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Nan Yu says planning involves understanding the pace of the market you're in and asking at what cadence you should be thinking about planning, rather than defaulting to long-horizon planning.
You still heavily need humans in the loop for architecture, strategy, and setting direction. Humans need to stand as validation gates in this factory. Your team should be able to set the strategy and risk parameters, then let agents execute.
You can't govern what you can't see — true for agents and human engineers alike. Agents need the same careful governance as engineers: tooling, access levels, and systems for review. Engineers must monitor agent performance and control behavior.
Keyframes can be copied from one object and pasted onto another to apply the same motion; a keyframe can also be duplicated to a later point by copying it, moving the playhead to the target time, and pasting it there (Command C / Command V).
In dev mode, the frame can be opened in timeline view to get CSS or React code for a specific animation, and animation code can be isolated by layer and copied one for one.
To export an animation, select the frame, go to the properties panel, scroll down, and choose export as static graphic or animated; animated GIF export allows setting the frame rate and loop; to export a transparent video, hide the fill of the frame and export as WebM at current dimensions with high quality at 30 frames per second; an exported WebM can be dragged back into Figma and plays as a transparent video inside Figma.
Building things in Figma with intent, style, and motion provides context that can be used when working with LLMs, and that context and those animations can be brought into other spaces.
Selecting between two keyframes and dragging the Bezier handles creates an ease-in, ease-out curve; a custom easing variable can be created by going to libraries, creating a variable, naming it, and setting the cubic Bezier values.
Pressing spacebar plays the animation preview; dragging the end point of the timeline extends the animation duration so it loops continuously; when extending the end point, all keyframes move relatively to one another, proportionally stretching the full animation; dragging the whole top part of the timeline extends duration with all sub keyframes following; overlapping animation means not everything happens at the same time.
Command-clicking on a layer inside a component accesses multi-edit, which selects matching layers across multiple frames (shortcut Option+Command A); pasting after multi-edit select applies content like an image to all matching frames at once; multi-edit can update text across all frames at once; whenever an edit is made to one frame in a series, selecting matching layers applies the edit to all of them; multi-edit is described as a total time saver when working on a series of frames.
Doing prototype work first provides better context for Figma Make or an agent, so it builds what you want the way you want and then just does the work of coding it out.
To loop an animation a specific number of times, extend the timeline to the desired total duration (e.g., a two-second animation extended to six seconds), then right-click the animating property and choose Loop Track to proliferate keyframes; proliferated keyframes appear as ghost keyframes continuing the animation pattern; to loop multiple properties in sync, right-click each animating property and choose Loop Track so they loop around the same time.
Matt Owens's team uses AI as one ingredient rather than the whole recipe. Good creatives can smell polished slop — the ability to detect low-quality AI-generated work is a marker of creative skill. A prompt can get you a website, but it can't tell you whether that website is any good — it still takes a designer's experience to notice issues like a long headline, a drifting grid, or a buried call to action.
The broader core lesson that applies no matter what influence you want to have: find the courage to be ridiculed, prefer offense over defense, and hold an unshakable core emotion that invites others to follow you.
When designing memory, not everything an agent produces (exhaust/feedback) should become a memory update — the difficulty is deciding what matters. Most trace data should stay as referenceable history, some can become datasets for offline evaluations, and only a small segment or subset should end up changing agent memory.
speaker's endorsed heuristic; no quantitative threshold given
Coach Kyle argues that simple, boring-yet-effective game — just a couple of things done differently — is enough to keep her engaged, make it slightly flirty, and run a 13-minute interaction that leads to a phone number. The interaction doesn't need to be super 'on' in the first three minutes; good enough gets you into a longer interaction.
The missing pieces in poor acceleration are orienting the push horizontally over several steps. Kinematic analysis including contact time can reveal whether an athlete is collapsing or pushing too vertically at the start of acceleration.
Sprinters need not only a high level of strength in the ankle and foot, but also the ability to express that strength within a super short time window — stiffness is strength plus timing.
Dr. Morin argues that believing a speed session must be two hours long and done only once per week is a beginner mistake. Instead, we should not call them speed sessions but 'speed stimuli' — short, frequent exposures. Tempo runs can be easily appended to the end of a football/soccer session because the session serves as a warm-up.
Dr. Morin states that only in high-speed running do athletes simultaneously produce high levels of force and very short contact times, making it the best measured combination of the two qualities.
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