Key Moments
Susan Kare: Designing Icons & Graphics For the Original Mac
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Key Moments
Icon design for the original Mac prioritized simplicity and universality, leading to universally recognizable symbols like the Happy Mac and Command key, but sometimes caused unintended panic (like the bomb icon).
Key Insights
The Chicago font, designed for the original Mac, is only 9 pixels tall and uses horizontal, vertical, and 45-degree angles for readability.
The "Happy Mac" icon was designed with simplicity in mind so users could project themselves onto it, inspired by principles from Scott McCloud's "Understanding Comics."
The Command key symbol, now ubiquitous, was originally chosen for its ease of drawing at 16x16 pixels and its resemblance to a four-leaf clover, though its true origin lies in the Borgolm Castle in Sweden.
Early Mac applications like MacPaint and MacWrite were represented by icons that were designed to look active and paired with a document resembling the application.
Steve Jobs advised Susan Kare against using the Apple logo as a keyboard shortcut key, deeming it too precious and suggesting alternative symbols like the Command key.
Susan Kare's iconic "bomb" icon, intended for system failure and never expected to be seen, caused panic when a user thought her computer would explode.
From welding hogs to pixel art: an unconventional path to Apple
Susan Kare, an art history PhD with no prior computer knowledge, found herself at Apple embarking on a journey to define the visual language of the original Macintosh. Her background was far removed from technology; prior to Apple, she was welding a life-size razorback hog. Recruited by a high school friend, Andy Herzfeld, she was tasked with creating "small symbols and typefaces" for a new computer display. Despite her lack of formal computer graphics experience, her typographical skills, honed by using a label-making machine at a science museum and her art history background, proved invaluable. She even brought typography books to her interview to appear knowledgeable. Her early work, initially done on graph paper to demonstrate bitmap graphics concepts, would later be recognized with her interview notebook entering the permanent collection of MoMA, highlighting the significance of even seemingly rough early drafts.
Crafting the 16x16 pixel world: constraints breed creativity
Working within the severe constraints of a 16x16 pixel black and white display, Kare's creativity flourished. She designed the first system font, Chicago, which stands at a mere 9 pixels tall. Her approach focused on using horizontals, verticals, and 45-degree angles to create a tidier, more legible appearance than the jagged edges previously seen. This was a significant step towards proportionally spaced fonts, which allowed characters like 'M' and 'I' to have appropriate widths, vastly improving readability. The Chicago font's influence extended beyond the Mac interface, notably appearing in the calculator design that foreshadowed the iPod. Alongside Chicago, Kare developed other fonts like New York and Geneva, inspired by city names, and a "ransom" font mimicking cut-out newspaper letters. These choices, often made with simple aesthetic goals, inadvertently created a visual identity that would endure.
The "Happy Mac" and the power of simple metaphors
One of Kare's most enduring creations is the "Happy Mac" icon, which appeared during the computer's boot-up sequence. Designed for the 128K Macintosh, it was a 32x32 pixel image intended to reassure users that everything was operating correctly during the lengthy startup process. Kare drew inspiration from her own memories and the principles outlined in Scott McCloud's "Understanding Comics." The core idea was that extreme simplicity in rendering a face, or any object, allows users to project their own experiences and interpretations onto it, fostering universality. This contrasts with highly detailed images that can feel distant or specific. She likened this to a simple pencil icon being a more universal symbol for writing than a detailed chrome pen. This philosophy of using salient details and avoiding excessive ornamentation became a guiding principle for her icon design, aiming for instant recognition and relatability.
Navigating the "bomb" and other unintended consequences
Not all icon designs were as universally well-received. Kare was tasked with creating an "unhappy Macintosh" for system failures and, more critically, a "bomb" icon for total system failure. These were intended for "extremely unlikely" scenarios, with the bomb icon conceived as a humorous, Bugs Bunny-esque graphic. However, this proved to be a significant miscalculation. A user, encountering the bomb icon, became genuinely concerned that her computer was about to explode, leading to a panicked call to Apple. This incident underscores a crucial lesson: even icons designed for rare events can be seen and can evoke strong, unintended emotional responses. The experience highlighted the need for careful consideration of user psychology and the potential for even seemingly innocuous graphics to cause distress.
The evolution of the Command key and other interface elements
The familiar Command key symbol on Apple keyboards also has a fascinating origin story. Initially, the Apple logo was considered for keyboard shortcuts, but Steve Jobs deemed it too precious to be used so ubiquitously. The "command" concept led Kare to explore various symbols. She eventually settled on an icon that resembled a four-leaf clover, chosen for its aesthetic appeal, ease of rendering at 16x16 pixels, and its association with luck and quick travel (like a cloverleaf highway). Later, she discovered its true origin: a symbol derived from the 1200 AD Borgolm Castle in Sweden, representing a castle with four turrets. This discovery exemplifies how symbols can have deeper, often unknown histories, and how design choices can serendipitously align with historical or cultural references.
Beyond the Mac: color, new metaphors, and digital gifts
Kare's design journey continued beyond the original Macintosh. She worked on Windows 3.0 at Microsoft, where the introduction of color, even a limited palette of 16, was a significant enhancement, allowing for easier differentiation at a glance. She employed dithering techniques to create more subtle color blends. Later, she worked on projects like General Magic, exploring different desktop metaphors, and Facebook, where she designed icons for a digital gift shop. On Facebook, she discovered that "cute" designs, like teddy bears and kiss marks, were the top sellers, even outperforming luxury items like diamond earrings. This experience highlighted the power of emotional appeal and universal cuteness over perceived value in digital commerce.
Enduring advice from design luminaries
Throughout her career, Kare has collected valuable advice from influential figures. Graphic designer Paul Rand advised focusing on making things meaningful and memorable, with the idea preceding the form. Rand also emphasized using a limited, well-understood set of fonts and colors, and designing logos that directly relate to the product's name or function, citing the UPS logo as an example of understandable yet meaningful design. Futurist Paul Saffo advised allowing extra time for projects, acknowledging that realistic estimations are crucial. Her father stressed the importance of realistic expectations, especially when seeking funding. Architect Daniel Nord advocated for visual communication, urging to "show, don't tell." These insights, gathered from diverse creative fields, underscore Kare's consistent philosophy: that effective design balances aesthetic appeal with clear communication, user empathy, and a deep understanding of constraints and context.
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Susan Kare's first role at Apple was the Macintosh artist, responsible for designing icons and typefaces for the original Macintosh computer.
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Mentioned in this video
The ad agency founded by J Shet that Apple used.
The company where Susan Kare worked as the Macintosh artist.
A company for which Susan Kare designed alarm clock icons.
Susan Kare worked for Microsoft on Windows 3.0, experiencing the use of color in interface design.
A company where Susan Kare designed the logo and worked on a project with a literal desktop metaphor.
Susan Kare worked for Facebook on a project where users could buy and send images for a dollar.
Susan Kare designed icons for Pinterest, incorporating subtle motion.
The company Steve Jobs founded after leaving Apple, where Susan Kare worked and collaborated with Paul Rand.
A company whose logo Paul Rand designed, featuring a rising sun.
The car company started by Jean Pagozi's father.
The company where Dennis Wang worked and where prevailing wisdom about logo design was discussed.
An organization thanked by Susan Kare for hosting the event.
Co-founder of Pinterest.
Co-founder of Pinterest, who shared ideas with Susan Kare.
The speaker and designer, discussing her work on the original Macintosh, fonts, and icons, as well as later projects.
A celebrated graphic designer who influenced Susan Kare with his philosophy of making things meaningful and memorable.
Pictured with other key Macintosh figures and mentioned for his influence on design decisions and career advice.
Programmer who wrote MacPaint, with whom Susan Kare collaborated on icons and patterns.
Author of 'Understanding Comics', a book whose insights on simplicity and universality influenced icon design principles.
Mentioned as one of the entertainers with whom Facebook collaborated on the image-sharing project.
A friend who called Susan Kare for a quick logo project for a VC firm.
A futurist who shared a quote with Susan Kare about underestimating project timelines.
An architect who advised Susan Kare to 'show, don't tell' through visualization.
Met through Steve Jobs, known for celebrity friends and collecting African art, who shared advice with Kare.
Pictured with other key Macintosh figures and quoted as relaying advice from Alan Kay.
Founder of the ad agency Shy Day, which Apple used.
A computer scientist, pictured with other Macintosh figures, known for his insights on user interface design.
A programmer who collaborated with Susan Kare on creating a pirate flag for an off-site event.
Computer scientist and artist who worked at Google and shared insights on logo design.
A science museum in Philadelphia where Susan Kare gained typographical experience.
The Museum of Modern Art, which now has Kare's interview notebook in its permanent collection.
The first system font designed by Susan Kare for the Macintosh, characterized by its 9-pixel height.
The national rail operator whose magazine, 'National', invited artists to interpret their route map.
A research center in Philadelphia directed by Susan Kare's father, for which Paul Rand designed a logo.
A font designed by Susan Kare and Andy Herzfeld for the Macintosh, named after a world-class city.
Another font designed by Susan Kare and Andy Herzfeld for the Macintosh, named after a world-class city.
A program written by Bill Atkinson for the Macintosh, on which Susan Kare collaborated and designed icons.
Mentioned as one of the early applications for which Susan Kare designed icons.
The version of Microsoft Windows Susan Kare worked on, allowing for the use of 16 colors.
A game for which Susan Kare did logo studies.
A game for which Susan Kare designed avatars.
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