Susan Kare on Designing the Original Mac Icons and Why Simple Design Lasts
The designer behind the original Macintosh icons on simplicity, constraints, and making technology feel human.
Susan Kare joined Apple as an art history PhD who barely knew anything about computers. She went on to design many of the icons, typefaces, and symbols that helped make the original Macintosh feel understandable and human, defining a visual language for personal computing that still influences software today.
At Startup School 2026, Susan shares the stories behind the Happy Mac, Command key, Chicago font, and more, along with the design lessons she learned from Steve Jobs, Paul Rand, and the original Mac team: make things meaningful and memorable, embrace constraints, iterate constantly, and use just enough detail to make an idea instantly clear.
Timestamps
00:00 — Making Things Meaningful and Memorable
01:51 — How Susan Joined Apple
05:01 — Designing the Original Macintosh
06:35 — A Computer Anyone Could Use
08:26 — Creating Chicago and the Mac Typefaces
11:47 — MacPaint and the First Icons
14:45 — The Story Behind the Happy Mac
17:08 — Why Simple Icons Work Better
18:25 — The Icons That Didn’t Work
21:23 — Designing Symbols That Last
22:44 — How the Command Key Got Its Symbol
25:20 — What Ancient Symbols Can Teach Designers
30:18 — Designing After Apple
36:32 — Lessons From Steve Jobs, Paul Rand, and More
Transcript
Hello, I’m Susan Kare, and now for something completely different.
I’ve been an iconographer and designer. I’ve worked on a lot of tech projects, and I want to talk about a tech startup I worked for, even though the Macintosh group was part of Apple, but I think a lot of the experiences resonate with some of the topics that I’ve heard here today.
So I’ve been doing this for a while and love it. Here are a few things that I designed over the years.
It’s funny because this was really a north star for the Macintosh group, but when I reread it in the last couple of days, it reminded me of AI and so many things that are being developed now.
Paul Rand is a celebrated graphic designer, no longer with us. He did the UPS logo and IBM logo and so many images that have persisted. I was lucky to work with him. Something he told me was always focus on making things meaningful and memorable. I think the heart of that is to have a good idea and then the form will follow.
I was a total art major, didn’t know anything about computers, and was lucky enough to work at Apple on the Macintosh as the Macintosh artist. Before I went to Apple, I was welding a life-sized razorback hog for a museum in Arkansas. I thought I was living my dream, going out to my garage, welding all day. But in truth, it was a little bit lonely, and I was glad I had the experience, but it made me hungry for working with a team.
My high school friend, Andy Hertzfeld, was a system software programmer at Apple, and he knew I had worked on the yearbook and liked art. He said he needed some images to display on a new computer that was being worked on. He showed me the display, which didn’t have a case, and said, “Could I come in for an interview to work on some small symbols and some typefaces?” I said, “Sure.”
I thought it sounded great and really interesting and something I hadn’t done before. I had a little bit of typographical experience from working at the Franklin Institute Science Museum in Philadelphia. I used a machine like this to make labels for exhibits. I was pretty good at Letraset, rub-down type. I could do it really straight and get the kerning right.
I had a PhD in art history, so those were my credentials.
I went to the library in Palo Alto and took out some books about typography and some font sample books, and actually brought them to my interview under my arm so I would seem as if I knew what I was talking about.
Andy also suggested to me that it would be good if I could make some examples of essentially bitmap graphics, but using graph paper. He didn’t really specify what to make. So some things I made were like a pun with a boot and some pieces of paper. You can see on this slide there’s a little bit of an ABC, but I just tried to make some examples.
These are more of the examples. It’s sort of funny because some of these really random things slightly influenced what we ended up using in the software.
So I spoiled the surprise, but I got the job, and I don’t think anybody even asked me any questions about font design despite my prep.
In a funny twist of fate, as much as I had wanted to be an artist, now that notebook with those early icons that I took to my interview is in the permanent collection of MoMA. So definitely hang on to your stuff.
When I got to Apple, the first day, this screen was shown to me to say, “This is what it’s your job to improve.” Fonts and the round rects that are on the five-and-a-quarter-inch floppy drawing could become icons, but they were able with a cursor to click and drag those around.
So it already had a little, seemed kind of magical to me. We definitely changed Do It to Okay, because Do It was a little off-color and people read it as Dolt.
I wanted to make a new system font and make some icons.
It was told to me, very sincerely, that we were trying to make a computer that anyone could use. I felt good about that because I was in that group, even though I am happy to work on and have worked on many projects that weren’t for me, but I liked that about this project. We wanted it to be as understandable as possible so you wouldn’t necessarily need a manual, and that it should be friendly because there were so many people there in the Mac software group where I was, who were just passionate about computers and wanted to be evangelical about that.
There were a few constraints. Usually, I think you can be creative in any constraints. You can make some pretty fun art with beach trash while you’re walking around. You can be creative, but it’s good to understand what the constraints are and then be excited about that as opposed to being upset that you don’t have a thousand colors.
This is 16 by 16 black and white. I think the first images that I made using those constraints were things like this.
We thought maybe a lasso would be a good way to surround an irregular region and some other art tools.
It’s funny to me because I went to Paris for the first time fairly recently, and there’s a street artist known as Space Invader, and he does a lot of mosaic work. He has borrowed liberally from early Macintosh stuff, which made me really happy.
The first font I designed was Chicago. It’s nine pixels tall, cap height. I looked at the stuff that was on the screen, and it just seemed as if it was all jaggedy and it didn’t seem as if it would be that big a deal to make it look tidier by using horizontals and verticals and 45-degree angles. I still wince when I look at, especially, that lowercase x.
But the others, I could pretty much fit into the system. We were so lucky on the Macintosh to be able to do proportionally spaced fonts because I remembered seeing displays where the M was really squished and the I was really wide. I didn’t realize what a big deal this advancement was, but it seemed to make it look a lot better. We used Chicago, put it in the title bar, and experimented a lot until we came up with those lines. What we didn’t realize was that when we designed the calculator, we were designing the first iPod, which also used Chicago, which made me happy.
We shipped some other fonts with the Mac, including a Monospace font. I thought we should probably have a Times Roman kind of thing and a Helvetica kind of thing, so that’s where New York and Geneva came from. Then I made a font that I called Ransom because it was what kidnappers used to do by cutting letters out of the newspaper so they wouldn’t have to reveal their handwriting and get caught.
Like the other fonts, Andy and I gave them city names. Because we had gone to high school near Philadelphia, we gave them names of towns on the Paoli local through the suburbs into the city. Steve Jobs came by one afternoon—he usually came by at the end of the day and walked around the software group to see what was new—and he said, “Well, city names aren’t bad, but at least call them world-class cities.” So that’s how we ended up with New York and Geneva instead of Paoli and Wynwood and Rosemont, where our high school was.
Bill Atkinson was the programmer who wrote MacPaint, and that was my favorite program, of course. I was happy to collaborate on the icons and the patterns. He developed an early scanner, and that’s how we got this Geisha image from a woodcut that Steve Jobs owned.
We made a control panel that had animation for when you changed the settings, hoping to communicate what would happen and what your choices were. We tried not to use text so that it could be international without having to make a different version, though we could use sound and speed.
We didn’t have that many really great tools for art, but we forged ahead.
Andy wrote an icon editor, so I did not have to design on graph paper once I got to Apple. This is a picture of an ImageWriter print of what the screen looked like with the icon editor.
There were no tools; you could just toggle the bits and see a greatly enlarged image as well as what the icon looked like at 72 DPI. I thought this was just magical, even though it didn’t have 20 levels of undo and you couldn’t draw any shapes. You could iterate without an eraser.
It’s hard to overstate how great this was. It automatically generated the hex code for an icon, which I could then type in and see the image on the screen. It was a marvel. This icon isn’t crying—it was probably me counting pixels for some reason down the edge. You can see in the title bar, I tried a bunch of different types of things during the time we were experimenting.
Sometimes people came and sat, and I would do their portrait in 32 by 32. People seemed to enjoy that. There wasn’t really a way to get a photo in there at the time or even a drawing, so I just had to do it from life.
I still enjoy making those portraits. I think it’s kind of amazing that in a thousand dots, if you iterate a lot, you can get an image with some semblance of resemblance. You can see Pharrell Williams is at the top on the right and Ashton Kutcher under him. They did not sit for their portrait.
There are some people that aren’t super well-known, and John Maeda, who’s a design leader.
One of the first icons I was assigned was for when it took a while for the computer to boot when it got turned on. Everybody wanted an image on the screen, and it had to be 32 by 32 because it was only a 128K Macintosh.
Because the computer was sitting there grinding while it started up, we wanted something that showed that everything was okay. I thought a smile was good. I’m pretty sure it came from my memory of a button I got when I was about 14. I like smiling and happy things.
The Understanding Happy Mac is a play on the title of this excellent book by Scott McCloud, which is about comics but really has so many good insights about user interface too. It came out 10 years after the Mac originally did. I pulled two illustrations from that book by Scott McCloud that kind of explain some of the thinking behind our icons, which is that when a face in particular has a lot of detail, it looks like somebody else. But if you make it really simple, everyone can project themselves onto it. I love that idea.
He expressed a similar thing: the less detail you have, the more universal something is, which is why I think a simple drawing of a pencil can stand for writing in some ways better than a chrome pen with a reflection, which is very fancy, but it’s a very particular kind of pen that not everybody might write with. So my bias in icons is a salient detail or two, but don’t lard it with a lot of extra stuff. It’s similar to street signs, like the sign where there’s a silhouette of two kids holding hands at a school crossing. There’s not a technical reason that they couldn’t have plaid lunchboxes and shoelaces or be singing a song, but it would probably be more distracting and just take away from that instant recognition that you’re aiming for.
We made some mistakes too.
I was told that as an alternative to the Happy Mac, if in the extremely unlikely event something went wrong with the Mac, there should be an unhappy Macintosh.
So I thought maybe a sick Macintosh looks a little hungover. And again, I could be irreverent because no one was going to see this. At least that’s what I was told.
Same thing with this icon. They needed an image for total system failure, which of course, again, no one would ever see. So I thought maybe it would be funny to have a bomb, like a Bugs Bunny type of bomb. But unfortunately, people did see this.
One time I was working in the software group, which was a glass room—the fishbowl—and the receptionist from the front said a call had come through to Apple from a person who really needed to talk to someone in the software group, not me, about her Macintosh because the caller was worried that she was looking at a bomb and was her computer going to explode.
So I felt a little guilt.
But the moral of the story has lots of iteration.
We started with the handful of applications that we had. I did MacPaint first, I remember that. I liked the idea that since it was a process, it looked kind of active, and then it could be paired with a document that resembled it. Our system was kind of a verb and a noun. It seemed like this could hold up pretty well because we only had maybe half a dozen applications and didn’t really have the mindset that there would be thousands of applications.
Same with alerts. I tried to crop a person. It’s not a person with a little square head. The idea is it’s a crop, so you don’t know the gender or the age or the hairdo or really anything about this glimpse of a person.
I had only seen a sand timer as an egg timer.
It seemed like, “Hey, we’re in the 80s. Let’s update these things.” So we made a watch cursor instead of an hourglass.
This was the icon for print, and it’s kind of a trap. The ImageWriter did have paper with holes up the sides that would fit on the sprockets to attach when you turned the big knob on the side. But again, too much detail. It would’ve had a much longer lifespan if I had just stopped and made it simpler.
In general, I think it’s not good in icons to show pictures of a particular product design because the three-and-a-half-inch floppy for save, even though there are still a few of those kicking around, obviously didn’t age well. Better to use a metaphor. Just enough detail.
This is what our dropdown menus looked like. We had the Apple—we called it the Apple menu—and there was going to be an Apple key for these keyboard shortcuts. But Steve came in one day at the end of the day and said, “You cannot do this.” I think he called it an apple farm and said, “Our logo is precious and we have to respect it. So we just can’t have a bunch of apples.”
Then the idea was I was told that key was a command key or a feature key. So I began thinking about commanding, and it seemed kind of mean. The Ten Commandments seemed like a pun.
So back to the library, and I came across this image in a book that was called a feature. I thought, okay, it kind of looks like a four-leaf clover that’s sort of lucky. It kind of looks like a cloverleaf highway, which might be a way to get somewhere fast. We ended up—and it had the bonus of being really easy to draw in 16 by 16—so we used that, and it’s still on the keyboard. But I felt a little bit bad that it was abstract. Sometimes abstract things can be harder to remember than something that has a metaphor that reinforces the concept.
But I went to Sweden, and I was so excited to get off the plane in Gothenburg. There’s the feature key because it’s used there to indicate that you’re near sightseeing, a monument, or something else.
Someone from Sweden must have heard me comment on this and said, “Actually, that symbol that’s on the signs is taken from a 1200 AD castle called the Borgholm Castle. It’s a ruin. But when you see it from above, you see that it’s like a castle with four turrets. So that’s actually what that symbol represents.” I thought it was fun to find out even after the fact it did look like something after all.
When you study art history, there’s not much new under the sun. People have been making little symbols for a long time.
And no, I did not design this. Hieroglyphics had their day.
This is a cartoon kind of showing that hieroglyphics are back.
There are some really pretty nice bitmap fonts developed pretty long ago. This has only about a seven-pixel capital height. I thought I wish we had that person.
There are a lot of carvings with symbols and text and illustration that resemble some of the things that we were doing on the computer.
Again, another extremely nice bitmap font 200-plus years before we sat down to make our proportionally spaced fonts. Here’s a very nice example. This has about a character height of 10 pixels.
I realized that maybe I was destined or trained from a young age to want to make things on a grid because it used to be acceptable to get little kits so your kids could make the parents an ashtray. I loved making this type of thing.
I like to think that there were emojis in the 1984 Macintosh, that you could combine pictures with text before there was texting. There are a few things hidden in here. It obviously had a hieroglyphic antecedent, and I hid some hieroglyphic-type symbols in there. But I think the whole point of that project and the graphics was it isn’t really just about a grid of pixels.
It’s the metaphor and the idea and the meaning behind everything. This is just a super-quick run-through of some icon options that I did for Swatch.
They wanted an alarm, so of course I started with a clock and made it noisier, then made it look a little bit more literal, and then a little louder and simpler, maybe.
Or maybe it should look like, oh, it’s a travel alarm clock—that would be in your head if you saw this. And then I thought, way too self-referential. Why would you want a clock on a clock? So I was making other things that looked a little bit noisy as options, like the alpha alarm clock.
The point just being, this is so not an exact science. I always like to show either what a client asks for or what a programmer might have used as a placeholder because I’ve gotten so many good ideas that way, and then maybe refine them a little bit.
After I worked at Apple, I did a job for Microsoft on Windows 3.0 and color, even if it was just 16 colors, and some of them weren’t very good colors, but it was still so nice to be able to use red for alerts and to differentiate at a glance a little easier when you had color as another option.
I wanted to make something that didn’t look like a garish chessboard. There were a lot of illustrations like that. So this is all those 16 colors, but dithered so that they appear a little more subtle.
I also did something that, I guess, there’s always a way to get addicted to something on your screen. In the nineties, a lot of people played Solitaire. I had to take it off my computer so I didn’t play too much. Slate at the time thought that Solitaire made a dent.
I’m just going to show a few images that I made in the decades after Apple and before, some examples of good advice that I wanted to share with you. I’ve worked for a lot of clients, and we’re not going to talk about them all. I feel so grateful. Some things were fun, and some things were serious, and some things wanted self-consciously to seem like business.
I worked on a project for General Magic. I did the logo, and we had a different kind of desktop metaphor that was a little more literal—hallways with doors. I think the very worst thing we had was jars of text, because why? But the idea was that you could remember where things were by going and finding them in a logical way. I kind of laugh, wince—all these things are gone.
No Rolodexes, no phones that looked like that. But at the time, it—yeah, no file. I mean, there still are file cabinets, but at the time you could tap on those drawers and they would come out and you could put whatever you wanted in there. That was kind of a fun project that just didn’t—We could send postcards, but it didn’t quite anticipate email. I worked for Facebook on a project where you couldn’t just upload images, but you could buy images for a dollar, like a real dollar, and send them to people. I thought this was a wonderful project—having a gift shop and thinking about what you could draw that someone would want enough either to have or to share with someone that it was worth spending a dollar on.
We did this for not quite four years and had a new gift every day that launched at midnight on the East Coast. We could kind of tell by maybe a quarter after if it was going to be a successful bestseller by just how many sold in that first 15 minutes.
We had some limited editions and we had some—I thought maybe if you made something that cost thousands of dollars, like diamond earrings and a Rolex and did fancy things, that it would seem more worth a dollar because it was so expensive. But what I learned was that cute trumped everything. Teddy bears, anything heart-shaped. The Kiss Mark was the bestseller of all time. If my life depended on selling a drawing for a dollar, I now know I would draw a penguin because we had multiple limited editions of penguins, and they all sold out.
It was just interesting. We did some collabs with Britney Spears and other entertainers. Ultimately, Facebook ended this program because they didn’t want to compete with third parties, but it was good while it lasted.
Then I did some icons for Pinterest, where a terrific animator helped me with these. I thought just a little bit of motion so that it wouldn’t get really irritating over time. I made many icons there. This isn’t all for Pinterest, but some of them were.
I made a logo for astealthmill.com, which is a terrific company. Before they had their real logo, we did a trash panda because it dealt with trash in a similar way.
This is an illustration. The National, which is Amtrak’s magazine, invites artists—I think it’s a quarterly magazine—and they have artists interpret their route map. I thought it might be fun to go back and do pixelated icons for places where you could take the train.
I love doing logos. This is for Magic Puzzle, which really does make these great jigsaw puzzles that, after you finish, perform a magic trick—not levitating.
I was an artist doing studies for the logo, which is pretty close to this, for Pikmin Bloom game and Peridot, which is a game.
I love doing avatars. Avatars are so freeing because they can stand for anything. It kind of made me feel like gifts—you just want to have an array so someone can find something that speaks to them.
I just did these badges for a fairly new Ledger crypto wallet, and it has a little attachment opening in the front so that you can personalize it. And they really wanted to have something a little bit retro-looking.
This is a logo for a VC firm where the idea is to get out of the office and work in the mountains, work somewhere outdoors. Dave Morin, a friend, called and said, on a Friday, I think, and wanted to have an image and t-shirts and hats by Monday. So it was kind of a quick project, but it was fun to get a little bit of experience with something new.
Now I wanted to share some advice that I’ve been given by people that I met. It’s not a Google project, and I’m always looking to add to it. So I welcome any good advice that you want to send along.
By people that really influenced me. This is Paul Rand I mentioned earlier, just a terrific designer who started working, I think, for magazines when he was around 15.
He said that with all these new fonts, you don’t need that many. He was kind of brusque: you don’t need that many fonts. You just have to know how to use them well. This is some of his work.
I got to work with him at a company called NeXT, where Steve Jobs went after he had to leave Apple. I, of course, wanted to hire Paul Rand for the logo because he was my hero. Steve hadn’t really heard of him and thought we should have a contest, which I would never think is the best way to get good creative. But he said we could hire five people or firms and pay them each $15K, and then we would pick the best and continue to work with them. So I invited some people, and then I invited Paul Rand, and he said, “You will pay me $100,000. I will do one logo, and you will like it.” And that is actually what happened. We did like it, and we did pay him. It was such a great learning experience for everybody to work with him.
Among other advice he gave me, these are the fonts that he tended to use a lot.
I noticed in his work, he also tends to use the same colors. I kind of thought, okay, if PMS 354 Green is good enough for Paul Rand, it’s good enough for me. I still tend to look in his books and use some of the colors that he recommended for NeXT. He did, just as an offhand remark, say that.
When we were talking about logos, he really advocated trying hard to think of a way to do something to the name of the product, kind of the way he put NeXT in the Cube. He showed this as what not to do.
This is a couple AT&T logos ago, because he said, “If you can spend a ton of money to make some random symbol associated that doesn’t really mean anything much”—I mean, I guess it’s the world—”with your logo. You can do whatever you want, but most people don’t have unlimited money.”
So these are some logos that he did. You can kind of get the idea that Morningstar has a rising sun and IBM is pinstriped and businesslike. I love that UPS logo. He said when he was doing it, he showed it to his six-year-old daughter and said, “Katherine, what is this?” Reportedly she said, “It’s a present, daddy.” He thought that was such great justification that it was understandable, but really it had a shield and a package.
Sadly, they modernized it because I’m sure there were people sitting around a table who said, “Well, we’re not just about packages anymore,” but I keep hoping they’ll bring it back.
This is a futurist named Paul Saffo.
I just loved this quote that he mentioned one day. I kind of get this in a metaphorical way. I always think I can do this in an hour when really nothing takes an hour. So many projects I’ve worked on, you optimistically think you know exactly what you want to do, but still, allow extra time.
This is my dad, who was the director of the Monell Chemical Senses Center in Philadelphia, which studied taste and smell. I introduced my dad to Paul Rand, and he made that logo for Monell, which I felt pretty happy about, and they got along really well.
My dad always had good advice. It wasn’t the most cheerful advice, but it was realistic. He had to raise a lot of money for the Science Center, so he knew what he was talking about. I try to remember that because I get depressed when I hear no.
He also said this, which I think is a really realistic way to think about things and not be kidding yourself.
This is Daniel Nordh, who was born in Sweden, now lives in Portugal, and worked in London for the mayor. He’s an architect. He told me how they used to just sit around tables and have endless discussions about things.
This is how he said, “Make it visual.” I guess this is a metaphor too, but do the drawing. Really, show don’t tell, I think is what he meant.
This is a guy maybe well-known in some circles named Jean Pigozzi, who I met through Steve Jobs. He was kind of an Apple fan. He maybe invented the selfie, but had a lot of celebrity friends. His father was Italian and started the Simca Car Company so that he could spend his life doing whatever he wanted.
He collects African art. He said—and this amused me because it does seem like a long time ago and a lot of fun that we worked on the Macintosh.
He also said this, which I think I try to do. I think it’s good advice.
And this is Andy Hertzfeld on the left, Bill Atkinson, Bud Tribble, and Steve Jobs, and Alan Kay on the right, who’s in his 80s now, unbelievably accomplished computer scientist.
And this is Bud quoting Alan Kay as a kind of tenet about user interface and maybe not having everything at the same level and nesting things so that things can just appear—that ease of use seems possible. I always try and think about that.
Alan Kay said this to me, and I took great joy hearing that because he just said, yeah, who knew? Proportionally spaced fonts can actually look pretty good.
And this guy, pretty well known, he’s sitting in my cubicle at Apple, and he did say in the ‘80s, “Appreciate what you have right now.”
The first offsite I went to, he put up these three goals. Because of the second goal, a programmer named Steve Capps and I—Steve Capps sewed a black flag, and I painted a skull and crossbones on it and put a striped apple as the eye patch.
We went to work in the middle of the night and climbed up on the roof because obviously security was a lot more lax back then. We flew that flag and it was really just as a rejoinder to this, that we were the pirates.
I remember we used to show the Mac to lots of people. I still think of this now because obviously you say some people can figure out how to use this, but not everybody. There was great joy because they could feel smart or they wouldn’t feel dumb if you said it was easy and they still had trouble with it.
This is the only piece of really bad advice I got from Steve Jobs. He said, “If Apple stock was ever going to be worth anything, don’t you think I’d be holding onto mine?” I thought, “Well, I’m not going to buy my stock if he’s not buying his. He would know.”
He also said, “Susan, you can twiddle bits and never make more than $20,000. Or it’s better to be a creative director.” He was talking about NeXT, and I was a creative director and I got to work with Paul Rand. That was fantastic. But ultimately I was a bit twiddler at heart and I went back to it, and maybe not always bits.
I think this is debatable, but he took lots of visiting executives to see this movie. I liked it because it had a welder in it.
Jay Chiat started the ad agency that Apple used, Chiat\Day. It was not work-life balance at the time. Everybody I worked with in the software group had a sleeping bag in their cube.
I think this is really good to remember. I know a couple companies I’ve worked for, we decided that with 15 people, you could still have consensus hiring and everybody in a room and be on the same page. Then you start to get more people and there’s a plus and an upside and a downside.
Andy said this, he gave me this advice showing stuff to Steve. He’s like, “Don’t show him one thing because he’ll say he doesn’t like it. That maybe forces you to go try and do it again and be better.
But if you show a few things, then he can be involved and say that something is terrible, but still pick something.”
And this is advice from my mom, and I think it’s very good advice.
This is Evan Sharp and Ben Silbermann, who started Pinterest, and they had a lot of good ideas, but Evan used to say this.
And this is Dennis Hwang, who started working at Google when he was an undergrad at Stanford. He’s a terrific computer scientist and artist.
He told me this—that was the prevailing wisdom at Google. I would probably preach the same thing: don’t mess around with the logo and put it in a different color and put it on a crazy background until people know it so well that you can play with it.
But obviously Dennis made these. They did pretty well with this.
This is something that a friend’s dad told me.
This is not political. It’s just a fun picture I found with an accordion.
And you know this guy, he has a lot of truly good advice.
Including this, but I don’t think it means to be discouraged and quit trying. It just means, oh, maybe it’s time to go on to the next idea.
And thank you. But also really thank you to Y Combinator. I had an amazing day today and everything ran so smoothly and everyone was so gracious. It just seemed like I felt envious of everybody taking part in this event because it just seems so cool. Thank you.
