The thesis of the article is that “Handmade” websites are not necessarily better than premade company ones, but are a unique and timeless reflection of their creator and the subject it was coded for. One point the article makes is that online archives reflect their content and “...continue to exist in the medium within which they were created” (Carpenter 2015). Expanding from that, just like libraries containing books from authors around the world, Handmade Websites are made as a library tailored towards the books they hold. Referring to the uniqueness aspect, Carpenter had created a small book that was translated into a website meant to tell a circular story. His intention of uniqueness was to use his website to evoke the circular part of his story and start on the first page of the reading when finished, just like a book but online. Adding on, these websites retain their unique and timelessness by being Handmade. Usually, websites from companies would constantly update and renew themselves to suit changing customer needs. An example would be when an old radio starts working. It would not broadcast old content or speakers but what is currently playing in the present. Handmade Websites are not made for the intention of customers and utilizing templates, but for what their creator wants in a more creative sense. This results in old sites filled with broken links, page errors, and missing images with their own intended charm.
The Handmade Web resists the version of the web that washes away amateur coders and replaces them with predatory corporations. These corporations seek to only utilize websites for promotion rather than form a community or promote the ability to create for themselves. Moreover, these corporate websites lack a sense of individuality. They are all clean and professionally formatted compared to if a new coder made a tailored website towards a topic they were interested in. In terms of community, it has been brought up that it was common for people who produced Handmade Webs to rewrite each other's code. It was brought up that many readers have re-written source code from Nick Montfort which allowed them to experience making computer-generated text for the first time. In contrast, companies like Apple created iPads and other mobile devices to access material to consume while also losing the ability to inspect their page sources. This shows how tech companies ironically produce technology to access the web but do not allow their consumers to create for themselves.
“Physicality” defined for me is not only when a website is more visually unique but when users put in physical work to create the image. One website that reminds me of this mentality is “OUR/PLACE.” Now closed, the website mainly attracted Twitch streamers and got their fans to create a pixel art banner representing their brand by owning one pixel from the canvas. It was essentially a battle of popularity and an engaging way for not only the streamer to connect with their community but for the community to show their support in a “physical” way. Other than the Twitch community, the website also harboured many fandoms ranging from anime, games, TV shows and much more. Although I did not participate in the act of placing a pixel to create a character from a fandom I adore, I noticed the uproar from friends and streamers posting livestreams of their fans creating their signature banners.
The whole thesis of the reading is how one can design natively for screens. Chimero first describes his two-year search for the answer and directs readers to his recent discovery of aspirin. After going to the pharmacy, Chimero noticed his purchased aspirins were smaller than what was remembered. It turns out that the drug can be condensed further and just needs “padding” for it to be picked up and consumed. Similarly, computers and technology have undergone the same treatment through the passage of time but the “padding” being picked up resides inside the computer rather than outside. He proposed that visual metaphors were effective in understanding how to operate a computer interface-wise. One example he gave was that people would not know where to put unwanted files but having an image of a trash bin gives a clear direction. Additionally, computers are tools with many options and it is up to the designer to communicate what can be done, whether it's knowing you delete files using a trash can or continuously mold screens to fix how the user can experience/understand it the best.
I stand with the ideology of skeuo. It was useful how Chimero used two photos of horses to visually represent the two where one is flat design and one is design references the three-dimensional world. I always find it refreshing to find something unexpected in design but still communicate its intended need. Icons and flat logos are great, but there are only so many flat silhouettes to create or recreate where they do not overlap or copy each other in some way. Take the trash bin example, I would prefer to see an image of a realistic trashbin than its flat image counterpart just for that sense of refreshing variety. Metaphorically, there are so many trash bins in the world that I am more interested in their different texture and designs which can not be replicated with just flat shapes. Furthermore, real-life imagery that reflects the different cultures and the material it comes with is more compelling rather than a flat icon. Adding on, there is also a sense of blandness to most corporate logos as many have chosen this minimalistic route. Sure, the information it holds is more compact like an aspirin but it is to the point where there are millions of drugs like it. I would rather gulp down a bigger pill that is compact and enthralling in my eyes.
Originating in 1872, the zoopraxiscope is a collection of high-speed photos radically spun on a glass disc. When spun, the photographs appear as light redirects and show the imagery as if there was a movement happening from the photos but on a screen. This relates to the term “flux” as embodies the capacity to change. A simple bet between horse riders evolved into a gateway for filmmaking and graphic design. The zoopraxiscope relates to the web as the web is also prone to constant change which can evolve into something great like UI components. Responsive components like toggle or progressive disclosure are great for users to avoid confusion and guide them to what they want out of the website. If someone purchases an item, the stateful toggle gently guides them into entering their information and hiding their list for the next step. This lets them know they completed what they wanted and they can move on instead of complicating their experience by managing and navigating through multiple buttons. I know that pixel art has inspired digital design icons and typeface-wise. As previously mentioned in a past lecture, Susan Kare created icons that were easy to use and made up of simple pixels. This notion eventually led to more stunning varieties of pixel art in the design and gaming communities along with typefaces made from pixels to suit computers.