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.
Web Brutalism, seamfulness, and notion
How a tool for sensemaking reconciles two distinct software design ideologies.
- Seamful vs. seamless
- Reveling in infrastructure
- The brilliance of notion
- How our understanding is working
Seamful vs. seamless
At the core of the Brutalist ethos is a tension between two philosophies that have been the topic of a long-standing debate in information design: the merits of “seamless” and “seamful” design, “seams” in this context taken to mean revelations of an object’s inner workings.
Designers typically take seamlessness as the de facto standard for our work, emphasizing clarity, consistency, simplicity, efficiency, reducing cognitive load. We seek to minimize distractions.
Yet what if we can achieve a clearer understanding by intentionally revealing how a system works?
Reveling in infrastructure
Hunstanton Secondary School (1954) in Norfolk, England, designed by Alison and Peter Smithson. Photo by Anna Armstrong (2011)
When the Smithsons placed the water heater for the Hunstanton Secondary School prominently above the school’s roofline, they weren’t just revealing the building’s infrastructure, they were reveling in it. What does it look like to do this on the web?
Of course there’s no single answer, because the web is simultaneously a physical and digital medium. It is material and it isn’t. It depends on how literally you interpret the question. But taking it somewhere in-between, seeing the web as primarily an information medium, we can ask the question a little differently: what does it look like to design something that is true to the material of digital information?
The brilliance of notion
This, I think, is the brilliance of Notion, and what makes it one of the best examples of “fidelity to digital information” that I’ve come across. The structure of the app reflects the structure of the web itself: digital content is purposefully formatted, like semantic HTML elements, and exists in a hierarchical structure (directories on the web, nested pages in Notion), yet can be linked and referenced to create a complex network of information. And pages in Notion reveal the structure of the information: when nesting a page within a page, the child page always displays on the parent page. There’s no way to create a child page that doesn’t display on a parent page, no way to obscure the structure of the information. The semantic structure of Notion reflects the semantic structure of the web itself.
How our understanding is working
The concept of seamfulness prompts designers to ask how an object can aid understanding and usage by showing its users what’s going on inside. How can we create what Mark Weiser, later revising his ideas of seamless design, calls “beautiful seams” — thoughtfully-crafted moments of revelation? Notion doesn’t show us how it’s literally working — the background processes constantly running to enable editing, collaboration, and the like. We don’t need to see our car’s engine to know it’s running. But it shows users how their understanding is working, how our ideas are structured, connected, and evolving.