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.
Design Discourse is in a State of Arrested Development
[Designer News] is good, useful content, but most of it is written by designers themselves. Taken as a whole, it’s also a useful illustration of something vital that our industry lacks: balanced, insightful, independent writing that critically evaluates the profession.
Starved for good journalism and criticism
Imagine for a moment if Kimmelman–or any architecture critic–was also a practicing architect, building enormous commissions for corporations at the same time he writes his columns. If this were the case, you’d probably come to one of two conclusions: either the writer in question was not a serious critic, or that the art form itself is not very serious. You might also stop to think how much poorer we would be without the contributions of his independent voice to the discussion of the craft.
That is exactly the situation that the design profession finds itself in today. We are lucky to have designers actively sharing knowledge, but we’re starved for good journalism and criticism.
The allure of clicks
If more of us, as designers, approach what we encounter on design aggregators every day in this way, perhaps we can begin to effect some structural change. By and large these sites are just as susceptible to the allure of clicks as the craft of design. But if we are more selective about what we consume, we may be able to encourage design publications to follow that lead by applying editorial judgment to what gets shared every day.