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During the summer of 1983, after spending more than six months creating symbols and icons for Macintosh files and menus, designer Susan Kare‘s attention turned to an issue she very much cared about: fonts.
At the time, on most personal computers, each letter was allotted the same space regardless of its shape. Thanks to its bitmap high resolution display (and Steve Jobs’ obsession with calligraphy) the Macintosh was capable of rendering proportional fonts, “leaving behind the tyranny of monospace alphabets with their narrow m’s and wide i’s” as Kare recalls.
Free from the requirement of making digital versions of print, scalable or already existing fonts, Kare focused on optimizing screen readability creating new bitmap fonts in specific sizes, controlling every single pixel as she was wont to do. (more…)
When, at the end of August 2004, Apple introduced the new iMac G5, Philip Schiller, Senior Vice President of Worldwide Product Marketing, stated that “A lot of people will be wondering ‘where did the computer go?’”.
With the entire system fused with the display in a design only two inches thick, the new iMac was in fact a masterpiece of technological miniaturization. But it not only totally removed the main processing unit from the user’s view, it also packed in less space more power than the preceding G4-based generation, blurring even more the line between professional and consumer products. (more…)
On January 8, 2004, at the Consumer Electronics Show in Las Vegas, Hewlett-Packard CEO Carly Fiorina brandished a blue device and proudly announced a deal with Apple. The agreement would produce the “Apple iPod by HP”, a market oddity which was made available nine months later and, after weak sales, was discontinued in 2005.
Also called the “Apple iPod + HP”, this was the first (and only) iPod license ever allowed: Apple would manufacture a version of the iPod for HP and the iTunes software would be pre-installed on all HP Pavilion and Compaq Presario computers. Although it was short-lived, at the time the deal made sense for both of the companies.
In 2004 the iPod franchise was a growing success but the digital player hadn’t yet conquered the bulk of the market (this would happen the next year, thanks to the iPod mini). Apple was interested in anything that would further grow its penetration and mindshare, in particular after the launch of the iTunes Store for Windows, which had debuted just three months prior. Thanks to HP’s distribution network, the “iPod + HP” would be sold in retailers where Apple lacked a presence, such as Wal-Mart, RadioShack, and Office Depot. (more…)
The first three generations of the iPod shuffle are a good example of how Apple keeps evolving and reinventing its products and yet strives to maintain a sense of continuity to communicate that the core concept and identity is unchanged.
In the case of the iPod shuffle there is one element which has been painstakingly kept throughout all of the models: the use of the color green. It has been successfully associated by Apple with the act of shuffling, the random order (and reproduction) of the audio content by the player, and thus with the shuffle itself.
The original, first generation of the iPod shuffle, launched in January 2005, used this color extensively in its packaging and promotional material. Green was the background of the TV commercial and print ads, green was the dominant color of the smallish box in which the iPod was sold and green was the color under the button which switched the iPod on and put it on continuous or in a shuffle play mode.
The second iPod shuffle generation, launched in September 2006, kept the green theme in many of the aspects such as packaging (although in a more subtle manner) and the switch controls. Apple even made a step further and chose green as one of the (many) colors in which the microscopic player, now in the form of a clip, was painted and made available to the public.
The third generation of the iPod shuffle, launched in March 2009, represented a bold choice by Apple. The player was made ridiculously small and given a clean and minimal, almost aseptic design, stripped even of the front controls, which were moved -in a controversial choice- to the earphones’ cable. But once again the color green was kept as a defining mark of the “shuffle” brand, used sparingly but effectively in two ways. One such use was -again- under the on/off switch, as in previous models, this time the only spot of color on an otherwise chromatically neutral device.
The other use is not on the device and can be seen on the Apple website, during the Guided Tour Video, which shows how to use the new controls on the earphones. To emphasize and make absolutely clear how how each single, multiple or prolonged click activates a function Apple chose to use animations. During each of those key moments there are circles, big green circles.
Copyright 2006-2018 Nicola D'Agostino. All rights reserved.
Apple, iCal, iPod, iTunes, Mac and Mac OS are registered trademarks of Apple Computer, Inc. Aperture and Newton are trademarks of Apple Computer, Inc.
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This web site is not sponsored or endorsed by Apple Computer, Inc.
In 2004 the iPod franchise was a growing success but the digital player hadn’t yet conquered the bulk of the market (this would happen the next year, thanks to the iPod mini). Apple was interested in anything that would further grow its penetration and mindshare, in particular after the launch of the iTunes Store for Windows, which had debuted just three months prior. Thanks to HP’s distribution network, the “iPod + HP” would be sold in retailers where Apple lacked a presence, such as Wal-Mart, RadioShack, and Office Depot. (more…)
The first three generations of the iPod shuffle are a good example of how Apple keeps evolving and reinventing its products and yet strives to maintain a sense of continuity to communicate that the core concept and identity is unchanged.
The original, first generation of the iPod shuffle, launched in January 2005, used this color extensively in its packaging and promotional material.
The second iPod shuffle generation, launched in September 2006, kept the green theme in many of the aspects such as packaging (although in a more subtle manner) and the switch controls. Apple even made a step further and chose green as one of the (many) colors in which the microscopic player, now in the form of a clip, was painted and made available to the public.
The player was made ridiculously small and given a clean and minimal, almost aseptic design, stripped even of the front controls, which were moved -in a controversial choice- to the earphones’ cable. But once again the color green was kept as a defining mark of the “shuffle” brand, used sparingly but effectively in two ways. One such use was -again- under the on/off switch, as in previous models, this time the only spot of color on an otherwise chromatically neutral device. 
