Matias Duarte and Google's design team are, without a doubt, leading the innovation in UI design. It has taken years, but they finally put Android in the right path. And not only that: they're actually shaping a new paradigm on what the human-device experience should be. This video is a must see; listening to Matias is great.
Design is finding solutions within constraints. Without constraints, it’s not design, it’s art.
I was an avid Forrst user... two years ago and for about three months. It was a great site but I always felt that the community just wasn't there. Then it was bought by Zurb (the team behind Foundation) which I'm a big fan of. This is a post from Zurb, explaining their struggle to keep Forrst awesome, and their new approach with Tavern.
Tavern sounds like an interesting idea, it wants to offer meaningful content and better discussions than those in Dribble. Let's see if this project gets better results than Forrst.
After Google presented their new design language for mobile and desktop UI, I started to read through the online documentation they put available for the public. It's a great read, lots of valuable design lessons, and an ambitious proposal for both UI design and app-navigation experience. Something that it's a bit hidden (in the documentation of Google's Polymer Project), is this set of demos of the Paper Elements. Without a doubt, this could be a great substitute for the jQuery UI plug-in.
If, like me, you're constantly looking for new tools to implement in your workflow, then you must check this site and make it your starting point for using Sketch 3. The only issue I have with this software is that is a Mac-only app, and though many people out there breathes only inside the Apple ecosystem, there are external factors (workspace, corporate clients, etc) that require you to use a Windows machine. Usually, my weapons of choice work on both OS, but I'll make an exception with Sketch 3 and give it a try.
This is one of the most personal stuff I've written in a long time. A few days ago, we were talking about father's day, gifts and ideas, the usual stuff; somehow, that led to share stories about our childhood. I realized I'd never said to my father how grateful I was about my childhood, so I wrote this for Father's Day. Written in spanish.
It's been long since I've read an article about marketing. Although it's a field I respect, I've been losing interest in it, specially in the way "social-media experts" write and talk about what marketing is or should be. This article I found, however, is about the stagnant role of marketing in the traditional business model of japanese companies. It's an interesting read, specially because the author explains this great idea of implementing a 'Consumer Marketing Office' model. That's innovation in both marketing and japanese society right there.
If Japanese companies cannot shift their thinking, a 21st century remake of Hollywood movie The Last Samurai might be titled The Last Engineer. A man of great moral purity … but few customers.
When I found this article I thought it was just another post about the Flappy Bird phenomenon. It was not.
This is a long read, with an approach like no other, about our damaged human-existence and its relation with stupid mindless games: "Tiny flowers that betray their simplicity by divulging endless fractal blossoms."
Playing Flappy Bird is like fixing an unfixable drawer pull, one that will never reattach correctly, one that you know will never do, but persisting in the face of such torpor nevertheless.
Someone in Colorlib gathered the Olympic logos from 1924 to 2020. There are some really interesting logos in the list, specially the first ones when they weren't using colors for each continent. I liked these ones: Roma 1960, Tokyo 1964 & Munich 1972.
It's february and I already know this is one of the most interesting features I'll read this year. An insight into a professional Starcraft player like no other.
In the competitive StarCraft scene, “Foreign hope” it’s a weirdly xenophobic mantle passed ingloriously to the best professional players born outside of South Korea.
The “foreign hope” label carries an added charge in Scarlett’s case, as she is a transgender woman thrust into a hypermasculine subculture comprised mostly of young guys.