CONSTELLATIONS Audio visual installation for public spaces, produced by Studio Joanie Lemercier.
CONSTELLATIONS Audio visual installation for public spaces, produced by Studio Joanie Lemercier.
CONSTELLATIONS Audio visual installation for public spaces, produced by Studio Joanie Lemercier.
A panoramic projection screen controlled from multi-touch holographic platform. Using the futuristic multi-touch interface the presenter could scroll through sections to choose one he wants to speak about. With a fast hand gesture he would then throw the section's icon to the big screen where it would transform into a colorful video about the main features of the system. Technologies used: Unity3d, C#, Scaleform, Flash, AS3.
A project I worked on last year focused on what physical shopping experiences would look like in the coming years leveraging technologies such as AR, VR, etc. These videos highlight some experiences we can expect.
Over the past few years, computer vision has excelled in popularity due to its machine learning capabilities. We are just now starting to scrape the surface of it’s potential and as hardware and chips advance so do the capabilities of AI and computer recognition.
This Tesla Full Self-Driving Hardware video gives a great view of one of the essential use cases of this technology and its amazing possibilities. Note the speed and distance of some of the objects it is still able to recognize as it progresses, truly amazing.
I’m creating a computer vision documentation center filled with research and prototypes I have created the past few years that will hopefully educate and spark interest from others interested in the space. https://davidbanthony.com/experiments-list/2018/8/6/code-computer-vision
Remote collaboration tools can’t come fast enough, and these tools will be a massive benefit for every aspect of a venture lifecycle. Spatial uses the space around you to create a shareable augmented workplace. Remote users can collaborate, search, brainstorm and share content as if they were in the same room.
This looks fun, entertaining, and where we will end up with 3D design tools. But the reality of standing for days at a time to create 3D designs tires me.
Car designers at Ford are using Gravity Sketch - a 3D virtual reality tool - to help speed up the vehicle design process. “This application has the potential to help ensure we are delivering the very best vehicle designs for our customers,” comments Smith. “It moves the entire process into the world of virtual reality, giving us greater options for reviewing more models in the 3D environment to create the best possible vehicles.”
McLaren Automotive works with software start-up, Vector Suite, to fast-track sportscar and supercar design
Experimentation and education are a continual fascination for me especially when it comes to future interfaces. Here is some FUI inspiration and a vision into what our near future interactions will look like.
This is truly amazing work. It’s also scary if you look at this through a different lens. The lens of the human looking at the living machine. Artist Refik Anadol employed machine learning algorithms to search and sort relations among 1,700,000 documents. Interactions of the multidimensional data found in the archives are, in turn, translated into an immersive media installation. More at http://refikanadol.com/
A global animation project by Universal Everything, collaborating with over 20 different animation studios worldwide to create a living mural on one of the world’s most iconic buildings. Embracing emerging technologies, Universal Everything’s process always starts from drawing. The hand drawn techniques seen in this film are akin to the early pioneers of animation Len Lye, Norman McLaren and Walt Disney. Using these timeless techniques mean this film could have been existed in 1920, albeit with a 21st century twist - bringing our influences of global pop culture, modernist graphics and physics simulations into a playful exploration of this iconic building.
The design team at Skillshare does a lot more than just design. We’ve learned that to be as effective as possible we need to break out of our traditional role and own much more of the overall product process.
Not to say that the world does not need product managers, but by equipping our design team with skills like a deep understanding of business, operations, and analytics we’ve been able to create more impactful products at a higher velocity. Below are a few core competencies of a product managing designer.
Product managers tend to have a handle on the big picture. They understand the inner workings of the business, its goals, and the focus of each team.
Without this understanding, it is nearly impossible to judge a good product idea from a bad one. Even worse still, you will be rendered unable to anticipate the repercussions of your decisions unless you consider how it relates to the larger whole.
It is critical for Skillshare’s design team to have a comprehensive understanding of the ecosystem and how each project will affect it. We do this by syncing on strategy with everyone who might have a stake in the game early and often. This happens well in advance of the formal design process. By aligning with the relevant teams, we are quick to understand how our strategy will be helpful or hurtful to them. For example, syncing with the content team on the tools they use to create classes informs what strategies we ultimately push and enables us to move forward confidently.
The Skillshare design team has gotten very good at choosing what strategies to pursue, and perhaps even more importantly, what doesn’t look like it will work, before we ever start designing.
Product managers are judged on their ability to get things out the door. This means they’re relentless when it comes to minimizing scope and sticking to a schedule in order to maximize their impact. They’re also great at taking a complex strategy and breaking it down into manageable chunks.
Because our product managing designers are responsible for strategy as well as timeline, we rarely design features that would take more than a week to build. That’s not to say we don’t work on big projects. It simply means that we invest upfront in working through how we can break a project down and get smaller pieces out the door (prioritized by impact). We quickly and effectively ship the “must-haves,” but will often deprioritize the “nice-to-haves.” This is a fact of life for a small product team, but the benefits far outweigh the negatives: 1) smaller releases are easier to QA and support, 2) much easier to iterate and 3) reduces product debt with bloated features that no one uses.
This way of working provides a strong sense of accomplishment for the product team. It also helps boost momentum companywide, since progress builds energy and keeps people excited. At Skillshare, we send a companywide email every time something ships out to the site. We believe it’s important to celebrate the wins.
Product managers tend to be an analytical bunch. Once something hits the site, they immediately start assessing its impact to see if the new feature in which they have invested so many resources is working properly.
Product managing designers need to be the same way.
At Skillshare, this means setting the right goals (realistic and measurable) at the start of a project during the strategy and alignment phase. We then loop back around immediately once something has launched and measure its effectiveness. We also keep a close eye on all other feedback sources, such as engaging with angry (or happy) tweeters or gauging user reactions with the help of our support team. Taking initiative to actively monitor results and then being proactive about updates is the only way to make a smart path forward.
This may all sound obvious, but it’s easy to ship work and forget about it. If you don’t actively reflect on your successes and failures, you will never learn what works and what doesn’t.
After years of resistance, Apple’s iPhone 6 announcement last week officially signaled the Dawn of the Era of Huge Screens.
And it’s going to crash into existence in a big way. Just this Monday,Apple announced that they’d sold over four million pre-orders for the phones the opening night of pre-orders. In only one night, they sold almost half of what they sold the entire opening weekend last year for iPhone 5s and 5c.
So it’s looking like the 3.5” and 4” screens of yore will start their inevitable decline very quickly. That means that those of us who’ve gotten comfortable building apps, responsive sites and mobile-optimized web views with the old ways in mind have some learning to do (myself included).
The decline is already in motion. Adobe’s 2014 Mobile Benchmark Report claims that mobile browsing among phones with 4” screens or smaller is down by 11%.
That means that learning how to design for thumbs is now more important than ever. Luckily, it helps that these phone display sizes are going to be practically universal. A cursory examination of the most popular Android screen sizes points to a range of 5.1” and 5.7”.
Apple’s changes will make our lives easier as smaller screen sizes die off. But only if we learn to adapt our designs.
If not, the future is going to be pretty painful for those thumbs.
This is especially important for those of us who’ve only been building iOS apps. All those design tradeoffs we thought we never had to worry about are suddenly right here in front of us — in an avalanche of pre-orders.
What does it mean to design for thumbs? It means building interfaces that are the most comfortable to use within our thumb’s natural, sweeping arc.
But this gets complicated. We unconsciously adjust the way we hold our phones to reach certain controls in various areas of the screen. During any given day, I’ll wager that you stretch your grip, choke up on the phone, or angle it in ways that make reaching difficult areas easier.
But we have to start somewhere. Research suggests that most of us hold our phones in the following way — with the bottom of the thumb anchored on the lower-right-hand corner:
This assumption comes from a study that mobile expert Steve Hoober conducted with 1,333 people early last year. He discovered that people held their phones in the following ways:
Handedness figures were also instructive:
Hoober notes that left-handedness figures in the population are around 10%. So the observed higher rate of left-handed use could be correlated with people doing other things at the same time — smoking, riding a bike, drinking coffee, eating currywurst, etc.
The Thumb Zone is a heat map of sorts. It’s a best guess for how easy it is for our thumbs to tap areas on a phone’s screen.
Let’s use Hoober’s research to create a Thumb Zone map representing what seems to be the most common use case:
Here's the Thumb Zone heat map applied to every iPhone display size since 2007:
Here's a more direct comparison of the iPhone 6 and iPhone 6 Plus next to each other:
You’ll notice that the “safe” green zone stays roughly the same (more on why the iPhone 6 Plus is different in a second). That’s because our thumbs don’t magically scale with the screen size. And that’s also unfortunate, because I loved Dhalsim in Street Fighter as a kid.
But what changes is the sheer amount of “Ow” space, which becomes startlingly apparent with the iPhone 6 Plus.
Furthermore, you’ll notice how the shape of the “Natural” zone changes for the iPhone 6 Plus. That’s because it requires a different type of grip due to its size, using your pinkie finger as a stabilizer. It surprised me how different the experience was.
A note: my thumb doesn’t reach fully across the phone’s screen. Maybe you have bigger hands than I do. So terms and conditions certainly apply.
Let’s analyze how the Thumb Zones change when you shift your grip. Sometimes you might be in a situation where it’s easier to tap the phone with your thumb’s anchor at the vertical midpoint.
Here’s an illustration of this in action for iPhone 6 and iPhone 6 Plus:
Choking up might not be necessary, though, with iOS 8's "Reachability" feature. (That is if Apple takes the opportunity to teach people about its existence). By double-tapping the home button (not the same as "clicking" to display running apps), iOS will push the top of the screen down within one's grasp.
And here's how Reachability looks with the Thumb Zone overlaid on the iPhone 6 Plus. Notice anything?
Yes, Apple's demonstration images places the thumb in exactly the "Natural" zone.
Another observation on Reachability, as pointed out by John Gruber: "Reachability on the 6 Plus moves things further down the display, percentage-wise, than it does on the 6 — it’s all about moving the top of the display to a typical thumb’s length from the bottom of the device."
Here's that in action:
Mobile screen sizes on the whole are becoming more similar, and that’s a good thing. But it also means that we can’t just treat screens in the 5.5” range simply as a scaled-up version of a smaller phone. Grips completely change, and with that, your interface might need to do so, as well.
I think prototyping will become even more important. So if you haven’t jumped on that train, now’s the time. (PS — I’m launchingXcode for Designers next week, which teaches designers how to build interactive prototypes in Xcode in less than a week. It’s chock-full of videos and has a really great pre-launch discount running right now. Get on the list if you’re at all interested.)
Want a copy of the Thumb Zone diagram I drew for these screenshots? You’re in luck. You can download them as individual JPGs here.
Hopefully this helps with your current project. If you got any value out of it, I'd be grateful if you shared it. You can Tweet it now with one click.
VC DESIGN PARTNER JOHN MAEDA SAYS THAT THE MOST SUCCESSFUL TECH COMPANIES OF THE FUTURE WILL REALLY BE DESIGN COMPANIES. HERE'S WHY.
Are the fortunes of design on the rise in Silicon Valley? A resounding yes, says John Maeda, design partner at the venture capital firm Kleiner Perkins Caufield Byers. During a presentation at South By Southwest 2015 on Sunday, Maeda argued that not only is Silicon Valley taking design more seriously; design is actually taking over. Here are four key reasons why the most successful tech companies of the future will really be design companies.
MOORE'S LAW NO LONGER CUTS IT
Starting with Flextronics' acquisition of the design consultancy Frog in 2004, the last 10 years have seen an increasing number of tech companies acquiring creative firms. For example, Google now ownsindustrial design firms, while Facebook owns software and digital design firms Sofa, Teehan+Lax, and Hot Studio. And this trend is starting to hit critical mass: 27 startups co-founded by designers have been acquired by big tech companies since 2010, while six venture capital firms have invited designers onto their teams for the first time in the past year.
DESIGNERS ARE NOW HIRED AT A RATE OF ONE TO FOUR COMPARED TO ENGINEERS AT TECH STARTUPS.
This trend is only going to continue, Maeda said during his presentation, because "Moore's Law no longer cuts it as the key path to a happier customer" in Silicon Valley. For years, the solution to every problem in tech was to build a faster chip. Now, design—not silicon —is seen as the answer. For example, look at the new MacBook: from a pure silicon perspective, it's slower than the old MacBook and MacBook Air, but its industrial designpushes the envelope in other ways, from the simplicity of its ports to its effortless portability.
START WITH DESIGN, DON'T END WITH IT
With design capturing more and more venture capital dollars, there's a shift occurring in tech. Before, tech companies saw design as something to spray on a product at the end—think of the generic beige case you might slap a desktop PC into, but increasingly, the companies that are making the biggest splash are integrating design into every product from the beginning, like the Nest smart thermostat.
The happy marriage of technology and design long predates Silicon Valley's rise. Consider, for example, Michael Thonet's No. 141 chair, also known as Vienna coffee house chair. Designed in 1859, the No. 141 was designed in such a way that exactly 36 chairs could be packed into a one-meter shipping container when disassembled. It's the original flat-pack furniture, and that design allowed Thonet chairs to be manufactured cheaply in Eastern Europe, then shipped to places as far away as New York while keeping the price low. Over 50 million No. 141 chairs have been sold since 1859, a feat that would be impossible if good design thinking hadn't informed every part of the manufacturing process.
"To achieve great design, you need great business thinking/doing—to effectively invest in design—and you need great engineering—to achieve unflagging performance," Maeda argues in his presentation. Letting design lead your business isn't something Apple came up with. It's something that the best businesses have always done. Tech is only really figuring out.
TECH IS NO LONGER FOR TECHIES
There was a time when tech companies didn't have to worry about design, because their audiences were techies, just like them. Not only is that no longer true, but the ubiquity of tech has made user interface and experience design more important than ever before. Back in the '80s and '90s, you might only interact with a bad user interface a couple of times a day—Maeda calls these "pain points"—but now that we check our smartphones hundreds of times a day, the number of possible "ouch points" that can alienate a user have increased tenfold. "User experience matters so much now, because we are experiencing so much," Maeda says in his presentation. "A pain point can become a 'pain plane' on mobile. That's a lot of ouch."
THE HAPPY MARRIAGE OF TECHNOLOGY AND DESIGN LONG PREDATES SILICON VALLEY'S RISE.
WHY DESIGNERS ARE IMPORTANT TO STARTUPS
Designers are key to startups and established tech companies alike, Maeda argues. In startups, early hires heavily influence corporate culture, so bringing in designers on the ground floor is hugely important. That's a fact startups are surely starting to wake up to: designers are now hired at a rate of one to four compared to engineers at tech startups. According to KPCB's talent partner Jackie Xu, this ratio used to be closer to 1:15 or even 1:30.
That's how designers can help build a company from the ground up. But Maeda also sees a new trend starting to happen. More and more designers are being hired in upper management positions in tech companies, advocating for design from the top down. Take Nike, which has a designer as CEO.
Read Maeda's Design in Tech report here.
To celebrate the tool that has helped shape creativity, artists from all over the world contributed their most amazing dreams-and their working files with layers. These PSDs were then animated layer by layer to create a film made in Photoshop. #Photoshop25
With the Cicret Bracelet, you can make your skin your new touchscreen.
For the 2014 Adobe Max Creativity Conference, the design and execution team, led by Jeremy Nichols of Pix Productions, with projection mapping provided by WorldStage. The scenic plays on two periaktoi, one of the oldest known staging techniques to change a scene and utilizing motion projection mapping to display video. This was intended to bring together the oldest scenic technology with the newest projection technology to create something altogether new.
It’s hard enough to design a great mobile or Web site but what about experiences that span these devices and more? Join Luke for a set of lessons learned designing Web products that attempt to embrace simultaneous and sequential multi-device use. What worked and, more importantly, what didn’t?
These guidelines describe how to design apps that follow the official HIG for iOS by Apple, not what you can do with custom controls. Sometimes it makes sense to break the rules. The purpose of this document is to guide you, not to provide solutions for complex and unique design problems.
The next generation of the responsive web.
Responsive design, which allows designers and developers to build websites that adapt to every screen size, is one of the most empowering web tools to be adopted in the last decade.