July 20, 2011

An iPhone App Made for You to Never Forget!


Collaboration, with getting things done, is an awesome combination. A colleague-turned-collaborator Steve Dale and I designed an iPhone app for people who use 37signals’ organizational tool Backpack. After thirteen months of work, Never Forget! is now on sale in the App Store.

Creating an iOS app, from interface and interaction design to working with a highly talented and diligent developer Andrew Little of T4G, is a creative dream come true. Find out how you can Never Forget!

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We’ve been writing here and there about what we learned and relearned along the way. Read our blog.

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Big thanks: To 37signals for tweeting about Never Forget! and for customers, who happened to like the app and offered their praise:

“Really enjoying Never Forget! The design is spot on and well-integrated with Backpack Reminders.”
—Zachary Christoff, GIS Developer, 37signals groupie, Minneapolis

“I use Backpack a lot. So I downloaded Never Forget! I’m very impressed. The app looks really good and is super intuitive. Great work!”
—Ryan Evans, Founder of Rand Media Group and Bitesize PR, Chicago

“Never Forget! is an easy-to-use app that does exactly what it’s supposed to do. I love it.”
—Andrew Wicklander, Founder of Ideal Project Group, Chicago

“Super stable and easy to use. Just what you want from a serious app.”
—Richard Allen, Systems Development Manager, UK

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Update, July 29, 2011: Never Forget! was made available in the Google Android Market.

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Update, January 30, 2013: Due to 37signals’ retirement of Backpack, Never Forget! is no longer supported.

July 19, 2011

Design Conference Reworked and Reloaded: CreativeMornings


Swissmiss, Tina Roth Eisenberg, at the first CreativeMornings in Chicago

Breakfast lecture series CreativeMornings is Tina Roth Eisenberg’s creation. A designer who focuses on her own products/apps, Eisenberg also runs the personal and popular design journal Swissmiss. Being an avid scout of all things Swissmiss—particularly her simple browser-based to-do app, Teux Deux, and new designy temporary tattoo shop, Tattly—I looked forward to CreativeMornings’ presence in Chicago.(1) It kicked off with a talk by Jim Coudal of Coudal Partners. His presentation was brief but packed with motivating bits, such as:



And:



The event delivered lean and local sharing of information. The qualities of brevity and a sense of place aren’t new for conferences, yet CreativeMornings demonstrates them. And when experienced at the start of a workday, they are accentuated—even more so in a place where people come to “get inspired.” While that phrase may seem trite, it’s also a human tendency, a basic one. Why judge it as a cliché? People, like Coudal, are inspired to make things and make them succeed. Nothing cheesy here. More than a lecture series, CreativeMornings is a sermon series. Author and Founder of The School of Life, Alain de Botton, said that “A sermon wants to change your life and a lecture wants to give you a bit of information. I think we need to go back to that tradition of sermon in education.”


Workspace of Gravitytank

An inspirational sermon-of-sorts proved to be my first taste of CreativeMornings. I also left with a dry throat, after meeting numerous participants. The insights in Coudal’s presentation were complemented with the ease of making introductions: with Paul Octavious(2), whose photography I’ve been admiring; Margot Harrington of Pitch Design Union, and whom I later discovered also writes for The Fox Is Black (formerly Kitsune Noir); Chad Kouri and Alex Fuller of The Post Family, whose diverse work in graphic design, printing, and more, is tremendous.


Jim Coudal speaking at the first CreativeMornings in Chicago.
Photograph by Chris Gallevo


It’s been awhile—years, actually—since I attended a design-related meet-up. I’d been discouraged by presentations without substance (more pontificating than signal) and presenters without style (more disconnection than engagement). Large, expensive conferences are getting reexamined and scrutinized, whereby a conference is not beholden to large audiences and scenes, and the venue’s production values are not more noteworthy than the presenters and their points of view. CreativeMornings is a refreshing counterpoint to the conference bloat. In a way, it’s responsive social design: high in signal and engagement, lean and local. CreativeMornings is my kind of design conference.




(1) When an individual pursues ideas in a consistently get-it-real way, like a film director whose work (no matter the frequency of release) is both publicly and critically acclaimed, her/his history of craft and making nurtures the promotion of the next creative effort made real.

(2) Update, 4-27-2013: Photographer Paul Octavious spoke at Chicago CreativeMornings #17.

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Big thanks to: organizer Mig Reyes, videographer Craig Shimala, photographer Chris Gallevo, and Admin of Awesome Victoria Pater, for their great work on making CreativeMornings happen in Chicago.

Especially big thanks: to Tina Roth Eisenberg—Swissmiss—for inventing CreativeMornings in 2008. The fifth chapter was launched in Chicago, June 2011—my write-up and photos.

Read more about the people who make the Chicago chapter of CreativeMornings possible.

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Typeface of Coudal’s quotes is called Massive designed by Shawn Hazen, who also makes awesome typographic illustrations for series Creative Roles.

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2011 was Chicago CreativeMornings’ debut year. Download the entire collection of selected insights.



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July 7, 2011

Visualizing Information with Clarity and Beauty: Designer Audrée Lapierre


It was through her Poster for the SLAM festival of Lausanne, Switzerland, that I discovered the graphic design sensibility of Montreal-based Audrée Lapierre. It was through her self-initiated project of Nutrition Facts Packaging and information graphic about the sharp decline of the North American honeybee colonies (featured by “integrated media platform” GOOD) that Lapierre has passion and talent for information design too. Here she shares her takes on transforming data into information in an honest and elegant way:

Can you please tell a little bit about yourself?
Where are you from? What do you do for a living?

I was born in Sorel, a small town in Quebec, Canada, and moved to Montreal when I was 17 to study graphic design in college. I graduated from UQAM University in 2008 with a degree in Graphic Design. Since then, I have worked in surface pattern, graphic design (mostly print and branding), user interface and data visualization. I am currently an Art director at FFunction (workspace below), a data visualization and user interface studio. I turn ideas, concepts, structures and data sets into clear, educational and appealing illustrations.



What is your statement about being a designer?
My design education rhymes with less is more. I seek good typography and minimalistic design. Most of the time, functionality is more important to me than the look, but I am only satisfied when I achieve both.


View the complete information graphic “What is Data Visualization”.

What is your opinion about visualizing data?
Why is information design important?

Data visualization works really well with my approach to design; it’s minimalistic and functional. We live in the information age; we are now confronted with complex data and new types of data that we didn’t have access to before, like social media for example. The information available nowadays is much richer; it’s an open window to our society. The tools we are using to understand this torrent of data are still primitive. It’s a bit like a new continent that we have not explored yet. We are barely figuring out it’s potential for business intelligence, marketing and even government transparency. It’s very exciting.

What makes for an unsuccessful data visualization?
An unsuccessful data visualization does not provide insight into the data. But it can also fail to be interesting, simple, functional or truthful.

Writer Alissa Walker wrote an article called
“Women in Industrial Design: Where My Ladies At?”
Where are the Ladies in Design?
I don’t know if it’s true to Industrial design, but I certainly know a ton of good female graphic designers.



What tools and materials do you use to work on your ideas
and make them grow?
I always sketch on paper first, but I’m not tidy; I just grab any sheet of paper lying around and draw quick thumbnails and ideas. Once I have a clear idea in my head, I switch to the computer. I use Illustrator and InDesign for wireframes and documents, and Photoshop for user interfaces and web design.

How does time factor into your designing?
I guess I come up with solutions much quicker than when I was in school, but very tight deadlines tend to make me stressed. In those cases, I spend less time exploring concepts and go straight to the computer to get something out quick.

What is the most rewarding part of being a designer?
I think it’s having clients totally wowed by you work. Showing them a solution they had never even envisioned.

Was there a part of your work that was particularly trying
and how did you deal with it?
As much as pleased clients can be rewarding, they can also be a source of frustration. I keep getting better at dealing with clients, but I also learned to put my pride aside.

How do you stay creative? Do you draw? Or keep a journal?
Strangely, I stay creative by reading books. I have a neverending list of books about various design topics like Information Architecture or Interaction Design. I study and I learn, and this makes me more curious and interested in my work.

What are some of your sources of inspiration?
I follow a bunch of designers and studios. I browse FFFFound and many design blogs. Actually, I have too many blogs in my Google Reader.

What is your advice to people who aspire to be a designer?
Work, work, work; something beautiful will come out of it.

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All images courtesy of Audrée Lapierre.

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Read more Interviews that include: