Dealing with Critiques

Jon Kolko at Austin Center of Design:

Don’t ask for critique if you only want validation. If you want a hug, just ask.

Scott Berkun on How to Run a Design Critique:

Listen before speaking. Many times in work environments, we confuse conversations, which should be exchanges of ideas, with opportunities to inflict our opinions on others.

Andrew Follett on responding effectively to design criticism:

While design is subjective, being able to separate useful feedback from cheap shots and misinformation is important. However, this is not an excuse to ignore comments that you don’t like.

Unphotographable: A Text Account of Pictures Missed

Unphotographable is a catalog of exceptional mistakes. Photos never taken that weren't meant to be forgotten. Opportunities missed. Simple failures. Occasions when I wished I'd taken the picture, or not forgotten the camera, or had been brave enough to click the shutter.

A silly, wonderful idea, rendered in beautiful detail.

The Black and Blue on Apologizing

Evan Luzi:

At the end of the day, the damage is done and no amount of “But… They did… I didn’t know…” will change the past and that it was your fault.
So stop trying to escape that. Stop trying to deny it. Your crumbling defense is chaffing my ears and making me never want to work with you again.
But there is some good news… There’s one thing you can do that will be a big step towards fixing the problem.

Justin Cone on the Language of Motion Design

Justin Cone:

In motion design, stripping back the visuals to their simplest forms reduces cognitive load, allowing the viewer to internalize the meaning of the graphical elements and focus on the interplay between them, rather than on the elements themselves.

The characters aren’t the stars, the relationships between them are.

This post scratches the surface of one of my current favorite topics — the use of motion graphics to meaningfully convey information. Semiotics, spatial recognition, characterization of complex ideas, etc. all come together on our omni-present screens and challenge us to interact and understand.

Justin has always struck me as a kindred spirit (though he's way more prolific) in his appreciation of the potential of motion graphics. His posts on Motionographer (and its former incarnation Tween) were daily reading for my early motion graphics classes. I owe him many drinks.

LIGHT METERS: What are Incident Meters Good For, Anyway?

Art Adams:

Way back when I shot film I was a serious devotee of The Zone System. I lived and died by my spot meter. I have a much harder time doing this in HD, however, so I'm rediscovering the joys of using an incident light meter. I've picked up a few new tips and tricks, and now I'm going to share them with you.

The Cinematography of "The Incredibles"

Ron from Flooby Nooby:

Cinematography in film is an art form all by itself. It involves three main factors:

  • Placement of people and objects within the frame.
  • Movement of people and objects within a fixed frame.
  • Movement of the frame itself.

Such a great resource for animators (or anyone, really) who may not have confidence with a camera, real or virtual.

Vemödalen: The Fear That Everything Has Already Been Done

Vemödalen: n. The frustration of photographing something amazing when thousands of identical photos already exist.


Neil Gaiman:

There are very few story-shapes in the world (I won’t argue with anyone who has a number or a list). Robert Heinlein, for example, said there were three, Boy Meets Girl (love - impeded or successful), The Little Tailor (go from humble beginnings to greater things) and A Man Learns A Lesson…
Just write your story. Don’t worry about whether someone else has written it. Perhaps while you are worrying and not writing, someone else will write it and publish it.
Tell your story.