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.
Pair Design: Better Together
Pair design is the counterintuitive practice of getting more and better UX design done by putting two designers together as thought partners to solve design problems. It’s counterintuitive because you might expect that you could split them up to work in parallel to get double the design done, but for many situations, you’d be wrong. This document will help explain what pair design is, how it works, and tour through the practicalities of implementing it in your practice.
It involves two brains
It involves two brains on a project at the same time. This doesn’t mean part time, checking in with each other on work that’s been accomplished separately.
Pair design really means being in the same room, working on the same problem, with both brains focused on the problem simultaneously for the duration of the project.
A distinct and complementary stance
Each person in the pair takes a distinct and complementary stance toward the design problem as they work together. One generates solutions. That is, one individual materializes solutions to the problem at hand for discussion and iteration. The other synthesizes the proposed solutions.
Gens and synths
Gens are generally comfortable drawing and drawing in front of their partner. Additionally, the generator needs to have “fearless generativity,” to be able to come up with a dozen pretty good solutions to a problem even with incomplete information.
Designers in the synthesizer role need to be skilled at describing designs and explaining rationale in writing. The role requires the designer to be detail oriented and have a strong memory, to keep the big picture of the system, stakeholders, and users in mind as a reference for designs on the table.
We come as a team
There is a legend at Cooper of one team who found pairing with each other so powerful and fruitful that when they left that company, they sought out opportunities and even interviewed at other organizations as a pair.
Starting off with pair design
It’s better to start small. Find the “genniest” designer you can and pair her with the “synthiest,” have them work through a few projects as a pair to see how it goes, evolve a process that works for your organization, smooth out the wrinkles, and become resident experts. Then, split them up, assign them with new pairs, and begin to spread.
What are the benefits of pair design?
It Makes for Better Design
- Pairing forces constant iteration: idea testing and course-correction.
- It brings to bear two brains and two stances.
It Makes for Better Designers and Better Design Organizations
- They are happier.
- Pair design makes it easier to focus on core aptitudes.
- They cross-pollinate: a mechanism for a learning organization.
Pair Design Makes for a More Effective Process
- Pairing avoids the problem of dueling whiteboards.
- It encourages designers to materialize ideas early.
- It encourages designers to vocalize their rationale.
- It encourages constant course-correction.