Collection: Online Learning Resources

We have a curious team at MJM, and we’re always engaged with learning to improve our work and ourselves. Having recently emerged from remote work lockdown, we asked our design team to share some of their favorite online learning resources.

Kirstie

CSS-Tricks: Lately, this has been the first place I turn to when I have a CSS question. I really appreciate how clear and approachable the style is and how in-depth they get with even the most fiddly CSS.

Don’t miss Kirstie’s takeaways from WordCamp Minneapolis/St. Paul

Brady

Nielsen Norman Group publishes research on a variety of design-related topics. I particularly appreciate their short explainer articles and videos on design principles. They generally explain the principle and then show it in context on an actual design.

Farnam Street publishes articles full of “timeless ideas for life and business.” There’s a definite emphasis on the importance of lifelong learning and cross-disciplinary curiosity. Their articles are rich with links to other ideas and more of their writing, so it can be a bit of a rabbit hole! The Mental Models collection is a great place to dive in.

Tim

School of Motion: Lots of great content about all things motion, delivered through articles, interviews, and tutorials. And courses, of course – it’s called School of Motion for a reason. This is one of those sites that frequently results in “Oh! That’s how I should have done it the first time” moments.

Joel

Lynda.com: A website that offers online courses for things ranging from creative software to business skills.

Skillshare: A subscription based service that provides well-produced video classes on how to do anything from photography to calligraphy.

Spoon Graphics: A website full of tutorial videos and other content created by an excellent designer named Chris Spooner.

 

Designing for Humans in a Robot’s World

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Over the last few months, I, like most people, have been asking myself a lot of questions. Small questions like, “Do I have enough toilet paper?” Hard questions like, “When will I see my friends again?” And big questions like, “What will our world look like when this is all over?”

Recently, I had the opportunity to attend WordCamp—what is usually a one-day WordPress conference in Minneapolis but now, like so much of our lives, had shifted to being entirely virtual. Where better, I thought, to start finding answers to at least some of my questions, many of which are connected to our increasing dependence on the digital world.

As someone who has designed a website or two, I have been filled with a mixture of sadness at how much of our interactions have become virtual and curiosity about how we can work to make these spaces more meaningful and more inclusive. At WordCamp, I was pleased to discover some unexpected insights that left me feeling more motivated and optimistic than before. (Although no answers on the toilet paper front.)

SEO… It’s Not Just for Bots

I will be the first to admit that I was somewhat of a reluctant web designer. My teachers would stress how important it was, and I would be like, “Yeah, but the paper—it’s so romantic!” This changed when I realized it was arrogance, not romance, that was constraining my thinking.

By forcing my own notions of “good design” on the user, I wasn’t listening to what they actually needed or wanted. I had to shift my thinking into designing for the medium that would be most beneficial to the audience I was talking to and not just the medium that I wanted to create in.

What does all of this have to do with SEO? The prevailing attitudes towards SEO are that it is either a.) A game that can be won and lost or b.) A giant pain in the butt that Google has forced upon us all. While there may be some truth in these attitudes, SEO work can become more purposeful if we spend less time obsessing about search rankings and inscrutable algorithms and more time focusing on what’s really important: the user.

In one of the sessions I attended, Tyler Goldberg of CYBERsprout explained that, contrary to popular belief, Google is not out to get you when it comes to SEO. Google’s primary goal is deliver the content that is the most relevant and useful to the user. So if your goal is the same, you will be helping Google and, in turn, Google will help you.

While the SEO game can still be conned by those with deep pockets and black hat practices, it is definitely changing for the better. Google recently announced that it will be adjusting its algorithm to reward websites who provide a good user experience. This means content that is well-formatted and engaging and designs that are intuitive and easy-to-use. In other words, good SEO is really just good human-centric design.

We All Win With an Accessible Web

Many of us have only recently begun to rely on digital-only services as a lifeline to the outside world, but for people with disabilities, the web has long been a vital tool to help them live richer and more independent lives.

I am ashamed to say that when I first began designing for the web, accessibility was not something I put too much thought into. But the more I have learned about it, the more it has provided depth and purpose to my work.

In her session about web accessibility, Mychelle Blake of Firelink (and fellow Sioux Falls resident!) shared the importance of considering it at every stage of the process. There is no plug-and-play solution that will make a website accessible—it needs to be baked in from the site structure to the content to the design.

During this session, I was struck by the eerie similarities between SEO and accessibility. When it comes down to it, they are both about having empathy for the end user and delivering them a positive experience. Often, both SEO and accessibility are afterthoughts—something that comes secondary to the overall design. But, when we stop seeing these aspects as burdens or hoops we have to jump through and start working them into our overall purpose and strategy, we can start to design a web that is better for everyone.

As our reliance on the web grows stronger, it is more imperative than ever to create a web that useful, just, and, above all, human.

Imagining How Variable Fonts Could Make A More Expressive and Accessible Web

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A variable font is one font file that has flexible properties, allowing it to function as multiple fonts. Typically a typeface is available in a limited number of styles, such as the varying weights of light, regular, medium and bold, and often corresponding italics. Each style requires a separate font file. With a variable font, all of these styles and potentially infinite other instances are available using a single file. And variable fonts don’t just vary in weight – they can vary on several different axes like width, optical size, italic, and slant.

Implications for web design

Until variable fonts became a possibility on the web, designers were forced to limit the number of fonts used in a design to decrease the amount of data that must be downloaded to display a page. Each additional font adds extra load time. Waiting too long for content to load hurts the experience of interacting with a website. Variable fonts have the potential to remove this limitation. A single font file can provide the typographic expression previously only possible by loading many fonts.

Challenge the limits with variable fonts

 

Variable fonts for greater expression

Beyond the technical applications, variable fonts could also serve expressive purposes. Type used in buttons and navigation could change as the user interacts. A button’s label could grow increasingly bold the closer the user’s cursor comes. Numeric labels in charts and graphs could vary in correlation with data. Combined with natural language processing, qualitative information could affect how a font is displayed – a font could morph to visually express negative or positive sentiments. Maybe a news site wants to help readers identify “good news” and “bad news” quickly – a variable font could allow headlines that indicate how “good” or “bad” a story is.

Your mileage with variable fonts may vary

Variable fonts for greater accessibility

And there are implications for accessibility on the web as well. Imagine responsive websites and apps that adjust font size, weight, and other properties to cater to the specific needs of users or even the environment they are in. Perhaps fonts that increase in size or width to improve legibility for older users who may have visual limitations like cataracts. Conversely, a font could become more condensed to allow for greater information density for those with better vision. Some have postulated that variable fonts could help those with dyslexia, allowing them to customize certain parts of letters that are difficult for them to read.

 

View this post on Instagram

 

Need to relax? Let these calming waves of letters wash over you. An animation experiment with variable fonts. 🌊

A post shared by Matt Jensen Marketing – MJM (@mattjensenmarketing) on

Thoughts on 36 Days of Type 2020

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36 Days of Type is a global challenge to draw, illustrate, and letter the 26 letters and ten numerals in the Latin alphabet over (you guessed it) 36 days. Artists world-wide share their letterforms on social media using #36daysoftype, creating a massive catalogue of experimental type. Our design team once again chose to participate, you can view the full 36 days on our Instagram feed. Each character could be illustrated, animated, or otherwise constructed and each composition borrowed at least one color from the letter that came before it. The designers put together some post-mortem thoughts on the project:

Tim

This year I decided to continue to explore animation, specifically in After Effects. As a team, we decided to base the color palette for each day’s letter on one or two colors from the letter created the previous day. The goal was to unify the pieces somewhat, without giving ourselves too short a leash.

A project like this is fertile creative ground because it provides two potent ingredients for creativity: a clear objective and a time constraint. Creativity loves constraints. You can make whatever you want, but (helpfully) you don’t have unlimited time. And because you have to produce a letter every day you don’t have the luxury of becoming too precious about each piece. There’s a little bit of pressure because you know there’s an audience, but you’re also free to explore because the stakes are so low—no one cares what you make.

Joel

For 36 Days of Type this year, I dove into the world of the open-source 3D design program Blender to familiarize myself with the tool and create some distinct letter explorations. What I found was a powerful program with plenty of potential for future projects. I also discovered the unique and visceral fun that designing in a 3D space can create. Watching your work come to life with the click of a render button is just one of those things that will never get old.

Kirstie

During this year‘s 36 Days of Type, one of the most important skills I gained was not a new technique or software, it was adaptability. For reasons none of us need reminding of, this year’s project didn’t exactly go according to plan. Instead of meticulously planning out my letters, I found myself transforming an Rs into Ps on the fly and choosing ideas based on how quickly I could execute them in between Zoom calls. But, rather than being a roadblock, I found it surprisingly freeing. With the complete inability to be anywhere else, I was forced to live and create in the present moment and my work was better for it.

Brady

I love the 36 Days of Type creative prompt for the opportunity to experiment and try something new. I called in the Cavalry this year to help with my animated letters. Cavalry is a new 2D animation tool built around the concept of procedural systems. It relies less on key frames (though it is incredibly well-equipped in that regard) and more on routing values from one property into another to create effects. For example, using a sine wave function to control the vertical and horizontal position of a shape, or even random noise to change its size over time. It felt a little bit more like creative coding or generative art rather than illustration, which was a good stretch for my creative muscles. I didn’t expect to find so much joy in routing data from one property into another and waiting to see what happened, but the surprises and failures were both invigorating. And while it felt much like play and experimentation, I quickly found opportunities to use the tool for project work too, solving problems that would have required much more time and effort using other more familiar tools.

Alison

36 Days of Type is a favorite collaborative project. I love seeing what the other designers come up with, and especially what techniques, colors, and forms are appealing to everyone. When I’ve got a short time to illustrate a letter, I resort to some of my favorite tools in Illustrator: the pen tool, the zig zag effect, gradients, and the blend tool. Illustration is not a daily task for me, but it is something I enjoy. 36 Days of Type is a great excuse to get back to illustration process. From sketching to shape and color exploration, I’m grateful to have projects like these to explore the sandbox.

Check out the whole set:

A Brief History of Optotype

You’re sitting in your eye doctor’s office and they pull out a chart of what appears to be a random selection of letters. You breeze through the first few lines, but by the bottom you’re starting to second-guess yourself. Is that an F or a P? Or maybe an R?

At this point you may be wondering: Where did these letters even come from? And who chose them?

With curiosity as our guide, we decided to dig deep into the history of optotype and how the Snellen Chart went from medical innovation to standard practice and all the way to pop culture ubiquity.

The Origins of Optotype

While glasses and other corrective lenses have been around for thousands of years, it wasn’t until more recent history that doctors have a had a standardized system for determining prescriptions.

The idea for the modern eye chart began with German ophthalmologist Heinrich Küchler. In 1835, Küchler cut images of various objects and animals from calendars and almanacs and pasted them onto a sheet of paper in decreasing size. Because it was difficult to control the consistency of the style and weight of these images, Küchler also published a version of the chart using blackletter text set in single lines in decreasing size in 1843.

Küchler’s chart was not widely adopted and, in 1862, Dutch ophthalmologist Herman Snellen developed his own version of the chart that is still the foundation of what is used today. Snellen’s first chart consisted of dingbats (squares, circles, plus signs, etc.) but, like Küchler, he eventually decided that letters would be easier for patients to identify and describe consistently. Unlike Küchler, however, Snellen believed that monoline letterforms of consistent size would be easier to read and he developed his own typeface, now referred to as optotype.

Herman Snellen built each letter of his optotype on a rigid 5×5 grid so that each letter is mathematically consistent and takes up the exact same amount of space.

While traditional letterforms use varying widths and heights to give the appearance of consistency, Snellen built his optotype on a rigid 5×5 grid so that each letter is truly mathematically consistent and takes up the exact same amount of space.

In 1959, Dr. Louise Sloan designed the 10 sans serif letterforms that are most commonly used in eye charts today.

In 1959, Dr. Louise Sloan of Johns Hopkins University created a new optotype with a cleaner sans serif design. Like Snellen’s, Sloan’s letters are formed within a perfect square. Both the Snellen and Sloan optotypes contain letters that were chosen for their easily identifiable verticals, horizontals, and diagonals—C, D, E F, L, O, P, T, and Z for Snellen and C, D, H, K, N, O, R, S, V, and Z for Sloan. Sloan’s letters are considered better for equal legibility and are particularly effective at identifying astigmatism. Sloan’s letters and variations on them are still commonly used in eye charts today.

How To Read a Snellen Chart

Modern Snellen charts can vary in the number of lines, length of lines, and typeface used, but most charts typically contain 11 lines that decrease in size by 25% each line. The lines of text are sized based on what the average person can read at a distance of 20 feet. Someone who can only read the top line of text can see at 20 feet what an average person can see at 200 feet, meaning they have 20/200 vision, which is considered legally blind. While 20/20 is often considered “perfect” vision, it actually means that someone is on par with what the average person can see at 20 feet. Some humans actually have 20/15 vision and many animals have 20/10 or even 20/5.

The lines of text on a Snellen Chart are sized based on what the average person can read at a distance of 20 feet.

Today, many eye doctors prefer to use the LogMAR chart developed by Ian Bailey and Jan E. Lovie-Kitchin in 1976. The LogMAR Chart uses Sloan letters in an inverted pyramid and is considered more precise than the Snellen Chart. Most doctors have also traded in their paper charts for backlit displays that provide better contrast.

Other eye charts include the Tumbling E and Landolt C charts that are used for children and adults who aren’t able to read and the Jaeger chart which measures near-vision acuity and features paragraphs of text rather than letters.

While the original Snellen chart may be falling out of use, it has taken on a new life outside the doctor’s office. The simple design makes it endlessly riffable and designers continue to find new ways to reinterpret it. So whatever form the eye chart takes next, it’s certain that Snellen’s optotype will remain a memorable intersection of medicine and design.

Sources

“Who Made That Eye Chart?,” New York Times
“What Are Optotypes? Eye Charts in Focus,” I Love Typography
“What’s an Eye Test? Eye Charts and Visual Acuity Explained,” All About Vision

Eye Charts in Popular Culture

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Growing up, I saw more than my fair share of the optometrist’s office. My dad is an optometrist, so my brothers and I were plenty familiar with the exam rooms, the walls of stylish frames flanked by mirrors, and of course the phoropter.

But there is one piece of optometric design that I can’t claim to have seen more than anyone else: the visual acuity chart. You know, the one the eye doctor uses to check your vision, with the lines of increasingly smaller letters. It’s everywhere.

The eye chart is all over Etsy

On Etsy you can find eye chart greeting cards, cookie cutters, and charm earrings to name but a few. Do a quick search for “eye chart” and you’ll see what we mean.

It famously featured in a scene from the 2001 film America’s Sweethearts in which the visual acuity chart spells out “I-L-O-V-E-Y-O-U.”

 

"Read from the top line, Sasha."

“Read from the top line, Sasha.”

 

The chart imposes some fairly strict creative limitations but offers a format that is instantly recognizable to the general public. Much like a Venn diagram, it is a playground for creativity. And a breeding ground for visual puns.

 

The year MMXX

 

If you’re curious about some of the history of the eye chart, we’ve got you covered.

I’m pretty sure my dad had a necktie with those big black block letters printed on it. In Dad’s defense, it was the 90’s, they put anything and everything on neckties. Hindsight is 2020.

Brand vs Brand Identity: Is there a difference?

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A brand is not a logo.

Nor is it just a combination of logo, typeface, and color. And it’s not just the products and services the company offers. It’s a bit more. It might seem like a silly distinction to draw, but we believe it’s an important one to recognize.

So, let’s set some quick definitions.

Brand identity is the tangible, visual component of a company (name, logo, communications, how the collateral looks and feels). And then there are touchpoints. Touchpoints are moments in time where people interact with a product or service. Touchpoints and identity are the parts we can see, touch, feel, and interact with. Every product or service ties together multiple touchpoints into what some might call a journey.

Does the sum of all this equal a brand?

Not quite.

It’s like a relationship.

The brand itself is more of an intangible thing – the gut feeling (as Marty Neumeier describes it in his book The Brand Gap) about the company that its customers have. Brands are an abstraction that exist in the minds of those who interact with them. The brand itself is not created by a company alone – it is also created by the people who interact with the company’s offering. Their gut feelings, memories, or experience will be anchored or attached to the brand identity. The visual identity becomes a symbol to hold all of that meaning. When they see the logo for the company or hear its name, they quickly recall those positive or negative feelings. Ideally that identity feels authentic and an appropriate fit for the associations it takes on.

In that sense, a brand is like a relationship between two people. The relationship isn’t a physical thing you can drop on your foot, but it’s very real and represents an emotional connection you have with another person. Over the course of time, that relationship takes on meaning through shared experiences, future expectations, and how we choose to talk about it.

What does this all mean?

You can’t create a great brand just by having a clever name or creating a cool logo. Just like you can’t develop a strong friendship by only looking like an interesting person. Branding as a discipline is more than slapping a coat of glossy paint on at the end. It takes time and intention.

You can’t create a great brand just by having a clever name or a cool logo, any more than you can develop a strong friendship just by looking like an interesting person.

Creating a visually stunning brand identity can do more harm than good. If the company is not operationally sound and is creating a negative experience for its customers a strong identity will serve as a lightning rod for negativity and brand terrorism.

A strong brand identity will make it easier to identify the good and the bad alike. Before you invest in a new identity, make sure that the experience you offer customers is a quality one. And then craft an identity that will help solidify the connection between hard-earned good experiences and your company.

The Shape of Our New Business Cards

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When we set out to redesign our business cards, we knew we didn’t want to go the standard route – we wanted something that would help tell our story. We had already been digging into the symbolism and imagery of wayfinding when we redesigned our logo. In that process we stumbled upon a fascinating shape called the reuleaux triangle – and it was perfect.

Reuleaux: /roo – LOH/

The reuleaux triangle has been used in many applications, from architecture to mathematics and map making. The overlapping section in the center of a three-set Venn diagram? That shape is the reuleaux triangle.

three-set venn diagram

Reuleaux triangles are geometrically beautiful shapes with surprising properties. They have been used as clever solutions to a variety of challenges in engineering and other fields. Its shape has a constant width – the diameter is the same no matter the orientation. It can rotate within a square while constantly touching all four sides, which allows for the creation of a drill bit that can create a square hole. How’s that for squaring the circle? Pencils in the shape of a reuleaux triangle have a couple of benefits: users often find them more comfortable to hold, and because they are not perfectly cylindrical, they are less likely to roll off tables and under your coworkers’ chair.

As creative guides for strategic journeys, the reuleaux triangle’s rich history in map making and trail signage is what ultimately captured our imagination. Leonardo da Vinci used the shape in an early map projection of the earth. It has been used in trail signage to help hikers find their way, such as along the Lewis and Clark National Trail. So it felt appropriate as the shape for our business cards, which help you find members of our team.

the cards tile into interesting patterns

We knew we wanted to feature topographic textures on the cards. But it couldn’t just be an image of topography – there needed to be some actual topography to our cards. They had to be tactile, where you could literally feel the terrain under your fingers. So of course we had them letterpressed! We are very pleased with the results.

Notes from Design Camp 2019

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Every October, MJM sends some of it’s creative team to the fall wonderland of Branierd, MN to attend Design Camp, an informal design conference with nationally renowned speakers and special workshops. Read our three campers’ reflections from this year below!

Alison

What do I love about Design Camp? First there’s the swag bag, then it’s spending time outside the office with the design team, and then there’s beautifully thoughtful powerpoint presentations that designers put together (it can be done!). The best parts are the ideas that I chew on afterwards. This year’s featured keynotes focused less on immaculate portfolios of design work and more on their purpose and how design lives in the world: as public service at White House, alongside other artists and musicians, and as a tool for huge, international corporations to work more iteratively.

One theme that stood out was the idea of love. Love for yourself, your colleagues, your clients and your users. Ashleigh Axios gave an example of putting together rapid-fire graphics that support statements made during the State of the Union address given by the president. To a room of designers, she admitted it wasn’t beautiful, crafted work, but it was accurate, legible, and delivered on time. As designers and problem solvers, we make things for people. And we should make things to the best of our ability because people deserve that.

Kirstie

This is my third time attending Design Camp and while I always leave inspired to do new work, this year I noticed a different theme to a lot of the discussions. Instead of hearing about how I should be hustling every minute of every day, I heard about the importance of recharging creatively. Instead of leaving with a list of design topics to research and skills to hone, I left with a list of what could be better described as self-help books.

One example of this was a workshop I attended called “How to Speak Unicorn: Translating Design for the Digital Age” led by Michelle Schulp. Based on other web design workshops I’ve attended, I was expecting to be inundated with a list of new software and coding languages I was supposed  to learn. But instead, the presentation focused on something I’m not used to hearing about in web design: interpersonal communication.

Schulp acknowledged how designers who crossover to digital are often expected to be a “unicorn” skilled in every stage of the process. But, she said, rather than being an expert in every aspect of web development, it’s more important to be able to communicate with people who are. Rather than trying to force print designers to learn Python, we should be working on soft skills like active listening that allow us to bridge disciplines and leverage strengths. My overall takeaway from this year’s Design Camp was that to be a better designer, first you need to be a better person. Software will come and go, but things like empathy and compassion will always be a vital part of the designer’s toolbox.

Tim, Kirstie, and Alison in their Plaidurday finest at Design Camp 2019.

Tim

One aspect of Design Camp I enjoy every year is that the ideas and the concepts I hear there percolate in my mind for months afterward. One idea that sunk particularly deep this year was the importance of being intentionally and personally connected with the creative community around you.

Creative business consultant Emily Cohen admonished her audience to “support everyone you know.” Creative work can be discouraging, isolating, and lonely work at times, and many people don’t have the benefit of working closely with like-minded people. She emphasized that the work we do is always personal before it is professional, and we ignore that truth at our peril. And she also pointed out that wanting to be supportive isn’t enough—we also have to be intentional about supporting the people around us.

I‘m blessed at MJM to work in close proximity with four incredibly talented designers (not to mention the rest of our MJM team), and it can be easy to take that degree of connection for granted. We can Slack the other designers with questions, send over screenshots of a sticky design challenge, or even just doodle our problems out on the dry erase walls around our tables. And because it‘s so easy, I sometimes underestimate how much I‘m learning from them, and how valuable that is.

Being purposeful about “supporting everyone you know” sounds simple on the surface, but Cohen’s talk echoed many of the thoughts I’ve been having in my work with AIGA South Dakota over the past few years. As I’ve worked to support and amplify the good work that other creative professionals are doing around our area, I’ve found that I am more connected to that community. And although it wasn’t my goal, I also find that the more I spend time with the people in our community who are doing great work, the more my own work is improved and sharpened by their insights and advice.

Commonplace in Community

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A commonplace book is one central location for keeping important, interesting, or useful information. The practice of commonplace was used to keep track of ideas, concepts, facts and any piece of useful information that one might want to return to later. The commonplace book would be a fertile ground for new ideas and insights to form. Sometimes the books were kept as general collections, but were often kept on a specific topic or theme. The curators of these books found immense value in both the practice and the book itself.

These books were recorded by hand, in a journal. Over time, the practice has evolved with technology and now there is a proliferation of ways to keep a commonplace book as well as new kinds of content to keep in them. Digital apps like Evernote are a great way to keep a commonplace book, and are a clear evolution from the traditional pen and paper format.

These books were very personal artifacts for use by an individual. But something interesting has happened with the advent of the internet, blogs, and social media. Our commonplace books have become public, community commonplaces. Tumblr blogs, Instagram accounts, and Pinterest boards all can function as a sort of commonplace book. On Reddit, the community votes the most compelling content to the top.

These are all public, curated collections. And we have the ability to follow the collections of others. Your follower list is a curated collection of notable people. There’s an exponential or fractal quality to it. Or perhaps a kaleidoscope is a better metaphor. Ideas from a variety of sources are brought into friction and collision with one another, in a way that perhaps they wouldn’t if they were strictly private collections.

Commonplace goes digital

But are these collections really in the spirit of keeping a commonplace book? Keeping commonplace is a deliberate practice. It is done with care, and the entries into a book are meaningful – they are recorded for a purpose. If we are to see these public collections of content as commonplace books, they must not be divorced from intention and context. We need to understand why something was shared if we were not the ones to originally share it.

At MJM, we use Slack for internal communication, and have several channels that function as commonplace collections of sorts, curated by our whole team. #inspiration is full of articles, quotes, videos, and websites shared by members of our team who were inspired by them. Members of our team with an interest in motion graphics and animation have a channel named #timeline-chatter (after the timeline interface element common to editing and animation programs). We share tips and tricks that we have found as well as examples of animation that we want to learn from.

Inspiration endorsed with enthusiasm

The entries that inspire and engage others are those that include a brief personal note from the poster about why they found the item so interesting. These entries give context and are endorsed with the enthusiasm of someone who shares similar interests. It’s an invitation to dialogue, and helps establish a foothold for a common, shared vocabulary. The goal is not just to find the coolest thing and be the first to share it. Keeping commonplace is a constructive act. The goal is to build and expand upon each other’s curiosity and knowledge. This creation of context and invitation into dialogue is vital to a community collection that is truly in the spirit of commonplace.

This has implications for those of us who create, collect, and manage content for others as well. We should strive to be intentional and constructive with the content we create and share, and not just another distraction. And we must consider how we facilitate the creative act of curation as a unified group, not just a collection of individuals.