An eponym is a word named after somebody or someplace.

An eponym, almost by definition, comes with a story, making them some of the most intriguing words. Knowing what an eponym is also allows you to use the word eponymous, which is always a good way to sound smart.

Some of my favourite eponyms are now commonplace products that took the inventor's name. Some examples:

The Rubik's cube is an invention by Hungarian architecture professor Ernő Rubik. The cube has the fascinating property of being a solid object that's also fluid.

This year (2024), the Rubik's Cube turned 50, celebrating around half a billion cube sales, scores of speed-cubing championships, and documentaries. When Rubik first invented the cube, he wasn't sure it was solvable and only managed it for the first time several months after creating it.

In 2020, Rubik told the story of the cube in his book, Cubed: The Puzzle of Us All.

The fabulously named jacuzzi, or more generally the hot tub, is named after the Italian Jacuzzi family. The seven brothers of the family—there were also six daughters—trained to become engineers, making plane propellers, irrigation systems and pumps before one of the brothers created a homemade bath to help his two-year-old son who was suffering from rheumatoid arthritis. The rest, as they say, is history.

Saskia Solomon tells some of the brothers' story, which includes the court case Jacuzzi vs Jacuzzi, and the invention of the jacuzzi in the 2023 New York Times article, The Frothy Saga of the Jacuzzi Family.

After so long as what seems the most basic of foods, it was remarkable for me to learn that the humble sandwich was named after a person: John Montague, the 4th Earl of Sandwich. Though he probably spent most of his time in London, the title itself is associated with the small town of Sandwich in Kent, in Southeast England.

The story goes that the Earl liked playing cards and wanted food he could eat without having to leave his game and that wouldn't give him sticky fingers that would damage the cards. Incarnations of open sandwiches appeared much earlier elsewhere. For example, the trencher—something I had to look up when reading Game of Thrones—involved serving food on top of old bread as a sort of plate. But it took the Earl's dedication to card playing, or at least desk work, to take the next step many years later.

László Bíró was a Hungarian-Argentine inventor who created the first truly successful ballpoint pen. In the US, the BiC is more common, an eponym this time from Marcel Bich.

It's said that Lázló experienced his fountain pen leaking from heat—fountain pens being very common before the ballpoint—and was inspired by a printing press that used a cylinder to spread the ink. All it needed was to go in all directions. Enter the ballpoint.

While the invention seems obvious in hindsight, perfecting it for robust, commercial use was challenging. For example, finding suitable ink for the tiny ball bearing to spread, which doesn't leak or clog and isn't overly affected by heat. Lázló teamed up with an aviation company—who use a lot of ball bearings—which also provided a great use case of finding a pen that wouldn't leak from the air pressure changes in planes. Later, BiC licenced the technology from Biro. A Bic Cristal® Ballpoint pen is part of the collection at the MoMA.

I only learned that silhouette was an eponym while preparing this sketch, but it's perhaps the best of all.

Étienne de Silhouette, a French government finance official tasked with curbing a French deficit in the 1700s, unwittingly gave his name to the classic black-on-white simple outline image of a person. His severe frugal policies of taxes, curbing royal spending and even melting down gold and silverware earned him the reputation of doing things cheaply. Hence, a cheap method of creating a portrait, cutting out black paper and laying it on a white background, became known as a silhouette.

Nearly everyone will recognise the fuel that Rudolf Diesel gave his name to and his diesel engine. Diesel created a breakthrough engine that was more efficient than typical steam engines while being smaller and weighing less.

Curiously, I learned that Diesel died in mysterious circumstances, disappearing on a journey across the English Channel in 1913.

An excellent episode of the 99% Invisible podcast featuring Helen Zaltzman of the Allusionist raised several interesting questions about eponyms I hadn't considered. Here are a few to think about:

Eponyms are common in medicine, for example, when we name a disease or condition after those playing a part in the discovery. However, the name, for example, Creutzfeldt-Jakob disease, tells a medical practitioner very little about the disease compared to a name that relates to the symptoms of the sufferer or the cause. Should examples like these be replaced with more practical names?

Eponyms almost always have a way of oversimplifying a story, often wrapping up complex histories with the names of white males. For example, rarely are products invented or diseases identified solely through the actions of one person. Yet an eponym chooses one, or some people, at the expense of others.

Eponyms may be the name of someone later discredited or who develops a tarnished reputation from other actions in their lives. Should someone who did evil deeds be remembered in an eponym or should it be changed?

Who knew eponyms could be so interesting?

Know some good eponyms with fun stories? I'd love to hear them.

Eponyms are distinct from the fun concept of Nominative determinism—an aptronym—where someone's name seemingly influenced their future actions or career choices (for example, Les McBurney — Volunteer firefighter).

I've covered a lot of eponyms over the years, far more than I realised. Using the handy list page on the site, I've collected some other eponym examples, which include a lot of my favourites:

Eponym

Trench warfare dominated the fighting in WW1. After the initial hasty digging of trenches in the early days of the war, as each side dug in to defend their lines, trenches evolved to be more complex and sophisticated, including digging them in a stepped or zigzag shape.

Why were trenches dug in a zigzag pattern? Zigzagging trenches with sharp corners helped remedy several fatal flaws learned from early trench warfare:

One of the key advantages of a zigzag trench is its ability to contain blasts. In a straight trench, the blast from mortar or artillery fire would travel unimpeded to either side. However, a trench with frequent bends could confine explosions to smaller portions of the trench, reducing casualties.

2. Zigzags help slow an enemy down after capturing a trench

A straight trench meant that breaching a portion of it gave a long line of sight and the ability to fire down the trench which could aid attackers. Angles and corners from the zigzag or wavy shape of a trench meant that line of sight was reduced and gave better defensive positions with cover and concealment.

So, the simple change from a straight trench to a zigzag gave defenders significant advantages, and both sides used the design during the war. It's painful to imagine the tragic lessons that led to this evolution in design.

I learned about zigzag trench design from a children's book about WW1: 50 Things You Should Know About The First World War, by Jim Eldridge. It's striking how such a simple design change can have a significant effect. It's also a great example of how a simple solution can seem so obvious in retrospect and yet may take time to develop.

One of the trends of evolution identified in the theory of inventive problem solving that always fascinated me and has myriad applications is how straight lines in products typically evolve to jointed or bent, then wavy lines. As the theory would say, a straight line has unused potential, and someone will find an advantage in introducing a bend or bends. I sketched a similar trend about flat surfaces having unused potential.

The Imperial War Museum has a great 9-minute video explaining trench warfare, which discusses the zigzag or stepped design in this sketch.

Zigzag trenches

The Gestalt principles of visual perception describe how our brains make sense of what we see. For example, they explain how we associate a photo with the text of a newspaper article or understand a series of words as a sentence on a billboard. These principles originated from the field of Gestalt psychology in the early twentieth century.

In laying out sketches, I try to consider how a viewer will understand what connects with what, the order in which the viewer will read the sketch with their eye, and how colour or formatting link related elements—skim through the back catalogue to see it in action. In creating each sketch, consciously and unconsciously, I use many of the standard Gestalt principles of design.

There are many Gestalt principles and some variations in the names. I chose seven common principles to illustrate:

Proximity
Objects that are close together are perceived as a group

Similarity
Similar objects are perceived as a group

Continuity
Elements on a line or curve are related

Closure
Completing missing parts of images to create a whole

Figure-Ground
Identifying what's in the foreground or background

Symmetry & Order
Perceiving symmetrical or orderly elements as a group

Common Fate
Objects moving together are perceived as part of a group

The Gestalt principles are helpful for information design, user interface design, user experience design, graphic design and just about any design. It is also fascinating to spot how you unconsciously use them when interpreting designs you see. For example, look at the signs in an airport, a menu, or a page of your favourite app and see which principles are in play.

The Interaction Design Foundation has a great article on the Gestalt principles that explains their use in design in more depth. You'll also find many others.

Gestalt principles

While travelling in Southeast Asia, I was in awe of the open-air kitchens of street-food restaurants. Just by wheeling out a few carefully stocked trolleys and some prepared ingredients, one person was able to run a bustling street-side restaurant serving a score of customers delicious, fresh-cooked food each night. It's a remarkable feat of ingenuity and efficiency.

We had a delicious meal from an old lady in Vietnam who'd just carried her entire restaurant on a bamboo pole over her shoulder, with two large baskets at either end. The pole held everything necessary to cook, including several small stools to sit and eat on.

What Makes Street Food Open-Air Restaurants Work?

Some of the attributes I noticed about the best ones:

Menus with Prices you can see from a Distance

We made part of the decision about whether a place looked good to eat at as we approached a stand. A clear menu with large prices you can see as you walk up is a simple way to slow down the right customers before they've walked past.

Seeing the fresh ingredients at the front of the stall builds trust in what you're about to eat and whets the appetite.

Pre-chopped Ingredients and Giant Rice Cooker

Having boxes of pre-chopped ingredients to throw in makes cooking super speedy, and as so many dishes were served with rice, a single giant rice cooker enabled preparing meals in moments.

Trolleys on Wheels and Everything Within Reach

Having everything on wheels allows quick and easy deployment and packing up, and a chef can adjust each unit to have everything in easy reach.

A single high-powered gas stove with a large wok cooks nearly all the dishes

Trolleys stacked with plates, bowls, cups and utensils

A waste bin handles scraps and excess liquids

A multi-use towel wipes surfaces and hands

Why Isn't Street Food Like This Everywhere?

It helps to have the right kind of weather. A warm and generally dry climate means you don't need to rent indoor space, heat it or cover it. This enables so much creativity with food, reducing prices and barriers to entry and increasing selection. Alas, I'm in the UK for this one.

It also suits food that is quick and simple to cook, often using pre-prepared, flavourful sauces and fresh ingredients that cook quickly, as opposed to dishes that require long preparation, ovens, or simmering times. Thai and Vietnamese food, in general, lend themselves well to this.

It's remarkable how these simple yet effective setups can spin up a restaurant at the side of the street, turning a few trolleys, some carefully chosen gear and a talented chef into a culinary treat.

Arrange kitchen storage to minimise excess travel

And all sorts of other food and drink sketches

The street food open-air kitchen

"Pillars of Hope" is a tongue-in-cheek name for steel starter bars, also known as starter rods or rebar extensions, that protrude from the roofs of houses after construction. Leaving starter bars sticking out is a pragmatic approach, saving time and money when adding the next floor, as the structure is already partially prepared for the expansion. The "hope" in the name reflects the anticipation and optimism of adding to their homes in the future when the family grows or their financial situation improves.

Growing up in the UK, I never encountered the practice of leaving exposed starter bars on houses. However, while travelling through Central America and Asia, I was surprised to see these exposed rods in many towns and cities. At first, I couldn't understand why so many buildings seemed unfinished, making the skyline somewhat messy. Only when someone explained their purpose to me did it make complete sense.

Steel bars in concrete combine the tensile strength of steel with the compressive strength of concrete, creating a remarkably effective and widely used building method. The starter bars embedded in and protruding from the existing structure provide a strong and stable connection between a new addition and the existing building. The bars transfer loads and anchor the two together.

Pillars of Hope are a conspicuous example of futureproofing. Other examples in buildings are electrics or plumbing, where you might leave capped-off pipes or electrical connection points in anticipation of future work. Laptops and desktop computers with empty expansion slots also use this approach, as does a first edition of software that includes an update manager.

In software and agile development, I like the sentiment from the book Rework: "A kick-ass half is better than a half-assed whole." Have no parts of your product not yet working or "under construction" that are visible to users. Don't leave any visible "starter bars" sticking out of your product. And try not to solve problems that you don't yet have. While it might seem worth adding something now to make a future feature easier to build, it's a tricky balance. So often, you choose to do something else in the future instead and are left with some software pillars of hope sprinkled throughout your code—technical debt you may have to pay off later.

While my first reaction to steel rods sticking out of houses seemingly willy-nilly was that it was chaotic and messy, when I think about them as Pillars of Hope I now find it kind of beautiful—looking out over a skyline and seeing the aspirations and future development of families, homes and a city sketched out on the rooftops.

Edit: Several people told me that leaving starter bars sticking out of a roof makes the building 'unfinished' and not liable to tax on the work. While this is repeated in many places, I'm not 100% sure of the truth. If you have experience with it, please get in touch!

Pillars of hope

An affordance is what someone can do with an object. When you see a well-designed everyday product, the perceived affordances should indicate how to use it.

You shouldn't have to struggle to figure out how to use your shower to take a shower, and you shouldn't have to use trial and error—perhaps drenching yourself in cold water in the process. The design of an everyday thing should make it evident. An object should communicate a good part of how to use it through its affordances.

A recessed button affords pressing it. A sticking-out dial affords twiddling it. A toggle switch affords toggling. An apple affords tossing and catching it; an anvil doesn't. A high stool affords sitting, leaning against or standing on it.

Don Norman, who popularised the term in his classic book The Design of Everyday Things, talked a fair bit about doors. We can push or pull a door or slide it to the side. Sometimes, doors open upwards (though rarely downwards). In something as fundamental to our everyday living as a door, you might think that we had nailed their design sufficiently not to misuse them. However, I'm willing to bet that, like me, you have pulled a door when you needed to push it. A common culprit is adding a bar handle to a door on the side you need to push. While a flat plate attached to the door affords only pushing, a bar handle begs you to pull it. Often, a door designed this way gets a sign saying "Push." As Don Norman says, if your design needs a label, consider another design. 

Once, I nearly walked away from a library with my two small boys because of door confusion. After going through an outer set of glass doors that slid open automatically as we approached them, the next set of glass doors stood resolutely shut. Concluding that the library must be closed, we were just walking out when someone walked up to the second set of glass doors and simply pushed them open. The first set of automatic doors had so cued me that the second set would also be automatic, and the glass doors held no clue that they would operate differently from the outer set that I almost failed to get into an open building.

Don Norman became so well known for pointing out the flaws of everyday objects that poorly designed products became known as "Norman doors."

Don Norman's frustrations are mostly for everyday things. If you are an air traffic controller or an astronaut flying a space shuttle, it's reasonable to expect that some training may be wise to use all the advanced functionality. Yet in specialised environments like healthcare, good design—like avoiding storing drugs in alphabetical order—is critical to reduce the potential for failure.

Digital products struggle to provide affordances. Apple's touchscreen interactions and trackpads have little discoverability of what you can do with them: swipe down from the top-right, swipe up from the bottom, double-tap the side button, long-press on an icon, two-finger swipe right, triple-finger tap—all effectively invisible. Interactions like these reward repeated use and require learning to be effective. However, I think it's reasonable to expect a warm shower in a hotel on your first try without requiring training.

Affordance

While historic buildings in an ancient city centre make tourist attractions, most people would prefer the giant distribution warehouses that power online commerce and our world of delivery-everything to remain out of sight.

Several recently constructed distribution warehouses have started using enormous blocks of colour at scale to gently lead the eye and help buildings of exceptional size blend better into their surroundings.—greens to blend into countryside or "a beautiful sky blue" (video) to blend better with the sky.

Having passed both buildings with the patterns in this sketch, I can attest that the effect, in the right angles and light, is compelling—even though I noticed them more than ever as I spent time thinking about how well it works.

Read more about buildings designed to disappear into the landscape in Rowan Moore's Guardian article ​"A shed the size of a town:​ what Britain's giant distribution centres​ tell​ us about modern life"

This effect also reminded me of dazzle camouflage.

Blending buildings

A camel is a horse designed by a committee, so the saying goes.

It's not fair on camels, which are remarkable animals, but the idea that meeting everyone's requirements leads to a weaker product without a strong vision has a lot of truth to it.

Like a remote control with 50 buttons or a policy so watered-down by different requirements that it has no effect, design by committee can be the death of an initiative. Part of strong product leadership and creating designs that wow is having an opinion, saying no, and not trying to please everybody. Much easier said than done.

To bring it home, the movie Pentagon Wars has an entertaining satirical scene about the evolution of the Bradley Fighting Vehicle (11 mins). The clip shows how the plan for an infantry transport vehicle became "a troop transport that can't carry troops, a reconnaissance vehicle that's too conspicuous to do reconnaissance. And a quasi-tank that has less armor than a snow-blower but has enough ammo to take out half of D.C." Perhaps most informative is the effect on the motivation and morale of the designers—"Can you make it amphibious?"

Also see: groupthink, the tyranny of small decisions, the Abilene paradox, the bandwagon effect.

Or Jeff Bezos' guidance: Be stubborn on vision. Be flexible on details.

Design by committee

The siphon, or syphon, is a simple device that uses only a tube to seemingly pump water from a higher spot to a lower one. It's ingenious because once you start the siphon by filling the pipe to below the height of the upper reservoir level, it will continue draining the water, pulling it over the hump and towards the collection below without further help.

Most of us use siphons several times daily, as there are often two at work in the standard toilet. Sometimes there's one in the flush mechanism—one push of the handle to start the siphon drains the water from the reservoir until it runs out. And you can flush a toilet using the second siphon by pouring enough water directly into the bowl to push the water over the bend in the pipe to start it— think how the water drains by itself almost completely before filling up to the level of the bend once again. It's a clever way to power a toilet flush with just the press of a button or turn of a handle. They also minimise leaks and control the flow by running the water uphill.

We set up a greywater siphon to drain water from the bath and showers to a water butt in the garden. To get it started, we connected the end of the hose in the garden to a tap and ran water back up the hose until it shot out the top. Then, dipping it in the water, turning off the tap, and putting the end in the water butt, like magic, the siphon pulls water out of the bath until it's empty.

Surprisingly, a few effects are at work in a siphon, and its mechanism is debated. They can be made to work in a vacuum and even spray liquid upwards with the right setup.

I read that it is from the ancient Greek siphōn meaning a tube or pipe, often for drawing wine from a cask—that would be a decent situation to start the siphon by sucking on the end.

Siphon

Cake Wrecks is the blog and book of when professional cakes go hilariously wrong, by Jen Yates. But a cake wreck is also a useful metaphor for how easy it can be to misinterpret instructions—often by simply taking something literally when it was expected to be interpreted. Examples from Jen's collection include a smart-looking cake with "Nothing" written across the front, a graduation cake with "I want sprinkles" next to a graduation cap, or a cake sporting a full "Happy birthday on a gluten-free cake." If you haven't seen them, you could do much worse than look some up now. It's easy to laugh at these examples, but it's also easy to find real examples in day-to-day work.

I learned about cake wrecks from Jeff Patton's excellent book User Story Mapping. He gives cake wrecks as an all too common example of communication in software development. For example, a user story or specification for a feature is written and passed on to developers who, in the absence of other communication and with perhaps cultural or status barriers, may carefully build exactly what is written rather than what the writer intended. Cake wrecks are funny and silly—except if it was for your special occasion—but mistakes in projects are expensive in time, money and relationships and are worth avoiding.

The recipe for avoiding a cake wreck is, in principle, simple:

Don't assume that what you see is what someone else will see

Use stories and specifications as tools for talking about what's needed and not as equivalents of it

Create a safe space for everyone to question what they don't understand or don't agree with

Give everyone the 'why' behind a project and autonomy and flexibility to suggest other ways to meet the goal

Check in during a project and adjust as needed

Cake wreck

Feedback is how we get better. It's how we find out what we couldn't see ourselves. But there are many reasons why it's more challenging to gather than we might hope.

You might have a design prototype, a book or article draft, a new practice you want your team to adopt, or a project you've been working on. Feedback will make it better, but it's easy to feel anxious.

You might want to avoid having to talk to people. Maybe you're worried about what others think—perhaps they won't like it. Maybe you'll have to start over. Maybe you'll hear what you know deep down. Maybe you might see that others could do it better than you, that it shouldn't be you that's doing it. Maybe you'll find out that you're a failure.

If we care about achieving the best outcome, we can dispel most of these fears with a few moments of reflection—of course, I'm not a failure for trying!—but it doesn't mean they feel any less real at the time. As is often the case, action can be the solution, and gathering feedback is, in my experience, usually energising and confidence-building—now you can see what will make your project fly.

Jane Austen was known to read her novels aloud to her family for both evening entertainment (pre-Netflix) and to help revise and hone her writing.

Remember, the first draft is always perfect.

Don't take things personally or yourself too seriously.

Don't get attached to one option—attach yourself instead to a great outcome.

To avoid sunk costs clouding your judgment, seek feedback before you're too invested.

Share multiple options when you can. It makes it easier for others to give comparative feedback and reduces the chances of taking it personally.

Remember how valuable good feedback has been in the past.

Consider who to gather feedback from. Sometimes complete strangers can help (who cares if they don't like it?), and other times a friendly face can ease you into it.

Remember the spectrum policy to focus on the good in an idea.

Feedback fear

With well-insulated houses and central heating as standard, I always grew up with heating the space as how you stay warm in the winter. A colleague once shared with me that where he'd lived, they thought of it as heating people, not spaces when looking to stay warm.

The heating people approach means rather than heating the air in the room, you focus on heating the person: warm clothes, hot drinks, baths, cosy furniture with high backs and sides that traps heat in, or furniture that is itself heated like the kotatsu or aga, and generally local heating where a small room or even part of a room may be warm while the rest may be cool — dividing screens are sometimes used.

This approach was common until relatively recently and also still is in countries where it was difficult to stay cool in the summer and houses weren't typically built to keep heat in.

Thanks to Peter Wyatt-Brandenburg for sharing with me many years ago.

Heating people, heating spaces

I've always been fascinated by how a tiny spider can create a web spanning a gap where climbing and dragging a thread across the floor would be impossible, maybe between trees, from a building to a lamppost, or over a stream. How do they do that? Here's a common technique by many orb weaver spiders — known for building orb-shaped, or circular wheel-shaped webs — for bridging the gap and creating the web.

The spider stands on the edge and lets out a long thread. It waits for the breeze to blow the thread away from them. If the thread catches onto something it can form a bridge thread.

Once it catches, the spider may reinforce the thread and then put down other anchors. These then form the frame of the web into which it will add radial threads from the centre.

The spider may then put down an auxiliary thread that provides a non-sticky frame, together with the radial threads, for it to walk on while it lays down the final sticky capture spiral. It's then set to lie in wait.

Some spiders will eat their webs at the end of the night but leave a bridge thread in place — perhaps for you to walk into in the morning — ready to rebuild the next night.

There is a vast diversity of spiders and webs. This is a fairly common example, but even within orb spider webs, there are a ton of different strategies for capturing prey. But perhaps, the next time you spot a bridge thread spanning a seemingly impossible gap this will give you a thought as to how it might have been done.

Here's a common orb spider web as a static sketch

You can watch darwin's bark spider on the BBC creating a web spanning a remarkable 25 metres

A common orb spider web

The magic of a first draft is that the first draft is always perfect. It doesn't matter if it's rubbish, if it's messy, if it doesn't flow, if it lacks personality, or if it won't work. The job of a first draft is to be a draft and get the process started. So however it turns out, the first draft has done its job perfectly.

In the illustrated art collection by Dr Seuss you can see some of the first drafts and iterations of text and images that go to refine the seemingly effortless rhythm, rhyme and combination of text and images from his wacky illustrations.

Donald Schön, in his classic The Reflective Practitioner, goes further by sharing his analysis of design as a reflective conversation – observing each mark sketched on paper informs the next you make. You don't know how it will turn out until you put pen to paper. Seeing what comes out allows you to adapt and modify as you go in a back-and-forth of discovery and evaluation.

Don't worry about your first draft — it'll be perfect.

I read this for the first time in an article by Casey Fowler that's no longer live. Most likely, it originates from the novelist Jane Smiley:

"Every first draft is perfect because all the first draft has to do is exist. It's perfect in its existence. The only way it could be imperfect would be to NOT exist."

The first draft is always perfect

We're all different sizes, and there is no one-size-fits-all, but when it comes to the chosen size it turns out that that size mostly fits men better.

Caroline Criado Perez in her book Invisible Women shares how so much of the designed world fits men better than women — examples include piano keyboards that make playing more technically difficult and more prone to injury for smaller hands, stab vests that didn't take account of breasts, crash test dummies for car seats tested only with males, toilets that always lead to queues, phones that don't fit female hands or pockets, and voice recognition that picks out male voices more easily.

It's a stark reminder of how we need to do more to design with more of the world in mind rather than the default reference male. 

Read more: The deadly truth about a world built for men – from stab vests to car crashes.

See also brilliance bias and the curb-cut effect.

One-size-fits-men

An ode to the importance of little things.

This classic poem memorably paints a picture of how small details can matter, and how small changes can make a difference. Taking that extra bit of care, adding that extra bit of polish, helping that person when you had nothing to gain, showing up with generosity — all small actions that through their effect on others can, ultimately, have a large impact.

This same idea also applies to how we choose to spend our money and our time through contagious commerce — from Seth Godin:

While one person choosing not to eat meat will have a small impact on our climate, it will have a much bigger impact on the restaurants, groceries and food suppliers who notice what you’re doing.

They’ll change what they offer, and that will lead to a multiplier effect of other people changing their habits.

Buying an electric car or installing solar before they’re the obvious economic choice has the same impact. Because once marketers and investors discover that there’s a significant group that likes to go first, they’re far more likely to invest the time and energy to improve what’s already there...

...Very few people have the leverage to change the world. But all of us have the chance to change the people around us, and those actions change what gets built, funded and launched.

For want of a nail the shoe was lost.
For want of a shoe the horse was lost.
For want of horse the rider was lost.
For want of a rider the battle was lost.
For want of a battle the kingdom was lost.
And all for want of a nail.

For want of a nail

The curb-cut effect illustrates how when we design to benefit disadvantaged or vulnerable groups we end up helping society as a whole.

Angela Glover Blackwell explains how campaigning by students with disabilities in Berkeley in the early 1970s led to adding curb cuts to the Berkeley sidewalks to make access easier for those in wheelchairs. Yet it wasn't just people in wheelchairs that it helped. Curb cuts also made life easier for people pushing children in strollers, people using trolleys for deliveries, people pulling a suitcase, those wheeling bikes or on skateboards, and it also helps save lives by guiding people to cross at safe locations.

Another example is adding closed captioning to TV that helps anyone watch in a noisy bar, a waiting room, or watching an airline safety video. Or a classic example of universal design in the OXO Good Grips range originally made to be comfortable for holding a peeler even if you have arthritis.

It's also a useful analogy for "how laws and programs designed to benefit vulnerable groups, such as the disabled or people of color, often end up benefiting all," (PolicyLink) whether that be increasing broadband access, improving public transport or taking cuts out of curbs.

Here's a short, fun video of Gary Karp explaining the curb-cut effect.

Thanks to my patron Quintin Balsdon for sharing it with me.

The curb-cut effect

When it comes to innovating, counterintuitively, I think the surest way to produce something new and noteworthy is to start by replicating the work you admire.

If you're making music, first play the music from your favourite artists, then make music like theirs. Only when you've mastered that do you need to go your own way.

If you admire Hemingway, practice writing like him, and your own voice will likely develop by itself.

Before helping develop cubism Picasso was first an accomplished artist.

It's easy to look at the best and think you have to be different. But standing up first makes it easier to stand on the shoulders of giants.

What's more, copying is much lower pressure.

I learned this idea while working at Jump Associates

Replicate then innovate

Forcing functions are a super way to help make things foolproof, or better, errorproof — as all of us make mistakes with designed things without being fools. You may have used your own forcing function when, in an attempt to make sure you remember your passport or tickets before a flight, you put them directly in front of the door so you couldn’t open it without noticing them. That little dialogue that asks you if you want to save your changes before closing your work, that’s a forcing function too.

My first memory of understanding a forcing function was when working with a giant machine capable of cutting through 100 pieces of paper at a time. The two buttons to operate it were on opposite sides of the machine. I couldn’t start the machine without spreading my arms out wide. There was then no way to also accidentally have your fingers in with the paper and near the blades when it started. Smart.

I learned this sense of forcing function from Don Norman’s classic The Design of Everyday Things. Also from Don, see Mapping.

The other sense of forcing functions for productivity is also really useful: helping kick ourselves into action.

Forcing function — design

When I look back at the LEGO sets of my youth compared to the LEGO sets of today, a few things are striking. Today’s is much cooler: the colours are better, the pieces are more interesting, and the sets are more clever (they also have a lot more weapons*). And the sets have their own characters: they’re not just nameless people in characterless towns—every set is full of people with names, expressions, backstories, personalities and goals. My observation, ahem, through our children, is that this makes it way more interesting to play with. It’s the characters and the story that make them so good now. A good part of that I think is also the shift in quality of expressions on the faces.

I am kind of in awe of LEGO faces. The number and variety and subtlety of expressions it’s possible to make with just a few small changes to a few small lines on a face I find truly astounding. This sketchplanation shows just a tiny bit of the variety from the LEGO Movies. Respect to the artists.

*5% of Lego boxes sold in 2001 contained Lego weapons. In 2014 that was 30% according to Bartneck C, Min Ser Q, Moltchanova E, Smithies J, Harrington E (2016) Have LEGO Products Become More Violent? PLoS ONE 11(5): e0155401.

LEGO faces

Chindogu are inventions that are not really useful yet are not completely without use. They make sense, but you’d never use them. They are also, as a result, often really funny.

This chindogu article gives some great examples while also sharing the 10 tenets of what makes chindogu, chindogu. Things like: there must be the spirit of anarchy —  they represent freedom of thought and action. And they must exist — just the idea isn’t enough; they must be made.

Apparently, the selfie stick was invented as chindogu but failed as people evidently actually found it useful — though you can still see why it might have started as chindogu.

Also see: affordance, forcing function, and more genius from the Japanese: Tsundoku

Chindogu

The data prison is the default table where the bars of the cells crowd out your data with non-data-ink and lock your data into a prison.

When data is locked into cells, their relationships with other data are harder to see, and the reader has to work harder to learn from your table.

When making a table of data, consider if, by adjusting spacing and alignment, you can make the columns or rows clear enough as they are without the prison bars. And look for opportunities to remove the visual noise to let your data and the relationships between them shine out.

The data prison is a concept from Edward Tufte. Check out the beautiful Envisioning Information

The data prison

This simple model for the progression of ideas is sometimes called a dialectic. It has many philosophical roots, but regardless, it’s a nice way to think of how ideas and perhaps society can progress. Something is created or put forward. It has some benefits but gives rise to negative effects, and somehow, we figure out a resolution as progress. That new solution then becomes the basis for the next step.

Design sketches