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Susan Kare (born 1954) is a graphic designer and artist who designed many interface components for the Apple Macintosh in the 1980s. She was also a founding member of NeXT (Steve Jobs’ company founded after he left Apple in 1985), where she served as creative director.
Susan Kare Net Worth : $ 3 Million
Let’s check out Susan Kare’s updated 2021 Salary Report given below:
Salary/Income of Susan Kare:
Per year: $4,00,000. Per month: $32,000. Per week: $8,000
Per day:
Per hour:
Per minute:
Per second:
$1140
$19
$0.3
$0.05
Susan Kare Wiki
net worth
3 million dollars
Date of birth
1954-02-05
profession
graphic designer
profession
American graphic designer
nicknames
Susan Kare, Kare, Susan
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Susan Kare (/ˈsuːzən ˈkɛər/; born February 5, 1954) is an American artist and graphic designer best known for her interface elements and typeface contributions to the first Apple Macintosh from 1983 to 1986.
What type of graphic design is Susan Kare known for?
Graphic designer Susan Kare is the “woman who gave the Macintosh a smile.”1 She is best known for designing the distinctive icons, typefaces, and other graphic elements that gave the Apple Macintosh its characteristic—and widely emulated—look and feel.
Who created the first set of icons for the Macintosh computer?
Pioneering designer Susan Kare was taught by her mother how to do counted-thread embroidery, which gave her the basic knowledge she needed to create the first icons for the Apple Macintosh 35 years ago.
What is Alan Fletcher known for?
Alan Fletcher is one of the most influential figures in post-war British graphic design. The fusion of the cerebral European tradition with North America’s emerging pop culture in the formulation of his distinct approach made him a pioneer of independent graphic design in Britain during the late 1950s and 1960s.
Where is Neville Brody now?
He created the company Research Studios in 1994 and is a founding member of Fontworks. His work is included in the permanent collection of the Museum of Modern Art (MoMA). He was the Dean of the School of Communication at the Royal College of Art, London until September 2018. He is now Professor of Communication.
What inspired April Greiman?
Upon her relocation from New York City to Los Angeles, she met photographer-artist Jayme Odgers, who became a significant influence on Greiman. Together, they designed a famous Cal Arts poster in 1977 that became an icon of the California New Wave.
What inspired herb lubalin?
Inspired By Herb Lubalin # Herb Lubalin was an American graphic designer who spent his career designing everything from advertising, posters, and even postage stamps. He was fascinated by the look of words and how typographic design can make them sound.
Should you use icons?
Icons are most effective when they improve visual interest and grab the user’s attention. They help guide users while they’re navigating a page. Use too many icons and they’ll become nothing more than decoration. Their use for navigation on a webpage can often cause dilution.
What it is the most unique feature of icons?
Icons are self-explanatory without the presence of text or additional information. It is the most unique feature of icons.
Who created the first set of icons for the Macintosh computer What sound does her Claris The Dogcow make?
The dogcow, named Clarus, is a bitmapped image designed by Apple for the demonstration of page layout in the classic Mac OS. The sound she makes is “Moof!”, a portmanteau of “moo” and “woof”.
Does a GUI use icons?
The benefits of icons in a graphical user interface (GUI) include: Icons make good targets: they are typically sized large enough to be easily touched in a finger-operated UI, but also work well with a mouse cursor (in contrast to words, which can suffer from read–tap asymmetry on touch screens).
What icons did Susan Kare?
The happy Mac and sad Mac icons, the “sock and buskin” of the digital age. But Kare’s work went beyond icons, she developed also the system’s fonts, including the famous Chicago typeface which had been the default on Apple computers for nearly fifteen years.
Which of the following are features of icons?
- Clarity. Icons should be easily understood by the user at a glance. …
- Consistency. The style and color schemes used to create the icons ought to be coherent all across the interface. …
- Scalability. …
- Color Schemes. …
- Reference.
Susan Kare Macintosh Commercial
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Lets check out updated 2021 Susan Kare Net Worth Income Salary report which is given below : Susan Kare ‘s Salary / Income: Per Year: $ 4,00,000
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She is from United States. We have estimated Susan Kare’s net worth, money, salary, income, and assets. Net Worth in 2021, $1 Million – $5 …
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Susan Kare
American artist and graphic designer
Susan Kare (born February 5, 1954) is an American artist and graphic designer best known for her interface elements and typeface contributions to the first Apple Macintosh from 1983 to 1986.[1] She was employee #10 and creative director at NeXT, the company founded by Steve Jobs after he left Apple in 1985. She has been a design consultant for Microsoft, IBM, Sony Pictures and Facebook, Pinterest, and is now a contributor at Niantic Labs.[2] An early pioneer of pixel art and the graphical computer interface, she has been hailed as one of the most important technologists in the modern world.
Early life and education[edit]
Kare was born in Ithaca, New York. Her father was a professor at the University of Pennsylvania and director of the Monell Chemical Senses Center, a research facility for the senses of taste and smell.[3] Her mother taught her to embroider with counted threads[4] while she immersed herself in drawing, painting and crafts.[5] Her brother was aerospace engineer Jordin Kare.[6][7] She graduated from Harriton High School in 1971. She graduated summa cum laude with a B.A. in Art from Mount Holyoke College in 1975 with a thesis on sculpture. She received an M.A. and a Ph.D. in fine arts from New York University in 1978 with a dissertation on “The Use of Caricature in Selected Sculptures by Honoré Daumier and Claes Oldenburg”. Her goal was “to be either a visual artist or a teacher”.[6][8]
Career [edit]
Early [ edit ]
Susan Kare’s career has always focused on the visual arts.[9] For several summers during high school, she did an internship at the Franklin Institute for designer Harry Loucks, who introduced her to typography and graphic design while she did phototypesetting with “typestrips for labels in a dark room on a PhotoTypositor ][9] Da.” While she did not attend artist training school, she built her experience and portfolio by taking on many pro bono graphics jobs such as: B. College poster and brochure design, Christmas cards, and invitations.[11][10] After completing her PhD, she moved to San Francisco to work at the Fine Arts Museums of San Francisco (FAMSF)[6][12] as a sculptor[13] and occasional curator.[14] She later reflected that her “ideal life would be to make art full-time, but that sculpting is too lonely.”[6]
apple [edit]
c. 1983-84 by Susan Kare Mac fonts designed by Susan Kare
In 1982, Kare was welding a life-size Razorback pig sculpture for a museum in Arkansas when she got a call from Andy Hertzfeld, a high school friend. In exchange for an Apple II computer, he asked her to hand-draw some symbols and lettering elements to inspire the upcoming Macintosh computer. However, she had no experience with computer graphics and “didn’t know a thing about designing a typeface” or pixel art[13], so she drew heavily on her visual art experience of mosaics, needlepoint and pointillism.[9][9] [10] 4] He suggested that she get a $2.50 grid notebook[4][16] of the smallest graph paper she could find at the University of Palo Alto art store[17] and several 32× Recreated 32-pixel representations of its software commands and applications.[9] This includes a scissors icon for the Cut command, a finger for Paste, and a brush for MacPaint.[14][13] Forced to actually join the team for a full-time part-time job,[6] she interviewed “totally green” but undaunted, and brought back a variety of typography books from the Palo Alto public library to show her interest[13], next to him – prepared notebook.[9][18] She passed the interview with flying colors[13][2][12][19] and was hired in January 1983 with badge #3978.[13][20] Their business cards read “HI Macintosh Artist.”[13]
A computer newbie to the Macintosh target market, she easily understood the Twiggy-based Macintosh prototype, which “felt like a magical leap forward” for art design.[4] Preferring it over the Apple II[6], she was amazed and excited by the computer screen’s design ability to undo, redo, and redo a symbol or letterform while simultaneously seeing it magnified and 100% target size.[ 4] It immediately took Bill Atkinson’s existing rudimentary graphics software tools and applications to turn pixels on and off and convert the resulting images to hexadecimal code for keyboard input.[6] More advanced graphical tools were written for her by Hertzfeld,[13] and she beautified the user interface of the flagship MacPaint application as the programmers matured it into their primary tool.[6] She contributed to the Macintosh’s identity and devised ways to make the machine humanized, intuitive, relatable, and inviting.[9]
Her quirky personality was integral to the infectiously burgeoning culture and lore of the early Macintosh team and bled into the product. She stunned the collaborators of accomplished pixel artists and engineers with her unexpectedly likable renditions of her portraits in the Mac’s standard 32×32 monochrome icon resolution.[21] She and Steve Capps sewed a Jolly Roger Jolly Roger with a rainbow-colored Apple logo eye patch as the naming mark of the new Macintosh headquarters in Brandley 3, embodying Steve Jobs’ ethos “it’s better to be a pirate than to join the Navy”. 22][6][5] As the only graphic designer in a diverse and articulate team of programmers, and with Hertzfeld as the main requester, she spent hours or days developing a rich set of graphics for the consensus-driven feedback loop for each GUI element. Jobs personally approved each of their main desktop icons.[6] Kare was heavily involved in the 1983 pre-marketing campaign for the Macintosh, posing for magazine photo shoots, appearing in television commercials, and demonstrating the Mac on television talk shows.[13]
In just one year, she created the core visual design language of the original Macintosh, released in January 1984. This includes original marketing material and many typefaces and symbols, some of which have been patented.[4] As a standalone platform, these designs provide the first visual language for the Macintosh’s identity and for Apple’s pioneering work in Graphical User Interface (GUI) computing.[23]
She refined Apple’s existing iconography and desktop metaphors imported from the Macintosh’s predecessor, the Lisa,[13] such as the trash can, the dog-eared paper icon, and the I-bar cursor. They invented the practice of associating unique document icons with their creator applications.[6] The team’s GUI elements such as the lasso, the grabber, and the paint bucket became universal staples of the computer. Their original cult classics include Clarus the Dogcow in the print dialog box, the Happy Mac icon of the smiling computer that greets users at startup, and the command key icon on Apple keyboards.[6][12][9] In keeping with Steve Jobs’ passion for calligraphy[17], she designed the world’s first family of proportionally spaced digital typefaces[9], including Chicago and Geneva, as well as the monospaced Monaco. Chicago is their first font specifically designed for system-wide use in menus and dialogs; It has a bold vertical look, originally called an elephant,[4] in which Kare Jobs implemented the idea of variable spacing, where each character can have the unique pixel width it takes to move the computer from a fixed-spaced typewriter differentiate. Cairo is a set of written symbols to incorporate graphics directly into text, similar to “proto-emojis”.[5]
She became creative director at Apple Creative Services, working for department head Tom Suiter “at a time when it seemed like major development of the Mac was over.”[24]
Smithsonian Magazine sums up her groundbreaking work for the Macintosh: “It was an intense, high-pressure period introducing a new product that required countless hours of work, rework, and redo to get everything right.” Kare recalled the privilege of being taught directly by engineers how early software is put together:[8] “I loved working on this project – I always felt so fortunate to have the opportunity to teach a non-technical person in a software group be. I was impressed to be able to work with such creative, capable and dedicated engineers. My ‘work-life balance’ has improved since then. :n)”[4]
After Apple[ edit ]
In 1986[1] Kare followed Steve Jobs when he left Apple to found NeXT, Inc. as Creative Director and 10th Associate.[4] She introduced Jobs to her design hero, Paul Rand, and commissioned him to design NeXT’s logo and brand identity, admiring his table-tapping accuracy and confidence.[6] She created and recreated slideshows to accommodate Jobs’ demanding last-minute needs.[5]
Realizing that she “wanted to do bitmaps again”[6], she left NeXT to become an independent designer with a client base that includes graphic computing giants Microsoft, IBM, Sony Pictures, Motorola, General Magic and Intel, belong.[4] [1][12] Her projects for Microsoft include the card deck for the Windows 3.0 game of solitaire,[25][26] which taught early computer users to use a mouse to drag and drop objects onto a screen. In 1987 she designed a “baroque” wallpaper,[8] numerous other icons and design elements for Windows 3.0,[2] using isometric 3D and 16 dithered colors.[1] Many of their icons, such as those for Notepad and various control panels, remained essentially unchanged from Microsoft to Windows XP. For IBM she produced pin-striped isometric bitmap icons and design elements for OS/2.[26][8] For General Magic, she made Magic Cap’s “impish” cartoon of Dad’s office desk.[8] She was a founding partner of Susan Kare LLP in 1989.[1][13][9] For Eazel, she rejoined many of the former Macintosh team and contributed iconography to the Nautilus file manager, which the company made permanently available for the public to use free of charge.[27]
In 2003 she became a member of the Advisory Board of Glam Media, now called Mode Media.[28] In 2003, she was recommended by Nancy Pelosi as one of four appointments to the Citizens Coinage Advisory Committee for designing coins for the United States Mint.[29]
Between 2006 and 2010[30] she produced hundreds of 64×64 pixel icons for Facebook’s virtual gifts feature.[5][31][10] Originally, profits from gift sales through Valentine’s Day 2007 were donated to the Susan G. Komen for the Cure Foundation. One of the gift icons titled “Big Kiss” appears as the user account picture in some versions of Mac OS X.[33]
In 2007 she designed the identity, icons and website for Chumby Industries, Inc.[34] and the interface for his web-enabled alarm clock.[35]
Since 2008[36] the store at the Museum of Modern Art (MoMA) in New York City has stocked stationery and notebooks featuring her designs. In 2015, MoMA acquired her notebooks containing sketches that led to the early Mac GUI.[37][18]
In August 2012, she was summoned by Apple to act as an expert witness in Apple Inc.’s patent infringement case against Samsung Electronics Co.[38]
In 2015, Kare was hired by Pinterest as head of product design[39], her first job at a company in three decades.[13] Working with design manager Bob Baxley, the former design manager of the original Apple online store, she compared the diverse and design-led corporate cultures of Pinterest and Apple in the early 1980s.[40] In February 2021, Kare became a design architect at Niantic Labs.[41] As of 2010, she also runs a digital design office in San Francisco and sells limited edition signed fine art prints.[42]
Design philosophy[ edit ]
Kare’s design principles are meaning, memorability and clarity.[10] She echoes Paul Rand’s advice: “Don’t try to be original, just try to be good.”[10][11] She focuses on simplicity in creating visual metaphors for computer commands.[13] She designs for the widest range of users, from novice to expert, and believes the most meaningful symbols are instantly easy to understand and remember.[5][9] She said: “A symbol is successful when you can tell someone what it is once and they don’t forget it.”[26] She said: “Good symbols should function something like road signs – simple symbols with little superfluous detail, what makes them more universal”[43] and states that there is no impetus to continuously modernize a stop sign.[44] With the same philosophy throughout the pixel art era and beyond, she has “valued context and metaphor” and roamed the streets of San Francisco for inspiration from “catchy symbols and shapes.”[9] Stuck on a design, she took inspiration from the books Kanji Pictograms for her chart of the real origins of Japanese characters and symbol Sourcebook[45], specifically his reference for hobo graffiti.[6]
I like to think that good symbols are instantly recognizable – even if someone has never seen it, you can ask them what it does and they’ll understand – or it’s so easy to remember that it’s easy, if someone tells you what it is remember when you look at it. I think that’s asking a lot of a symbol that if you tested it, they would all have the same one-word answer as its function. But I think I had then and still have more common sense than a scientific approach to such things.[6] It solves the little puzzle of matching an image to a metaphor. It’s awesome when an icon becomes a meaningful shortcut when you can create a pothole-free environment for users. After all, who wouldn’t rather see a light-on symbol than the words “lights on”?” Susan Kare[8]
Their main goal with the Macintosh was to make it more human, less machine-like, and give it “a smile”.[9] She intended “to bring an artist’s sensibility to a world that was the exclusive domain of engineers and programmers” and “hoped to help counteract the stereotypical image of computers as cold and intimidating”.[13] Their Macintosh icons were inspired by many sources such as art history, crazy gadgets, pirate lore, Japanese logograms and forgotten hieroglyphs.[6][9] On the Mac keyboard, their concept for the command symbol was borrowed from the Saint Hannes Cross, which is a symbol of a place of cultural interest used by 1960s Scandinavians, such as Swedish campsites.
She thrived on the problem-solving approach to strict technological constraints of the 1980s, drawing heavily on her fine art experience with mosaics, needlepoint and pointillism.[9][4] Seeing 32×32 pixels as generous for icons, this improvised mastery of “a peculiar brand of minimal pointillism”[13] made her an early pioneer of pixel art. For example, her original fonts are limited to 9 × 7 pixels per character, yet she solved the problem of the typical jagged appearance of existing fixed-spaced computer fonts by using only horizontal, vertical, or 45-degree lines. Experienced designers at Apple had previously thought it impossible to convey personality and fidelity in a human portrait of just 32×32 pixels, until Kare did it.[21]
Since the late 1980s, she has used Adobe Photoshop and Adobe Illustrator[43] with a grid-like template to simulate the limitations of the target device and user experience.[9] She has said she would still prefer 16×16 pixel monochrome pixel art.[6]
Reception [edit]
The Smithsonian Institution called their design language “simple, elegant and whimsical”.[13] In 2015, the Museum of Modern Art exhibited the first physical representation of her iconography, including her original Grid sketchbook[18] which states: “If the Mac turned out to be such a revolutionary object – a pet instead of a household appliance, a Rather than being a mere working tool, this is a spark for the imagination – thanks to Susan’s fonts and symbols that have given her voice, personality, style and even a sense of humor. a pioneering and influential computer iconographer [whose icon designs] communicate her function instantly and memorably with wit and style.”[47] The American Institute of Graphic Arts characterized her style as having “quirky charm and an independent streak” with an “artistic dexterity.” and presented her with his medal in April 2018.[48] In October 2019, Cooper-Hewitt, National Design Museum presented Kare with the National Design Award for Lifetime Achievement.[10] On International Women’s Day 2018, Medium recognized Kare as a technologist who helped shape the modern world along with programmer Ada Lovelace, computer scientist Grace Hopper, and astronaut Mae Jemison.[16]
In 1997 ID. The magazine has its I.D. Forty lists of influential designers including Kare and Steve Jobs.[8] In October 2001 she received the Chrysler Design Award.[47]
legacy[ edit ]
Susan Kare is credited with pioneering pixel art and graphical user interfaces,[49] having spent three decades of her career “at the forefront of human-machine interaction.”[9]
By helping create the original Macintosh computer and documentation, she advanced the visual language for Apple’s groundbreaking graphical computing. Her best known and most enduring work at Apple includes the world’s first proportionally spaced digital font family of the Chicago, Geneva, and Monaco typefaces, as well as countless symbols and interface components such as the Lasso, the Grabber, and the Paint Bucket.[9][9][] 47] Chicago is the most prominent user interface font, seen in classic Mac OS interfaces from System 1 in 1984 to Mac OS 9 in 1999 and the first four generations of the iPod interface. This cumulative work was key to making the Macintosh one of the most successful and fundamental computing platforms of all time. Descendants of her pioneering work at Apple in the 1980s can be seen throughout the computing industry and in print.[13][16]
For decades she has spread this visual language practice across the industry via industry giants such as Microsoft Windows, IBM OS/2, Facebook and Pinterest.[9]
Her icon portfolio has been exhibited as physical prints at the National Museum of American History, the Museum of Modern Art (MoMA), the San Francisco Museum of Modern Art, and the New Mexico Museum of Natural History and Science. Her work has achieved cult status and large print versions of her digital portfolio are sold privately and at MoMA.[9]
Personal life[edit]
She was married to Jay Tannenbaum. Their marriage ended in divorce in 2011.[50] She has three sons with him.[51] Her brother was the aerospace engineer Jordin Kare.[6]
See also[edit]
References[edit]
Susan Kare, Iconic Designer
Graphic designer Susan Kare is the “woman who put a smile on the Macintosh.”1 She is best known for designing the distinctive icons, typefaces, and other graphic elements that give the Apple Macintosh its distinctive—and widely emulated—appearance awarded. Since then, Kare has spent the last three decades designing user interface elements for many leading software and Internet companies. If you’ve clicked an icon to save a file, switched the fonts in a document from Geneva to Monaco, or tapped your smartphone screen to launch a mobile app, then you’ve benefited from their designs. Kare’s work for Apple features prominently in the Silicon Valley section of the Lemelson Center’s Places of Invention exhibit.
exhibitions_places-of-invention-ROTO-exhibit-pics-silicon-valley.jpg Visitors meet Susan Kare and design their own icons in the Silicon Valley section of the Places of Invention exhibit. Photo by Brad Fein button.
On Tuesday, May 8, the Lemelson Center will host Kare as part of the Lemelson Center’s Innovative Lives speaker series. After a short presentation by Kare, she and I will talk about her fascinating career, followed by Q&A with the audience. After the program, guests will have the opportunity to examine some relevant objects from the museum’s collections and enjoy a light welcome. Admission is free, but please visit our events page to reserve your ticket and learn more about the Lemelson Center’s other upcoming programs. As a preview, here are some details of Kare’s work on the Apple Macintosh.
Acing the interview
In 1982 Kare was living in the Bay Area and working as a sculptor. She was working on a job—”welding a life-size Razorback pig” for an Arkansas museum—when she got a call from Andy Hertzfeld, an old high school classmate from suburban Philadelphia. Hertzfeld worked at Apple Computer in Cupertino; He was recruited by co-founder Steve Jobs to serve as the lead software architect for Apple’s latest product, the Macintosh personal computer. Hertzfeld needed some images and fonts for the new Macintosh and asked if Kare would be interested in interviewing for a graphic design job.2 There was just one problem: Kare had never worked in computer graphics and she admittedly “didn’t know the first thing about designing a typeface.” Undaunted, Kare went to the Palo Alto public library and looked through a number of books on typography. “I even brought them to my interview to prove I know something about guys in case anyone asked!” she recalled. “I went in totally green.” Kare passed the interview with flying colors and joined Apple in January 1983, designing fonts and icons for the Macintosh. Her business card said “Macintosh Artist”.3
icon design
When Kare joined Apple in January 1983, Hertzfeld hired her to design the icons and fonts for the Mac operating system and applications like MacPaint. The Macintosh featured a bitmap display, where each point of light, or pixel, on the screen was individually controlled by a single bit of data. When creating graphics, it was easy to decide which bits to turn on and off. Although Kare had little experience with computers, she was inspired by her in-depth knowledge of art history. “Bitmap graphics are like mosaics and embroidery and other pseudo-digital art forms, all of which I practiced before I went to Apple,” Kare recalls. “I had no computer experience, but I did have graphic design experience.”4
Inventors-kare-susan-dangersketchbook-ckare-750-inline-edit.gif An original sketch for a “Danger” symbol from Susan Kare’s sketchbook, circa 1983. Courtesy Susan Kare and kareprints.com
Hertzfeld told Kare to “go to the stationery store and get the smallest graph paper I could find and paint the squares to make pictures.”5 As instructed, Kare went to the Palo Alto University art supply store and picked it up a $2.50 sketchbook, and began experimenting with shapes and ideas. In this sketchbook, recently acquired by New York’s Museum of Modern Art, we can see Kare’s design process. Kare started with an idea, metaphor, or command that she was trying to visualize; For example, your individual sketchbook pages have titles such as “boot”, “jump”, “debug”, “auto indent”, and “danger”. Kare used a ruler to block out a 32 x 32 square of graph paper, then filled in (or left blank) these 1024 miniature squares with pencil or crayons to create images. Eventually, Hertzfeld programmed an icon editor for the prototype. Kare used a mouse to toggle the bits on and off, and the application generated the hexadecimal code that underpinned the grid master” by turning “tiny dots” on and off to create instantly understandable visual metaphors for computer commands.”7
Inventors-kare-susan-sv-1983-00-00-selectionofapplemacintoshicons-fromkaredotcom-portfolio2-450-inline-edit.gif A selection of Kare’s Macintosh system and application icons, 1983-1984. Courtesy of Susan Kare and kareprints.com
Kare streamlined and streamlined certain icons that Apple had already used for its Lisa personal computer, such as the arrow cursor, the trash can, and the “document” icon with the page corner flipped out. She also created dozens of new icons for Hertzfeld and the software company. Kare’s icon designs were intuitive, but they also had a playful, whimsical quality; Think of the smiling “Happy Mac” that greeted users at startup, or the ticking bomb that represented a system error. These friendly designs helped new users overcome what Rolling Stone’s Steven Levy called the “FUD principle: Fear, Uncertainty, and Doubt” that had deterred many potential users from purchasing a personal computer.8 Instead, Kare’s work existed gave the Mac a “visual lexicon that was universally inviting and intuitive” and “set the standard for how computers could appeal to a wide range of non-technical people.”9
Fonts, typefaces and digital art
Kare has also developed a family of new proportional fonts for the Macintosh. At the time, most digital fonts were monospaced, meaning that narrow and wide characters (e.g. both “I” and “M”) occupied the same amount of screen real estate. The font design imposed even stricter restrictions than the symbols. “Each letter had to fit in a space just 9 x 7 dots to make it look uneven,” Kare recalled. She started with the bold OS font, originally called Elefont, and decided that “it might look cleaner if the lines always ran horizontally, vertically, or at 45-degree angles.” This system font, later renamed Chicago , provided the textual look for two of Apple’s greatest products – the Macintosh and the iPod – for over 20 years.10
Kare produced several other typeface sets for the Macintosh. In a nod to their old neighborhood, she and Hertzfeld named it after commuter train stops on Philadelphia’s Main Line—Overbrook, Merion, Ardmore, Rosemont, and Paoli. Jobs liked the naming convention but suggested renaming the fonts after “world-class cities” like New York, Geneva, London, Toronto, and Venice. Kare also experimented with more avant-garde typefaces like Ransom (later San Francisco), whose characters looked like the newspaper clippings from a kidnapper’s note, and Cairo, which appropriately looked like a series of modern hieroglyphs. Like the proto-emojis, the Cairo font consisted of multiple thumbnail images—including a palm tree, a crescent moon, and a skateboard—and allowed users to easily embed thumbnail images in their text.11
Inventors-kare-susan-original-mac-fonts-wikimediacommons-cdavidremahl-450-inline-edit.gif A selection of Kare’s Macintosh fonts, named after “World Class Cities”, 1983-1984. Illustration created by David Remdahl, courtesy of Wikimedia Commons
The Mac development team also had Kare work to demonstrate the capabilities of the new MacPaint application. She produced several exquisite MacPaint drawings for the Macintosh’s glossy user manuals and advertisements, including a Japanese woman combing her hair, a pair of tennis shoes, and gourmet baby food. Kare was also a major contributor to the Mac rollout campaign; She posed for magazine photo shoots, appeared in TV commercials and demonstrated the Mac on TV talk shows.12
After apple
Incredibly, Kare’s groundbreaking work on the user interface was the result of just one intense year. She had joined Apple in January 1983, and the Macintosh was released to great fanfare in January 1984, accompanied by a 60-second Super Bowl television ad inspired by George Orwell’s dystopian novel 1984. After Apple, Kare served as creative director at NeXT. Inc. before founding her own digital design company, Susan Kare LLP, in 1989. Over the next three decades, Kare designed user interface elements for many of the leading software and Internet companies, from Microsoft to Oracle to Facebook. In July 2015, Pinterest announced that Kare would join the social bookmarking site as head of product design. After years of running her own business, the new corporate gig is Kare’s first full-time salaried job in thirty years.13
Kare has received a variety of professional awards for her lifetime achievements, but she doesn’t let the honors go to her head: “I still spend my days flipping dots on and off,” she says with her trademark humility.14 But Kare’s influence is considerable . She brought “an artist’s sensibility to a world that was the exclusive domain of engineers and programmers,” and in doing so, she says, “I hoped to help counteract the stereotypical image of computers as cold and intimidating.”15 Co Thirty years (and counting) of simple, elegant, and whimsical designs, Kare has made personal computing more attractive to millions of new users.
Inventors-kare-susan-sv-1983-00-00-macpaintscreenshotwithjapaneselady-fromkaredotcom-portfolio1-750-inline-edit.gif A MacPaint screenshot showing Kare’s artistry, 1983. Note the icon menu on the left and the Chicago system font, which is used for pulldown menus. Courtesy of Susan Kare and kareprints.com
Remarks:
1 Alexandra Lange, “The Woman Who Gave the Macintosh a Smile,” The New Yorker, April 19, 2018, https://www.newyorker.com/culture/cultural-comment/the-woman-who-gave-the- macintosh -a-smile, accessed April 30, 2018.
2 Quoted from Alex Soojung-Kim Pang, “Interview with Susan Kare,” conducted September 8, 2000, Making the Macintosh project, Stanford University, http://web.stanford.edu/dept/SUL/library/mac/primary /interviews/kare/trans.html, accessed 1 December 2017; see also Andy Hertzfeld’s memoir Revolution in the Valley: The Insanely Great Story of How the Mac Was Made (Sebastopol, CA: O’Reilly Media, 2005), xvii-xxiv, 16-20.
3 Quotes from John Brownlee, “What Every Young Designer Should Know, From Legendary Apple Designer Susan Kare”, Fast Company, February 2015, http://www.fastcodesign.com/3038976/what-every-young-designer-should- know-from-legendary-apple-designer-susan-kare, accessed December 1, 2017; Hertzfeld, Revolution in the Valley, xxiii; Pang, “Interview with Susan Kare”; Zachary Crockett, “The Woman Behind Apple’s First Icons”, Priceonomics, April 3, 2014, http://priceonomics.com/the-woman-behind-apples-first-icons/, accessed December 1, 2017.
4 Pang, “Interview with Susan Kare.”
5 Zuckerman, “The Designer Who Made the Mac Smile.”
6 Steve Silberman, “The Sketchbook of Susan Kare, the Artist Who Gave Computing a Human Face,” PLOS Blogs, 22 November 2011, http://blogs.plos.org/neurotribes/2011/11/22/the-sketchbook – of-susan-kare-the-artist-who-gave-computing-a-human-face/, accessed 1 December 2017; John Brownlee, “MoMA Recognizes Susan Kare, The Designer of The Macintosh’s Original Icons”, Fast Company, March 6, 2015, http://www.fastcodesign.com/3043312/moma-recognizes-susan-kare-the-designer- of -the-macintoshs-original-icons, accessed 1 December 2017. For the icon editor, see Pang, “Interview with Susan Kare”.
7 Edwards, “Legends: Susan Kare.”
8 Steven Levy, “The Birth of the Mac,” Rolling Stone #416, March 1, 1984, online at http://www.rollingstone.com/music/news/the-birth-of-the-mac-rolling- stones-1984-feature-on-steve-jobs-and-his-whiz-kids-20111006?print=true, accessed 1 December 2017.
9 Steve Silberman, “Signposts in New Space”, Introduction to Susan D. Kare, Icons: Selected Works from 1983-2011 (San Francisco: Susan Kare / Kareprints.com, 2011): 1-5, cited p. 3; Zuckerman, The Designer Who Made the Mac Smile.
10 Brownlee, “What Every Young Designer Should Know.”
11 Susan Kare, “World Class Cities,” in Andy Hertzfeld, Revolution in the Valley: The Insanely Great Story of How the Mac Was Made (Sebastopol, CA: O’Reilly Media, 2005), 165; Brian James Kirk, “Susan Kare, Regional Rail and the original Macintosh fonts”, Technical.ly Philly, 14 January 2011, http://technical.ly/philly/2011/01/14/susan-kare-regional-rail – and-the-original-macintosh-fonts/, accessed September 11, 2015; Crockett, “The Woman Behind Apple’s First Icons”.
12 Pang, “Interview with Susan Kare”; “Susan Kare Macintosh Commercial” produced by advertising company Chiat/Day, Fall 1983, https://www.youtube.com/watch?v=AY1-UYnaBm8, accessed December 1, 2017. Kare appears in Season 1, Episode 18 (March 29, 1984) of The Computer Chronicles, a public television program aired on KCSM in San Mateo, CA; see https://www.youtube.com/watch?v=D7nIVrNGApw, accessed 1 December 2017.
13 John Brownlee, “Pinterest Hires Mac Design Legend Susan Kare”, Fast Company, 31 July 2015, http://www.fastcodesign.com/3049313/design-moves/pinterest-hires-mac-design-legend-susan- kare , accessed December 1, 2017; John Brownlee, “Q&A: Susan Kare On Why Pinterest Feels Like Apple In The ’80s”, Fast Company, 19 August 2015, http://www.fastcodesign.com/3050038/design-moves/qa-susan-kare- on -why-pinterest-feels-like-apple-in-the-80s, accessed December 1, 2017.
14 Edwards, “Legends: Susan Kare.”
15 “John J. Anderson Distinguished Achievement Award: Susan Kare,” MacUser, Mar. 1993, 93; Susan Kare, “Design Biography”, from an archived version of her website, October 17, 2014, https://web.archive.org/web/20141017185556/http://www.kare.com/design_bio.html, retrieved 29 November 2017.
How Susan Kare Designed User-Friendly Icons for the First Macintosh
Without embroidery, the computer graphics we know and love today might have looked very different. Pioneering designer Susan Kare was taught counted thread embroidery by her mother, giving her the basic knowledge she needed to design the first icons for the Apple Macintosh 35 years ago.
“It so happened that I had little black and white grids to work with,” she says. “The process reminded me of working with needlepoint, knitting patterns or mosaics. I was fortunate to have a mother who enjoyed the craft.”
Kare’s groundbreaking designs for the Macintosh, including the smiling computer at startup, a trash can for recycling, and a computer hard drive for storing files, are now commonplace in the digital age. They’re so recognizable they’re legendary.
Their symbols and graphics – many of which are protected by the U.S. Patent and Trademark Office – for Apple, Facebook, IBM, Microsoft and other clients has earned her the Lifetime Achievement Award from the Cooper Hewitt, Smithsonian Design Museum. She will receive the honor on October 17 at the 20th Annual National Design Awards in the museum’s Arthur Ross Terrace and Garden.
Now known as “the woman who put a smile on the Macintosh,” Kare had little computer experience when she first joined Apple in 1983. She was a young sculptor when she got a call from an old friend asking her if she would be interested in applying for a job creating graphics and fonts for the new personal computer that Apple released in 1984 wanted to.
Kare had never designed a typeface before, but she didn’t let her unfamiliarity stop her. She quickly learned what she needed to know and set about creating the first typeface family for the Macintosh system. Due to the limited resolution of early computer screens, Kare made sure the design was simple and easy to read while being stylish and eye-catching.
“The first font I designed was Chicago because we needed a bold system font,” she says. “The boldness of the vertical inspired its original name, Elefont. I made it easy for myself by constraining the letter shapes to vertical, horizontal, or 45 degree lines, and the capital letters were nine pixels high. It seemed pretty easy!”
Designing the icons turned out to be a bigger challenge. Reproducing artwork on these primitive CRT surfaces, which used a bitmap matrix system of points of light or pixels to display data, was a designer’s nightmare.
However, the friend who recommended Kare for the job — Andy Hertzfeld, then the lead Macintosh software architect — had an idea. Since the Matrix was essentially a grid, he suggested Kare get the smallest piece of graph paper she could find. She then blocked out a 32 x 32 square and began coloring in squares to create the graphics.
Kare developed various ideas and concepts to translate basic commands and procedures into visual cues for users. Thus came the trash can, the computer disk, and the document with the page turned corner—all, in a way, ubiquitous symbols of computing functions.
The use of graphics on computers wasn’t new, but Apple wanted to demystify the operating system so the average person could intuitively understand what they needed to do. Early computers were typically complicated behemoths designed for math-savvy scientists and engineers.
Kare even created some whimsical graphics to reduce the stress and anxiety of us common folk, many of whom were using computers for the first time. The smiling Mac appeared on the screen while the system was booting up, while the dreaded bomb with a fuse popped up whenever a system error occurred.
“When Susan Kare helped design Apple’s ‘user-friendly’ user interface in the early ’80s, computers started talking in pictures instead of lines of code,” says Ellen Lupton, senior curator of contemporary design at Cooper Hewitt, Smithsonian Design Museum. “Their bitmap icons made people feel welcome and safe – even when the system crashed and gave you a drawing of a bomb. Kare’s original bitmap icons, made up of small black squares, were eventually replaced with colorful, artfully illustrated icons, but the core idea remains the same. And Kare has continued to create warm and approachable imagery for a number of tech companies, including Pinterest, where she works today.”
Although Kare was new to computers when she first started at Apple, she was able to input the graphics into the Mac with relative ease. Hertzfeld created an icon editor on top of the prototype, from which Kare could use a mouse to create electronic versions of any icon.
“Back then, the ability to design on screen seemed amazing,” she says. “It was possible to undo, iterate and design a symbol or letterform while still having it enlarged and displayed at 100 percent. It was exciting and felt like a magical leap forward.”
Kare continues, “Decades later, when working with sophisticated brushes and multiple layers of undo is commonplace, it’s easy to forget how much fun it was to experience the most basic digital tools.”
After leaving Apple in 1986, Kare became creative director for Apple co-founder Steve Jobs at the short-lived NeXT, Inc., an influential computer startup that was eventually acquired by Apple. In 1989, she founded her own eponymous design company, creating graphic designs for hundreds of clients including Autodesk, Facebook, Fossil, General Magic, IBM, Microsoft and PayPal. Some of her more memorable works include the playing cards for Microsoft’s Windows 3.0 solitaire game in 1990 and the virtual gift symbols she developed for Facebook in 2007.
She has been Creative Director at Pinterest since 2015. Once again, she has used her conceptual brilliance to develop a series of iconic images, some of which are based on pins to symbolize the “pinning” of elements on the site.
Looking back on her career, Kare is extremely proud of the groundbreaking work she has done at Apple. It was an intense, high-pressure period launching a new product that required countless hours of work, rework, and redo to get everything right.
In a recent email, she fondly recalled those days:
“I loved working on this project – I always felt so fortunate to have the opportunity to be a non-technical person in a software group. I was impressed to work with such creative, capable and dedicated engineers.”
Then, in typical graphic designer style, she added:
“My ‘work-life balance’ has improved since then. :n)”
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