running @yourmoment, worked with @tembo, @withdefault, @peec_ai and more
USA
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For an agency website's homepage, it's often a struggle to show that you care about the details, without making the whole thing about "your agency's brand" when the work is what actually matters.
For our new site, we try to showcase that care through the interactions within the client work in the carousel and smaller interactive bits throughout the utility elements on the site.
The work in the carousel is either a video made from the code that shipped, a high quality screenshot of real work, or in some cases, actual interactive code pulled from the projects we are highlighting.
The goal is to make it clear to others that we do actually sweat the details in our work. Putting subtle transitions and interactivity into into simple things like the book a call menu, pricing menu, and even footer links.
It's very easy to go overboard with this type of stuff and surprisingly, it takes more time and effort to keep it simple.
Click around, try it out. Let me know if you find something joyful.
moment.so
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experimenting with generating simple marketing illustrations for @dhh's Omarchy
purposefully not trying to change the visual language, just taking concepts and illustrating them in a simplified manner that allows for a workflow or feature to be highlighted with no clutter
whole workflow driven entirely by agents. need more? just ask the agent. it knows the codebase. it knows the styles. it knows everything.
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Swiping between macOS desktop workspaces is a core part of how I personally work. I might have one Figma file open in fullscreen on one space, another open fullscreen in another space, and every other app that I am interacting with likely is in a fullscreen space dedicated to the app.
It's how I prefer to work. I swipe between these tabs like a mad-man. I use this to reference a design, going back and forth between spaces quickly and frequently.
There's only one problem... If you work like this, you will know that whenever you 3-finger swipe between these spaces on macOS, there is a slight delay between when you swipe and when you can actually click on something post-swipe. That delay is slight. 150ms or so (I measured.)
But 150ms fifty times in an hour is 7.5 seconds. 7.5 seconds each hour you work is about 60 seconds per day. It's death by a thousand cuts.
This is my open-source contribution to the flow state.
github.com/rileycx/strafe
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I wanted to give @paper a try and here's what I was able to learn over a few sessions, with the infamous Gmail inbox as the work surface:
1. It is the closest "code to canvas" flow I have been able to get out of any of the available tools. For something really messy like the Gmail inbox, to get it matching, it did take a few tweaks (like 3 prompts)
2. Once you have the initial screen(s) in Paper, the process of iterating directly with agents through the CLI is especially delightful.
3. Iterating on designs, like in this case, where I took the Gmail inbox and converted it to more of a utility-based simple interface becomes a more passive workflow at first. I would simply open the original, leave some comments and critique on the imported design, then tell the agent to apply the changes.
4. This format of prompting for edits allows you to use terms that have historically been saved for humans critiquing other humans. For ex: "This needs to feel more like a dev-tool, but still approachable for a large user base such as Gmail's" created some great results.
5. Once an agent has done a pass (or many variations,) the push back to a human for detail work is simple. There's no back/forth and you are just in the right environment already.
6. Once you've come back through and made tweaks as a human, you can simply ask the agent to apply those same changes to other elements that they should be applied to.
Overall, the most interesting thing about the workflow in Paper to me is the fact that I can have a general idea; can quickly let loose a few prompts, even if I only have 15 minutes to work on something -- and then come back in another session and spend another 30 minutes without it feeling like I lost my train of thought and all of the necessary context to keep going. Much less fatigue overall.
This before/after of the Gmail inbox took me a total of ~45 minutes of dedicated effort, utilizing that weird block of time you have just before/after a call.
That "lack of effort" on my part still shows through, like not everything is perfectly aligned, colors could be improved, maybe I just killed off an entire important feature, but that's not the point of this experiment.
Doing exceptional work takes much more time than what I spent here, but it's promising and generally exciting as a designer to imagine what you can do with tools like this.
Great work @paper team.
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this is the only true constant in design
all files follow a down/right pattern from worst to best iterations
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backyard design baseball dream team
• @drewwilson
• @kevintwohy
• @raunofreiberg
• @jamesm
• @krispuckett
• @graceongrid
• @joshpuckett
how fun @ridd_design @designertom
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⛷️🫡
NEW FEATURES LIVE on SkiFree2:
✅ ADs are LIVE! Run yours for $5 or $10 a week.
✅ sound effects for yeti, dragon, ufo, dino, bison
✅ No more cheat codes: there's a suprise by the lift.
✅ Overall smoother gameplay updates
More coming soon from your fav design engineer!
skifree2.com
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landscape feature section interaction🌻
Radial Viewport Chrome Extension is now live, give it a shot ->
chromewebstore.google.com/de…
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I built this free Chrome extension to make it easier to view, inspect, and edit marketing sites.
- Quickly view any breakpoint
- Lock viewport aspect ratio
- See a full page list or visual sitemap
- Make text edits live on the page
- Copy comments and edits for AI
Looking for a few early users
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On a lot of sales calls, I end up telling the person I am probably not the right choice for them. Not as a tactic, genuinely.
If someone needs a new product built from scratch, even if they have all the money in the world to have me handle it, I would much rather send them to people who do that better than I do.
If they want a consumer brand built for an app store, or a highly custom website that will win awards based on the amount of interactions and animations on a page, I tell them plainly that I have optimized my studio for something narrower and they would be taking on real risk hiring me for it.
It feels backwards the first few times you do it. You are supposed to want every deal, right? And turning one down on the call sounds like leaving money on the table for no reason. But declining the wrong-fit work has become one of the more valuable things I do, both for the business and for the people on the other end of the line.
Two things happen when you are honest about fit.
One: the people who are not right for you leave the call relieved instead of sold to, and a surprising number of them refer you to someone who is, sometimes within the same week. I have gotten better clients from prospects I turned away than from some I closed, because they remembered the one person who told them the truth about their situation.
And two, the people who are right for you trust you faster, almost immediately, because you just demonstrated you will say the inconvenient thing even when it costs you. That is not something you can manufacture with a testimonial or a case study. They watched you do it in real time, where it "cost you money."
Saying no out loud also forces you to actually know what you are good at. Early on I took on projects that were clearly outside my lane because I did not want to admit the work was not for me, and it went exactly as badly as you would expect: slowly and expensively for everyone, with both of us pretending that the next round of revisions would fix it.
Every time I decline now, I am sharpening the definition of who I help and who I do not, and that clarity compounds. It shows up in how fast I can scope the right project, in the confidence of the work I do say yes to, and in the fact that I rarely end up in that slow-motion mismatch anymore.
The strangest part is how often someone decides, right there on the call, to change what they are asking for so that it does fit. I will explain that I am not the person for the sprawling thing they described, and they will pause and say the sprawling thing was never really the point. When you hold a clear opinion about who you serve, people tend to trust what you're selling. For good reason.
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Early in my career I used to spend hours polishing every client presentation. Hide the explorations. Delete the dead ends. Only show the final direction. It felt like the professional thing to do.
Now I do the opposite. We share the actual messy working file — every exploration, every killed direction, every reference that shaped the thinking.
Here's what I've noticed happens when you show the mess:
Even if they don't go through every frame, they see the volume of thought. The references you pulled. The directions you tried and why you moved on. The one you landed on and the reasoning behind it.
It's built-in rationale. You don't have to spend 30 minutes explaining why you made a decision — the evidence is just sitting there. Just like when you were asked to show your work in school when solving a complex math problem.
And it builds trust faster than any polished presentation ever could.
"Oh, they actually put thought into this" hits completely different than "here's what we came up with."
The instinct to clean everything up comes from a good place — you want to look professional. But professional isn't the same as trustworthy. And in client work, trust is the thing that actually moves projects forward.
I picked up a lot of this mindset from "Getting Naked" by Patrick Lencioni. The whole book is about being vulnerable with clients — sharing what you actually think, admitting what you don't know, and not hiding behind polished presentations.
Turns out my elementary school math teacher was onto something when she was constantly hounding me to "show your work." At the time I thought all that mattered was the answer. Took me a while to realize the work is what makes the answer worth trusting and shows you've put in the effort.
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the norma device could roll off the shelf like the old chef boyardee commercials to find its new home
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