graphics
Truchet Tiles
The basic course
The Basic Course was a general introduction to composition, color, materials, and three-dimensional form that familiarized students with techniques, concepts, and formal relationships considered fundamental to all visual expression, whether it be sculpture, metal work, painting, or lettering. The Basic Course developed an abstract and abstracting visual language that would provide a theoretical and practical basis for any artistic endeavor.
A universal correspondence
In 1923 Kandinsky proposed a universal correspondence between the three elementary shapes and the three primary colors: the dynamic triangle is inherently yellow, the static square is intrinsically red, and the serene circle is naturally blue.
The series ▲■● represents Kandinsky’s attempt to prove a universal correlation between color and geometry; it has become one of the most famous icons of the Bauhaus. Kandinsky conceived of these colors and shapes as a series of oppositions: yellow and blue represent the extremes of hot/cold, light/dark, and active/passive, while red is the intermediary between them. The triangle, square, and circle are graphic equivalents of the same polarities.
BeOS Icons
The Art of Looking Sideways
A Book by Alan FletcherCover art for Alan Fletcher's wonderfully expansive commonplace book.
Interaction of Color
A Book by Josef AlbersWhat shape is the internet?
A Gallery by Noah VeltmanAccording to patent drawings, it's a cloud, or a bean, or a web, or an explosion, or a highway, or maybe a weird lump.
narrowdesign.com
A Website by Nick JonesDesign
Prototype
CodeAPL386 Unicode
A Font by Adám BrudzewskyAPL font based on Adrian Smith's APL385 font with a fun, whimsical look, inspired by Comic Sans Serif.
APL (named after the book A Programming Language) is a programming language developed in the 1960s by Kenneth E. Iverson. Its central datatype is the multidimensional array. It uses a large range of special graphic symbols to represent most functions and operators, leading to very concise code. It has been an important influence on the development of concept modeling, spreadsheets, functional programming, and computer math packages. It has also inspired several other programming languages.
butdoesitfloat
A BlogThe Tiling Patterns of Sebastien Truchet and the Topology of Structural Hierarchy
A Research Paper by Cyril Stanley SmithA pattern of tiles illustrated by Douat in 1722.
A translation is given of Truchet's 1704 paper showing that an infinity of patterns can be generated by the assembly of a single half—colored tile in various orientations.
Reading Design
A WebsiteReading Design is an online archive of critical writing about design. The idea is to embrace the whole of design, from architecture and urbanism to product, fashion, graphics and beyond. The texts featured here date from the nineteenth century right up to the present moment but each one contains something which remains relevant, surprising or interesting to us today.
Back to the Drawing Board
The lost art of drawing for engineers and architects.
- You can almost tell which software they were designed in
- Conversational drawing
- The effort heuristic
- Tablets have caught up
You can almost tell which software they were designed in
Tatiana von Preussen, cofounder of London practice vPPR Architects, says that certain software comes with constraints that encourage a particular style:
“Something I’ve noticed with new buildings is that you can almost tell which software they were designed in. For instance, if you take Revit, it’s very hard to freely create non-orthogonal, non-linear geometries, and it’s very easy to create repetitive elements, so it lends itself to a particular way of building.”
Conversational drawing
A skilled draughtsman guides design conversations by selecting and emphasizing details in a way that computer programmes cannot. Ron Slade, author of Sketching for Engineers and Architects and a structural director at WSP in London, calls it “conversational drawing”. He notes how botany field guides are always based on detailed drawings rather than photographs — as much for what they leave out as for what they show. “Extraneous material that might exist in a photograph is eliminated. It may be important to pick out and illustrate particular areas and leave other parts in sketchy or broad outline.”
The effort heuristic
Psychologists have noted that people tend to place greater artistic value on images when they can see the work that has gone into them — a tendency known as the “effort heuristic”. They are also more likely to connect emotionally with the work if they can detect the human hand, says Goldsmiths’ Chamberlain. “There’s an argument that if we see a brush stroke, we almost recreate it, and that’s part of the connection we feel with the artist — you can feel the intention.”
Perhaps to capitalize on this, some architects now show presentation drawings that look hand-drawn but are actually generated entirely by computer. “It’s totally fake,” says Brillhart. “They just take a computer image into Photoshop and put filters over it to make it look like it’s drawn by hand. It’s kind of amusing — instead of just sitting down and drawing for an hour, they spend eight hours making it look like a hand drawing.”
Tablets have caught up
But in the past couple of years, Brennan believes that tablets have caught up, with apps such as Apple’s ProCreate and Morpholio’s Trace becoming far more responsive to the user’s marks. “Tablets didn’t used to have that immediate response, from brain to eye to hand to pen to paper. A half-second delay has a huge impact on how you think — it causes you to stumble. But now that lag’s gone, it’s almost the same as drawing with pen on paper. You don’t need to engage with the airbrushes or other features — just use it in its purest form.” The stylus, too, far more convincingly apes a manual pen: “You’re able to tune it to almost replicate your favourite pen — and it doesn’t run out of ink.
Chetwood is an iPad devotee, using it to produce fantastical urban artworks as well as architecture. Far from hindering the drawing process, he believes tablets will give rise to a new era of creative drawing. “A lot of people say technology and computers are taking away the true art of drawing. That’s rubbish, it releases sketching. You can move so much quicker and change things much more quickly, and it keeps a record of what you’re doing. The control is just brilliant.” The polished glass surface is the only flaw, but textured acetates applied to the screen can make it feel more like paper.