May 2, 2012
Demo’ing Oblong’s g-speak spatial operating environment in their Barcelona office.  Users are able to perform gestural interactions, while wearing special glove interfaces.   A version of the platform initially debuted on the film “Minority Report,” and is now being developed for real-world use in an office presentation context and other use-cases.  In the mode above, called “grabby,” a user is able to point at letters on the screen and reposition them elsewhere, including the table below, which features an auxiliary downward-facing projector.  I was surprised after trying on the gloves how easy it was to perform the interactions with just a little practice.  More info: http://oblong.com/

Demo’ing Oblong’s g-speak spatial operating environment in their Barcelona office.  Users are able to perform gestural interactions, while wearing special glove interfaces.   A version of the platform initially debuted on the film “Minority Report,” and is now being developed for real-world use in an office presentation context and other use-cases.  In the mode above, called “grabby,” a user is able to point at letters on the screen and reposition them elsewhere, including the table below, which features an auxiliary downward-facing projector.  I was surprised after trying on the gloves how easy it was to perform the interactions with just a little practice.  More info: http://oblong.com/

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Filed under: oblong barcelona 
March 16, 2012
Personal Project: Rehearsal Dinner Invite

Recently my parents commissioned me to design the rehearsal dinner invite for my brother’s wedding.  Rather than putting something together in entirely in Photoshop, I decided to go with something code-base, and wound up using a flocking algorithm I’d programmed some months ago in OpenFrameworks (C++).  I tweaked the parameters numerous times, running the program and printing at each frame, until achieving the final result, which I interpret as a celebratory firework of ribbons.  The ocean blue color has significance for the beach town where we grew up, and my brother and his wife-to-be met. 

The printing was done on thick, semi-gloss paper, roughly the dimensions of a postcard.  

The back of the invite takes the initial image, inverts it, shifts the hue, and increases the opacity until faintly visible.  The text indentation mimics that of a computer program; appropriate since the image began with code.

The rehearsal invite was printed in a limited run of thirty.  It’s not so often that I get to see one of my code-based artworks printed on out.  I’m looking forward to future explorations on paper.  A special thanks to my parents for helping with the printing.  

March 3, 2012
Touchscreen Installation in Three.js at MWC2012

I designed and programmed this piece using Three.js library (WebGL) running in Chrome browser. It was made for client, Electroland, as part of a multi-paneled, brand-engaging piece for the Android Exhibition, Mobile World Congress 2012, Barcelona.

Afterwards I walked around the event to check out some of the latest mobile gadgets, including the new HTC One and Motorola Defy Mini.  It was also nice to see the folks from Reactable performing at the Intel booth.  More photos of the installation and event here: https://picasaweb.google.com/102221053679052427762/MobileWorldCongress2012

February 13, 2012
On a visit to CERN in Geneva over the weekend, I swelled with geek pride.  ”This NeXT workstation was used by Tim Berners-Lee, who invented the World Wide Web (WWW) in 1989 while working at CERN.  This workstation was the first WWW server.  The document next to it is a copy of “Information Management: A Proposal”, which was Berner-Lee’s original proposal for the World Wide Web.”

On a visit to CERN in Geneva over the weekend, I swelled with geek pride.  ”This NeXT workstation was used by Tim Berners-Lee, who invented the World Wide Web (WWW) in 1989 while working at CERN.  This workstation was the first WWW server.  The document next to it is a copy of “Information Management: A Proposal”, which was Berner-Lee’s original proposal for the World Wide Web.”

February 8, 2012
Recalling Radio-This-Batcher : How I Became an Application Designer

In 2005 I was working as a sound editor on the PlayStation 2 game, “Unreal Championship 2,” at Technicolor Interactive in Burbank.  Months earlier I had finished editing dialog on a different Xbox title, “Jade Empire,” that set the current record of lines of dialog in a game, at just over 12,000 lines.  

Dialog editing is not fun.  The sound editor is handed a script of lines that has been annotated by a voice director, instructing them which parts of which “takes,” performed by the voice talent, should go into a completed file.  The sound editor then locates those takes within a recording session in Pro Tools, merges them together, and proceeds to make anywhere from five to fifteen edits to the waveform—removing unnecessary pops, gargle, replacing plosives, etc—and finally consolidating the edit into a new file that might be called something along the lines of, “jen_ninja_princess_final_battle_13476b.wav”  Day in and day out, on “Jade Empire,” I felt more and more like I was performing the task of a machine.  One day, at last, the work was complete.

Then entered a new title, “Unreal Championship 2.”  This time, I was faced with the task of editing only 4,000 lines, which was typical, since this was more of a first-person shooter and less of an RPG.  But the catch was that these lines were to be in four different languages (1,000 lines for each language.  I only spoke English), and each line needed to sound as if it were coming over a noisy short-wave radio, with a random in and out sound effect on either end (i.e. “[beginning squelch] Sargent, we’re going in.  Rodger that. [end squelch]”).  

Just as I began to dread the annoyance of manually adding radio squelch effects to the beginning and end of special processed dialog, and looking forward to the day when I might no longer have to edit dialog at all, a light-bulb went off in my head.  A program can do this for me!  While a Music Technology student at CalArts some years earlier, I had become obsessed with a visual programming tool called Max/MSP.  In Max, you can drag a number of objects that perform a series of functions, onto a stage, and then connect them together to describe an application.  For instance, you may have one object that accesses files in a folder and another one that applies a low-pass filter to an audio buffer.  The end result can be compiled to a desktop application with a user-interface with sliders, buttons and read-outs.  

With “Unreal,” I could envision how Max could permit us to load a raw dialog file from a folder, place a sound effect at the beginning and end of this file, process the entire file with a DSP filter for the short-wave radio effect, and then output the resulting file into a new folder, while maintaining the naming scheme of the original file.  I ran this idea by our lead sound editor and he encouraged me to go for it.  A day later, after recruiting the help of a colleague, “Radio-This-Batcher” was born.  Instead of taking the weeks that it would have required a sound editor to edit in Pro Tools, in a number of hours, the program processed each of the 4,000 lines of dialog automatically, with only a few crashes.  In the year that followed, I phased out dialog editing and became an application designer instead.

February 6, 2012
Interaction Designing with Code : Preface

The software tools of the Interaction Design field, specifically the design of applications for spaces, non-consumer facing post-production tools, and the array of screen-ready digital devices, that access content running directly on the web or through downloadable native applications, are rapidly changing.

Some tried-and-true best practices and deliverables of the field survive, while others cease to accomplish their goal effectively, in communicating design direction to project managers and  engineers.  New graphics and vocuabulary, for instance, to describe gestures for touch-screen devices, are now routinely a part of design documentation for applications that are built on that technology.  But that is not enough for every application’s unique needs.   While an abundance of the applications, past and present—in the realm of 2D forms, flat text, and buttons—can be wire-framed and spec.’d out to a ‘T’, many of the emerging applications pertaining to 3D gestural interactivity, data visualizations, and other modalities of interaction and presentation, can no longer be properly conceptualized or prototyped on paper or within a traditional desktop publishing application.  

Fortunately for designers, there will always be WYSIWYG design applications and templates to aid in the creation of new design deliverables.  However, bringing these tools to market won’t move as fast as technology changes.  Another way to look at this, is that once these templates or pre-built solutions exists, much of the design process is phased out, and the need for design becomes less so.  So for the application designer who wants to be on the cutting-edge of technology and add value to new design domains, getting one’s hands into code—the very language of technology—can offer a great benefit to the design process.

Henceforth, the way we as application designers understand the function of code, needs to be reassessed.  Traditionally we associate code as part of the development process, which follows design.  But code can also coexist or even be merged into the design process.  This possibility with code in design is not a new one, however it can benefit from being reassessed periodically, given the rapid advances in technology and tools.  One age-old argument, is that programming is better left to a more traditional development workflow, however not all creative exploration translates to project requirements and engineering best practices.  Some programming efforts may be better off guided by art direction or other kind of design oversight.

At some point in the future, I want to present a couple of tutorials, where I address specific cases in which I’ve depended on programming to do my job as an application designer.  This certainly isn’t the case for every project that I encounter—I still wireframe for form-based applications all of the time, and recognize this planning format as a likely staple for application design, even a hundred years from now.   But as a general guideline, if I can’t fully imagine or describe a concept in a wireframe, that properly communicates an idea to an engineer, than I attempt to code it myself—be it a simple prototype or in some cases, what becomes the end solution.  These kinds of challenges are among the most exciting and difficult that I encounter as an application designer, and I am eager to shed some wisdom. 

A user interface for a video processing application created in OpenFrameworks.

October 3, 2011
We’re proud to announce PushPopDesign’s recent completion of the Museum of Science Demo for Sencha Animator—a wonderful new application that gives designers and developers the ability to easily create stunning web content with animations, transformations and more in Javascript/HTML/CSS, via a unique WYSIWYG style interface.  Best of all, not being based in Flash, means it’s iOS compatible.
For this project, PDD handled everything from concept, to art direction, copy, design, and development.  One of the fun challenges on the project included taking the background image—a voronoi distribution that we programmed in Processing (www.processing.org)—importing it into ZBrush and photoshop, where we tweaked it further, then finally importing it back into the Sencha Animator project, where we layered it, and animated the opacity, to give it a pulsing effect.  We also enjoyed conceptualizing and creating the copy for a series of fictitious museum exhibits, that include such title as, “Quantum Discovery: Virtual Particles, Entanglement, and Beyond” and “What’s in Your Soil? Meet the Water Bear.”
Here’s a link to the demos (ours is the cool one with the asteroids in the top-right, and also appears a few more times on this page): 
http://www.sencha.com/products/animator/
And here’s a direct link to our demo (please allow a moment for the content to load). Note: requires Safari, Chrome or other webkit browser:
http://dev.sencha.com/animator/demos/museum/

We’re proud to announce PushPopDesign’s recent completion of the Museum of Science Demo for Sencha Animator—a wonderful new application that gives designers and developers the ability to easily create stunning web content with animations, transformations and more in Javascript/HTML/CSS, via a unique WYSIWYG style interface.  Best of all, not being based in Flash, means it’s iOS compatible.

For this project, PDD handled everything from concept, to art direction, copy, design, and development.  One of the fun challenges on the project included taking the background image—a voronoi distribution that we programmed in Processing (www.processing.org)—importing it into ZBrush and photoshop, where we tweaked it further, then finally importing it back into the Sencha Animator project, where we layered it, and animated the opacity, to give it a pulsing effect.  We also enjoyed conceptualizing and creating the copy for a series of fictitious museum exhibits, that include such title as, “Quantum Discovery: Virtual Particles, Entanglement, and Beyond” and “What’s in Your Soil? Meet the Water Bear.”

Here’s a link to the demos (ours is the cool one with the asteroids in the top-right, and also appears a few more times on this page): 

http://www.sencha.com/products/animator/

And here’s a direct link to our demo (please allow a moment for the content to load). Note: requires Safari, Chrome or other webkit browser:

http://dev.sencha.com/animator/demos/museum/

September 15, 2011

Every now and then a project comes along that is difficult to summarize in technical terms within a single sentence. “Primate Cinema,” created by artist Rachel Mayeri, is twenty-two minute film within a film, in which live chimpanzees in the Edinburgh Zoo witness a drama film involving one live ape and several humans in ape suits, shot in Los Angeles. Push Pop Design was brought into the project to create the complex dual screen sound design. To begin with nearly all location sound was scrapped and replaced by chimpanzee recordings and ADR of humans imitating them. Background sounds and foley were also carefully added into place. At one point in the film, we are shown a series of ape cartoons—also sound designed by Push Pop Design—which adds a third layer to the film within a film concept. The mix was tweaked through several iterations in Logic Audio and debuted at the 2010 Ars Electronica Festival.

More project details: http://www.rachelmayeri.com/projects/primate-cinema/

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Filed under: rachel mayeri 
June 27, 2011
On Designing Behind the Curtain

On a recent interaction design mailing list to which I subscribe, someone launched an extensive thread with this post:

As an Interaction Designer I think it’s a foundamental matter to have a deep knowledge of  “how it works behind the scenes” what we design for people to use.

The question is: which language (HTML, Java, Javascript, DHTML…) do you think an Interaction Designer should be fluent in and at which level?

It’s a thought that has crossed my mind many times, and presumably others, since it lead to a flood or responses.  It’s also not the first time this kind of post has shown up on the list.  My response was as follows:

A great thread going on here!  I wanted to share my insights/ experience, especially given the unusual place I’ve find myself in professionally during the past couple years. 

These days my freelance work is largely divided between UI/UX efforts, where my core deliverables are wireframes, site-maps, etc. and then something referred in as *Creative Coding*—it doesn’t really have a working label as of yet.  In this second role I design/develop tools in OpenFrameworks (C++) and Processing (Java) to generate graphical elements for television commercials, print advertisement, and installations.  It’s not work that’s in constant demand, but when it is, there’s a small handful of designer/developers, who are called on to it do it, largely for companies with a presence in the tech industry.  Another way to describe what I do is that that I write code to make rich, sometimes generative, techy images, that would be incredibly difficult to create by hand or in Photoshop.  On these projects I typically work with art directors and often resort to quick-and-dirty code, because I’m not trying to create a bullet-proof app—I’m often just trying to crank out an element or two that comes closest to what the client is looking for.  These elements then get exported, and finally inserted into the commercial or print ad.  Then you’re done.  There’s no user testing, just ratings to follow.  I enjoy coding in this capacity, because it puts me in the design seat, though it’s difficult to define best practices, since it is a fairly niche role.  

Recently though I was asked by a client to design and develop an application that the compositors could use to generate video elements on a television commercial.  This put a whole new spin on things.  Suddenly I had to take some of the best practices from other work in UI/UX and apply them to an app I was responsible for building from start to finish.  This quickly became a much larger task, as you might imagine, and I had to make some compromises to the usability of the application, that wouldn’t have been acceptable outside of this realm, but were fine in the commercial world of lightening fast turn-around.  

On some other more traditional UI/UX projects (web apps and so forth), that aren’t for fortune 500’s, the coder in me has tried to work my way into a development seat of sorts, while designing the application at the same time.  This usually is a response to the design not looking or behaving the way I’d described within the final visually treated wires.  I follow-up by suggesting some CSS to engineering.  When that doesn’t help, I write the HTML/CSS myself, and finally, when things still don’t match up, I wind up in the environment committing changes and so forth directly, tweaking Javascript, etc.  At this point, things can become quite a headache, as I’m spending some of my time deploying changes with the engineers, while spending the rest of time designing what’s next.  I start to see my design choices impacted and compromised by their level of difficulty in terms of implementation, which does not always lead to the best overall solution.

The takeaway here, and coming from a relatively code-savvy Interaction Designer (who actually loves coding), is that as a designer, unless you are working on a project like a microsite or some specialized non-customer facing app, where the design and development are both in your hands, it is probably not wise to go so far as to be committing code changes within the actual environment.  You will likely find yourself in a world of frustration.  You may also find your creativity pushed to a more granular level that requires an entirely different discussion.  On the other hand, if you have the inclination, it might be a good exercise to try.  The farther you push your role, the more you are going to learn.  In retrospect, I could have handed off engineering non-dynamic HTML pages with styling and basic scripts, but instead I got my hands dirty working in an ever-changing, dynamic app, with some components that only work server-side.  Then when I found I’d made enough changes to the build, I eased back into the more traditional wireframe/designer role.  On a future web project for a company like Microsoft, I will never have this kind of opportunity (nor would I want to), but at least I can shed a little bit of past engineering wisdom into my deliverables, and understand the limits of what is possible with currently technologies.

In closing, to an interaction designer who wants to learn to code, I recommend checking out www.processing.org .  It may not give you a coding background that translates directly to the applications you would design in the real world, but it’ll open your mind to the world of variables, arrays, and objects, and give you appreciation for the fact that the web is broken up into separate layers to manage different pieces of an application.  It may also lead you to do some out-of-the-box thinking in terms of the way your expertise in UI/UX could apply to other domains.

June 19, 2011
Alva Noto + Ryuichi Sakamoto close out the Sonar festival at Theatro Grec.

Alva Noto + Ryuichi Sakamoto close out the Sonar festival at Theatro Grec.