Cool. Let's get this going. Welcome, everyone. Thanks for coming.
My name is Paul, and I'm going to try to save you from the mid-day slump. So let's see if we can do that. Okay, so this talk, this cold open of this talk will make a lot more sense if you know what Impeccable is. But if you don't know what it is, it's a design skill that turns your coding harness into a better designer, and hopefully you into a better designer. And you can try it out. It works across all harnesses, cloud code, Github Copilot, Cursor, Codex, et cetera. And this talk is really about my approach to how to building this tool as opposed to the tool itself. But let's get started with a pretty typical website.
So this is an intentionally very basic website, and I want to give you that one as context to what I'm going to show you next. So it's an okay website. It's not great. It's pretty bland. But at least it has some colors, something. So now, here is the command make it bolder, make the workflow section bolder with Impeccable. So this is with Impeccable installed. So now, there are some problems with this. For example, the section numbers that you have there, that's a very typical AI slub tell that GPT loves to do, and Claude actually loves to do as well. And it sometimes creeps in. So I wouldn't say this is perfect by any means, but I think it's bolder than before.
Now, a lot of people install Impeccable, try it out, and then they ask me, well, maybe it could be placebo. Maybe the model is good enough in itself, right? Not sure if it actually works. Well, let's compare it to this. This is exactly the same project, GPT-4o on extra high, same exact prompt without Impeccable. So there is a slight difference, I would say, but you be the judge of that.
So the before and after is pretty different, and I'm going to talk about why that is, and what the approach is. So designing at the speed of adjectives, and to get the elephant out of the room, they are not just adjectives, they are also verbs. But some of them are adjectives. First off, the role of the engineer and the designer are blurring.
I have seen more people become design engineers than ever. Designers are moving into code, engineers are moving into design, and vice versa. Some of the best comments I get from people who walk up to me and say, well, Impeccable gives me this shared language of design that everybody can communicate now in. But really, these worlds are all colliding, in my opinion.
And the typical handoff is broken. The waterfall process of, I start with design, maybe I start with the what on the PM side, then it goes into design, and then there's this handoff and this critique process, and then ultimately the engineer builds it. That thing is just not real anymore. I don't know about you, but I think that's starting to collapse very quickly in small and large companies. And when it comes to the actual work of design, I feel there's right now two worlds that you can play in. Either it's direct manipulation, in the pixel space, right?
So you're in Figma, and you're manipulating margins, paddings, whatever it is, or you're in Webflow, or you're in some other tool where you're directly manipulating the final output, or the design. Now that's fine, but then you feel you're getting behind because everybody else is agentic and going crazy with loops and loop maxing, right? And now you're going on the other extreme, which is simply telling your agent, please design this for me, or please build this.
But it feels to me there's this middle ground that we haven't explored enough. What is the exact level of control? How can we insert the human in the loop at the exact right time? And so this came to mind then. It's a very popular tweet from a while ago. So centering a div with Opus, yes, not a great use of Opus. But it speaks to that problem. It's, well, when do we use which tool? When is which tool adequate to do what job? In my opinion, right now for most work, the direct manipulation of padding, margins, spacing, and so on, is actually at an elevation that's too low.
And on the other hand, if you go fully agentic, you get web pages like this.
Now, you would get this in 2022, I would say. So everybody here can point out the typical AI slop patterns. But the purple gradients are actually way beyond that. There are no purple gradients anymore in most frontier models. Now we just get this and it wears a different suit, as Claude would say. But it really is slop as well. It's just a moving target. So now we have, I call this Claude beige. We have these instrument serif fonts. We have italics. And it's not necessarily a bad design. It's just everything that comes out of Claude design looks that way. And when everything looks the same, you get algorithmic Uniqlo, as I call it.
So not great. Now here's my first hot take of today's session. You cannot one-shot design. Many people want to, and maybe will get there eventually. I just don't think it's possible at the current moment. Maybe not ever. I think in order to build something that really looks and feels great and is effective design, you need to have something that's context-rich, which has been informed by what you're trying to do, what your audience is, what you're trying to build. And also it will have to be multi-shot. You will have to iterate on your design. And even if you're a solopreneur, but if you're not a solopreneur, you might have different people who have different opinions.
Users have opinions. Design is messy. It's process. And wishing it away and just saying, solve this problem for me, agent, will not unfortunately solve your problem. Now the other problem is, if you don't know the language of design, or if your stakeholders don't know the language of design, it gets really frustrating really quickly. So if you've ever designed something, you know this experience. And then the inner feeling builds up.
And at some point you're frustrated. So really what you have to ask first is, what's the emotional territory? What should this never feel like? What's the reference? What's the audience? These are all really important questions to figure out. You can't go to a human design studio, even if it's the best design studio in the world, you go to a design director and you say, I want a design for my brand.
And then the design director nods, and says, got it. And then walks away. That doesn't make any sense. They obviously have to figure out what it is that you're trying to build and what you're trying to get out of it. Importantly, on this example, even the 2026 version of AI Slop, a quickly vibe-coded pitch, nobody decided anything here. You just one-shotted this. Nobody decided anything on this page. This was just maybe competent, but completely empty. So my thesis that I make here, and what I've been trying to build over the last couple months, is a tool that gives you just the amount of control needed to steer your agent in the right direction,
with adjectives and verbs. And these are the types of words that I'm talking about. I'm talking about words like make this bolder, make this quieter. Distill this. So basically simplification. Polish this. Make it denser or harden this. Harden, for instance, would mean make sure that this design works across the board. Maybe the performance is bad on certain devices. Maybe it's not responsive. And these are words that we use in the world of design. And I noticed when seeing two people attempt the exact same task, and one is an engineer who's never really touched design at all, and the other one is a designer, there's a stark difference, even when they use the same model,
same harness everything, in the output that they're getting based on the language that they use. So I've been trying to put that language into a skill and into a system to be able to express yourselves better. And so, for example, you could have a baseline over here, but then you make it bolder, and the agent actually knows what bolder in your context means. You make it quieter. It knows what it means. You distill, and it knows what it means. But then bolder how? What does bolder mean in the context of your project? That's a really important question, because as you could tell at the beginning of the demo, in the cold open,
when you just ask GPT or Claude or whatever, make this bolder, it doesn't know anything about what you mean.
Now, it has its own sense of reference of what bolder could mean, but it will do whatever it wants, right? It will invent new colors. It will invent new gradients. What it actually means in Impeccable, not gradients, not glass, not neon, but actually hierarchy scale decisive type. So things that don't break your design system and adequately raise the attention that the user would put on it. And this is an actual sentence from the file that is loaded when you say bolder in Impeccable. Show someone your work and say, hey, I made this bolder. I made this bolder. If they believe you, you failed. This is something that we actually instruct the agent to do for themselves,
and then the agent oftentimes reflects and says, hmm, I don't know. I think I did some bad work here. An adjective is a loanword. And a loanword, such a German term, and Matt Pocock actually talked about this recently, who also makes some really excellent skills. And so this is stolen from one of his tweets, but I really think it makes a lot of sense. These are words that you basically imbue with meaning, that you infuse with meaning, and they mean something. They already mean something to the model, but then you translate this into the area that you're interested in. And the right altitude really shifts. Now, I don't think you can solve any problems at that altitude.
That's super important too. There is still room for the very beginning. For instance, if you just want exploratory work and you just want to get something on the screen, or you just want the last amount of polish. I don't think right now AI is good enough to replace humans for the last 5%, 10%, maybe even 20% of the work to get it from good to great. But it does actually make it better. Now, I've built tools for more than 20 years. I guess I'm dating myself here. But whenever I build a tool, I actually map the workflow first. I think about what is the actual workflow of the target user that I'm trying to help. And the workflow of design is not linear. It's messy.
It has many different stages. There are different people involved. And so I kind of mapped every part of the process and thought about well, what are the injection points along that route? And how can we help along that route? And so you start with initialization, with the shaping process of design. You go over to crafting, to iterating, with all these verbs and adjectives, and then to the actual hardened and polished phase. And finally, you kind of bring it back to your design system. You do some tech debt cleanup, design debt cleanup. Now, here's one example of a command that I wasn't actually sure about shipping, and it's called overdrive.
I basically built this command in Impeccable that tries to create something completely over the top, and it was sort of a joke, maybe? But people absolutely are rabid about this thing, and they love it. And so this is just one example of, this is not one-shotted. This is a sort of realistic event horizon shader that I've built for my shader library, radiant shaders. But I did actually use the overdrive command for this, to overdrive it even more, and make it more ridiculous. So sometimes I come up with these commands that I'm actually not sure about, and I test them with the community, and once it sticks, I realize, well,
there are more people who are getting joy out of this. Okay. An adjective with nothing behind is just a nicer prompt. So you really have to tell the agent what you mean by the word that you're using. It has so many different meanings within its training materials that you really have to tell it. Now here's another thing. I've gotten so many requests for an automatic way of using Impeccable.
So many. It's so frustrating. At least once a week somebody tweets at me, and says, you know what would be cool? Just let Impeccable do all the work by itself. I don't have to decide on any commands anymore. That's not the point. The point is to give you a way to steer what you want to end up with. It's never going to be a tool to one-shot design. That's not the intent, and I'll never, there's a pull request standing out right now that I'm not going to close because of that. There is no auto, and there will be no auto. In my opinion, and this is a bit awkward maybe for some of the next speakers, but I think taste can be amplified. I think I call this amplified craft,
and I think you can work with tools to sharpen your taste and bring out more of your taste. I really do not think it can be lab-grown. I think taste by definition is it's contextual, it's cultural, it's scarce, and once everybody replicates the same thing, it starts to become really muddy, and we don't think of it as taste anymore. That's my opinion, and I know this is a hotly contested topic, but I'm not trying to solve taste with my tools. That's what I got. This was about finding the right level of control for design. Thank you very much, and I think I have time for a few questions, if you have any. Thank you. and once everybody replicates the same thing,
it starts to become really muddy, and we don't think of it as taste anymore. That's my opinion, and I know this is like a hotly contested topic, but I'm not trying to solve taste with my tools.
That's what I got. This was about finding the right level of control for design. Thank you very much, and I think I have time for a few questions, if you have any. Thank you. .