Eric Meyer and Jeffrey Zeldman’s rolling design conference tour, An Event Apart, is coming to New York City in July. For the first time, it will be two days long; the first day will be devoted to matters design, and the second day will be devoted to matters code.

Count me a lucky bastard, as these gentlemen have been nice enough to invite me to be one of the presenters on the first day, appearing on the same slate as the prolific Jason Santa Maria and the scary-smart Adam Greenfield, two design practitioners and thinkers that I would gladly pay to see any time. The second day will feature the amazing Aaron Gustafson, from whom anyone can learn more about the practice and management of good code. And, of course, the estimable Eric and Jeffrey will be around too, either in “yadda yadda” mode or “as needed.”

It’s going to be exciting and I can’t wait. Registration isn’t yet open, but you can keep tabs on the An Event Apart Web site or its RSS feed to find out as soon as it goes online. Past events have sold out quickly in Philadelphia and Atlanta, so it’s reasonable to expect the same thing to happen here in New York City. Plus, if you don’t live here, you can treat yourself to a fun few days roaming the Big Apple — the July heat’s not to be missed!

I’m in the middle of reading “Swiss Graphic Design: The Origin and History of an International Style” by Richard Hollis, a thorough and lavishly illustrated overview of the extremely influential designers and philosophies that shaped much of the craft in the last century. It’s a fantastic tour through the evolution of visual communication in the Modernist style, comprehensive enough in its account to qualify as required reading for any graphic designer, I’d be willing to say. I recommend it.

The problem is, it’s not a particularly gripping read. To be sure, it’s well written and professional, but it’s not engrossing in its narrative; the mind tends to wander a bit when your eyes run back and forth across its dense paragraphs of factual prose; the words don’t do a particularly great job of grabbing your attention and holding onto it with the authority and immersiveness of storytelling. This is perhaps owing to the fact that it’s a history book and a book about design — two non-fiction genres that aren᾿t exactly known for yielding page-turners. Still, I don’t see a good reason why the book couldn’t have been as gorgeously and expertly assembled as it is and, at the same time, also proven to be a blast to read.

I’m going to make it a two-fer week for comics fans here: I never got around to writing about the Adrian Tomine-illustrated advertising campaign for Perry Ellis that kicked off earlier in the year, so following on my post about Seth’s wonderful “Wimbeldon Green,” I thought I would. It’s a fairly striking creative strategy for a fashion label that completely eschews photography for hand-drawn illustrations from the author and artist of the indie comic book “Optic Nerve.” Tomine uses his self-consciously mild drawing style to recount quiet moments of modest poignancy in the lives of apparently attractive, Perry Ellis-garbed young singles. He tells three short stories in comic strip form with the same attention to detail and deft draughtsmanship that you’ll find in his normal comic work. None of them are of any particular consequence, but reading each of them at PerryEllis.com, they come off as reasonably successful impressions for the brand.

From time to time I get emails from readers asking some variant of the question, “What did you use to make your blog?” The answer is Movable Type, a very capable publishing tool to which I owe a great debt; without it, I’m not sure I would have written the hundreds of posts I have, probably remaining instead just a frustrated design and technology writer of dubious talent, wrestling with the limitations of Blogger. For publishing power relative to what was available even just five years ago for much, much more money, Movable Type offers a tremendous and compelling value.

Those questions are often followed up with, “Do you recommend that I use Movable Type, too?” That’s a little trickier, but honestly, I think I’ve come to the point now where I’d have to answer, no, I wouldn’t recommend Movable Type to new bloggers. Instead, I would recommend WordPress, very similar software that’s marked by a few key differences: it’s open source, which means it’s free; it’s PHP-based (versus CGI and PERL-based, like Movable Type), which means it’s technologically easy to modify; and it’s clearly the publishing tool of the moment.

This weekend at The Strand, a downtown Manhattan bookstore that claims to sell “18 miles of new, used, rare and out of print books,” I picked up a copy of “Wimbledon Green, The Greatest Comic Book Collector in the World” a graphic novel by the popular alternative comics artist Seth. Though I have a soft spot for comic books, I often regard the romanticized, tactile quality of printed matter to be a bit overrated — when I can, I prefer to have things digitally. Not so in the case of “Wimbledon Green,” which is nothing if not physically beautiful.

The estimable John Gruber has taken the plunge into full-time, self-employed blogging, and I envy him. As I wrote in the link I posted to the Elsewhere section of Subtraction.com, this is a win all around: readers will get more of Gruber’s uniquely detailed and exquisitely reasoned Macintosh punditry, and Gruber will get to focus on Daring Fireball, the central passion of his professional talents.

He writes, “There’s nothing I want to do more than this.” I can empathize, because while I’m genuinely engaged by many things in life — including the daily and deeply satisfying challenges at my job — there are few things I enjoy more than working on this weblog. As a designer, authoring a weblog is more or less like landing a dream project with a client who’s always in agreement with your own creative judgment. It’s no accident that the design profession and the blog phenomenon have been intimately entwined since this whole thing started. It’s the first medium that has allowed unfettered access to publishing for a population of craftspeople who have almost always had publishing just beyond our reach.

For moments of concentration, when I want to be particularly productive in hammering out a paragraph of overly articulated prose, I set iTunes to play “Quique,” an album of ambient, droning sound-spaces by the English quartet Seefeel. It betrays the fact that I came into adulthood in the mid-1990s to say that, because if there ever was a height of that obscure band’s popularity, it was the last decade, when dissonant and amorphous sound structures became all the rage. Good times.

One of my favorite features on the new NYTimes.com is the row of feature articles that we have running across the middle of the home page. With questionable creativity, we refer to them by their acronym, “MOTHs,” though when they appear at the bottom of an article I guess they really ought to be referred to as “BOTAs.” I had almost nothing to do with designing them, so it’s not bias talking when I say that I think they’re a very attractive, eye-catching method of highlighting features using sometimes very different kinds of imagery (or no imagery, as with the headline-only ones) in a surprisingly cohesive presentation.

They’re also incredibly effective at signaling a different kind of content from what appears at the top of the home page, which is an important role in a layout that must juxtapose sometimes incredibly serious and upsetting content with sometimes esoteric or lighthearted content. The editorial team have used the MOTHs to great effect to publish a mix of opinion, arts, sports, technology and other articles less urgent than those at the top of the main columns. They make it all work together.

As hard as it is for designers to learn management skills, it’s even harder for companies to find truly qualified design managers to hire. It’s just a rare quality, because for truly creative types, the act of managing can often be a daily struggle between satisfying the sensibilities of the artist’s id, and orchestrating all the business factors that intersect with a design team. It’s an unnatural and often uneasy internal alliance of opposing agendas.

All of this occurs to me because an acquaintance is in the middle of a search for a new design director, someone to bring a keen design awareness and a sense of leadership to the Web design group inside of the Fortune 1000 company where she works. Aside from the usual qualities that one looks for in a candidate — portfolio, professionalism, work history, proficiencies — I thought it important to look for a few key characteristics when looking for a design manager. So I sat down and knocked out a short list of must-haves that I would recommend looking for when hiring someone to manage a group of designers, specifically in an in-house design group.

I likes me a little “Daily Show” four nights a week, usually followed up by some “Colbert Report,” too. I also like to check in on the fading days of the still excellent “West Wing,” and of course I tune in faithfully for “The Sopranos” on Sunday nights. This evening, I watched a TiVo’d episode of the FX Network’s “Thief” for the first time, and I was impressed enough to want to give it another try. And this fall, I fully expect to be a devotee of Aaron Sorkin’s forthcoming “Studio 60 on the Sunset Strip,” which is almost assuredly going to be excellent.

TV is good. I’ve said it before, but I really do believe that it has come light years since the programming of my youth, the general awfulness of which can usually be neatly summed up in just two nasty words: “Matt Houston.” In spite of the continued prevalence of reality television, I honestly do believe that there’s loads and loads of truly original, compelling and smart programming on the air today.

There’s a new “Links” sub-section at the bottom of the Subtraction.com home page, which is more or less what you would expect: literally, a list of sites that I think are interesting. I haven’t had it before, in part because I think such lists are a little show-offy for my taste, and also because I always feared I’d snub someone by inadvertently leaving out a link to them. But, as time has gone by, I’ve come to feel that such lists are de rigeur for weblogs, and it’s a little impolite not to have one on mine. So here you go; I’m sure I’ve accidentally missed someone, but I’ll be trying to update this regularly — or soon, anyway.

The presentation style of these links is the manifestation of an idea that I had for showing lots of blog links by making use of the favicon, a concept that I had wanted to use for a project at work. As it turned out, we opted not to use it, so I thought I’d put into service for the links section. I’m fond of it because it’s a nice use of some very standardista-friendly elements — a simple, unordered list and favicons — expressed in a manner reminiscent of typographical tricks more commonly associated with print design (the drawback, of course, is that I can only list sites and feeds that feature unique favicons; not for technical reasons, but for editorial ones).

Here was my first reaction to Apple’s announcement that they are now officially enabling, if not supporting, the ability to boot Microsoft’s Windows XP operating system on their new, Intel-based hardware through a software utility they call Boot Camp: “Holy shit!”

This is a momentous move for Apple, something representing a real break from the nagging case of N.I.H. syndrome that’s dogged the company like a lingering cough for years and years. The world outside of Apple’s many legions of overboard devotees seems to think so, too: this afternoon, the Boot Camp story made it into the prized top-left slot on our home page at NYTimes.com (I swear that I have no influence over such decisions), and when the market closed today, AAPL was up by over six dollars.

My second reaction was to email a friend who actually works inside the Apple Computer ‘mothership’ in Cupertino, CA, and ask him how he could ever keep a secret like Boot Camp — indeed how he manages to keep all of Apple’s juicy, expletive-inspiring product secrets — to himself. His response was, “Every day is a trial, man. Every day.” He’s twice the man I would be in that situation, to say the least.

Alert and not-so-alert readers of NYTimes.com will notice a little something different this morning: a major redesign of the site’s look and feel, from top to bottom (almost). In a Sorkin-esque, marathon session of exhausting and exhilarating proportions, our team spent all weekend implementing this new design, pushing it live in progressive stages starting Sunday afternoon. The home page, that hugely symbolic focal point of any site, went live at 11:33p Eastern Standard Time.

I think it’s a sterling piece of work, a great example of how to evolve a user experience rather than reinvent it: the best reaction it could receive from readers (those not among that vanishingly small subset of the general populace who can be called ‘design savvy’) would be something along the lines of “The new design looks just like the old design.— That would suit me fine, because it would signal a continuity that I think is completely appropriate for such a closely watched site like The New York Times’, and besides, I know for a fact that it’s more elegant and more useful than it was before.