As I work in UX design for a fairly excitable Mac and iPhone software company, most of my thoughts over the past 40 hours have been about iPad. It took me a while to realize why I think it is such a big deal.

It’s easy to miss what the big deal is, especially if you’re the sort of person who already has an iPhone and a Mac and you are perfectly happy with the way they fit into your life. @benaar said that they should have just called it iPod Big, and on the face of it, he’s right. It is just a fricken huge iPod touch. But something subtly momentous happens when an iPod touch gets fricken huge.

At first, iPhone just seemed like a very attractive, very expensive, touch-screen smart phone. After using it for a while, though, people realized that what they had was a tiny computer. A huge chunk of the stuff they used to use their lappys for was getting done on the phone instead: tweeting, browsing, checking when your dang video game is going to arrive come on show upppp.

When iPhone OS just ran on handheld devices, it offered a lot of computer-like functionality, simplified to make more sense on a tiny device. Anything that wasn’t possible within a few taps across a couple of screens was not worth bothering with. A lot of the simplifications made in order to cram a computer into a little phone seem obvious: don’t mess around with file management, make software installation dead-simple, don’t worry about running multiple applications at once. As made clear by Windows CE, offering all of the complexity of a desktop OS on a tiny tiny screen is sub-fantastic. (This is also why netbooks are not the phenomenon they were made out to be.) To say that the reason iPhone succeeded is because it did fewer things, but did them realllly smoothly, is almost banal now.

But when you take one step away from Tiny Device Land and toward Full-Fledged Computer Land, all of the necessary simplifications of the iPhone OS become strikingly fresh.

Think about this. iPad is a subcompact computer of which all of the following are true:

  • File management is all but nonexistent. Documents live in an unordered soup just like on the Newton. Don’t worry about it.

  • Everything you make is saved every time you edit it. There is no concept of saving at all, let alone the compulsive “manual autosave” practiced by longtime Office users after each edit.

  • Finding and installing software is as simple as any other interaction on the system. No readme files, instructions cleverly pasted into disk image backgrounds, installers, wizards, or anything. See thingy; tap thingy; use thingy.

  • Window management, and indeed multitasking management, are nonexistent. Every application you use is precisely the size of the screen, and there is never any need for you to worry about what is or is not open, or where it is.

  • At all times, the thing you are doing is the only thing that the computer appears to care about. There is no fullscreen mode, presentation mode, Hide Others, or any other fussing around to hide the administrative chrome and plainly see your content.

  • There are no secret settings, preferences, hacks, permissions, ACLs, PRAM, extensions, registry, corrupt resources, or any other rubbish just waiting to totally silently and inexplicably ruin your system.

  • There are no viruses, resource-hogging invisible background processes, crapware, or other crufty cruft crufting up your system over time.

  • There are no mysterious icons in the corners of the screen, intrusive alerts, or other self-important clutter, haunting you and giving you the feeling that what’s going on in your system is complicated and out of your control.

  • The interface is as intuitive as can be, with the primary interaction being touch the thing you want. A two-year-old child can operate it handily. And when you need it, more multier multi-touch is there.

  • The “select an object, then choose a command” pattern of the last 26 years is almost nonexistent; selection exists only for copying text, and nearly every action takes place as a single tap or drag.

  • There are 140,000 applications available for this computer on day one, and an eager, talented multitude of developers already designing a new generation of more powerful and more expressive applications.

Are you getting it? All of those things are neat but fairly unsurprising when we think of them as attributes of a handheld device. But abandoning the compromise of a pocket-sized screen transforms the device into a computer. And this approach is unheard of for a computer of significant reach.

Desktop OS developers have done a great job of hiding complexity and power from average users, while still exposing it to advanced users. But after decades of desktops, we take a lot of silly things for granted. The weird way some Mac apps stick around when you close their last window and others don’t. The need to check the menu bar to find out what app you’re in. The difficulty of focusing on what you’re doing, and getting rid of stuff you don’t care about. The way your ~/Library gets clogged up with residue over time. The necessity to know what the hecks a ~/Library is in the first place. The unfortunate fact that sometimes, your system is just hosed for some unknown reason and you need to start over.

All of that stuff comes with the territory of the all-powerful modern personal computer. We compy people live with it because we love the thrilling stuff we can do once we learn the quirks. Everyone else lives with it because they have no choice but to do the counterintuitive stuff we tell them to in order to get to their goal. So many times, while helping family or friends, I’ve had to apologize on behalf of the Mac, “I’m sorry, it really shouldn’t be this dumb.”

A favorite conversation for my technical and creative friends is the one about where technological interfaces will end up, and how much longer we can live with the mouse-and-keyboard, filesystem-hierarchy, command-center approach. Surely there is something better, more practical for ordinary use. This is its beginning. Certainly the pointing device and keyboard will not disappear, especially for pro users doing our pro user kinda stuff. But for amateurs, and for pro users in their off-time, here is a beautiful glass-and-aluminum slab with all of the annoying bits of computing stripped away.

A rectangle in your hand that contains the thing you want to read or watch or make right now, and nothing else.

Panic continues to make me grumble in envy at their tasteful, forward-looking app design. Today they released Unison 2, and as is their way, they give a nichey niche product a nicer treatment than most mainstream ones get.

There are a lot of custom touches to admire: the spread-out 3D look of the Welcome message. The new green cutaway trial notice, much more, uh, noticeable than the old one. The lightweight column headers. The whimsical, iTunesy topic “cover art”.

But I found some places in the app’s use of color and contrast where I would have made different choices. In the interest of working out some thoughts I’ve been having about contrast in our own apps lately, I’ll take Unison as a neutral object for criticism.

I’ve nothing but respect for Cabel & everyone else at Panic, and I’m certain they are not making these decisions willy-nilly. This is intended not as a polemic but as an analysis of where the app differs from my own appreach to designing a harmonious presentation. Check it out:

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The first thing to demand your attention is the swath of dark gray listing the individual files of an archive. I think this is meant to suggest that you’ve split the rows of the table apart and are peeking at nitty-gritty details. But the effect is that the deepest hierarchical level gets the most intense visual treatment: very large, very dark, and surrounded by lightness.

Instead, the smaller icons and a bit of indentation would have been plenty. Mac users seem not to have a problem with two-level outlines of dark content on a light background, right? Or perhaps, for better distinction, the bottom pane (unused and collapsed here) could list the contents of the selected archive, like in Mail.

Next heaviest is the lower-left transfer progress area. Its dark, rather blue-saturated background makes it the heaviest thing in the sidebar — much more substantial than the light gray bar that contains it.

I don’t think the unique dark color serves this area any better than the ordinary light blue sidebar content color would have. If you want to have an obvious indication that downloading is in progress, another distinct but light treatment could work well.

clash.png There are a lot of these grayish bluish gradienty or inner-shadowy areas around the interface, each one slightly different; their purpose and relationships get confusing.

Okay, color. There seem to be four things selected in the screenshot:

  • the Newsgroups sidebar container in gradienty grayish blue,
  • the alt.binaries.anime sidebar item in almost the same gradienty grayish blue,
  • the Juuni Kokki archive in flat light blue,
  • and the individual AVI file in intense gradienty blue.

In Mac apps, I expect there to be one selection indicator with any color saturation at all: the one with keyboard focus. Other selections ought to be desaturated. Parents of selected items don’t need to appear selected at all. Also, I appreciate the distinction between gradient sidebar source list highlights and flat content area highlights.

I would want the selected file to appear in some flat variant of my system highlight color (purple, of course), and the a.b.a sidebar source item in gradienty gray.

iTunes is a pretty good precedent as an app for browsing abundant online libraries for something to download. Check it out:

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The medium-gray top and bottom bars of administrative chrome encapsulate the lighter inner areas of content. The black store navigation bar is darker, though, in order to be substantial enough to anchor and contain all of the contents below it.

The LCD-lookin’ display at the top reports what the app is up to at the moment — similar to Unison’s download progress area. Apparently I’m downloading the latest Bombcast. That Game Boy light greenish-yellow isn’t just nostalgic and charming. It establishes a recognizable area that you can immediately locate when you are interested, without being distractingly heavier than the chrome around it.

And of course, the highlight colors are tidy. Gradient for sidebar items, flat for content items; colored for focused, gray for unfocused. Minus ten thousand points for ignoring my system highlight color, though!

Over the weekend we visited the Portland Art Museum for a rare chance to see Raphael’s La Velata in person.

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Alfred Maurer’s George Washington struck me as an example of just how accurately Cubism can resemble a familiar face.

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Thomas Moran: The Grand Canal. Its atmosphere reminds me of my favorite from the Art Institute of Chicago: Alberto Pasini’s Circassian Cavalry Awaiting their Commanding Officer at the Door of a Byzantine Monument; Memory of the Orient, which was my iPhone wallpaper for a couple of years. (And is again, now.)

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And finally, from the China Design Now exhibit, the Sinosteel International Plaza, which confirms in my mind that the United States has the world’s most boring architecture.

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I created a simple OmniGraffle file that describes the notes of a guitar fretboard. So that I can study Robert Fripp’s New Standard Tuning, there is a canvas with standard tuning and a canvas with NST.

Click a dot with the Browse tool (the pointy finger) to invert its coloring; you can do this to plot out chord shapes. I expect I’ll be making a layer for each chord I figure out.

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OmniGraffle fretboard diagrams

Online video games have a deserved reputation for being populated by illiterate, immature, ignorant, inflammatory imbeciles. Penny Arcade, as is their forte, rather coarsely pointed this out some years ago.

I spent 63 hours over the course of a month in Demon’s Souls, the bogglingly deep and captivating Japan-made Western RPG. It was my first video game with an online component (beyond Street Fighter and BlazBlue matchmaking), and I feared for the worst. But every person I met was gracious and neighborly. These are people who bow to you when you join their game. I guess that with a game this unapologetically difficult, the real enemy is the game world itself, and players are inclined to a sort of camaraderie. It also seems that you need to have a well-developed sense of patience and calm in order to get very far in Demon’s Souls.

There is plenty of material out there on the web about the game itself and why it is a treasure, but here is a sampling of the sort of people you might end up playing with.

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So, I’ve been playing a ton of bass lately, in my Operation Learn to Play Bass on Every Rush Song Ever. But I have also been craving guitar. The experiment of playing around with an el cheapo acoustic has ended; I want to plug in and jam out, like I used to with my buddy Craig’s ’61 Gibson SG reissue in high school.

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Around 2003, when I bought the first Seiteki Healing DVD, I got a glimpse of Shiina Ringo’s famous guitar in the video for “ここでキスして。”, I went on a research quest to find out who made that crazy art-deco-lookin’ instrument, and ended up developing a giant crush on the Duesenberg Starplayer. It didn’t hurt that I-No, one of my main Guilty Gear characters, is based on Shiina Ringo and carries an almost identical axe.

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As it turns out, there is actually a gorgeously outrageous Shiina Ringo signature Starplayer TV, which appeals to me especially because it doesn’t have the traditional dot inlays on the fretboard; I never cared for those. But from what I can tell, it was a very limited edition and pretty much can’t be had anywhere at any price. I can’t even find a photo of it other than this one from the official site; I’d love to get a good look at that 12th-fret inlay design.

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So, the normal Starplayer TV (or DTV) seemed to be the thing. Of course, I knew that they were beautiful, high-quality, lovely-sounding guitars, but I’d never actually played one. Last weekend I sought out the only local retailer, Bellevue American Music, and went to meet a Duesenberg. When I walked in, there was a Rush concert DVD playing; how auspicious. I gingerly took down the orange DTV from the wall and tried it out. It was as desirable a guitar as I’d always expected. Yep, this seemed like the one for me.

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Well, I mean the white version of course.

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The excellent news is that for some reason, possibly because of their longstanding popularity there, Duesenbergs go for 30% to 50% less in Japan. I did some obsessive late-night Japanese music shop searching, and found quite a few nice specimens for around ¥120,000 to ¥180,000, versus about $2,400 in the USA. So, the eventual purchase may take place during a trip, or I may employ someone to procure it for me and ship it.

The research also turned up the Fullerton Series DTV, with double cutaways and color that extends up the back of the neck and to the headstock. Now this looks like a nearly perfect guitar.

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And, uh, this is all fantasy because there is no foreseeable way that I can actually spend such an amount of money on something so unnecessary! It was nice to get all of that out, though.