nov 24, 2019 36:38

James and John discuss eBay finds: Mac Portable batteries, beach towel, and unicorn poster. They look back at Macworld November 1989, and news includes AirPods case, Susan Kare, and Color Classic II webserver. To see all of the show notes and join our website, visit us at RetroMacCast.

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Susan Kare, The Happy Mac, And The Trash Can

apple designers wwdc id3 ipad mac matthew carter susan kare

Play Episode Listen Later Oct 26, 2019 12:58

Susan Kare Welcome to the History of Computing Podcast, where we explore the history of information technology. Because by understanding the past, we're able to be prepared for the innovations of the future! Today we'll talk about a great innovator, Susan Kare. Can you imagine life without a Trash Can icon? What about the Mac if there had never been a happy Mac icon. What would writing documents be like if you always used Courier and didn't have all those fonts named after cities? They didn't just show up out of nowhere. And the originals were 8 bit. But they were were painstakingly designed, reviewed, reviewed again, argued over, obsessed over. Can you imagine arguing with Steve Jobs? He's famous for being a hard person to deal with. But one person brought us all of these things. One pioneer. One wizard. She cast her spell over the world. And that spell was to bring to an arcane concept called the desktop metaphor into everyday computers. Primitive versions had shipped in Douglas Engelbart's NLS, in Alan Kay's Smalltalk. In Magic Desk on the Commodore 64. But her class was not an illusionist as those who came before her were, but a mage, putting hexadecimal text derived from graph paper so the bits would render on the screen the same, for decades to come. And we still use her visionary symbols, burned into the spell books of all visual designers from then to today. She was a true innovator. She sat in a room full of computer wizards that were the original Mac team, none was more important than Susan Kare. Born in 1954 in Ithaca, New York this wizard got her training in the form of a PhD from New York University and then moved off to San Francisco in the late 1970s, feeling the draw of a generation's finest to spend her mage apprenticeship as a curator at a Fine Arts Museum. But like Gandalph, Raistlin, Dumbledoor, Merlin, Glinda the good witch and many others, she had a destiny to put a dent in the universe. To wield the spells of the infant user interface design art to reshape the universe, 8-bits at a time. She'd gone to high school with a different kind of wizard. His name was Andy Hertzfeld and he was working at a great temple called Apple Computer. And his new team team would build a new kind of computer called the Macintosh. They needed some graphics and fonts help. Susan had used an Apple II but had never done computer graphics. She had never even dabbled in typography. But then, Dr Strange took the mantle with no experience. She ended up taking the job and joining Apple as employee badge number 3978. She was one of two women on the original Macintosh team. She had done sculpture and some freelance work as a designer. But not this weird new art form. Almost no one had. Like any young magician, she bought some books and studied up on design, equating bitmap graphics to needlepoint. She would design the iconic fonts, the graphics for many of the applications, and the icons that went into the first Mac. She would conjure up the hex (that's hexadecimal) for graphics and fonts. She would then manually type them in to design icons and fonts. Going through every letter of every font manually. Experimenting. Testing. At the time, fonts were reserved for high end marketing and industrial designers. Apple considered licensing existing fonts but decided to go their own route. She painstakingly created new fonts and gave them the names of towns along train stops around Philadelphia where she grew up. Steve Jobs went for the city approach but insisted they be cool cities. And so the Chicago, Monaco, New York, Cairo, Toronto, Venice, Geneva, and Los Angeles fonts were born - with her personally developing Geneva, Chicago, and Cairo. And she did it in 9 x 7. I can still remember the magic of sitting down at a computer with a graphical interface for the first time. I remember opening MacPaint and changing between the fonts, marveling at the typefaces. I'd certainly seen different fonts in books. But never had I made a document and been able to set my own typeface! Not only that they could be in italics, outline, and bold. Those were all her. And she painstakingly created them out of pixels. The love and care and detail in 8-bit had never been seen before. And she did it with a world class wizard: someone with a renowned attention to detail and design sense like Steve Jobs looking over her shoulder and pressuring her to keep making it better. They brought the desktop metaphor into the office. Some of it pre-existed her involvement. The trash can had been a part of the Lisa graphics already. She made it better. The documents icon pre-dated her. She added a hand holding a pencil to liven it up, making it clear which files were applications and which were documents. She made the painting brush icon for MacPaint that, while modernized, is still in use in practically every drawing app today. In fact when Bill Atkinson was writing MacSketch and saw her icon, the name was quickly changed to MacPaint. She also made the little tool that you use to draw shapes and remove them called the lasso, with Bill Atkinson. Before her, there were elevators to scroll around in a window. After her, they were called scroll bars. After her, the places you dropped your images was called the Scrapbook. After her the icon of a floppy disk meant save. She gave us the dreaded bomb. The stop watch. The hand you drag to move objects. The image of a speaker making sound. The command key, still on the keyboard of every Mac made. You can see that symbol on Nordic maps and it denotes an “area of interest” or more poignant for the need: “Interesting Feature”. To be clear, I never stole one of those signs while trampsing around Europe. But that symbol is a great example of what a scholarly mage can pull out of ancient tomes, as it is called a Gorgon knot or Saint John Arm's and dates back over fifteen hundred years - and you can see that in other hieroglyphs she borrowed from obscure historical references. And almost as though those images are burned into our DNA, we identified with them. She worked with the traditionally acclaimed wizards of the Macintosh: Andy Hertzfeld, Bill Atkinson, Bruce Horn, Bud Tribble, Donn Denman, Jerome Coonen, Larry Kenos, and Steve Capps. She helped Chris Espinosa, Clement Mok, Ellen Romana, and Tom Hughes out with graphics for manuals, and often on how to talk about a feature. But there was always Steve Jobs. Some icons took hours; others took days. And Jobs would stroll in and have her recast her spell if it wasn't just right. Never acknowledging the effort. If it wasn't right, it wasn't right. The further the team pushed on the constantly delayed release of the Mac the more frantic the wizards worked. The less they slept. But somehow they knew. It wasn't just Jobs' reality distortion field as Steven Levy famously phrased it. They knew that what they were building would put a dent in the Universe. And when they all look back, her designs on “Clarus the Dogcow” were just the beginning of her amazing contributions. The Mac launched. And it did not turn out to be a commercial success, leading to the ouster of Steve Jobs - Sauron's eye was firmly upon him. Kare left with Jobs to become the tenth employee at NeXT computer. But she introduced Jobs to Paul Rand, who had helped design the IBM logo, to design their logo. When IBM, the Voldemort of the time, was designing OS/2, she helped with their graphics. When Bill Gates, the Jafar of the computer industry called, she designed the now classic solitaire for Windows. And she gave them Notepad and Control Panels. And her contributions have continued. When Facebook needed images for the virtual gifts feature. They called Kare. You know that spinning button when you refresh Pinterest. That's Kare. And she still does work all the time. The Museum of Modern Art showed her original Sketches in a 2015 Exhibit called “This is for everyone.” She brought us every day metaphors to usher in the and ease the transition into a world of graphical user interfaces. Not a line of the original code remains. But it's amazing how surrounded by all the young wizards, one that got very little attention in all the books and articles about the Mac was the biggest wizard of them all. Without her iconic designs, the other wizards would likely be forgotten. She is still building one of the best legacies in all of the technology industry. By simply putting users into user interface. When I transitioned from the Apple II to the Mac, she made it easy for me with those spot-on visual cues. And she did it in only 8 bits. She gave the Mac style and personality. She made it fun, but not so much fun that it would be perceived as a toy. She made the Mac smile. Who knew that computers could smile?!?! The Mac Finder still smiles at me every day. Truly Magical. Thanks for that, Susan Kare. And thanks to you inquisitive and amazing listeners. For my next trick. I'll disappear. But thank you for tuning in to yet another episode of the History of Computing Podcast. We're so lucky to have you. Have a great day!

#101：苹果字体极简史（续）「西有旧金山，东现纽约城」

字谈字畅

Play Episode Listen Later Jun 10, 2019 100:35

WWDC 2019 召开，Apple 发布了一系列关于语言文字及字体排印的新特性。今天，我们就来继续聊聊「苹果字体极简史」的又一新篇章。参考链接《字谈字畅》上线站酷，以合集形式编选发布往期节目《字谈字畅》音频开始支持章节功能，通过 ID3 chapter frame 实现美国联邦政府发布开源字体 Public Sans，该字体是 USWDS（United States Web Design System）项目的一部分；Public Sans 源文件在 GitHub 公开，基于另一开源字体 Libre Franklin 修改而来，其设计源于 Morris Fuller Benton 的作品日本森泽公司推出西文字体家族 Role，已发布的视觉字号、字重及样式变体共 200 款，由 Matthew Carter、岡野邦彦（Kunihiko Okano）与森泽的西文组联合设计 Fontelier，森泽公司针对美国市场开设的字体在线销售网站 Matthew Carter 于 6 月 15 日在纽约 Typographics 2019 上发表演讲 The Designer’s Role，内容关于 Role 字体家族的设计 WWDC 2019 于 6 月 3 至 7 日在美国加州圣何塞召开在 iPadOS 的 App Store 中，用户将可以购买来自 Adobe、华康、Monotype、森泽及方正出品的字体产品〈字谈字畅 014：□□␣□□〉，关于中西文间空隙的讨论 Apple 发布衬线体家族 New York，包含多种视觉字号、字重及样式变体，字体名称向 Susan Kare 设计的经典点阵字体致敬；现可通过 Apple 开发者网站获取 Monotype 字体设计师大曲都市在 Twitter 上提及了 New York 字体的设计细节 macOS Catalina 将搭载 Sidecar 特性，支持用 iPad 扩展 Mac 的屏幕 WWDC 2019 Session 227: Font Management and Text Scaling《字体管理及字号缩放》 SF Symbols，Apple 发布的图标字体制作工具 WWDC 2019 Session 206: Introducing SF Symbols《介绍 SF Symbols》注：《字谈字畅》音频文件下载地址的域名已更换为 static.thetype.cloud，目录及文件名不变；如果在第三方网站遇到过期的下载链接，替换域名部分即可重新访问（例如 thetype.b0.upaiyun.com/typechat/typechat000.mp3 → static.thetype.cloud/typechat/typechat000.mp3）。主播 Eric：字体排印研究者，译者，Type is Beautiful 编辑蒸鱼：设计师，Type is Beautiful 编辑欢迎与我们交流或反馈，来信请致 podcast@thetype.com。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com。 Type is Beautiful 会员计划已上线，成为我们的会员，即可享受月刊通讯、礼品赠送、活动优惠以及购物折扣等权益。

Step 1: Get in the door

How to Draw a Startup

Play Episode Listen Later Dec 20, 2018 35:21

Today’s guests:Kristen Spilman and Ryan Putnam• • •Recommended reading:Illustrating a More Human Brand: The history of Dropbox brand illustrationWritten by Michael Jeter, Associate Creative Director & Illustration Lead at Dropbox, this fantastic two-part essay (Part 1 & Part 2) helped inform this episode.The Woman Who Gave the Macintosh a SmileAn excellent profile of Susan Kare, creator of the original Macintosh icon suite. Written by Alexandra Lange for The New Yorker.• • •For illustrations and a full transcript of this episode, check out the show’s website

new yorker dropbox macintosh illustrating associate creative director alexandra lange michael jeter susan kare

RMC Episode 470: No wires!

Play Episode Listen Later Jun 11, 2018 33:12

James and John discuss eBay finds: G5 poster, Apple wooden sign, and NeXT system. They remember the history of AirPort, and news includes WWDC and Susan Kare. To see all of the show notes and join our website, visit us at RetroMacCast.

apple ebay airports wwdc wires g5 susan kare

RMC Episode 466: Takky

More Than Just Code podcast - iOS and Swift development, news and advice

Play Episode Listen Later Jun 9, 2018 26:08

James and John discuss eBay finds: six-color Apple poster, Woz-autographed floppy, and a Peach Apple II clone. They delve into the Takky Mac, and news includes Susan Kare, the end of Airport, and Hap's prototype collection. To see all of the show notes and join our website, visit us at RetroMacCast.

apple ebay airports hap woz susan kare

Episode 192: The Quadruple One

Play Episode Listen Later Apr 28, 2018 109:47

This week we are joined by Marin Todorov to discuss his new book and apps. We follow up on Flight School's meaning, an iPad screen protector vendor leaks the 2018 model, downloading your Google profile and Marin relays European ISP experiences. The last Apple Watch boutique is closing. We also follow up on Susan Kare: the woman who gave the Mac its smile. We discuss the new trade-in program with Apple GiveBack, Daisy: Apple’s new iPhone-recycling robot, FoundationDB is Open Source and Marin's book - Realm: Building Modern Swift Apps with Realm Database. Picks: 5 Useful 3D Touch Features for iPhone, Snipetty, Bringing Objective-C to the Amiga, How to build your own Alexa skills with the new Alexa Blueprints, Xcode Treasures: Master the Tools to Design, Build, and Distribute Great Apps, Mixpanel v. 3.3.0 - opt in/out at run time Special Guest: Marin Todorov.

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Apple World Today News Update: April 24, 2018

Tangible Tech

Play Episode Listen Later Apr 24, 2018 4:12

We have some entertaining short news stories for you on today's podcast: Verizon gains subscribers in the March quarter, most likely from the Apple Watch Series 3 Instagram has a new web tool for downloading all of your content; unfortunately, it was down at the time we broadcasted this! Original Mac icon designer Susan Kare is in the news, winning a prestigious medal from the American Institute of Graphics Art and being called upon by Apple to testify on the company's behalf in the Samsung damages retrial Amazon can already get into your house if you let them...now they are expanding that capability to cars --- Support this podcast: https://anchor.fm/tangible-tech/support

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SJ083: iPhone X wins and loses, iPhone SE 2, Linus Tech Tips, pundit punting, Castlevania, and more

Space Javelin

Play Episode Listen Later Apr 23, 2018 61:54

This week, the crew of the Space Javelin managed to land the ship straight into a volcano we call Hell & Sebastian, as we pointed out on our Facebook page that the gang at Linus Tech Tips were playing the victim card in their dispute about an iMac Pro that they damaged. Our view -- which has been echoed by our colleagues at MacRumors, AppleInsider, iMore, and Daring Fireball among others -- elicited much response, pro and con, and we take a look at it in this week's episode. Before all that, and much to HulkaMike's dismay, we have other rants to get to: a particularly bad pundit who claims that the iPhone X is dead, Consumer Reports' evaluation of the iPhone X and Samsung Galaxy S9, AT&T's crazy good deal that will never actually happen, professional guesstimators who can't even get their stories straight, and rumors that might be true (and some that are clearly off-base). Finally we vent our steam generator about the weakness of the LTT defender's arguments (hint: lack of expertise, shifting goalposts, straw men, and a lack of diversity in news sources ahoy!). After all that, we finally find a few "good news" pieces to report on, including US banks coming to their senses on Apple Pay (et al), Castlevania on iOS and Susan Kare before we fire up the thrusters and blast back up into orbit. All this and more, cadets, so remember to don your flame-retardant uniforms this week -- teh stoopid, it burns!

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Friday, Apr. 20, 2018 - Google Has a Plan to Supplant SMS

Techmeme Ride Home

Play Episode Listen Later Apr 20, 2018 20:23

Google brands its replacement for SMS as "Chat," Apple can’t quit Samsung…yet, people are worried about MoviePass, digital design pioneer Susan Kare is honored, the weekend long reads suggestions, and Do Not Disturb While Driving might be having an impact. Stories from: @LangeAlexandra, @backlon, @emiliapetrarca Tweets: @waltmossberg Links:Exclusive: Chat is Google's Next Big Fix for Android's Messaging Mess (The Verge)Apple Can’t Cut Its Dependence on Rival Samsung’s Screens (WSJ)The Woman Who Gave The Macintosh a Smile (The New Yorker)Phone use while driving is still a huge problem, but this is helping (SlashGear) LongReads:Style is an Algorithm (Racked)Everything We Know About the Feud Between These Two Computer-Generated Instagram Influencers (The Cut)Iceland Takes Hard Look at Tech Boom Sparked by Its Cheap, Bountiful Power (WSJ)The Untold Story of Jaime Levy, Punk-Rock Cyber-Publishing Pioneer (NYMag)Can This Man Help Uber Recover From The Travis Kalanick Era? (Wired) Credits: Produced by @brianmcc and the @techmeme staff Music by @jpschwinghamer

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Femmes de sciences // 07.03.2018

Mercredi !

Play Episode Listen Later Mar 7, 2018 27:29

Mercredi ! vous propose de découvrir cinq portraits de femmes. Toutes, par leurs travaux, ont profondément révolutionné les sciences. Vous irez à la rencontre de Ada Lovelace, Grace Hopper, Katherine Johnson, Radia Perlman et Susan Kare. Cette création radiophonique est réalisée par La Puce à l’oreille, plateforme québécoise de podcast. Les musiques de l’émission : Let the Rhythm Just – The Polish Ambassador feat Mr.Lif & Ayla Nereo

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Mercredi ! Femmes de sciences

sciences toutes femmes mercredi ada lovelace katherine johnson grace hopper lif ayla nereo la puce susan kare

Play Episode Listen Later Mar 6, 2018

Au programme ce Mercredi ! Mercredi ! vous propose de découvrir cinq portraits de femmes. Toutes, par leurs travaux, ont profondément révolutionné les sciences. Vous irez à la rencontre de Ada Lovelace, Grace Hopper, Katherine Johnson, Radia Perlman et Susan Kare. Cette création radiophonique est réalisée par La Puce à l'oreille, plateforme québécoise de podcast. Les musiques de l'émission : Let the Rhythm Just – The Polish Ambassador feat Mr.Lif & Ayla Nereo

Mercredi ! Femmes de sciences // 07.03.2018

sciences toutes femmes mercredi ada lovelace katherine johnson grace hopper lif ayla nereo la puce susan kare

Play Episode Listen Later Mar 5, 2018 27:30

Au programme ce Mercredi ! Mercredi ! vous propose de découvrir cinq portraits de femmes. Toutes, par leurs travaux, ont profondément révolutionné les sciences. Vous irez à la rencontre de Ada Lovelace, Grace Hopper, Katherine Johnson, Radia Perlman et Susan Kare. Cette création radiophonique est réalisée par La Puce à l’oreille, plateforme québécoise de podcast. Les musiques de l’émission : Let the Rhythm Just – The Polish Ambassador feat Mr.Lif et Ayla Nereo

Design de Ícones e Semiótica da Interação

Usabilidoido: Podcast

Play Episode Listen Later Feb 21, 2018

Ícones foram criados para relacionar conceitos computacionais com objetos do dia-a-dia que as pessoas já conhecem e sabem usar. Porém, com o passar do tempo, ícones passaram a representar conceitos não necessariamente computacionais. A semiótica aplicada ao design de ícones permite estudar esses novos processos de significação e sua contribuição para a Interação Humano Computador.Slides Áudio Gravação de aula realizada na Apple Developer Academy PUCPR. Design de Ícones e Semiótica da Interação [MP3] 1 hora e 24 minutos Transcrição A palavra ícone foi utilizada primeiramente para definir certos tipos de pinturas e afrescos que expressavam a essência das divindades Cristãs. Esse formato ficou bastante popular nos primeiros séculos da Igreja Ortodoxa. Essa imagem é um detalhe do ícone mais antigo ainda existente, Cristo Pantocrátor (século VI). O ícone provavelmente representaria a posição dual de Jesus Cristo como homem e como Deus. Utilizando uma técnica de divisão e espelhamento das metades da imagem, fica claro que os dois lados da face do Cristo são muito diferentes. A face esquerda de Cristo parece mais velha e dura do que a face da direita, sugerindo o aspecto divino. A face da direita parece mais temerosa e jovial, sugerindo o aspecto humano. O ícone religioso é rico em detalhes e significados. No século VIII, emergiu um movimento iconoclasta no Império Bizantino que destruiu a maior parte dos ícones da época. Nesta iluminura, o autor faz uma analogia entre o pintor de ícones e os algozes de Cristo. O ícone estaria restringindo a divindade a uma representação fixa, que não faz jus à natureza divina. A adoração dos ícones assim como a iconoclastia são frutos de uma tensão que se acumula no cerne da sociedade moderna. Henri Lefebvre escreveu prolificamente sobre a contradição entre representação e realidade. Essa contradição foi magistralmente revelada por René Magritte na obra A Traição das Imagens (1928). A imagem de um cachimbo contradiz a frase "Isto não é um cachimbo", porém, a frase também é uma imagem. Como seria possível falar de um cachimbo sem a representação mínima dele pela linguagem? Na metade do século XX, a representação se tornou tão oposta à realidade que foi necessário construir máquinas capazes de processar signos de maneira independente da representação mecânica. Alan Turin e colegas construíram em 1939 a primeira máquina semiótica com o intuito de quebrar o código de criptografia alemã. Essa máquina desvinculava a representação do cálculo da representação mecânica. O filme "O jogo da imitação" (2014) conta essa história muito bem. A representação independente do suporte permitiu o surgimento de uma miríade de conceitos computacionais. Esses conceitos, entretanto, eram abstratos demais para quem não tinha uma formação matemática ou de engenharia. Com a intenção de tornar conceitos computacionais mais concretos e, portanto, acessíveis para especialistas de outras áreas, Douglas Engelbart e sua equipe na SRI International criaram o mouse em 1964, um dispositivo apontador que permitia interagir com representações computacionais de uma maneira mais direta. Diversas outras inovações surgiram à partir disso, tal como o hipertexto, o comando copiar e colar e outras. Nos anos 1970, surgem monitores de alta resolução capazes de exibir interfaces gráficas. David Canfield Smith defendeu uma tese em 1975 que propunha pela primeira vez a utilização de ícones em interfaces gráficas. Inspirado nos ícones religiosos, Smith propôs que ícones poderiam ser tão abstratos quanto concretos, ou seja, eles seriam representações capazes de processamento ao mesmo tempo capazes de referir-se a uma experiência concreta que o usuário tenha tido. O exemplo que ele oferece é a linguagem de programação visual Pygmalion, que ofereceria uma série de diagramas interativos. Nesta imagem, temos diversos ícones. O mais concreto são as setas da estrutura if/else que se assemelha a uma bifurcação de estradas. Em 1973, Tim Mott e Larry Tessler desenvolveram a Office Schematic dentro do laboratório Xerox Parc, uma proposta que iria definir o paradigma de representação para interfaces gráficas. Mott estava pensando como aproveitar melhor o recurso da interface gráfica e percebeu que haviam metáforas físicas para representar ações intra-documentos, tal como o comando de copiar e colar. Porém, não haviam metáforas para ações inter-documentos. Foi então que, diante de um guardanapo num restaurante, ele teve a ideia de representar um escritório na interface gráfica, onde os documentos pudessem ser movidos de um lugar a outro. O Office Schematic ficou conhecido posteriormente como metáfora desktop. Trabalhando com Mott e Tessler, Smith desenhou a primeira linha de ícones do Xerox Alto (1974), o primeiro computador a implementar uma interface gráfica com a metáfora desktop. Estes ícones representavam arquivos que podiam ser movidos para diferentes mídias de armazenamento, impressoras e outros computadores. Diversos outros conceitos de interface gráfica já estavam ali presentes, tais como a barra de rolagem, os menus e a manipulação direta. O Xerox Star que sucedeu o Alto tinha a proposta de ir além de controlar a edição e impressão de documentos. A proposta era ser um computador multifuncional para a gestão de empresas. Quatro séries de ícones foram criadas e testadas com usuários para verificar quais faziam mais sentido. Na Xerox Parc já existia uma visão de que o usuário leigo em informática deveria ser priorizado no projeto. Infelizmente a Xerox não conseguiu compreender as inovações que surgiram no Parc e acabou assinando um acordo com a Apple para que Steve Jobs e sua equipe visitasse o laboratório e conhecesse tais inovações. Ao ver a interface gráfica, Jobs teve a certeza de que era isso que precisava para realizar o conceito de Computação Pessoal que movia a empresa. Os ícones adquiriram o status que tem hoje depois que a Apple contratou Susan Kare para desenhar a família de ícones do primeiro Macintosh, lançado em 1984. Esses ícones eram muito diferentes dos ícones do Xerox Star. Ao invés de representar apenas conceitos computacionais, alguns destes ícones representam ações e emoções humanas. O objetivo era mostrar que o computador poderia refletir as preferências e interesses do usuário, o que fica evidente no ícone do Mac com um sorriso. Diversos outros ícones representavam partes do corpo humano para enfatizar essa relação pessoal com o usuário. O próximo marco na história dos ícones só viria em 2007, quando a Apple lançava o iPhone. Esse smartphone não era o primeiro com tela touch screen, porém, era o primeiro a priorizar o design de ícones. O design de produto do iPhone é extremamente simples visando colocar em evidência a interface gráfica e os ícones coloridos que ela continha. Os ícones eram o produto, o que ficaria mais claro depois que a Apple lançou a App Store e a possibilidade de desenvolvedores de fora da Apple colocarem ícones no iPhone para permitir acesso a seus aplicativos. Na versão comemorativa de 10 anos de lançamento do primeiro iPhone, a Apple novamente inovou no design de ícones com o lançamento dos animojis, que representavam através de animações sincronizadas em tempo real as expressões faciais do usuário. Aqui a Apple realizou de maneira literal a ideia antiga de que o computador poderia ser um espelho do usuário. O iPhone X também eliminou a necessidade de botões físicos, tornando o produto uma grande tela para interfaces gráficas. A relevância dos ícones na história da Interação Humano Computador se deve à: a) Relação entre conceitos abstratos a experiências concretas b) Mnemônica (fácil memorizar e reconhecer) c) Localização rápida na tela d) Economia de espaço na tela e) Internacionalização f) Afeto emocional Ao longo de sua história, ícones foram padronizados em certos elementos constitutivos. A sua "anatomia" atual consiste em sete elementos: fundo (contexto onde ele aparece), figura (forma básica ou silhueta), borda (entre a figura e o fundo), cor predominante da figura, iluminação (proveniente do canto superior esquerdo), rótulo descritivo e uma ação (representação estática de um movimento). A anatomia do ícone tem impacto direto na memorização e reconhecimento do ícone, que acontecem em processos graduais, mesmo que muito rápidos. A memorização começa à partir da imagem complexa do ícone que fica na memória de curta duração. Com o passar do tempo, a memória deste ícone se torna mais difusa e apenas traços distintivos permanecem. Após muito tempo, a pessoa lembra de características gerais, tais como a forma da figura, sua cor predominante ou a localização na tela. Em alguns casos, o ícone é completamente esquecido, porém, quando ele é visto novamente, o processo de reconhecimento acontece mais rapidamente. Ao escanear a tela, a pessoa busca primeiramente as características gerais do ícone, tais como a cor predominante e só depois considera os seus traços distintivos. Devido às características desses dois processos, ícones devem ter silhuetas simples e poucas cores. A maior relevância do ícone não está, entretanto, associado aos processos de memória e de reconhecimento, mas sim no processo de significação. O ícone tem o potencial de estabelecer uma rica rede de associações que levam ao sentido do aplicativo. O ícone do Find My iPhone lembra um radar que, assim como diversos outras tecnologias militares, agora estão presentes no cotidiano de civis. Uma tecnologia militar conecta-se bem com os casos de uso do aplicativo: roubo e vigilância parental. Não por acaso, a Apple tem um segundo aplicativo com a mesma função de localização do aparelho, porém, o Find My Friends exige autorização do amigo para compartilhar a localização. Com o Find My iPhone, os pais podem saber onde os filhos estão a qualquer momento através da interface web do iCloud sem autorização dos filhos. Esse processo de significação é muito bem explicado pela Engenharia Semiótica, uma teoria de Interação Humano Computador criada pela pesquisadora Clarisse de Souza da PUC-Rio. Essa teoria é baseada em duas premissas: O computador é uma máquina capaz de processar signos e a interface com o usuário é um processo de comunicação baseado em signos. O conceito principal da Engenharia Semiótica é a metacomunicação, ou seja, a comunicação do designer explicando como o usuário pode se comunicar com o computador. A aplicação seria uma mensagem que o designer enviaria para o usuário expressando que soluções existem para suas necessidades. O usuário interpretaria os signos contidos nessa mensagem e realizaria suas atividades. A metacomunicação é unidirecional, pois uma vez que o aplicativo é codificado, o designer não pode mais mudar a sua mensagem. Um dos maiores insights da Engenharia Semiótica é a distinção entre dois tipos de metacomunicação: operacional e estratégica. Na metacomunicação operacional, a interface expressa como usar a aplicação. Este tipo de metacomunicação já recebeu muita atenção de outras teorias de IHC. O diferencial da Engenharia Semiótica é a ênfase na metacomunicação estratégica, que expressa por quê o usuário deve utilizar a aplicação. No exemplo do tour de entrada do aplicativo AirBnB a descrição se refere às características da experiência do usuário e não aos elementos da interface. Embora a Engenharia Semiótica não coloque nesses termos, eu compreendo que ela propõe que o designer atue como um tradutor entre duas linguagems: a linguagem de programação e a linguagem de interação. Enquanto a linguagem de programação serve para dar instruções para o computador, a linguagem de interação serve para dar instruções para o usuário. Devido à informalidade, a linguagem de interação é definida por todos os "falantes", está em constante evolução e ninguém sabe exatamente todas as possibilidades desta linguagem. Em contraste, a linguagem de programação é definida por um grupo pequeno de pessoas e se torna fixa, devido à necessidade de formalidade. A linguagem de programação expressa conceitos computacionais enquanto a linguagem de interação expressa diversos tipos de conceitos. A unidade básica da linguagem de interação é o padrão de interação (pattern). Como exemplo, temos o padrão "Puxe para atualizar", primeiro utilizado pelo aplicativo do Twitter que, ao mesmo tempo em que criava um novo padrão, quebrava o padrão de clicar no ícone home para atualizar o feed, uma vez que este que não era percebido pelos usuários. O padrão de "Puxe para atualizar" logo se espalhou por outros aplicativos e se tornou parte da linguagem da interação falada nos aplicativos móveis. Ícones são interpretados como parte de uma linguagem de interação, porém, eles não são meras palavras. Ícones são frases. É possível através de um método chamado análise da estrutura frasal decompor um ícone em suas partes constitutivas. O sujeito normalmente refere-se ao usuário, o verbo é a ação possível, o advérbio é um qualificativo da ação e o predicado é o objeto principal do ícone, qualificado por adjetivos. No caso do ícone Firefox Crystal vemos que o designer Everaldo Coelho qualificou a raposa do Firefox como um animal mágico que pode navegar a web tão rápido quanto o fogo. Assim como na linguagem falada, nem todas as frases são ditas por completo, pois há informações não-ditas e implícitas. No caso dos ícones padrão da iOS Toolbar e Navigation Bar, as frases possuem verbos sem predicados, pois estes se referem ao que está carregado na View atual. Por outro lado, os ícones padrão da iOS Tab Bar possuem o mesmo verbo implícito (ver) com diversos predicados. Os ícones não demonstram o que é possível fazer com os objetos, apenas sugerem o tipo de conteúdo. Já os ícones do Home Screen do iOS não seguem um padrão. Alguns possuem verbo e predicado (Mapas), enquanto outros possuem apenas um substantivo (Mail). Porém, todos possuem muitos adjetivos para qualificar a experiência proporcionada por cada aplicativo. Os qualificativos são marca registrada dos ícones da Apple. Quando se compõe uma série de ícones para um mesmo aplicativo, vale à pena definir um padrão consistente para as frases. Assim a linguagem de ícones contribui para o microbranding da marca. A linguagem de ícones da Spotify possui espessuras finas, curvas com mesma ângulação e preenchimento vazio. A consistência na linguagem de ícones não deve, entretanto, prejudicar a distinção entre as frases. Uma vez que ícones nem sempre são vistos com atenção, a silhueta da figura deve ser diferente mesmo que a figura seja parecida, de modo a facilitar o reconhecimento diante de formas similares. Este exemplo foi publicado por @MegDraws no Twitter. Até agora estamos discutindo as possibilidades que a forma oferece para a informação. Porém, a "mágica" dos ícones acontecem nos níveis de estrutura e de função, quando contribui para a interação e experiência. Há uma certa equivalência entre esses três níveis de possibilidades aos três níveis de análise da linguagem: sintática, semântica e pragmática. Iremos agora analisar ícones nos níveis semânticos e pragmáticos. A Engenharia Semiótica é baseada no conceito de signo de Charles Sanders Peirce, o filósofo que fundou a escola americana de semiótica. O conceito de signo é baseado numa tríade entre três elementos: o representamen (também chamado de representante), o objeto que ele representa e o interpretante (também conhecido como significado). Neste exemplo, o ícone de pasta representa dados no disco rígido, mas a interpretação deste para um usuário específico é o álbum de fotos, pois é nesta pasta que a pessoa guarda as fotos. Segundo Peirce, um signo nunca emerge isolado. Cada signo é significado em relação a outros signos e dá origem a novos signos num processo conhecido como semiose ilimitada. Neste exemplo, o signo de álbum de fotos lembra a pessoa do álbum impresso, ela sente vontade de imprimir algumas fotos e imagina que pode dar de presente para alguém aquele álbum. Na Engenharia Semiótica, a semiose não é ilimitada. Ela pode ser interrompida por um signo que não faz sentido, fenômeno conhecido como breakdown. Neste momento, o usuário fica perdido ou frustrado e desiste do que estava fazendo. Certa vez tentei imprimir um álbum de fotos que havia preparado no Fotos do Mac e fiquei surpreso negativamente ao descobrir que não havia como encomendá-lo impresso pela ausência do serviço no Brasil. O aplicativo poderia ter me dito isso antes de maneira mais clara. A Engenharia Semiótica identificou diferentes expressões comuns do usuário quando ocorre a interrupção da semiose (De Souza et al, 1999). Algumas dessas expressões podem indicar um problema sério de usabilidade (fundo vermelho), como por exemplo, quando o usuário faz algo errado e não percebe. Elas também podem indicar um crescimento da competência do usuário e a dispensa de ajuda (fundo verde). Vejamos dois exemplos de interrupções na semiose causadas por uma mensagem com ruídos ou desvios de interpretação. O Macintosh original não tinha botão de ejetar para o disquete. Os designers criaram uma associação de arrastar e soltar o ícone do disquete até o ícone da lixeira para ejetar o disco. Depois de muitas reclamações de usuários que não encontravam a função (Onde estou?), o ícone da lixeira passou a mudar para um ícone de ejetar sempre que um disco era arrastado. Mesmo com o representamen correto, muitos usuários ainda ficam com medo de apagar os dados do disquete, CD, DVD ou pendrive até hoje e preferem fazê-lo pelo botão de ejetar do finder (Obrigado, mas não). Na minha visão, a semiose é, na maior parte do tempo, interrompida pela falta de interesse ou de atenção. A pessoa simplesmente não quer aquilo que o signo está representando. O que mais interessa aos usuários não é como o ícone foi desenhado (sintática), nem o que ele representa computacionalmente (semântica), mas o que é possível fazer com ele (pragmática). Essa característica da Interação Humano Computador está sendo gradualmente compreendida através de teorias como a Engenharia Semiótica. Emojis são um exemplo popular de ícones que não representam conceitos computacionais. Ele não representa um espaço ou uma funcionalidade do computador, mas sim uma emoção ou intenção de comunicação do usuário. Ícones representam cada vez mais conceitos não-computacionais. Isso torna ícones cada vez mais sujeitos às contradições da sociedade, em particular, entre representação e realidade. Na última versão do iOS (11), a Apple incluiu a silhueta que parece de uma mulher no ícone da lista de contatos. Anteriormente, o ícone continha apenas uma figura com feições bastante masculinas. A questão contraditória que levou à Apple a incluir a silhueta é: porque mulheres não deveriam ser representadas se elas figuram na lista de contatos? Apesar da mudança, o déficit de representação da mulher ainda continua. Embora o signo seja uma estrutura de simples compreensão, a análise do signo permite ver sutilezas que não estão claras à primeira vista. Peirce propôs três tricotomias para analisar signos. A primeira tricotomia diz respeito ao representamen e ele mesmo. O qualisigno é uma relação de representação em que a qualidade do representamen fala por si. Neste exemplo de qualisigno, o ícone representa a qualidade de ser ícone, a "iconicidade". O sinsigno é uma relação de particularidade. O signo representa algo único, particular, tal como os trejeitos da expressão facial de uma pessoa. O legisigno é tal como uma Lei, algo inevitável. A representação do botão de desligar inequivocamente irá desligar o aparelho. A segunda tricotomia diz respeito à relação entre representamen e objeto. Quando o representamen é similar ao objeto, a relação é chamada tecnicamente de ícone. Note que no resto dessa apresentação eu não utilizei essa compreensão mais restrita de ícone. Prefiro utilizar o nome ícone também para índices e símbolos, que não são tipos de imagens mas tipos de relações. A relação de índice é uma causalidade, ou seja, o objeto causa uma modificação na representação ou vice-e-versa. No exemplo do calendário, a data atual modifica a forma do ícone. Já a relação de símbolo é completamente arbitrária e se justifica apenas pela convenção. O desenho + não tem nenhuma relação além da arbitrariedade com a operação matemática da soma, por exemplo. A terceira tricotomia serve para analisar as relações entre representamen e interpretante. Se o ícone representar uma possibilidade não muito clara, ele pode ser chamado de rema, tal como o ícone do microfone da Siri. O usuário não sabe se ela vai entender o que ele irá falar. No momento em que o usuário fala, aparece um outro ícone, um ícone dinâmico cuja forma se altera de acordo com o volume das ondas sonoras. Esse ícone é um fato. A Siri está lhe ouvindo, mas ainda não há certeza de que ela lhe entende. Você só consegue perceber isso nas respostas que a Siri dá, que não seria um ícone, mas seria uma relação de argumento. O argumento expressa uma relação de certeza entre o representamen e o interpretante. Embora as tricotomias sirvam à classificação de relações, elas não foram criadas meramente para classificar signos desse ou daquele tipo. As tricotomias servem para perceber as variações no processo de representação. Scott McCloud conseguiu representar isso magistralmente no triângulo que mostra o continuum entre realidade, significado e plano da figura. Os extremos desse triângulo corresponderiam ao ícone na esquerda (figura muito similar à realidade), ao qualisigno no topo (representamen representando a representação) e ao símbolo na direita (rosto simplificado). O signo pode transitar entre as categorias dependendo da situação em que ele emerge. Um estudo superficial sobre a Semiótica pode levar o designer a acreditar que ele pode garantir um interpretante a partir da manipulação do representamen. Isso, segundo a Semiótica não é possível, pois o objeto do signo tem caráter dinâmico. Ora o signo representa uma coisa, ora outra. Por esse motivo não há uma tricotomia sobre a relação entre representamen e objeto. O que pode ser feito é considerar os padrões de interação existentes, as particularidades do contexto e as possibilidades expressivas. No design de ícones, existem três práticas que consideram as relações das tricotomias peirceanas. A primeira prática é a definição de parâmetros de representação antes de conceber o signo. A primeira coisa que Susan Kare ao ser contratada pela Apple em 1982 para desenhar ícones foi comprar um caderno de rascunhos quadriculado. Desenhando nesse caderno, ela restringiu os representamens ao que seria possível com a tecnologia do pixel da interface gráfica. A segunda prática é a geração de alternativas para encontrar representamens potenciais do objeto. Tom Bigelajzen desenhou algumas alternativas para os ícones do player multimídia VLC antes de escolher a final. Isso ajudou-o a considerar qual representamen era mais adequado ao objeto (a funcionalidade de configuração do aplicativo). Para verificar a relação entre representamen e interpretante, é indicada a prática de testes com usuários. No exemplo acima, eu criei um sistema chamado Icon Sorting que mostrava um ícone a cada 13 segundos e perguntava ao usuário qual o rótulo mais apropriado. A quantidade de opções e o tempo curto forçava uma associação rápida e corriqueira, mais parecida com o contexto de uso. Os ícones que não tiveram associações foram descartados. Existem outras maneiras de testar ícones com usuários, por exemplo, através de entrevistas e diálogos presenciais. Apesar de tudo o que disse até agora, a melhor maneira de projetar um novo ícone, muitas vezes é não fazê-lo. Se existe um ícone que atingiu o status de símbolo para aquele objeto, é melhor utilizá-lo do que criar um novo. Existem diversas bibliotecas com milhares de ícones gratuitos para utilização. Na maior parte dos casos, é mais fácil adaptar um desses ícones do que criar um do zero. O desafio do design de ícones não é o desenho, mas sim a designação de sentido, que não é uma tarefa exata. Não é um processo exato porque mesmo os símbolos mais convencionais podem perder o sentido ao longo do tempo. Um exemplo contemporâneo é o ícone de salvar que, antigamente, referia-se à mídia de armazenamento principal (disquete de 3 e 1/2 polegadas). Hoje em dia, existem pessoas que nunca viram um disquete desse tipo mas que conseguem reconhecer o ícone de salvar em diferentes contextos. Porém, existem muitos aplicativos que já não estão mais utilizando este ícone para representar salvar ou porque não existem mais essa funcionalidade (os dados são salvos automaticamente em intervalos de tempo) ou porque existem dois tipos de salvar (salvar na nuvem e salvar no dispositivo). Qualquer signo estará sempre sujeito à contradição entre representação e realidade. O design de ícones reproduz e transforma essa contradição o tempo todo. Compreendê-la é mais interessante do que negá-la. Made with Keynote Extractor.Comente este post

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Episode 181: Where Power Resides

More Than Just Code podcast - iOS and Swift development, news and advice

Play Episode Listen Later Feb 3, 2018 75:39

We start the episode with a brief look at Reporter and looking at unwind segues with modal view controllers. We also follow up on unconventional parking with self driving cars. We follow up on using Face ID to authorize purchases with iTunes family purchases in iOS 11. You can now use the Square Cash app to purchase bitcoin. We discuss Apple's plan to postpone some new features to focus on performance and quality. It's time for the annual "Apple is doomed" discussion as pundits warn of iPhone X sales slowing down. Tim's iPhone X suffers from a "green line" OLED defect, which turns out to be a common problem on iPhone X and Samsung Galaxy S7. Picks: iOS Ref Photo of Susan Kare by Norman Seeff

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Femmes et technologies - Susan Kare

Podcasts pour enfants - La puce à l'oreille

Play Episode Listen Later Dec 4, 2017 3:44

Texte et narration : Cassie L. Rhéaume Réalisation : Studio Bakery En collaboration avec Concertation Montréal

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RMC Episode 424: Tenth Anniversary

apple mac ebay airpods imac imacs tenth anniversary susan kare

Play Episode Listen Later Jan 8, 2017 36:55

James and John discuss eBay finds: tiny iMacs, Apple banner, and iMac keychain. They talk to Javier about his tiny Mac project, and news includes AirPods, Today in Apple History, and Susan Kare. To see all of the show notes and join our website, visit us at RetroMacCast

Episode 23: NeXT (Live show at the GeekWire Summit)

Acquired

Play Episode Listen Later Oct 23, 2016 62:29

Join the Acquired Limited Partner program! https://kimberlite.fm/acquired/ (works best on mobile) Ben & David broadcast live from the 2016 GeekWire Summit covering one of the all-time greats, Apple’s 1996 acquisition of NeXT. This episode has it all: the Steve Jobs hero story, Apple, I.M. Pei, Ross Perot, Aaron Sorkin, Nobel Laureates and… Gil Amelio? Does NeXT rank atop the best acquisitions ever? Our own heroes cast their votes. Topics covered include: 1980’s era Apple, entering the age of the “workstation”, with John Sculley as CEO and Steve Jobs leading the newly formed SuperMicro division working on building the “BigMac" Jobs’ exile to "Siberia”, and chance meeting with Nobel Laureate Paul Berg that sowed the seeds of NeXT Jobs’ resignation from Apple on September 13, 1985 to start NeXT, taking with him SuperMicro division employees Joanna Hoffman, Bud Tribble, George Crow, Rich Page, Susan Barnes, Susan Kare, and Dan'l Lewin Apple’s subsequent lawsuit against Jobs and, Steve’s classic quote in response: "It is hard to think that a $2 billion company with 4,300-plus people couldn't compete with six people in blue jeans." NeXT’s “anti lean startup” approach, spending $100k on brand identity and moving into I.M. Pei designed offices Ross Perot’s $20M investment in NeXT The first NeXT computer (fun unboxing video) product launch, dubbed "The NeXT Introduction” on October 12, 1988 (one of the three scenes in the Aaron Sorkin Steve Jobs movie) The NeXTSTEP operating system as the first “modern” OS (including Object-oriented programming), and like the Mac equally descended from Xerox PARC Major technologies developed on NeXT computers, including the first web browser and Doom NeXT’s exit from the hardware business and transition to a software-only model with OPENSTEP Apple’s failed internal projects to develop a modern OS, culminating in the acquisition of NeXT in December 1996 Steve Jobs’ return to Apple, public lack of faith in the then-current board and management, and maneuvering to return to the CEO role The transformation of NeXTSTEP/OPENSTEP into OS X, and ultimately iOS, watchOS, tvOS, etc. The Carve Out: Ben: Stewart Butterfield (Cofounder/CEO of Slack) on the The Ezra Klein Show David: DJI and the Rise of the Robomasters

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#UC066: Was wurde eigentlich aus XYZ

Der Übercast

Play Episode Listen Later Oct 6, 2016 94:09

Heute stellt sich raus, wer sich untreu geworden ist und Verrat an der Menschheit geübt hat. Es wird erkundet, ob die alten Picks noch was taugen. Lieber Fluggast, wenn dir das Gehörte gefällt oder dir Sorgenfalten auf die edle Stirn fabriziert, dann haben wir etwas für dich: iTunes Bewertungen. Follow-up Öffnen ohne Drücken Returns AirPods Subwoofer Cloud Computing: Dropbox speichert in Deutschland Kagi gibt’s nicht mehr – am 31. July 2016 wurde das Geschäft aufgegeben. YouTube removes access to Watch Later for third-party developers – Alternativen: Offizielle Apps benutzen (VT und NT) Eigene Playliste anlegen und die stattdessen benutzen (mit VT und NT; “Add all to…”) Plex It BusyCal jetzt mit “timed” Todos Camtasia 3 Flughhöhe Was wurde eigentlich aus? UC007 Patrick: Uberspace.de und seine flexible, faire Preisstruktur Sven: WiFi-Explorer von Adrian Granados Andreas: xScope von The Iconfactory UC008 Andreas: Revisions von Bayesbits Sven: BuyMeAPie! Patrick: Ultratext von Xether Labs UC009 Andreas: Codecheck Patrick: Übersicht Sven: Marked 2 (gibt es ebenfalls zu gewinnen bei uns!) UC010 Andreas: iStat Menus - alle System-Statistiken in der Menüleiste, DIY TRX - Fitnessgeräte selbst schrauben. Patrick: DropShare - Droplr/CloudApp auf dem eigenen Server. Sven: Timeful — Aufgaben im Kalendar planen; Selbstlernend mit Gewohnheiten-Unterstützung UC011 Andreas: Stackables Patrick: Pear Note Sven: »MacSparky Presentation Field Guide« von David Sparks UC012 Patrick: Timerlist von Strauss Sven: OmniFocus 2 für’s iPad ist zwar noch nicht draussen, aber Insider Sven macht euch hier einfach trotzdem schon einmal den Mund wässrig, da diese Version wohl seine Erwartungen bei weitem übertroffen hat. Andreas: After Shave Milch von Esbjerg UC013 Sven: Write (8,99 €) Andreas: Neila Rey Patrick: Tree (10,99 €) UC014 Patrick: Rain Alert (1,79€) [mit mehr Details] Sven: The Flop House Podcast Andreas: Condense (2,99 €) UC015 Patrick: Paprika (Mac: 17,99 €; iOS: 4,49 €) Sven: Drafts 4 (iOS: 4,49 €) Andreas: FitHIT (iOS: 2,69 €) Schmankerl: Daily Bio-Energizer Warm Up Routine UC016 Sven: Hardgraft Phone Pack (ca. 335 €) Andreas: nPlayer (4,49 €) und Great Lash Clear Mascara Patrick: ExpanDrive ($49,95) UC017 (2014-11-27) Mega-Pick Show 1 Die Mega-Pick Übersichtstabelle inklusive Timecodes Gadgets Mac Apps iOS Apps Web Services oder Skripte Verschiedenes Sven Logitech Keys-To-Go (00:17:00) SuperDuper (00:37:40) Newsify (01:01:10) Trello (01:23:20) Trove (01:36:15) Quadcopter Blade Nano QX (00:24:40) Mailbox (00:46:40) Space Age (01:08:15) Kirby 2.0 (01:26:00) Stelton Pure Black Messer (01:40:40) Jawbone UP3 (00:31:20) Desk (00:56:30) das Referenz (01:18:18) Slack (01:30:20) Soulra FRX3 Kurbelradio mit USB-Ladeausgang (01:44:00) Patrick Sennheiser MM-550 (00:19:15) Airfoil (00:42:20) Voice Dream Reader (01:03:20) FileBot (01:20:00) Reosmods Reo Grand (01:32:00) Tom Bihn Ristretto (00:26:45) iTerm 2 (00:48:25) Due (01:10:00) BitTorrent Sync (01:24:50) Walter Moers - Stadt der Träumenden Bücher (01:38:00) Maglus Stylus (00:32:30) Asepsis (00:54:30) Nuzzle (01:14:40) Pow/Anvil (01:28:40) Sunflex snakebyte power:cub (01:44:00) Andreas Merkur Progress (00:28:45) Highland (00:40:00) Pinnacle Studio (01:08:15) Appbot (01:21:40) Fully Present, The Science, Art, and Practice of Mindfulness (01:34:30) Türreck (00:34:00) Minecraft & Feed The Beast (00:44:40) Decim8 (01:11:15) Subtle Patterns (01:27:20) The War of Art - Steven Pressfield (01:42:30) Amadeus Pro (00:51:00) Outread (01:16:10) Neckar (01:49:30) ffmpeg (00:58:18) UC018 Patrick: ./choose (Mac $1,99) von Tiny Robot Software Sven: Original Mac OS X Icons von Susan Kare als Poster Andreas: Week Calendar iPhone 1,99 €/iPad (3,99 €) UC019 Patrick: Der vermessene Mensch (von SWR.de) Andreas: Markdown Keyboard (4,49 €) Sven: Crossy Road (0 €) UC021 Patrick: ScreenFloat (oder SnappyApp) Andreas: The Enlightened Sex Manual ** UC022 Andreas: Audio Hijack 3 Sven: FujiFilm X100T für 1.199 Steine. Patrick: Due 2 für 4,99 €. UC023 Andreas: Hydra HDR Freund Andreas pickt die Ultra HDR App. HDR’iger geht’s nicht. Sven: Canva ist ein super einfaches Online Layout Tool mit dem sich schnell mal ein Grafik, eine Einladung oder Flyer gestalten lässt. Im Gegensatz zu den sonst gefürchteten Clip-Arts und Layouts ist Canva extrem stilsicher unterwegs und selbst der Unbegabteste kann richtig glänzen. Kostenloser Grundumfang, nur einige Grafiken, Fonts und Bilder kosten. Patrick: JPEGmini Das beste Tool um JPEG’s kleiner zu machen. UC024 Sven: AlterNote Andreas: Colin McRae Rally Patrick: Easy Photo Merge bzw. Easy Photo Merge Pro on the App Store on iTunes UC025 Patrick: AcousticSheep – SleepPhones (ab 36 €) Andreas: Slugline (39,99 €) Sven: Alto’s Adventure (1,99 €) UC026 Andreas: OmniGraffle und/oder OmniPlan Patrick: DragThing Sven: Backpack 3 von twelveSouths UC027 Patrick: Pandemie (Brettspiel) (29 €, Video Review, auf iOS) Andreas: Wahl Lithium Ion+ (ca. 80 €, Review) Sven: VANMOOF Electrified 3 Ebike (2.249 €) UC028 (2015-04-28) Patrick: Ergotron LX Desk Mount (ab 148 €) (VESA-Adapter für den iMac und Cinema Displays gibt’s auch) Andreas: iMuscle 2 Sven: Documents by Readdle UC029 Andreas: Factorio Sven: SIRUI T-005X Traveler Light Dreibeinstativ Patrick: Enlight UC030 Andreas: Workflow Patrick: Transmit iOS Sven: Ally UC031 Andreas: djay Pro Patrick: Showmaster Sven: FlipBoard UC032 Andreas: Nutshell Sven: Hocus Focus Patrick: ReadKit UC033 Patrick: Narro Sven: Ghost Andreas: Export Calendars Pro UC034 Andreas: Socialpilot Thomas: Sinfest Patrick: Tales of Mere Existence – “confused comedy for confused people” UC035 Patrick: PlainTasks Sven: Lifeline Andreas: Calibre (und COPS) UC036 Andreas: PowerCube Sven: Ghostery Browser Plugin gegen (Ad-)Tracking Patrick: Kaiserschmarrn UC037 Patrick: Rego Andreas: BetterSnapTool UC038 Andreas: Browser Fairy Patrick: Marcato Sven: Anker 2nd Gen Astro Externer Akku UC039 Sven: Tech Dopp Kit von This Is Ground Patrick: Stand-Up Paddling ausprobieren! Andreas: Spillo UC040 (2015-10-09) Sven: Tiles Patrick: Dictater by Nosrac Andreas: Self-Made Deodorant – How to Make Natural Deodorant & Hair Gone Wild & die Alternative (Happy Hair) UC041 Andreas: Feeder Patrick: Assembly samt Backstory Artikel Sven: B&O H6 Kopfhörer (399€) UC042 Sven: Joe Buhlig’s neues OmniFocus Buch Andreas: Beard Type Chart Patrick: Zimtsohlen UC043 Andreas: Hype 2 Sven: Elgato Eve Wetter- und Raumklimamessung mit HomeKit und Siri-Unterstützung; Auch Steckdosensteuerung und Fenster- und Türsensoren aus Deutschland. Patrick: Eigentlich f.lux, aber nun da es doch wieder weg ist thomasfinch/GammaThingy (Bei Installations-Problemen hier klicken) UC044 Mega-Pick Show 2 (2015-12-04) iOS Apps picTrove 2 pro - Search across 12 Internet services for the best photos and animated GIFs Reeder 3 Contrasts Email+ & Group Text+ (auch als Bundle erhältlich) ChoiceMap YouTube: Introducing ChoiceMap Wikipedia: Analytic hierarchy process iShows 2 - Der beste Serientracker mit Trakt.tv Unterstützung Momento Diary/Journal Terminology 3 - Extensible Dictionary and Thesaurus Goal Streaks Price Radar Typorama Primary Lemur Mac Apps Für Hater von Preference Pane Apps. Endlich ein Fenster das man in der Größe verändern kann: Services Manager mGlitch Calca (iOS/Mac) inShort Movist OSCulator djay Pro Pomodoro Timer DaisyDisk VisualDiffer CodeKit Downie - Video Downloader Up - Uploader for Instagram TerraTech Gadgets und Sonstiges FRITZ!Box 4080 (≅ 240€) N/A Yellowtec: Mikrofonarm (240 €) RME Audio für alle die eine Audio Interface brauchen und die besten AD Wandler wollen und “mit ohne Latenz” gut finden. TotalMix – Digitales Mischpult – ist der Hammer. Sea to Summit Ultra-Sil Day Pack: Amazon.de: Sport & Freizeit Bücher, Musik, Kurtisanen Instapaper Pandemie von ZMan MIT NEUEN ERWEITERUNGEN Grundpspiel Erweiterung 1: Auf Messers Schneide Der Bio-Terrorist hört sich gut an, ist er aber nicht. Der Rest der Erweiterung ist Spitze. Erweiterung 2: Im Labor Macht Pandemie etwas komplexer… und anders. Prädikat Lohnenswert. Feedly Bob’s Burgers Adventure Time Foxy Dori: Wanderlust leather (Custom Midori) Reality TV: The Great Pottery Throw Down auf BBC Barfussschuhe: Merrell - Vapor 2 Glove Grey/Spicy/Orange Men Stop A Douchebag Rasier Set von Zettt Geo F. Trumper’s Sandalwood Soap in a bowl The Razor Queen MÜHLE - Reise-Rasierpinsel Silvertip Fibre MÜHLE - Reise-Rasierpinsel Silvertip Fibre (matt) Mühle Reisedose Noch schicker Feather Blades UC045 Svens Welt der exzellenten Picks Hardcraft Taschen This Is Ground Tech Dopp Kit MoneyMoney App Focus App Whiplash Xpand Lacing System (IndieGoGo) FitStar Apps Bokeh Kappen von Tim van Damme Streaks App Herb: Mastering the Art of Cooking with Cannabis Pulp Fiction Explicit Talking Figure Alldock Patrick: OneVideo für das Apple TV Andreas: Quiver Sven: Swifty UC046 Sven: Vivino Andreas: inShort UC047 Andreas: StackOne Patrick: Morgen hör ich auf Sven: olloclip Kameraobjektiv UC048 Sven: OneAdaptr TWIST Plus+ World Charging Station für das MacBook. Der perfekte Reiseadapter für US/Australien, UK und Europa. Patrick: Pok3r kann man programmieren und mit 60% ist es nicht zu groß und nicht zu klein. Andreas: Hyphen auf iOS UC049 Andreas: 7 Days to Die ist ein Zombie Shooter im Minecraft Stil. Patrick: Sortly • Moving, Organizing and Inventory App hat Patrick geholfen für seine Aufräumaktion doppelt so lange zu brauchen, wie eigentlich nötig gewesen wäre. Sven: “The Chickening” pickt Sven auch Meditation minus Esoterik!. Headspace ist ein extrem gutes Programme zur Entwicklung von Achtsamkeit, Ruhe und Übersicht im Bewusstsein. UC050 OmniFocus (Sven) 2Do (alle) TaskPaper (Patrick) Foxy Dori - Analog Setup (Patrick) Trello (alle) Unsere Picks Patrick: Firewatch Sven: Messer schärfen für echte Männer und für 119€ Andreas: OrderedBytes ControllerMate, #UC011 SteelSeries Stratus, SteelSeries Nimbus, Logitech R400 In Spenderlaune? Wir haben Flattr und PayPal am Start und würden uns freuen.

art uk science internet pr men sports practice war meditation search europa adventure mindfulness sea tool cooking mac deutschland ios paypal ipads musik haters hammer gesch entwicklung mensch minecraft endlich slack ruhe organizing app store bilder programme erwartungen canva sven bewusstsein desk server mund geh achtsamkeit headspace menschheit macbook spitze nt bundle wurde fenster einladung trello vt highland imac aufr steine flyer e bike mailbox hdr im gegensatz erweiterung stirn grafik trumpers jpeg fonts verrat super duper der rest esoterik swr space age homekit trove grafiken fully present layouts referenz godcast audio interface neckar group text sorgenfalten trakt feed the beast video review flattr latenz voice dream reader art steven pressfield unterstu kalendar nuzzle susan kare amadeus pro iterm asepsis airfoil bittorrent sync mere existence newsify cinema displays jawbone up3 appbot

05. That's Clearly A Diving Board

Interface

Play Episode Listen Later May 16, 2016 36:33

board sweden wikipedia diving swedish icon command labels gmail javascript a7 susan kare

05. That's Clearly A Diving Board

Interface

Play Episode Listen Later May 16, 2016 36:33

It's late at night. You've spent the whole day transferring files from your external drive to your computer and then uploading them to your online storage service, and it's hard work. You reward yourself with a beer (you've earned it) and return from the kitchen to your desk. Your file transfer is done, the clock reads 1:33 AM, you're ready for bed. You click the eject button so you can put your hard drive away — but instead of disconnecting the drive, you log out out of the web application — losing all of your data! Even worse, you already removed the drive, and the warning on the operating system has come true: all your files are corrupted! Links to all the things we discussed at ianfuchs.xyz/5 ———————— - [Icon understandings are based on previous experience](https://www.nngroup.com/articles/icon-usability/) - [More on icons and usability. Andrew always thinks the reply icon in Gmail is a back button.](http://moc.co/2012/01/icons-vs-text/) - [Labels always win.](http://uxmyths.com/post/715009009/myth-icons-enhance-usability) - [The Share Icon Is A Mess](http://gizmodo.com/we-need-a-ubiquitous-share-icon-1591333240) - [ClarisWorks Toolbar](http://www.wigglebits.com/images/3f.gif) - [Susan Kare on the *command* icon](https://vimeo.com/97583369) - [Wikipedia about the *command* icon](https://en.wikipedia.org/wiki/Command_key) - [iOS HIG](https://developer.apple.com/library/ios/documentation/UserExperience/Conceptual/MobileHIG/index.html) - [OS X HIG](https://developer.apple.com/library/mac/documentation/UserExperience/Conceptual/OSXHIGuidelines/) - [We use too much JavaScript](https://medium.com/@fox/the-web-isn-t-uniform-fd67eb631501#.qr1xhtmlq) - [Swedish ferry berth sign](https://en.wikipedia.org/wiki/Road_signs_in_Sweden#/media/File:Sweden_road_sign_A7.svg) - [Maybe the eject button isn't so sacred after all...](http://osxdaily.com/2009/11/06/mac-power-reboot-sleep-logout-keyboard-shortcuts/)

board sweden wikipedia diving swedish icon command labels gmail javascript a7 susan kare

B-side #023: 松尾さんが語るWindows 10の魅力

backspace.fm

Play Episode Listen Later Aug 6, 2015 85:12

このページをウェブブラウザで見る: リンク今回のB-sideは松尾さんがWindows10やSachiko、Maker Fairについて熱く語っています！今日のネタ Acer、Windows 10搭載11インチ「Cloudbook」を169ドルで発売へ - ITmedia News Pinterest hires Macintosh icon pioneer Susan Kare 小林幸子さんの歌唱力が移植された「VOCALOID Sachiko」の秘密とは？ - ITmedia News メイカーの祭典『Maker Faire Tokyo 2014』レポート〜あの80sシンセの名機の生みの親が、新たに開発した「8bit CPU Synth」を出品！ - ICON Introducing Kinoma Element and Kinoma HD 個人メーカー開発の楽器が大手メーカーの楽器を超える日!? 日本マイクロソフトが男性を虜にする女子高生AI「りんな」を開発　～LINEで女子高生と擬似チャット体験 - PC Watch IBM、企業にMac販売へ──自社でのApple製品採用体験を踏まえて- ITmedia News

macintosh b side windows 10 susan kare

Episode 156: 豆腐和汉堡包

IT 公论

Play Episode Listen Later Jun 7, 2015 111:06

WWDC 特别节目……将于下周放送。本期我们谈谈苹果未来的设计方向，以及即将于明天开始的旧金山科技嘉年华。本周的《IT 公论》会员通讯将临时改为每日一封，价格不变！不用再犹豫了。本期会员通讯已发至各位会员邮箱。每月三十元，支持不鸟万如一和 Rio 把《IT 公论》做成最好的科技播客。请访问 itgonglun.com/member。若您无意入会，但喜欢某一期节目，也欢迎用支付宝支付小费（建议金额：一元、五元或十元人民币）：hi@itgonglun.com 或扫描下方二维码。相关链接 Layers Design Conference Susan Kare Oisín Prendiville Supertop Wil Shipley Delicious Library OmniGroup Panic Neven Mrgan Rogue Amoeba Jonathan Mann NeXTEVNT Don Melton Debug Doug Menuez Doug Menuez 拍摄的 NeXT 时代乔布斯宴请投资人的照片 ALTCONF 2015 Typographics — A design festival for people who use type jwz (Jamie Zawinski): ‘I have no interest in reading my feeds through a web site (no more than I would tolerate reading my email that way, like an animal).’ Susan Sontag: On Photography The Telegraph: When Stephen Fry met Jony Ive: the self-confessed tech geek talks to Apple’s newly promoted chief design officer Ian Parker 发表于《纽约客》的 Jonathan Ive 特写 John Gruber: On Jony Ive’s Promotion to Chief Design Officer Ben Thompson: Jony Ive “Promoted”, the Implications of Not Managing, What About Apple? Eli Schiff: Fall of the Designer Part I: Fashionable Nonsense Andrew Burton: Modern minimalism IS the right choice 人物简介不鸟万如一：字节社创始人。 Rio: Apple4us 程序员。

apple panic rio promotion implications apples wwdc qr codes susan sontag jony ive chief design officer ois debug jonathan mann rogue amoeba omni group susan kare on photography altconf don melton doug menuez delicious library prendiville supertop wil shipley

#UC018: Kai's Power Goo

Der Übercast

Play Episode Listen Later Dec 5, 2014 71:11

Übercast-Rezept: Lasst es App-Tipps hageln. Hinzu gesellen sollten sich sanfte Workflows und Exkurse ins Alltägliche. Eine Brise Nostalgie in From von ACDsee und Kai’s Power Goo. Fertig. Das die Übercast Piloten Fotos managen können wie die Weltmeister ist ja schon seit Flug #UC002 “iCloud Photostream frisst Wien” klar. Heute gibt es deshalb eine Komplementärfolge auf’s werte Haupt, denn es geht um die hochheilige Bildbearbeitung. In dieser Folge erfahrt ihr also was Sven, Patrick und Andreas dafür in Betracht ziehen, sei es auf dem Mac oder auf dem iPhone. Lieber Fluggast, wenn dir das Gehörte gefällt oder dir Sorgenfalten auf die edle Stirn fabriziert, dann haben wir etwas für dich: iTunes Bewertungen. Überbleibsel Wearable zum Leistungstracking In Patrick’s RSS Feed weit oben angesiedelt ist unter anderem die bloggende Telefonsexanbieterin “Phonebitch” die unterhaltsame Anekdoten aus dem Arbeitsalltag zum besten gibt, zum Beispiel diese hier. Zur Weihnachtszeit wird ja immer gern geschenkt und da verknüpft Patrick einfach mal die erste Flugstunde des Übercasts mit dem letzten Phonebitch Artikel mit dem Titel “Die Sex-App”. Es handelt sich bei der unbedingten Kaufempfehlung um ein Wearable. Falls ihr euch einen Ring für’s Ding inklusive Counter schenken lassen wollt, um die Zeit beim Akt der Nächstenliebe zu messen, gibt’s da jetzt auch was. Highlights: Praktischer Zählring Wird auf den Phallus gesetzt Zählt die verbrauchten Kalorien Zählt die durchgeführten Stöße bei jedem Akt Zählt die Dauer des Akts Inwieweit das ganze taugt werden wir wohl nie erfahren, solltet ihr ein solch’ wissenschaftliches Messgerät euer eigenen nennen, so würde wir uns über Feedback freuen. Überschallneuigkeiten Dropshare for iOS Ja, unser Lieblingsentwickler Timo Josten hat ordentlich rangeklotzt. Obgleich er bei seinem Gastauftritt in Folge 12 vehement abgestritten hat, dass es dieses Jahr mit einer iOS Version des Hochladelieblings Dropshare noch was wird, ist das gute Stück nun im App Store käuflich zu erwerben: Dropshare kostet euch 4,49 € und die Zusatzoption für grenzlos viele Verbindungen noch einmal 1,79 €. Klare Kaufempfehlung für Leute die eine private und flexible CloudApp-Variante ihr Eigen nennen wollen. Schönheits-OP für digitale Bilder Link zum Bild: Die Power Goons Bevor es an App-Empfehlungen und Arbeitsabläufe geht bei denen der Filter das Skalpell ersetzt, kommen hier noch ein paar einleitende Worte. 3 Vorgeschichten Die Eselsmütze zieht sich Sven auf und stellt sich direkt in den ersten paar Minuten der Sendung schon freiwillig in die Ecke. Er sagt von sich selbst, dass es im bei der Bearbeitung von Bilder an Konsistenz fehlt. Patrick ist dagegen super-konsistent und auch konsequent… und zwar im Ignorieren des monatlich wachsenden Fotoberges welchen es zu bearbeiten gibt. Kurz: Hier wird Bildaufbereitung im Batchverfahren betrieben. Sven macht das allem Anschein gerne mal im Urlaub, Patrick wohl alle 6-12 Monate (obgleich sein ursprüngliches Ziel war der lieben Verwandtschaft monatlich die Auslese zukommen zu lassen). Die Sofortbildkamera “Zeitraffer” Zeitler pimpt nur noch Fotos für Instagram, nicht für die Familie. Events fotografiert er auch nicht. Wenn er denn dann tatsächlich mal das Großvorhaben Bildbearbeitung angeht, dann macht er das auf iOS. Sven und Patrick bevorzugen da immer noch den Mac. Beim Sven ist Reihenfolge wie folgt: Zuschneiden, eventuell begradigen und dann kommt die Farbkorrektur dran. Da hält er sich dann dank der blau-grün-Schwäche seiner Augäpfel etwas zurück. Meistens langt im, sofern vorhanden, die Auto-Enhance Funktion. So schlimm das auch für Patrick ist, sammelt er dafür als Rahmenhasser bei ihm direkt wieder Pluspunkte. Drei Mal dürft ihr jetzt raten wer wieder aus der Reihe tanzt. Ja… Andreas ist ein Frame-Verrückter. Der macht selbst noch einen Rahmen, um ‘nen Rahmen. Randbemerkung: Wer Sven das Weihnachtsfest versauen will, der presst sich am 24.12 in der XXX Straße Nr. 5 in Stuttgart außen an das Glasfenster seines Wohnzimmers und versucht mit Blitz durch die Scheibe zu fotografieren. Genau dann dreht Sven nämlich durch. Nicht etwa weil ihr einen Googlestalk macht, sondern weil euer Bild zu 100% “so nichts wird”. Patrick’s Workflow Vorausblick Foto(s) machen ist klar, dann folgt eine Sichtung des Materials bei Patrick. Da er sowieso nur mit dem iPhone knipst ist die neue Allzweckwaffe da Cleen. Doch was kommt dann? Option A — Die iOS Variante mit Over, Big Lens und VSCOcam Option B — Der Mac mit LillyView und Photoshop Doch dazu später mehr… Hier und jetzt dann lieber noch Link zu “The Brooks Review”: The New Way to Edit Photos. Ben Brooks nutzt als Hardliner der er ist keine Lightroom mehr, sondern nur noch sein iPad und Flare 2. Das ist vielleicht ein Blick in die Zukunft für Patrick. Der kann sich auch vorstellen mit seinen selbstgeschusterten Presets auf iOS glücklich zu werden, denn am Ende des Tages ist das iPad ein potenter Kandidat, um sich einer Aufgabe wie Bildbearbeitung zu stellen. Das iPhone empfindet Patrick dafür jedoch als völlig unzureichend, trotz des hervorragenden Displays kann man auf dem kleines Gerät seine Edits nicht im ganzen Erfassen. Das kann zum Beispiel bei Panoramas leicht in die Hose gehen, wenn man dann später auf dem Großbildschirm feststellt, dass es doch ein Tick zu viel war mit dem Jade-Smaragd-Farbverlauf und nun die Luxuseinrichtung des neuen Privatjets aus Ebenholz nicht mehr voll zur Geltung kommt. Andreas auf dem iPhone Sein iPad benutzt Andreas kaum noch — das wird demnächst auf dem MOSX Tumblelog meistbietend versteigerschenklost — dafür aber das iPhone halt umso mehr. Ihn stört das kleine Display auch nicht, denn wenn der Schuh mal drückt pincht Andreas “Zooming” Zeitler einfach mal, um so den vergrößerten Ausschnitt seiner Birkenstocksammlung bewundern zu können. Camera+ ist nach wie vor seine Lieblingsapp. ProCamera 8 sei aber auch ein guter Allrounder, für 1,59 € extra gibt es per IAP noch den HDR-Modus mit dem Andreas gerne seine zu dunklen Bilder wieder zu leben erweckt. Während Andreas weitererzählt nutzt Patrick die Zeit, um seine Nackenhaare wieder zu glätten, welche sich bei der Erwähnung des Wortes “HDR” aufgestellt haben. SKRWT mag Andreas zum begradigen von Bildern. Um prekäre Details auf seinen Bildern unkenntlich zu machen nutzt er Photoshop Express (bzw. Adobe Photoshop Touch auf dem iPad). Zum berühmten Finish nutzt Andreas dann Rookie – das ist dann auch die App, die halbtransparente Rahmen auf seine Machwerke zaubert. Sven’s Sparprogramm und mehrere Exkurse Sven hat Manual am Start auf iOS. Auf seinem iPad nutzt er auch gerne mal Reduce. Mit Reduce kann man auf iOS einfach mehrere Bilder im Batchverfahren auf vordefinierte Dimensionen skalieren und die Qualität an eine maximale Dateigröße anpassen. Außerdem kann die Schärfe erhöht werden, ein Wasserzeichen oder ein Rahmen hinzugefügt werden. Die App die aus dem iPhone eine DSLR Kamera machen will hat Andreas ausgegraben: 645 Pro Mk III inkl. einem dickschwartigen Handbuch. Eine Kameralinsenerweiterung hat bisher keiner. Obwohl… Andreas hat ein sehr kostengünstiges Objektiv, welches bei ihm das ein oder andere Mal ein Fischauge aus dem Bild herausholt. Bei Patrick steht der olloclip für’s iPhone 6 auch schon auf der Wunschliste. Anbei noch ein paar AndiGram-Anschauungsbeispiele mit dem 9 Euro Objektiv: Link zum Bild: AndiGram Auswahl Wer das so gut findet, dass er es direkt auf im sozial AndiGram-Netzwerk liken muss, der bekommt natürlich auch die direkt Links: Food Blogger Zeitler’s Haschplantage Der Glatzenmacher Irgendwie kommt Patrick von ansteckbaren Kameraaufsatz zu einem der größten Aufreger für ihn beim Betrieb eines iPhone 6 mit einem (Apple) Case. Zum einen stört den Purist in ihm schon einmal, dass man überhaupt ein Case verwenden muss, da das 6+ so flutschig-rutschig und damit schwer zu fassen ist. ABER… dank dem Apple Case kann man in manchen Apps (besonders im Landscape-Modus) nur unter absolut erschwerten Bedingungen erfolgreich Wischgesten ausführen. Dank der neuen abgerundeten Kanten an seinem Mobilfunktelefons mit Grips hat Patrick wohl auch manchmal Probleme an Apple’s Notification und Control Center zu kommen. Dinger gibt’s. Bei Sven heißt jeder Casebenutzer Karl Napp und so will er eigentlich nicht heißen. Patrick erinnert ihn an dieser Stelle, dass er selbst mal das Fanny Pack gepickt hat, was ja fast in derselben Liga mitspielt. Wie dem auch sei, wenn Case, dann würde der Senior Pilot zum Surfacepad von Twelve South greifen. Das nächste Zwischenspiel ist nicht fern. Andreas merkt aus heiterem Himmel – nach der Ansage zur Webadresse der Show Notes – an, dass man ja ruhig auch ein wenig genderkonformer sein könnte; denn wo Hörer lauschen, da sind auch Hörerinnen nicht fern. Boom. Ein absolutes Reizthema bei Patrick. Der findet viele Bemühungen zum Gender gut und richtig, aber irgendwie stößt er immer dann wenn er sich mit dem Thema beschäftigt zu oft auf die Art von Feminismus welche “zu viel auf Konfrontationskurs” aus ist. Das findet er schade, denn Aufklärung sollte kein Krieg sein. Patrick würde an dieser Stelle gerne was verlinken, aber kann die URL der Dame nicht herbeizaubern. Na ja… dann halt ohne. Ganz am Rande, wahrscheinlich kommt bei Patrick auch noch hinzu, dass er zu 95% englisch konsumiert und somit ein “Liebe Hörerinnen und Hörer” gleichsetzt mit hochgestochener Formalsprache. Das fällt jemanden schwer, der am liebsten in bester Anarcho-Manier jeden Schutzmann duzen würde. Doch nun zurück zum Thema…. Patrick’s iOS Apps Big Lens kann viele schöne Dinge, unter anderem auch den beliebten Tilt-Shift-Effekt zaubern. Patrick nutzt die aber lediglich dafür “Dinge ins Rechte Licht zu rücken”. Die App kann meisterhaft den Hintergrund eines Fotos verschwimmen lassen. Dazu müsst ihr lediglich das Objekt farbig markieren mit euren Fingern, sprich ausmalen, und der Rest wird verschwommen. Over erlaubt es Text über Bild zu legen. Man kann sich eine der zahlreichen Schriften auswählen, die drehen, größer und kleiner machen. Typischerweise nutzt Patrick das für Bilder in Foren oder um das ein oder andere normale Bild zu verschönern. Ebenso erhältlich als abgespeckte Variante die nur Typografie beherrscht, das aber als Photos.app Extension: Quick – Add text to photos fast. Pro tip: Ihr könnt auch eure eigenen Schriften auf iOS installieren. Wer Pythonista sein eigen nennt, der lädt sich einfach Ole’s Skript und alle anderen sei AnyFont ans Herz gelegt. Ganz am Ende nutzt Patrick VSCOcam und schraubt sich dort noch den Rest an Veränderungen zusammen bis alles passt. Was Patrick gut fände und was vielleicht irgendwann mal möglich ist, wenn das iPhone genug Power hat und Extension ausgereifter sind: Nur mit der Photos.app zu arbeiten und somit nicht mehr große umherschalten zu müssen zwischen den Ordnern und Apps. Dazu wäre allerdings auch ein übersichtlicherer Extension-Dialog von Nöten. Kurz: Für und mit ein paar Apps funktioniert das schon ganz gut, bis dass aber adrett, ansehnlich und flüssig funktioniert gehen wohl noch ein paar Apple-Sekunden (- also Jahre -) ins Land. Nachdem das seriöse Fotobearbeiten nun abgeschlossen ist, kommt hier die große welkerische Liste mit iOS-Spaßprogrammen zum überfliegen: Patrick hat einen ganzen Ordner für Schabernack Fotos. Also so 1-Klick-Apps die Portraits von dir fett, alt oder hässlich machen. PiVi & Co ist einer der Anbieter dessen Apps auch noch untereinander kombiniert werden können. Mit Diptic PDQ kann man für 0,89 € relativ schick zwei, drei, vier Bilder in eins verwandeln. Am besten ohne blöde Rahmen und Schnick-Schnack. Einfach nur ein bisschen weiß zwischen den Fotos und gut ist mit der Collage. Die beste Lösung ist es zwar nicht, da man die Bilder nicht beliebig skalieren kann, aber beim ausprobieren hat Patrick noch keine wirklich gute Alternative gefunden. Diptic gibt’s auch für den Mac (0,89 €). Andreas hat im übrigen Moldiv am Start auf iOS. Phoster kann man schnell mal was nettes für die Verwandtschaft zaubern. Die Apps spuckt Poster aus inkl. netter Typographie. Shoot! = Simple Selfie-Gifs Giffer Pro ist die Luxusvariante davon. Frontback ist umsonst und auch eine nette Spielerei, um ein zweigeteiltes Foto aufzunehmen — einmal mit der Frontkamera und einmal mit der iSight. Catpaint, Rainbow Puke! und das kostenlose Oh Hai (welches die iOS Version von Kai’s Power Goo ist) können eure Bilder ebenfalls verunstalten. Link zum Bild: In Gedenken an Kai’s Power Goo Mac (Timecode 00:46:48) Auf dem Mac sind Sven und Patrick zu Hause was die Bildbearbeitung angeht. Hier kommen die Apps der Wahl. Preview, LilyView, ViewIt und Antik-Andreas sein iPhoto Manchmal sind es die Dinge, die man schon hat. Zumindest bei Sven, denn mit Apple’s eigner Preview/Vorschau App kann er wunderbar einfache Bildmanipulationen wie das Zuschneiden, die Größe und Farben anpassen, Drehen oder Spiegeln erledigen. Das ganze lässt sich dank Automator auch automatisieren. Beispielsweise kann man alle Bilder, die in einen bestimmen Ordner gelegt werden automatisch auf eine definierte Größe skalieren und umbenennen. Spitzen Workflow für Blogger oder Leute, die oft und viele Bilder bei Diensten wie Flickr hochladen. Patrick’s Alternative zu Vorschau (zumindest was Bilderbetrachten angeht) ist LilyView (4,49 €) kombiniert mit einem Tastenkürzel um die Datei im Finder anzuzeigen oder in Photoshop zu öffnen. Diese Herangehensweise ist seine bevorzugte Wahl, um auf dem Mac schnell Bilder zu sichten, zu löschen, weiterzuleiten zum Editierprogramm. Das nette an LilyView ist, das man es nicht sieht. Es ist eine sogenannte “chromeless” App ohne viel UI dran. Das Bild ist der Fokus. Die App hat auch ein paar Extrafunktionen, die wohl eher als Spielereien gewertet werden können: Falls ihr Philips HUE oder einen Leap Motion euer eigen nennt können die Farben eurer HUE Lampen per Foto geändert werden und mit dem Leap könnt ihr per Wischgesten eure Fotos durchstöbern. ViewIt von HexCat ist auch noch ein richtig guter Bildbetrachter bei dem man sehr, sehr gute Möglichkeiten hat schnell auszumisten. So kann man Bilder markieren beim Browsen und dann später sagen “so, nun alles markierte (oder nicht markierte) löschen”. Kostet aber auch $22, sieht etwas altbacken aus und hat seit einem Jahr kein Update mehr gesehen. Richtig Retro kommt Andreas daher. Seit 8 Jahren schwört er auf iPhoto und muss sich prompt mit entsetzten Kollegen auseinandersetzten. Der Gute benutzt die Apple Anwendung aber nicht als Endlagerstätte sondern hat quasi immer wechselnde Ausstellungen seiner Fotografiekunst in ihr gelagert. Alles was älter ist fliegt irgendwann. Nach dem iPhoto-Bashing von Patrick, gibt es wenigstens noch einmal etwas wo alle drei Meckern können: ACDsee für den Mac. #unsubscribe Eine gute ACDsee Alternative haut Patrick dann noch raus: Lyn. Link zum Bild: Mugshot aus der Sendung MacPhun Apps: Focus 2, ColorStrokes, Tonality, Snapheal, Intensify MacPhun macht mit seinen Apps verschiedene Profifunktionen auch für Nicht-Photoshop-Experten zugänglich. Zugegeben sind die Apps in Summe eine ganze Stange Geld, aber dafür kann man eben auch aussuchen was man wirklich braucht: SnapHeal — ungewünschte Objekte aus dem Bild entfernen lassen mit erstaunlich guten Ergebnissen: Schwiegermutter → weg! Tonality — S/W und Monochrom Bilder wie aus dem Kunstfotobuch erstellen Intensify — aus blassen und langweiligen Bildern mit voreingestellten Farbverbesserungen alles rausholen Focus 2 — Perfektes Spiel mit Schärfe und Unschärfe um Bilder effektvoller zumachen, inkl. des immer noch beliebten Tilt-Shift-Ich-mach-die-Welt-zur-Spielzeugeisenbahnlandschaft-Effekt Pixelmator War die erste ernsthafte Alternative zu Adobe Photoshop, die einem nicht den letzten Fussel aus dem Geldbeutel gesogen hat: Pixelmator. Für Sven immer noch die führende Software für ambitionierte Anwender. Über die Bearbeitung von Fotos taugt Pixelmator auch für andere Grafikprojekte. Nicht ganz billig, aber wird seit Jahren ständig verbessert und gepflegt: Da legt man Geld besser an als auf dem Sparbuch bei der Volksbank. Die neuere iPad Version von Pixelmator hat sofort einen neuen Standard auf dem Brett gesetzt. Für 4,49€ ebenfalls eine solide Investition. AutoDesk Pixlr Auch die Profis von Autodesk mischen mit Pixlr auf dem Mac mit. Gut gemachte Applikation mit Fokus auf Bildmanipulation. Kommt mit einigen coolen und außergewöhnlichen Filtern daher. Die Funktion der “Doppelbelichtung” mit der sich zwei Bilder künstlerisch übereinander legen lassen gehört dazu. Ansonsten die üblichen Verbesserungstools. Die Basis Version ist frei, die Pro-Features sind aber nur über eine Subskription via InApp-Purchase verfügbar. Da kann es dann über die Dauer etwas teuer werden. Photoshop und die Lieblingsfilter So… nun zu Patricks Option B, immer dann wenn iOS nicht genug ist wird der Mac hochgebootet. Nachdem also per Cleen schon einmal grob ausgemistet wurde und alles per CameraSync auf dem Mac eingelagert wurden für ein paar Monate, dann, ja dann wird irgendwann alles in Serie durchgearbeitet werden. Die Nik Collection ist nicht ganz billig, aber dafür auch wirklich der Knaller für eure auserkorenen Schmuckstücke: Gute Presets und vor allem die Möglichkeit grenzlos selbst welche anzupassen. Die vorhandenen Integrationen in Lightroom, Aperture und Photoshop sind es, die die Herzen der Nutzer höher schlagen lassen. Die schwarz/weiß Filter des Silver Efex Pro Packs sind Weltklasse — ohne Mist. Patrick hat nur Color Efex Pro, welches mit 119 € zu buche schlägt. Das es für Photoshop gefühlt 1 Mio. an Actions gibt, welche Instagram Effekte nachahmen, linkt Patrick hier nur zu einem Tutorial für Leute die Ideen brauchen, wie sie sich selbst eine Action bauen: Easy to accomplish VSCO Cam effect in Photoshop. Unsere Picks Patrick: ./choose (Mac $1,99) von Tiny Robot Software Sven: Original Mac OS X Icons von Susan Kare als Poster Andreas: Week Calendar iPhone 1,99 €/iPad (3,99 €) Landebahn Link zum Bild: Post-Fail In Spenderlaune? Wir haben Flattr und PayPal am Start und würden uns freuen.

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119: Big Bag of Pandora's Potatoes

Back to Work

Play Episode Listen Later May 14, 2013 88:33

TOPIC: Macintosh Nostalgia and Utter Apple ID Madness. This week, after an entirely appropriate amount of very important follow-up, Dan and Merlin talk about Susan Kare's original Mac icons, why they're not going to be appearing on John Siracusa's t-shirt, plus the litany of completely monkeyballs problems that now has Merlin ready to literally shoot his Apple ID in the back of the head, mob-style.

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119: Big Bag of Pandora's Potatoes

Back to Work

Play Episode Listen Later May 14, 2013 88:33

work creativity productivity mac barriers potatoes merlin constraints apple id big bag merlin mann john siracusa dan benjamin susan kare

Episode 225: Milk our loyal Apple II customers

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Play Episode Listen Later Dec 4, 2011 37:03

James and John discuss eBay Finds: huge PowerMac lot, Pirates of Silicon Valley paintings, and Apple tombstone. They discuss the highlights of the Macintosh Production Introduction Plan, and news includes Stevenote.tv, Apple Computer contract auction, Susan Kare sketches, and Choplifter. To see all of the show notes and join our website, visit us at RetroMacCast.

Episode 3: Color Me Classic