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    In 2016, Automattic CEO, Matt Mullenweg announced that the company was to be design-led for the first time. Automattic’s new era would be recognized by designers leading the way in product and marketing improvements — heading up more projects, conducting user research, and creating more mockups than ever before. It wasn’t how Automattic had come to be successful, but it marked a promising entry into a new chapter of future success. After all, over the last 10 years, design-led companies have maintained significant stock market advantage, outperforming the SP by an extraordinary 211%. That is, publicly-traded companies have shown year-after-year for the last decade that design-led businesses maintain significant market advantage over their competitors. That’s a big endorsement for being design-led or as Design Management Institute calls it, “design-centric.” 2016 The Design Management Institute Automattic secured John Maeda as the new head of design in the early fall of 2016 and I joined soon after drawn in by the promise of the ability to help a successful company take its achievements to new areas, heights, and communities through design. Automattic ended 2016 and started 2017 hiring more design talent as well as connecting and empowering designers to do their best user-focused work in deeper collaboration with one another. New, strategic audiences were identified and introduced. Separated designers were brought together for short sprints over common product challenges at meetups. And ‘non-designers’ were introduced to design concepts and brought into collaboration. Designing better products, services, communications, and working to better understand our customers has been a necessary part of the process of Automattic becoming design-led, but there’s still much more work to be done. I believe that now is the time to fully embrace the other areas in order to complete the journey of becoming a design-driven company. Perhaps you’re wondering, “what the other areas?” Maximizing design impact across areas There are different models for this, but I’ll share my simple model that strategically uses design in three main ways: In some ways, it may be easier to understand these areas by looking at how they relate to one another. By applying my model to a modified version of the Winterhouse Symposium for Design Education and Social Change 4 matrix, I hope to help us see the relationships. Let’s get familiar with the modified matrix first. On one axis, they show the , which I’ve renamed to the . This ranges from a smaller, project- or customer-based impact to a larger, cultural- or community-based impact. On the other axis, they show the , which I’ve renamed to . This represents those needed to complete the task at hand and ranges from an individual person to a larger, cross-sector group. Together, they create the matrix you see below. fits in the bottom, left corner of the matrix. It only requires an individual designer or a small, interdisciplinary group in order to alter a discrete product, service, or communication. Similarly, the impact will likely be limited to the audience of the discrete project. fits right in the middle of the matrix. It requires an interdisciplinary group or cross-team collaboration in order to achieve the goal. Because the impact is system-based, it can scale beyond an individual project and help across multiple projects and teams at once. fits in the top, right corner of the matrix. Because the aim is to change the attitudes and behaviors of a community, this area often takes cross-sector or cross-industry collaboration and buy-in. Likewise, the impact of this work is beyond a project or series of projects, and is instead at the cultural or community scale. can be seen as zoomed in with a shorter timeline, and can be seen as zoomed out with a longer timeline. Similarly, the risk and the reward for each area scales along the same line. is the least risky, but also has the least reward, whereas is the most risky – often because of the timeline and the unknowns of working with a wider array of folks, but can offer the highest reward due to the larger audience and scope. Now, if you’re like me, having some examples in each of these will help this go from interesting and theoretical to applicable and practical. I’ll share some examples specific to Automattic: Now, notably, each of these things is important just like each area is important. A company should have designers assessing and improving discrete products, like a sign-up flow, to ensure that it works for customers and for business goals. A company should also have collaboration across teams to lead to systemic design solutions like a shared style guide or design patterns. Without that, just imagine how each team would have to do more tactical work — often duplicating efforts and wasting resources. And lastly, a company should invest in designing their culture, which includes both the internal culture and those the company exists within. Changing culture is extremely helpful in ensuring the company and the market grows. No amount of discrete design work or collaboration toward system-based solutions will adjust a culture on its own. Effective changes to culture require collaborating with stakeholders and major influencers. Each of these areas requires a type of focus, a range of time, and a specific number and type of participant. They each have different levels of risk, reward, and produce different scales of outcomes. These differences are why it’s helpful to keep each category in mind; they help ensure each part of the business and each customer touchpoint is benefiting from design leadership. Automattic started on its path to being design-led where many companies and individuals start, with . It’s a natural way to get started because it only requires an individual designer and anywhere from one week to a couple of months to complete a project. It also aligns with how most design programs teach, making it the area designers are most practiced in when they enter the professional world. The relatively short timeline necessary for this area means design tasks are less risky, while still audience-focused. Again, it’s a natural and smart place to start. While there’s always much more work to be done, Automattic is now pretty strong at We’ve started to build solid examples of and need to be doing more of it. And just this year we initiated an extracurricular project, collaborating with companies on culture-building improvements to broader tech, but these efforts need to be given space within our core efforts in order not further elongate the already long timeline needed to see results. I will continue working to share the importance of working at scale, across areas of impact, at Automattic. I’ll be looking for successes that can be shared across teams to lead to systemic solutions. I’ll be looking for weak areas of culture and finding partners internally and externally to collaborate on designing solutions. I’ll also be looking for designers in Automattic who are interested in taking their product or marketing experience and scaling it and will help patch them into opportunities for personal and professional growth. I hope you’ll consider doing the same where you work so that our industries are filled with design-led companies and people who know how to harness that power.
    Design as tactical driver:

    True if the animation was scheduled, or false if it was not.

    bool animation_set_implementation ( Animation * animation , const straight creased effect trousers White Lost And Found Rooms zj8BXhJ0
    * implementation
    )

    Sets the implementation of the custom animation. When implementing custom animations, use this function to specify what functions need to be called to for the setup, frame update and teardown of the animation.

    Note

    Trying to set an attribute when an animation is immutable will return false (failure). An animation is immutable once it has been added to a sequence or spawn animation or has been scheduled.

    The animation for which to set the implementation.

    The structure with function pointers to the implementation of the setup, update and teardown functions.

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    *
    animation_get_implementation ( Animation * animation )

    Gets the implementation of the custom animation.

    The animation for which to get the implementation.

    NULL if animation implementation has not been setup.

    struct AnimationHandlers

    The handlers that will get called when an animation starts and stops. See documentation with the function pointer types for more information.

    The handler that will be called when an animation is started.

    The handler that will be called when an animation is stopped.

    struct AnimationImplementation

    The 3 callbacks that implement a custom animation. Only the callback is mandatory, and are optional. See the documentation with the function pointer typedefs for more information.

    The diagram below illustrates the order in which callbacks can be expected to get called over the life cycle of an animation. It also illustrates where the implementation of different animation callbacks are intended to be “living”.

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    .

    Called by the animation system when an animation is scheduled, to prepare it for running. This callback is optional and can be left NULL when not needed.

    Called by the animation system when the animation needs to calculate the next animation frame. This callback is mandatory and should not be left NULL .

    Called by the animation system when an animation is unscheduled, to clean up after it has run. This callback is optional and can be left NULL when not needed.

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