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    <title>Graphic design schools are teaching tech, but are they teaching taste?</title>
    <dc:date>2026-04-16T04:00:18+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Graphic design courses have become trade schools – they should be so much more."]]></description>
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00:00 Intro
01:11 Visitando Los Andes
05:08 El Diseño
07:47 El Dial
08:44 La Caja
11:07 Visitando Sea-Gull
12:35 Aspecto Técnico
16:50 Dónde conseguirlo
19:52 Outro y agradecimientos"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=bQTMHCUe2f0">
    <title>Crispin Jones in conversation with Margaret Calvert | M1 watch | Mr Jones Watches - YouTube</title>
    <dc:date>2026-01-03T07:07:54+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=bQTMHCUe2f0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Margaret Calvert is a key figure in post war graphic design, she is best known for her work with Jock Kinneir on the design of Britain’s road signs in the late 1950's - these signs are still used throughout Britain today. 

Crispin Jones visits Margaret Calvert at her home in London to discuss some of Margaret's best-known work and her inspiration for the Mr Jones Watches M1 watch design.

You can see the M1 watch here: https://mrjoneswatches.com/products/m1 "

[See also:
https://mrjoneswatches.com/collections/all-watches/products/m1

"Take a trip down memory lane with the eye-catching M1 watch.

Created in collaboration with British design icon Margaret Calvert, M1 is a playful twist on the serious business of road safety and signage.

Best known for her work with Jock Kinneir in the late 1950s, Margaret has been involved in a wide variety of projects, including the motorway signs - which are still in use throughout Britain today.

The hands of the watch are inspired by the white navigational arrows from the motorway sign and the strap is cleverly made from seat belt fabric - a nod to the drivers the signs were originally designed for.

The M1 watch is exclusively available from Mr Jones Watches."

...

"Designed by Margaret Calvert
The Inspiration

“With the design I aimed for absolute simplicity, the design puts all the emphasis on the hands - there’s no need for numbers on the dial.

There’s a 3d element that you get because of the build up with one hand on top of the other. You get these shadows and this richness and then once you’ve got the white border, which is also taken from the motorway signs, you’ve got something completely new."

Watch the video to see Crispin Jones and Margaret Calvert discussing some of Margaret's best-known work and her inspiration for the M1 design."

...

"Margaret talks about her design:

“With the design I aimed for absolute simplicity, the design puts all the emphasis on the hands - there’s no need for numbers on the dial.

There’s a 3d element that you get because of the build up with one hand on top of the other. You get these shadows and this richness and then once you’ve got the white border, which is also taken from the motorway signs, you’ve got something completely new."

Margaret Calvert OBE RDI, is a British typographer and graphic designer, best known for her work with Jock Kinneir on the design of Britain’s road signs.

After graduating from Chelsea College of Art in 1957, Margaret started working with Jock Kinneir. They were commissioned to design a signing system for the new motorway network, which included the development of the Transport letterform.

Following this work they were appointed by the Worboys committee to redesign the sign system for the entire British road network. The new system they produced was launched in 1965 and is still in use today.

Margaret is also known for the design of ‘Calvert’, a Monotype font, used to sign the Tyne and Wear Metro. Alongside her commercial practice, she taught at the Royal College of Art from 1966 to 2001, where she was Head of Graphic Design from 1986 to 1991.

Rail Alphabet 2, designed in collaboration with Henrik Kubel, is one of her most recent projects, exhibited in a retrospective at London’s Design Museum in 2021–22. titled ‘Woman at Work’."]]]></description>
<dc:subject>watches mrjones m1 margaretcalvert design mrjoneswatches 2024 jockkinneir signs roadsigns roadways graphics graphicdesign uk britain motorways henrikkubel wayfinding roads</dc:subject>
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<item rdf:about="https://mrjoneswatches.com/collections/all-watches/products/m1">
    <title>M1 watch | Margaret Calvert X Mr Jones Watches</title>
    <dc:date>2026-01-03T06:55:13+00:00</dc:date>
    <link>https://mrjoneswatches.com/collections/all-watches/products/m1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Take a trip down memory lane with the eye-catching M1 watch.

Created in collaboration with British design icon Margaret Calvert, M1 is a playful twist on the serious business of road safety and signage.

Best known for her work with Jock Kinneir in the late 1950s, Margaret has been involved in a wide variety of projects, including the motorway signs - which are still in use throughout Britain today.

The hands of the watch are inspired by the white navigational arrows from the motorway sign and the strap is cleverly made from seat belt fabric - a nod to the drivers the signs were originally designed for. 

The M1 watch is exclusively available from Mr Jones Watches."

...

"Designed by Margaret Calvert
The Inspiration

“With the design I aimed for absolute simplicity, the design puts all the emphasis on the hands - there’s no need for numbers on the dial.

There’s a 3d element that you get because of the build up with one hand on top of the other. You get these shadows and this richness and then once you’ve got the white border, which is also taken from the motorway signs, you’ve got something completely new."

Watch the video to see Crispin Jones and Margaret Calvert discussing some of Margaret's best-known work and her inspiration for the M1 design."

...

"Margaret talks about her design:

“With the design I aimed for absolute simplicity, the design puts all the emphasis on the hands - there’s no need for numbers on the dial.

There’s a 3d element that you get because of the build up with one hand on top of the other. You get these shadows and this richness and then once you’ve got the white border, which is also taken from the motorway signs, you’ve got something completely new."

Margaret Calvert OBE RDI, is a British typographer and graphic designer, best known for her work with Jock Kinneir on the design of Britain’s road signs.

After graduating from Chelsea College of Art in 1957, Margaret started working with Jock Kinneir. They were commissioned to design a signing system for the new motorway network, which included the development of the Transport letterform.

Following this work they were appointed by the Worboys committee to redesign the sign system for the entire British road network. The new system they produced was launched in 1965 and is still in use today.

Margaret is also known for the design of ‘Calvert’, a Monotype font, used to sign the Tyne and Wear Metro. Alongside her commercial practice, she taught at the Royal College of Art from 1966 to 2001, where she was Head of Graphic Design from 1986 to 1991.

Rail Alphabet 2, designed in collaboration with Henrik Kubel, is one of her most recent projects, exhibited in a retrospective at London’s Design Museum in 2021–22. titled ‘Woman at Work’."

***

[See also:

"Crispin Jones in conversation with Margaret Calvert | M1 watch | Mr Jones Watches"
https://www.youtube.com/watch?v=bQTMHCUe2f0

"Margaret Calvert is a key figure in post war graphic design, she is best known for her work with Jock Kinneir on the design of Britain’s road signs in the late 1950's - these signs are still used throughout Britain today. 

Crispin Jones visits Margaret Calvert at her home in London to discuss some of Margaret's best-known work and her inspiration for the Mr Jones Watches M1 watch design.

You can see the M1 watch here: https://mrjoneswatches.com/products/m1 "]]]></description>
<dc:subject>watches mrjones m1 margaretcalvert design mrjoneswatches jockkinneir signs roadsigns roadways graphics graphicdesign uk britain motorways henrikkubel wayfinding roads</dc:subject>
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<item rdf:about="https://squarekufic.org/">
    <title>Square Kufic – Celebrating the Beauty &amp; the Craftsmanship of Square Kufic Art</title>
    <dc:date>2025-12-05T07:28:26+00:00</dc:date>
    <link>https://squarekufic.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My interest in Arabic letterforms began when I was studying for a Master of Fine Arts in Istanbul. I was introduced to Dead Media Archaeology and was struck by the old manuscripts in Turkish museums. I began to explore other locations where Arabic had been the main writing system before the westernization campaign. In the process, I have discovered that the Arabic alphabet has been through a great deal of evolution since it was first developed. Obviously, there is a growing body of scholarship on so-called “Dead Media,” or media forms that are no longer in use. This scholarship has been spurred in part by the ubiquity of new media technologies, which make obsolete media forms increasingly visible. I have long been fascinated by the Arabic language and its intricate script. I have been exploring ways to integrate the script into my artwork for several years. As a person passionate about both media and craftsmanship, I found myself captivated by Square Kufic calligraphy. Its fusion of these two disciplines intrigued me, and I was driven to delve deeper into its history and techniques, in order to prevent it from becoming another obsolete form of communication. Therefore, I present to you my newly founded platform; squarekufic.org

Squarekufic.org is a website dedicated to promoting the beauty and artistry of Square Kufic calligraphy artform. At Squarekufic.org, you will find a wealth of resources, including the free square kufic font, which was designed and developed by me. This font is available for download on this website, and is an excellent tool for designers, calligraphers, and anyone interested in exploring the intricate beauty of square kufic script. I hope you enjoy exploring the world of Square Kufic Calligraphy Art with me.

Nedaa Elias (Instagram: @nedaa.elias)"
]]></description>
<dc:subject>arabic kufic squarekufic calligraphy typography design graphicdesign graphics nedaaelias</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1ebda6ac3373/</dc:identifier>
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<item rdf:about="https://arabicdesignarchive.com/">
    <title>The Arabic Design Archive | Arabic Design Archive</title>
    <dc:date>2025-11-13T18:14:15+00:00</dc:date>
    <link>https://arabicdesignarchive.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["ADA is a non-profit initiative that seeks to enable knowledge production about Arabic design and its history through a framework of collecting, digitizing, and displaying. ADA aims to provide an open and accessible platform for graphic items to the public to counter the parallel, inaccessible, and non-existent physical archive of the second half of the 20th century."]]></description>
<dc:subject>design arabic graphicdesign graphics typography archives history</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1bcd616c1faf/</dc:identifier>
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<item rdf:about="https://www.hodinkee.com/articles/inside-the-design-afraid-minimalism">
    <title>Inside The Design: Why Are Watch Dials So Busy? - Hodinkee</title>
    <dc:date>2025-07-27T05:16:47+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/inside-the-design-afraid-minimalism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Across the design world, minimalism equates to luxury. In the watch world, it's the opposite."]]></description>
<dc:subject>lizstinson 2021 design minimalism watches luxury hmoser braun tiborkalman m&amp;co anicorn bodoni joedoucet movado dieterrams georgehorwitt moma graphicdesign graphics typography rolex rolexgmtmaster bulgari bvlgari zenith julientornare edouardmeylan logos eames rayeames charleseames baughaus modernism lecorbusier miesvanderrohe bedoni</dc:subject>
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</item>
<item rdf:about="https://eyeondesign.aiga.org/anti-grid-icon-david-carson-on-why-computers-make-you-lazy-and-indie-mag-design-needs-to-liven-up/">
    <title>Anti-grid Design Icon David Carson Says Computers Make You Lazy + Indie Magazines Needs to Liven Up – Eye on Design</title>
    <dc:date>2025-07-27T05:05:04+00:00</dc:date>
    <link>https://eyeondesign.aiga.org/anti-grid-icon-david-carson-on-why-computers-make-you-lazy-and-indie-mag-design-needs-to-liven-up/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“I’m not sure you can teach creativity: you either have that eye or you don’t.”"]]></description>
<dc:subject>2019 davidcarson emilygosling design graphics graphicdesign creativity</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f31b169e7ebb/</dc:identifier>
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</item>
<item rdf:about="https://www.hodinkee.com/articles/graphic-designer-david-carson-is-very-into-swatches">
    <title>Inside The Design: Graphic Designer David Carson Is Very Into Swatches - Hodinkee</title>
    <dc:date>2025-07-27T05:04:03+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/graphic-designer-david-carson-is-very-into-swatches</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An interview with the design icon, who wears a Kiwi throughout his new MasterClass video."]]></description>
<dc:subject>davidcarson lizstinson 2021 swatch watches design graphicdesign graphics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.are.na/editorial/its-telling-how-telling-a-telling-can-be">
    <title>It’s telling how telling a telling can be | Are.na Editorial</title>
    <dc:date>2025-07-25T01:06:13+00:00</dc:date>
    <link>https://www.are.na/editorial/its-telling-how-telling-a-telling-can-be</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>luizadale howweread reading howwewrite books form format 2025 coritakent sistercorita design graphics graphicdesign marginalia philipmeggs miltonglaser audreybennett sylviaharris typography information organization margins text desirepaths footnotes culture culturalbiases glossaordinaria commentary notes notetaking bible genevabiblecalvinistbible print edwardgibbon clutter hermanmelville barrymoser johnupdike jamesjoyce finneganswake endnotes danielleaubert ursulaleguin thedispossessed jennyboully essaypress writing nicholsonbaker themezzanine perception jordyrosenberg frasermuggeridge layout mobydick moby-dick georgesperec desirelines elephantpaths ursulakleguin</dc:subject>
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<item rdf:about="http://www.paraguaypress.com/publications/1334/">
    <title>The Social Life Of the Book - Paraguay Press</title>
    <dc:date>2025-04-18T05:05:59+00:00</dc:date>
    <link>http://www.paraguaypress.com/publications/1334/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A collaboration between castillo/corrales, Paris and graphic designer and editor Will Holder, The Social Life Of the Book (2011-2015) was a collection of commissioned texts reflecting on books, and how they engage with the circulation of ideas and the agency of social situations. The series brought together artists, publishers, writers, designers, booksellers, etc. who consider books less as finished objects or forms but for their disruptive potential and their ability to produce new relationships, new publics and new meanings.

S.L.O.B developed as a series of 16-page, saddle-stitched signatures, available on postal subscription and in selected bookstores. In its contents as well as its distribution, the series aimed to focus readers’ attention on not only printed material as such, but also to the ecosystem that knowledge, writing, publishing and distributing form together."]]></description>
<dc:subject>books writing howwewrite reading howweread publishing distribution willholder ideas agency social text design graphics graphicdesign relationships</dc:subject>
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<item rdf:about="https://www.typographicposters.com/anna-kulachek">
    <title>Anna Kulachek - typo/graphic posters</title>
    <dc:date>2025-04-16T08:51:03+00:00</dc:date>
    <link>https://www.typographicposters.com/anna-kulachek</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>annakulachek design graphicdesign graphics</dc:subject>
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<item rdf:about="https://k-u-l-a-c-h-e-k.tumblr.com/">
    <title>k-u-l-a-c-h-e-k.tumblr.com/</title>
    <dc:date>2025-04-16T08:50:33+00:00</dc:date>
    <link>https://k-u-l-a-c-h-e-k.tumblr.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>annakulachek design graphicdesign graphics</dc:subject>
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<item rdf:about="https://www.itsnicethat.com/features/syrian-design-archive-graphic-design-110521">
    <title>Preserving Syrian design history and graphics in the Arab world: Meet the Syrian Design Archive</title>
    <dc:date>2025-04-16T07:40:49+00:00</dc:date>
    <link>https://www.itsnicethat.com/features/syrian-design-archive-graphic-design-110521</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Founded by Kinda Ghannoum, Sally Alassafen and Hala Al Afsaa, the nonprofit documentary project celebrates a little-known design history among the global canon."]]></description>
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<item rdf:about="https://velvetshark.com/ai-company-logos-that-look-like-buttholes">
    <title>Why do AI company logos look like buttholes?</title>
    <dc:date>2025-04-16T06:38:16+00:00</dc:date>
    <link>https://velvetshark.com/ai-company-logos-that-look-like-buttholes</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:


"Why do so many brands change their logos and look like everyone else?" (2020)
https://velvetshark.com/why-do-brands-change-their-logos-and-look-like-everyone-else ]]]></description>
<dc:subject>design logos ai technology fashion graphicdesign graphics 2025 convergence branding openai claude apple twitter meta gemini deepseek midjourney bigai kurtvonnegut google reuters cardano electrolux biomimicry circulardesign psychology creativity imagination circles copycats committees zune spotify ebay microsoft airbnb pinterest facebook revolut balenciaga burberry yvessaintlaurent berluti balmain rimowa dianevonfurstenberg brands abstraction letterforms typography fonts slack twitch fedex flatdesign gradients netflix stripe</dc:subject>
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<item rdf:about="https://www.unimaticwatches.com/redefining-numbers/">
    <title>Introducing our new Variable Font System • Limited edition watches - Unimatic</title>
    <dc:date>2025-04-09T17:08:05+00:00</dc:date>
    <link>https://www.unimaticwatches.com/redefining-numbers/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In recent years, many modern analogue watches have placed less emphasis on typography in their design. This is because the primary function of an analogue watch is to tell time, and the focus is often on creating an attractive and legible display of the time, rather than creating a unique typographic identity that can be combined with all the above.

Typography plays a crucial role in watch design because it is the primary means of displaying information on the watch face. The typeface, font size, and layout must be legible and easy to read at a glance, while also fitting within the limited space available on the watch face. Additionally, the typography can also be used to convey the design aesthetic and brand identity of the watch. A well-designed typography can make the watch look more elegant and sophisticated and also make it easier to read the time and other information.

Watch design might be considered to be very particular. The typography of watches even more so. While the typography supports the general aesthetic of a watch it also serves a very specific need: Readability. A watch face offers very limited space within the numbers must perform. Space that is shared with hands, date windows, graphics or chronographs. More often than not numbers are covered by the hands making them even harder to read. Or they need to stand the test of being upside down on rotational bezels. Additionally the surrounding light might be less than perfect, or visibility under water may be really low. Distinctive forms and precise type settings are the bare minimum for perfect watch typography. 
 

The UNIMATIC number typefaces reference this traditional lettering found on such classics of military watch making. Yet they combine this with more recent examples of watch typography as found in the most famous recent watches. These rather modern and geometric number styles reference a Bauhaus and German »DIN-Norm« aesthetic: Perfectly round inner forms with almost no line contrast. By using the most basic geometric forms such as circles and straight angles these kind of typefaces feel very familiar and established therefore emanating clarity and reliability.

Mixing the two styles in the Unimatic numerals typefaces created a blend of human and technical feel. Something that is very inherent to UNIMATIC watches: Technical precision for very human experiences. 

Keeping the balance between the limited space and optimal readability is a constant area of conflict to the watch designer. Historically this led to very specific letter forms in watch numbers very obvious in the number  four. The dirty dozen watches are a perfect example of this lettering tradition. While none of the manufacturers followed a strict typeface/lettering template and each watch has slightly different number forms, the general style is transparent and consistent. 

    Henning is the founder of Character Type in 2018. He is a pro­fessional type and com­muni­cation designer, typographic consultant, creative director and lecturer. After having studied in Potsdam and Melbourne he published his first typeface family Haptic for which he won the prestigious TDC2 award. He has been responsible to design typefaces for brands such as Schwäbisch Hall, Süddeutsche Zeitung, the e-commerce giant OTTO or the publishing house MedienUnion. Henning Skibbe is a member of the Art Directors Club (ADC) Germany.

Using only one font design in the watch face can enhance clarity in all light conditions by providing a consistent and unified look. Some pros of using only one font design include:

Consistency: Using a single font design throughout the watch face can create a cohesive and consistent look, making it easier for the viewer to quickly and easily read the time.

Legibility: Using a single font design can make it easier to read the time, especially in low light conditions. A consistent font design can also make it easier for the viewer to quickly recognize the time, even at a glance.

Brand Identity: Using a single font design can also help to create a unique brand identity for the watch. A consistent font design can be associated with the brand, making it easy for the viewer to recognize the watch as a specific brand.

Simplicity: Using a single font design can make the watch face look simple and easy to read, which is important for a device that’s main function is telling time.

Flexibility: Using a single font design can also make it easier to adapt the watch face to different dial sizes and different font applications

By using only one font design in the watch face, a designer can create a watch face that is easy to read, consistent and has a strong brand identity."]]></description>
<dc:subject>unimatic watches design typography fonts graphicdesign graphics henningskibbe</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6eb591d86441/</dc:identifier>
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<item rdf:about="https://meap.library.ucla.edu/projects/memories-of-resistance/">
    <title>Memories of Resistance: A Digital Archive of Chile's Graphic Resistance | Modern Endangered Archives Program</title>
    <dc:date>2025-04-07T21:50:30+00:00</dc:date>
    <link>https://meap.library.ucla.edu/projects/memories-of-resistance/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From 1977 to the present, the Tallersol Cultural Centre’s graphic arts workshop created a rich collection of posters and printed works in support of the resistance movement in Chile against the local dictatorship."

[https://digital.library.ucla.edu/catalog/ark:/21198/z1cz7hzc 

"El Centro Cultural Tallersol fue fundado en 1977 en Santiago de Chile por un colectivo de artistas y activistas culturales y políticos que resistieron la represión militar creando un espacio para la creatividad y experimentación artística bajo la dictadura de Pinochet de 1973-1990. En ese periodo, produjeron alrededor de nueve mil afiches, folletos y otros documentos para organizaciones de derechos humanos, políticas, sociales y culturales. Hasta ahora, el papel del arte gráfico en las redes de resistencia contracultural durante la dictadura es poco conocido y estudiado. Por eso, nuestro proyecto ha iniciado el trabajo de catalogar y digitalizar el archivo de Tallersol para democratizar el acceso al público e investigadores. // The Tallersol Cultural Center was founded in 1977 in Santiago de Chile by a collective of artists and cultural and political activists who resisted military repression by creating a space for creativity and artistic experimentation under the Pinochet dictatorship from 1973-1990. In that period, they produced around 9,000 posters, brochures and other documents for human rights, political, social and cultural organizations. Until now, the role of graphic art in countercultural resistance networks during the dictatorship is little known and studied."]]]></description>
<dc:subject>chile database collections print resistance graphicdesign graphics dictatorship pinochet</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=8CzMBeK42zU">
    <title>Behind TEMPLO's 'future-facing' rebrand for GF Smith that celebrates the joy of paper - YouTube</title>
    <dc:date>2025-03-14T08:11:19+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=8CzMBeK42zU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Understanding the heritage paper company's recent rebranding with Ben Watkinson from GF Smith, along with TEMPLO's Pali Palavathanan and Anoushka Rodda."

[See also:

https://templo.co.uk/work/gf-smith-rebrand

https://www.itsnicethat.com/features/templo-gf-smith-rebrand-graphic-design-brand-partnership-290125

"How Templo’s colourful rebrand brings GF Smith into the future

Marking its first major rebrand in eleven years, the paper specialist has gone for something much more maximalist, putting emerging creatives at the forefront."]]]></description>
<dc:subject>templo graphicdesign graphics design 2025 gfsmith brands branding palipalavanathan benwatkinson anoushkarodda softbank masayoshison cheguevara marxism truth abuse</dc:subject>
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<item rdf:about="https://sfstandard.com/2025/02/16/a-final-look-at-the-north-beach-loft-of-a-design-legend/">
    <title>A final look at the North Beach loft of a design legend - The San Francisco Standard</title>
    <dc:date>2025-02-16T19:16:44+00:00</dc:date>
    <link>https://sfstandard.com/2025/02/16/a-final-look-at-the-north-beach-loft-of-a-design-legend/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When the artist and graphic designer Barabara Stauffacher Solomon died, she left behind a home and studio frozen in time."

]]></description>
<dc:subject>barabarastauffachersolomon edg sanfrancisco 2025 2024 design graphicdesign art graphics architecture homes</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f0409965a295/</dc:identifier>
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<item rdf:about="https://www.gq.com/story/watch-typography-deep-dive-box-papers-2-14-25">
    <title>Why Watch Dial Typography Is More Important Than You Think | GQ</title>
    <dc:date>2025-02-14T17:53:22+00:00</dc:date>
    <link>https://www.gq.com/story/watch-typography-deep-dive-box-papers-2-14-25</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On tiny objects like watches, every detail matters. So why does it feel like so many fancy Swiss brands just scrolled through a Microsoft Word menu to create their latest logo?"]]></description>
<dc:subject>typography design graphicdesign graphics watches watchmaking 2025 camwolf logos rolex vpc samuelbaker brew autodromo ressence heuer danielroth breguet patekphilippe audemarspiguet alange&amp;söhne grandseiko alangeandsöhne brewwatches</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alangeandsöhne"/>
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<item rdf:about="https://hyperallergic.com/651338/los-angeles-design-and-social-activism-from-1960s-to-today/">
    <title>A Tour Through Design and Social Activism in LA, From 1960s to Today</title>
    <dc:date>2025-02-05T22:54:51+00:00</dc:date>
    <link>https://hyperallergic.com/651338/los-angeles-design-and-social-activism-from-1960s-to-today/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From the socially progressive prints of Sister Corita to the first major gay publication in the US."]]></description>
<dc:subject>mattsrtromberg via:javierarbona losangeles activism art design 2021 history sistercorita coritakent coritaartcenter selfhelpgraphicsandart feministcenterforcreativework onenationalgayandlesbianarchivescenterforthestudyofpoliticalgraphics graphics graphicdesign</dc:subject>
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<item rdf:about="https://www.fratellowatches.com/just-my-type-an-interview-with-watch-typography-designer-samuel-baker/">
    <title>Interview: Watch Typography Designer Samuel Baker</title>
    <dc:date>2024-11-24T20:10:59+00:00</dc:date>
    <link>https://www.fratellowatches.com/just-my-type-an-interview-with-watch-typography-designer-samuel-baker/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Getting into the nitty gritty of dial-side ink"]]></description>
<dc:subject>typography samuelbaker thomasvanstraten watches watchmaking design graphics graphicdesign fonts 2024</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d400cf768b9d/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thomasvanstraten"/>
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<item rdf:about="https://clairelevans.substack.com/p/the-hidden-bird-algorithm">
    <title>The Hidden Bird Algorithm - by Claire L. Evans</title>
    <dc:date>2024-10-15T04:43:45+00:00</dc:date>
    <link>https://clairelevans.substack.com/p/the-hidden-bird-algorithm</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Simulating flocks in the shadows of Hollywood."]]></description>
<dc:subject>claireevans 2024 craigreynolds nature birds simulation murmurations flocks 1970s 1978 blackbirds siggraph computing computers graphics computergraphics biology swarms deborahgordon biomimetics georgebox</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=wjE5eHLICzc">
    <title>Hyperlegible: an approach to accessible type design - YouTube</title>
    <dc:date>2024-09-28T22:00:55+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=wjE5eHLICzc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A case study on how Braille Institute's Atkinson Hyperlegible was designed to improve accessibility for people with low vision. Now available, free on Google Fonts and Google Docs.
https://brailleinstitute.org/freefont
https://fonts.google.com/specimen/Atkinson+Hyperlegible

For more information on the Braille Institute
https://brailleinstitute.org

#accessibility #legibility #inclusivedesign

Designed by Applied Design Works
http://helloapplied.com/
https://www.designweek.co.uk/issues/2-8-august-2021/designing-atkinson-hyperlegible/

Online talk at the Letterform Archive
https://letterformarchive.org/events/view/atkinson-hyperlegible-challenging-assumptions-about-legibility-and-accessibility/


00:00 Challenging what disability looks like
01:04 My connection and disclosure
01:17 The origin of Atkinson Hyperlegible
02:19 Harmonious design vs letter differentiation
03:39 Legibility tweaks on three levels
04:13 Level 1: Humanist legibility tweaks
04:51 Level 2: Differentiating homoglyphs (easily confused letters)
06:17 Level 3: Other vision challenges, and partial-homoglyphs
07:27 Putting it all together
08:43 How to add Atkinson Hyperlegible to Google Docs
09:07 Beyond one typeface"]]></description>
<dc:subject>design accessibility typography fonts graphicdesign 2024 linusbowman print vision disabilities disability lowvision inclusivedesign aesthetics braille text graphics atkinsonhyperlegible sansserif humanists homoglyphs ocr-a frutiger helvetica ocr bluriness brailleinstitute spacing kerning googlefonts typedesign</dc:subject>
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<item rdf:about="https://www.hodinkee.com/articles/the-sorta-definitive-ranking-of-almost-every-watch-emoji">
    <title>Which Watch Emojis Are The Best?</title>
    <dc:date>2024-07-01T03:42:36+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/the-sorta-definitive-ranking-of-almost-every-watch-emoji</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An expert panel weighs in on the question everyone is asking: Which watch emoji is 👑?"

...

"Imagine for a moment that you are an emoji. You are yourself, only pixelated. You have your taste, your style, and your same exact budget (sorry). You are an emoji with a soul. 

Now imagine that emoji-you is wearing a watch. What would this watch look like? It would be flat, obviously. But what else?

Google, Apple, Facebook, Samsung, Microsoft – the great minds at Big Emoji – have been diligently trying to answer this question, and together they have created enough watch emoji to fill a virtual showroom. Some, like Google, go full Scandi with a crisp, clean dial and leather strap. Others, like Facebook Messenger, embrace the illustrative nature of the task, serving up a goofy bracelet of a watch that could only be at home in a cartoon. All this to say, the design of watch emoji is as varied as the design of watches themselves. And as in the real world: Not all of it is good.

In fairness, creating an emoji is a uniquely heady challenge. “Are you designing a watch? Or are you designing the idea of a watch?” asked Cliff Kuang, a UX designer and author of the book, User Friendly: How the Hidden Rules of Design are Changing the Way We Work and Play.
🤔

Because we love a good debate, we decided to indulge this philosophical musing and get to the bottom of what makes a great emoji watch. To help us out, we asked Kuang and two other experts from totally different backgrounds – Weston Cutter, founder of Haven watches, and Justin Walters, a designer and watch collector – to weigh in on 10 watch emoji, giving us their first impressions and ranking them on a 1 to 10 scale for style (does it look good?), utility (would this be a useful watch to wear?), and accuracy (does it actually look like a watch?). All this in the service of deciding once and for all which emoji watch reigns supreme. 

Here they are, from worst to best. Don’t agree with the rankings? Take it to the comments." ]]></description>
<dc:subject>watches texting 2024 icons graphicdesign operatingsystems illustration lizstinson cliffkuang google apple applewatch facebook samsung microsoft justinwalters westoncutter messenger openmoji emojidex whatsapp lg joypixels graphics messaging emoji</dc:subject>
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<item rdf:about="https://thereader.mitpress.mit.edu/the-tyranny-of-the-template-the-graphic-design-of-the-first-edition-of-learning-from-las-vegas/">
    <title>The Tyranny of the Template: The Graphic Design of the First Edition of ‘Learning From Las Vegas’ | The MIT Press Reader</title>
    <dc:date>2024-07-01T01:10:37+00:00</dc:date>
    <link>https://thereader.mitpress.mit.edu/the-tyranny-of-the-template-the-graphic-design-of-the-first-edition-of-learning-from-las-vegas/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Pioneering architect and urban planner Denise Scott Brown looks back at the creative battle behind a book that redefined architectural thinking."

...

"Upon its publication by the MIT Press in 1972, “Learning from Las Vegas” was immediately influential and controversial. The authors made an argument that was revolutionary for its time — that the billboards and casinos of Las Vegas were worthy of architectural attention — and offered a challenge for contemporary architects obsessed with the heroic and monumental. The physical book itself, designed by MIT’s iconic designer Muriel Cooper, was hailed as a masterpiece of modernist design, but the book’s design struck the authors as too grandiose for a text that championed the ugly and ordinary over the heroic and monumental.

Out of respect to the authors, the original, gold-stamped, clothbound edition, published in a modest print run of 2,000, was never reprinted. The book that became known to generations of architecture students is the modified second edition, a paperback redesigned by Denise Scott Brown for publication in 1977.

But around 2016, MIT Press’s esteemed editor Roger Conover approached Denise with a proposition: Would she be willing to write a new preface to a facsimile hardcover edition, “saying whatever you want to say about the book’s original design and production”? On the condition that there would be no editing of her text, and that she would have the last word in the case of any editorial differences, a deal was struck. The resulting 2017 facsimile edition reunited the original design with a spirited new preface by Scott Brown, featured below, in which she looks back on the creation of the book and explains her and Robert Venturi’s reservations about the original design.

–The Editors"

...

"This article is excerpted from the facsimile edition of “Learning From Las Vegas,” published in 2017."
]]></description>
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<item rdf:about="https://placesjournal.org/article/social-history-of-the-cardboard-box/">
    <title>Social History of the Cardboard Box</title>
    <dc:date>2024-05-17T01:10:43+00:00</dc:date>
    <link>https://placesjournal.org/article/social-history-of-the-cardboard-box/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cardboard Media and the Geographic Imagination"
]]></description>
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<item rdf:about="https://podcasts.apple.com/au/podcast/matt-smith-johnson-teenage-grandpa-on-watch-design/id1506525565?i=1000655232042">
    <title>OT: The Podcast: Matt Smith-Johnson (Teenage Grandpa) on Watch Design, plus how Cartier watches are made on Apple Podcasts</title>
    <dc:date>2024-05-16T06:18:49+00:00</dc:date>
    <link>https://podcasts.apple.com/au/podcast/matt-smith-johnson-teenage-grandpa-on-watch-design/id1506525565?i=1000655232042</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week, we catch up with Matt Smith Johnson, AKA Teenage Grandpa, and his work in watches and watch design, including brands like Vero, Laco, and others. Beyond the expected chat around dial text and case proportions, our chat with Matt goes in some less expected directions, specifically around metal band t-shirt design and which metal groups need a watch sponsorship deal, stat.

Before all that, Andy and Felix chat about Andy’s recent trip to the Cartier Manufacture in La Chaux-de-Fonds, the recent TAG Heuer X Kith Formula One reissue, and what other brands might be looking for a ‘Moonswatch Moment’ in the near future."

[Also here:
https://open.spotify.com/episode/4mQOTOWB3EOrb9IIag0PNQ ]]]></description>
<dc:subject>watches design graphicdesign graphics type typography 2024 vero laco mattsmith-johnson</dc:subject>
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    <title>Perspectives: Alec Dunn on LIBERATION Magazine - YouTube</title>
    <dc:date>2024-05-08T20:17:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=HRuBzFmZ3VA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Black Mountain College Museum + Arts Center presents a conversation with Alec Dunn about LIBERATION Magazine and Vera B. Williams.

LIBERATION (1956 – 1977) was a radical leftist publication established by a group of civil rights organizers and pacifist conscientious objectors to WWII, who came together in the mid-1950s to found a unique magazine blending art, commentary, and political thought. Two major players in the magazine’s history include Bayard Rustin, who had visited Black Mountain College during the 1947 Journey of Reconciliation, and Paul Goodman, who had lectured at BMC.

BMC alumna Vera B. Williams became involved with LIBERATION while living at the Gate Hill Co-op in Rockland County, NY. She went on to be the magazine’s principal cover artist, illustrating 76 covers over the course of its publication. Alec Dunn’s research tells the story of Williams’ path to LIBERATION through BMC and the many graphic styles she explored through her work on the magazine.

About Alec Dunn:

Alec Dunn is a writer, artist, and printer based in Portland, OR.  He has designed book and record covers, political graphics, punk fliers and is a member of the Justseeds Artists Cooperative. Since 2010, he has been co-editor of Signal: A Journal of International Political Graphics & Culture.

___
Black Mountain College Museum + Arts Center is dedicated to preserving + extending the legacy of Black Mountain College (1933 - 1957). We were founded in 1993 to celebrate BMC as a forerunner in progressive interdisciplinary education and to explore its extraordinary impact on modern and contemporary art, dance, theater, music, and performance. Today, we achieve our mission through collection, conservation, and educational activities including exhibitions, publications, and public programs."

[See also:
"Vera B. Williams / STORIES
Eight Decades of Politics and Picture Making
Black Mountain College Museum + Arts Center
January 26 – May 11, 2024"
https://www.blackmountaincollege.org/vera-baker-williams/

Alec Dunn's article is within:
"Signal: A Journal of International Political Graphics and Culture: No. 8"
"Alec Dunn highlights Liberation magazine and the cover art of Vera Williams "
https://www.printedmatter.org/catalog/62731/ ]]]></description>
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<item rdf:about="https://www.setmargins.press/books/design-against-design/">
    <title>Design Against Design | Set Margins'</title>
    <dc:date>2024-02-22T04:44:51+00:00</dc:date>
    <link>https://www.setmargins.press/books/design-against-design/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Design Against Design argues for the urgent necessity of critical engagement and political resistance through graphic practice. It draws on insights from the practice of LOKI, a small graphic design studio committed to working with social movements towards radical political change. With con­versational interviews, personal and critical essays, and a wide-ranging selection of graphic works, this book unravels the real-world relationships, motivations and contradictions involved in a socially engaged design practice.

Both a passionate indictment of the discipline of graphic design, and a utopian love letter to its radical potential, Kevin Yuen Kit Lo’s collection of almost confessional, candid essays challenge the status quo of design writing. Design Against Design demands that we think more intimately about the politics of visual culture under contemporary capitalism and, importantly, how we can act against it.

Design Against Design is organized around four key themes: Critique presents a political-economic analysis of graphic design in relationship to capitalism and considers practical ways to resist it. Practice looks critically at how designers work towards (and sometimes against) social change within both a professional studio context and alongside social movements. Materiality focuses on the craft of graphic design; on language and typography, legibility, and illegibility, on the acts of speaking and making. Autonomy considers the emotional and relational aspects of graphic design, understanding that interdependence is intricately bound to any possibility for self-determination within and beyond design.

Featuring interviews with Philippe and Nancy Vermes, Sandy Kaltenborn, Kaie Kellough, Chadi Marouf and Sabine Friesinger, Sarah Auches, and Jenn Clamen.

“In what is perhaps the most radical graphic design book of the the last years, Lo weaves the personal and political in this collection of stories showing the usefulness of design in everyday struggles. There is none of the design saviour talk we hear all too often. These are words of action.”

– Ruben Pater, author of the Politics of Design and Caps Lock

“This collection of essays, historical reviews, and interviews takes on the myriad critical issues involved in making design that purports to “do good.” Noting all kinds of traps, from “do-goodism” that does nothing to change the dominant order, to the continuous commodification of activist stances in a late-capitalist society, to the “named enemies” of White Supremacy, performative allyship, and historical erasure, the book alternately discusses capital, labor, and meaning without retreating into a comfortable ivory tower and closing the shades. Rather than relying on the dogma of one “ism” or another, the book is personal: The anger pulsing just under the text is clearly Kevin’s own.”

– Natalia Ilyin, author of Chasing the Perfect and Writing for the Design Mind"]]></description>
<dc:subject>design loki via:daniellucas socialmovements change practice critique graphics graphicdesign materiality craft legibility illegibility typography philippevermes nancyvermes sandykaltenbron kaiekellough chadimarouf sabinefriesinger sarahauches jennclamen rubenpater nataliailyin kevinyuenkitlo</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=Gkwj5HCmNIY">
    <title>Visions Not Previously Seen: The Groundbreaking Design Work of Barbara Stauffacher Solomon | Adobe - YouTube</title>
    <dc:date>2024-01-23T00:52:38+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Gkwj5HCmNIY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Barbara “Bobbie” Stauffacher Solomon is a very big deal, but you wouldn’t know it from talking to her. Mixing Swiss graphic design principles with West Coast Pop art stylings, Bobbie essentially created supergraphics, and in doing so shaped the history of design. Adobe Create is proud to bring you a documentary short film about her work and life."]]></description>
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    <title>BARBARA STAUFFACHER SOLOMON : THE INVISIBLE - YouTube</title>
    <dc:date>2024-01-23T00:52:05+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=765wUc6OEo0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A film by Eric Minh Swenson. (Film number one-thousand thirteen hundred and seventy-nine in the series.)"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=_e2eOMSzHMk">
    <title>Metaheaven, designers (The Netherlands) - YouTube</title>
    <dc:date>2023-12-03T07:06:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=_e2eOMSzHMk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Metaheaven (The Netherlands)
Online lecture
22 November 2023

The work of Metahaven encompasses filmmaking, writing, and design. Their films include Capture (2022), Chaos Theory (2021), Hometown (2018) and Information Skies (2016), nominated for the European Film Awards 2017.
Recent publications include Digital Tarkovsky (2018), a book-length essay about cinema. In 2010, they published Uncorporate Identity, co-edited with Marina Vishmidt.

Their forthcoming book on art and cognition is scheduled to appear in Spring 2025 with Verso. They write the “Cognitions” blog with Zora Zine, and are regular contributors to e-flux Journal and Harvard Design Magazine.

Metahaven have presented solo exhibitions at MoMA PS1, New York, Yerba Buena Center for the Arts, San Francisco, Izolyatsia, Kyiv, ICA London, e-flux, New York, State of Concept Athens, and Stedelijk Museum Amsterdam, among others, as well as participated in group exhibitions at Artists Space, New York, the Museum of Modern Art Warsaw, M HKA, Antwerp, the Gwangju Biennale, and the Sharjah Biennial, Ghost:2561, Bangkok, and many others. Their work is featured in collections of the Sharjah Art Foundation, the National Gallery of Victoria, M HKA, the Victoria & Albert Museum, and the Stedelijk Museum Amsterdam, among others.

Metahaven are heads of department at the Geo-Design MA at the Design Academy Eindhoven since September 2023, a programme in which they previously taught since its start in 2020. They are artistic advisors at Rijksakademie, Amsterdam, and affiliate researchers at Antikythera, Los Angeles.

Metahaven‘s lecture is part of Fabrica’s “Co-ecologies” residency program curated by Carlos Casas."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=RTB5XhjbgZA">
    <title>Segmented Displays - YouTube</title>
    <dc:date>2023-09-26T20:02:54+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=RTB5XhjbgZA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://aeon.co/videos/the-mundane-becomes-mesmerising-in-this-deep-dive-into-segmented-displays

"The mundane becomes mesmerising in this deep dive into segmented displays
It’s likely that you’ve glanced at a seven-segment display thousands of times in your life without knowing what it was called, or even giving the design much thought at all. First invented in 1903 to help increase the speed of telegraph transmissions, in the 1970s the display began to appear on household devices, and persists on a great many household items today – even in the age of high resolution. In this video essay, the Dutch filmmaker, photographer and artist Michiel de Boer offers a surprisingly fascinating dive into the history and design of segmented displays, which, designed to overcome technical limitations, exist at the intersection of form and function. In doing so, De Boer also dives into his lifelong quest to build a better segmented display than the ‘double square’ design that has become ubiquitous."]]]></description>
<dc:subject>displays lcd 2022 designdisplay numerals typography history digital michieldeboer graphics design graphicdesign lettering fonts watches digitalwatches segmentdisplays segmenteddisplays posy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fb11e7b60371/</dc:identifier>
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<item rdf:about="https://peoplesgdarchive.org/">
    <title>People’s Graphic Design Archive</title>
    <dc:date>2023-06-19T19:27:23+00:00</dc:date>
    <link>https://peoplesgdarchive.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The People’s Graphic Design Archive is a crowd-sourced virtual archive that aims to expand, diversify, and preserve graphic design history. It includes finished projects, process, correspondence, oral histories, articles, and other material in the form of images, documents, videos, audio, as well as links to other relevant archives and websites (—)."

...

"The People’s Graphic Design Archive is a crowd-sourced virtual archive of inclusive graphic design history.

The Archive includes everything from finished projects to process, photos, correspondence, oral histories, anecdotes, articles, essays, and other supporting material. You’ll find all sorts of information and links to other relevant archives, too.

The Archive is for Everyone!
Browse for inspiration, research, or just for joy!
Upload your graphic design history treasures (10+ years old)
Share the Archive with friends and colleagues

Mission
Our goal is to realize a virtual archive that recognizes and preserves graphic design's and culture’s expansive and inclusive history.

What to submit
Digital images of finished projects, process, photos, letters, oral histories, anecdotes, published and unpublished articles, essays, and other historical material. You can add many different file formats including JPGS, pdfs, videos, audio files, as well as links. Projects must have been produced at least 10 years ago (or in the case of correspondence, interview, etcetera, be about work produced at least 10 years ago)."]]></description>
<dc:subject>graphicdesign database archive archives design graphics oralhistory corresponddence history libraries</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3644a882a85a/</dc:identifier>
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    <title>أحْرُف وكَلِمَاتْ وقِصَصْ A Multi-Script Type Design Program</title>
    <dc:date>2023-04-05T16:45:55+00:00</dc:date>
    <link>https://futuress.org/stories/letters-words-stories/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Imagining a playground for collective archiving, researching and letter-making."]]></description>
<dc:subject>naïmabenayed 2023 education design language translation form unschooling openstudioproject lcproject libraries archives graphicdesign graphics lettering typography fonts arabic communication structure maintenance care type physicality tunisia tunis museums tangibility history crosspollination latin opentype languages writing howwewrite signs vernacular vidual systems migration immigration multilingualism logos scripts calligraphy pop-ups howweread colonialism memory nostalgia futuress</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:176628268142/</dc:identifier>
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<item rdf:about="https://www.youtube.com/intranetgirlx">
    <title>intranetgirl - YouTube</title>
    <dc:date>2022-09-19T05:46:54+00:00</dc:date>
    <link>https://www.youtube.com/intranetgirlx</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Yo it's your girl _intra, I am a multidisciplinary artist from London.  I create these videos to share my all consuming love for the greatest open source project mankind has ever known, Blender.

I want to break down the barriers to entry surrounding the graphics industry and prove how fun and accessable these softwares can actually be.

I hope you join me on these tutorials where I will try my utmost to package the fundamental principles of 3D Design into a digestable format whilst producing a cool render as the outcome!

As always in these times, 
Stay safe

_Intra

For emails and enquiries:
stef@intranetgirl.com

My intragram:
https://www.instagram.com/intranetgirl/?hl=en
★ ° . *　　　°　.　°☆ 　. * ● ¸ . 　　　★ 　° :. ★　 * • ○ ° ★　 * 　.　 　　　　　. 　 ° 　. ● . ★ ° . *　　　°　.　°☆ 　. * ● ¸ . 　　　★ 　° :●. 　 * • ○ ° ★　 .　 * 　.　 　　　　　. 　 ° 　. ● . ★ ° . *　　　°　.　☆ 　. * ● ¸ . 　　　★ 　 ° :. 　 * • ○ ° ★　 .　 * 　.　 　★　　　　. 　 ° 　. . 　 ★　 　　° °☆ 　¸. ● . 　　★　★ ° . *　　　°　.　°☆ 　. * ● ¸ . ★ ° . *　　　°　.　°☆ 　. * ● ¸ 　　"]]></description>
<dc:subject>blender tutorials howto graphics video motion motiongraphics opensource 3d design intranetgirl</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:62c90ab548e0/</dc:identifier>
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<item rdf:about="https://www.gearpatrol.com/watches/a519830/time-and-type/">
    <title>Time &amp; Type: How Font Choice Can Shape a Watch Dial</title>
    <dc:date>2022-07-29T20:58:01+00:00</dc:date>
    <link>https://www.gearpatrol.com/watches/a519830/time-and-type/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>hermès watches fonts design typography 2019 nomos graphics graphicdesign tampography alangeandsöhne alange&amp;söhne philippeapeloig</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://monochrome-watches.com/the-collectors-series-interview-unique-anordain-model-2-mki-central-second-enamel-dial/">
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    <link>https://monochrome-watches.com/the-collectors-series-interview-unique-anordain-model-2-mki-central-second-enamel-dial/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It’s a story of "yes, but could you…?" and the journey that follows this initial question."]]></description>
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    <title>Watches: Why Your Watch Is Telling You Much More Than Just The Time | The Journal | MR PORTER</title>
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    <title>Hermès H08: The Future of the Luxury Field Watch? - YouTube</title>
    <dc:date>2022-05-02T00:07:50+00:00</dc:date>
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<item rdf:about="https://www.hodinkee.com/articles/the-28-year-old-design-whiz-at-anordain">
    <title>AnOrdain's Imogen Ayers On Her Career</title>
    <dc:date>2022-03-25T16:27:19+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/the-28-year-old-design-whiz-at-anordain</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Scottish brand's in-house type specialist takes us along on her journey from art student to watch designer."

...

"Six years ago, Imogen Ayres was a recent graduate from The Glasgow School of Art with a passion for typefaces and little knowledge of watches. Today, she's the graphic designer behind anOrdain, the Glasgow-based enamel specialist nominated for a GPHG award in 2021. She has also designed watches for Paulin, another popular Glasgow microbrand. Now based in London, Ayres, 28, is continuing her work with anOrdain founder Lewis Heath – most recently on new versions of the anOrdain Model 2, due in April 2022 – while building a career as a freelance type designer. While she attributes her career trajectory in part to connections within Glasgow's close-knit arts community, anOrdain's beautifully-detailed dials are a testament to her standout talent in this highly specialized corner of horology."]]></description>
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<item rdf:about="https://musingsofawatchaddict.wordpress.com/2020/12/27/hodinkee-merci-lmm-h01-limited-edition-1-of-1500-a-dressy-field-watch/">
    <title>Hodinkee Merci LMM-H01 Limited Edition 1 of 1500: A Dressy Field Watch | musingsofawatchaddict</title>
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<item rdf:about="https://andlarry.com/journal/watch-the-type">
    <title>Watch the Type - Journal - &amp;Larry</title>
    <dc:date>2021-12-28T07:51:28+00:00</dc:date>
    <link>https://andlarry.com/journal/watch-the-type</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Bucking the traditions of conventional watchmaking, there are many things about A. Lange & Söhne that are markedly different and thus alluring.

Perhaps it was the large date display (or outsize date as the company would term it) and the resultant typographic focal point of the “25” that first piqued my interest as a design student in the 90s. Or maybe it was the asymmetrical dial design of the Lange 1 — an unorthodox movement layout hidden underneath Lange’s hallmark three-quarter plate — that was based off the harmonious proportions of the golden ratio. Or, perhaps, I was simply charmed by the uncompromising rigour and forbidding austerity of German design.

All things considered, it was love at first sight, though unattainable then for a fledgling designer. Fast forward a couple of years, and armed with considerably more life experience, I gradually realised that it was the simplicity, legibility and elegance of the dial that attracted me most – in particular the typeface used and the distinctly arced brand signature."]]></description>
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    <title>Our Favourite Uses of Typography in Watches – A COLLECTED MAN</title>
    <dc:date>2021-12-27T03:29:47+00:00</dc:date>
    <link>https://www.acollectedman.com/blogs/journal/favourite-typography-watches</link>
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    <title>Teach What You Need to Learn</title>
    <dc:date>2021-12-24T17:17:51+00:00</dc:date>
    <link>https://futuress.org/magazine/teach-what-you-need-to-learn/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A conversation about the Swedish Master program critically addressing visual standards and promoting “norm creativity.”"

...

“We are all part of a society being formed and defined by a dominant few, and the program started by simply acknowledging this unequal order as a fact.”

...

“all the competitiveness that we were fed with and the concept of “uniqueness” and “ingenuity” created a real fear that inhibited us from co-creation and co-exchange”

...

“We accepted violent teaching as something that comes with being challenged, when in fact it was about being destabilized. Maybe this is one of the most important things for us to distinguish: “challenging” in the context of an education environment must never be about making it emotionally and socially tough for students.”

...

“There is a complete, embarrassing lack of socio-political contextualization whatsoever, as well as a rigorous analysis of the modes of production of design and their impact(s). We must ask ourselves why we have built a history that serves itself (and certain groups of people) instead of us collectively, and how this reflects a patriarchal view of reality.”]]></description>
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<item rdf:about="https://futuress.org/magazine/a-rejection-of-the-term-vernacular/">
    <title>A Rejection of the Term “Vernacular”</title>
    <dc:date>2021-12-18T21:47:16+00:00</dc:date>
    <link>https://futuress.org/magazine/a-rejection-of-the-term-vernacular/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the continual process of decolonizing my design practice and my own mind, I reject the term “vernacular.” I must always question what design canons I continue to operate under, even when I believe I am centering decolonial theory. For a time, I found empowerment in using the term. It provided me with the necessary vocabulary to function within Euro-American colonial education and cultural institutions to validate my own practice before it was discounted. Yet in unpacking its etymology, it helped me understand how I continue to use the language of my colonizer to describe postcolonial and decolonial design. It further provoked me to be critical of the words that I use to describe not only my own practice, but also that of other cultures and peoples. The categorization and quantification of “vernacular” v.s. “professional graphic design” is reductive, and only undermines the deep cultural history of the many design languages exhibited and existing in postcolonial nations. The widespread and misguided use of the term further perpetuates the colonizing notion that other graphic design languages must be categorized to enforce and assert the power of the Eurocentric Canon.

As I continue to realize my dreams for a decolonial future, I explicitly reject the term and actively recognize that—from the immigrant restaurant signage in the United States, to the large scale billboards and fleets of jeepneys in Metro Manila—all forms of visual design languages should be considered “graphic design.”"]]></description>
<dc:subject>2021 design vernacular javiersyquia decolonization immigration philippines art formal informal unschooling language words capitalism postcolonialism colonialism colonization vernaculardesign standardization legitimacy graphicdesign typography graphics lettering fonts futuress</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://futuress.org/magazine/chasing-images/">
    <title>Chasing Images</title>
    <dc:date>2021-12-03T02:01:37+00:00</dc:date>
    <link>https://futuress.org/magazine/chasing-images/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“How come I, who had been through undergrad and graduate school to study design, had never heard of this woman?”

...

“In her maps, she prominently featured themes of dislocation, destruction, or socio-economic implications on diverse people groups. Her maps were said to be creations that gave tools for others to navigate the world around them. At first, having access to so much material was a bit overwhelming, until I figured out the best way to handle it: every day I’d approach new areas of interest – design, invoices, sketches, photography etc… Eventually, I started to like the vastness of the material. You gain a sense of intimacy and familiarity with learning so much about a person.”]]></description>
<dc:subject>tashekaarceneux-sutton 2021 reaearch archives graphicdesign graphics louisejefferson maps mapping history race aesthetics blackness design blackaesthetic libraries immersion futuress</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://eyeondesign.aiga.org/horts-eike-konig-on-collaboration-teaching-and-having-friends-who-arent-designers/">
    <title>HORT’s Eike König on Collaboration, Teaching, and Having Friends Who Aren’t Designers – Eye on Design</title>
    <dc:date>2021-12-02T16:37:11+00:00</dc:date>
    <link>https://eyeondesign.aiga.org/horts-eike-konig-on-collaboration-teaching-and-having-friends-who-arent-designers/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The relationships with your students and the other designers at HORT seem to be very important to you. Looking back, was there any time when you rather worked by yourself? 

I think I have to dive deeper into my past to answer this question. When I was younger, I did gymnastics, which includes both team sport and individual sport. On one hand, it really triggered my ego, always striving to be the best. On the other hand, I also had to work in a team, except that it was not really a team. In the end, you’re just fighting for yourself. Sometimes, you even feel a spitefulness when the other person tumbles, which is a pretty bizarre feeling. I felt this immense pressure to discipline myself. My whole life was dictated by this discipline to go to training, to give my best for everyone, but also for myself at the same time. It’s weird to have this kind of competition within a team. That’s why I quit.

When I started studying, I always felt the need to work together with the other students. For me, it was all about learning from each other, sharing great experiences, and creating a beautiful project together. That has always been my dream, but it got crushed by the fierce competition between the students that reminded me of my time on the gymnastics team. I’ve always had this idealistic idea of universities as some sort of revolutionary institution, where the new generation would question the principles of former generations.But after two weeks, I felt like university was even worse than school because, at school, I had at least no expectations. I started to go to school at six years old and stayed in this system until the end, I had no choice. But I chose to go to university and that’s why I had all these expectations that were not met. 

After I dropped out of college, I worked for a few techno events in my city and did an internship at Logic Records which later offered me a job as an art director. In the end, I was completely self-taught. I still try to recreate this experience of working together and learning from each other that I always dreamed of.

When I founded the studio, I’ve always searched for other people that I could work with. From the beginning, I collaborated on various projects with other designers and artists. After I hired my first employee, I hit my stride. But after a few very busy years, I had a breakdown. I suffered burnout. That’s when I realized that I wanted to create a space where good, talented people came together and worked on projects with me. That’s how the idea of HORT was born.

Learning from each other seems to be at the core of HORT. 

Exactly. I also learn a lot from my students. This constant discourse allows me to question my practice, gain new perspectives, and learn about new techniques and technologies.

The more you get older, the more you think about your past. You get a better understanding of your past and learn from it. Today, I love working on my own, especially when it comes to my art projects, but maybe because teaching and working in the studio compensates for that. It allows me to slow down and escape from the high-speed life that I was living before. Always on, always available, so many people and so much responsibility. It’s healing to take some time off and do something just for yourself, both physically and mentally."]]></description>
<dc:subject>eikekönig hort design graphics graphicdesign education schools schooling instagram uniformity algorithms failure competition teaching howwelearn howwework collaboration studying</dc:subject>
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<item rdf:about="https://art21.org/watch/new-york-close-up/kameelah-janan-rasheed-the-edge-of-legibility/">
    <title>Kameelah Janan Rasheed: The Edge of Legibility | Art21</title>
    <dc:date>2021-11-17T06:13:33+00:00</dc:date>
    <link>https://art21.org/watch/new-york-close-up/kameelah-janan-rasheed-the-edge-of-legibility/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[video also here:
https://www.youtube.com/watch?v=kIxf_HoiLws
https://vimeo.com/633131259 ]

“logo·​phile | \ ˈlȯ-gə-ˌfī(-ə)l : a lover of words. A self-described “learner,” immersed in books since childhood, text-based artist Kameelah Janan Rasheed is uniquely fascinated with the written word and its power to both define and destabilize how we understand the world. Rasheed photocopies pages from books and printed materials, cuts out words and sentences, and re-arranges them in poetic, provocative, or even confusing combinations. The resulting sprawling wall collages, billboards, films and public installations encourage viewers to do the work of understanding. “It’s really an invitation,” says Rasheed, “Come think with me.” This short documentary film explores the artist’s expansive ideas and miniaturist process in her book-filled, Brooklyn home studio; the film’s exclusively close up style mirrors Rasheed’s own preoccupation with fragments, slowly building up a portrait over time.

From her studio, Rasheed sorts through stacks of childhood drawings and family photographs while recounting her father’s conversion to Islam in the early 1980s. His method of note taking, excerpting, and annotating inspired Rasheed’s own artistic practice. “I was thinking of this idea of talking back to a text,” says the artist, “Each time we read something, we’re annotating on the page or in our heads and creating a new text. It’s this act of collaboration between the reader and the writer.” At work on a new piece, Rasheed searches her books for specific shapes and styles of lettering, rather than particular words. She pieces together these fragments into longer phrases and sentences, intuitively creating combinations that code or complicate that which could be said plainly. Rather than jumping to understanding, viewers are invited to move more slowly and engage with works over and over again to create layers of meaning. For Rasheed, this approach also presents a powerful possibility for how we can publicly move through the world and create a kind of self-protection. “I think a lot about what it actually means to make myself legible,” says the artist. “How you present yourself to the world that’s legible and appealing to people, versus I’m not gonna make myself known until I’m ready.””]]></description>
<dc:subject>kameelahjananrasheed reading howweread writing howwewrite readers study art practice 2021 books marginalia legibility attention slow thinking howwethink learning howwelearn annotation notetaking meaningmaking excerpts fragments decoding recoding quran qur'an text work typography graphics design graphicdesign care visibility opacity access accessibility koran</dc:subject>
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<item rdf:about="https://watchesbysjx.com/2015/08/editorial-why-fonts-and-typefaces-matter-in-watch-design.html">
    <title>EDITORIAL: Why Fonts and Typefaces Matter in Watch Design | SJX Watches</title>
    <dc:date>2021-10-20T20:01:04+00:00</dc:date>
    <link>https://watchesbysjx.com/2015/08/editorial-why-fonts-and-typefaces-matter-in-watch-design.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Typography is a minor but critical component of watch design that is often neglected; but the right font can work strikingly well, creating a whole that is greater than the sum of the parts.”

[See also:
https://www.hodinkee.com/articles/the-case-for-better-watch-typography
https://www.typography.com/fonts/decimal/design-notes ]]]></description>
<dc:subject>watches typography fonts design 2015 graphics graphicdesign lettering hermès patekphilippe cartier fpjourne nomos alange&amp;söhne rolex tampography alangeandsöhne philippeapeloig</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.typography.com/fonts/decimal/design-notes">
    <title>Decimal Fonts - Design Notes | Fonts by Hoefler&amp;Co.</title>
    <dc:date>2021-10-20T20:00:36+00:00</dc:date>
    <link>https://www.typography.com/fonts/decimal/design-notes</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://www.hodinkee.com/articles/the-case-for-better-watch-typography
https://watchesbysjx.com/2015/08/editorial-why-fonts-and-typefaces-matter-in-watch-design.html ]]]></description>
<dc:subject>watches typography design fonts graphics graphicdesign lettering jonathanhoefler omega patekphilippe cartier audemarspiguet vacheronconstantin heuer singer universalgenève tampography letterforms</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:eced0745fb91/</dc:identifier>
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<item rdf:about="https://www.hodinkee.com/articles/the-case-for-better-watch-typography">
    <title>Inside The Design: The Case For Better Watch Typography - HODINKEE</title>
    <dc:date>2021-10-20T19:59:17+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/the-case-for-better-watch-typography</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Watchmakers are master craftspeople. Why do so few invest in lettering?”

[See also:
https://www.typography.com/fonts/decimal/design-notes
https://watchesbysjx.com/2015/08/editorial-why-fonts-and-typefaces-matter-in-watch-design.html ]]]></description>
<dc:subject>watches typography graphics graphicdesign fonts 2021 accessibility lettering hermès tampography jonathanhoefler chanel nomos philippedelhotal philippeapeloig pierre-alexisdumas</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d2ae36463380/</dc:identifier>
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<item rdf:about="https://docs.google.com/document/d/1Hbymt6a3zz044xF_LCqGfTmXJip3cetj5sHlxZEjtJ4/edit#">
    <title>Decolonizing Reader (resources)_Collaborative (open) edition - Google Docs</title>
    <dc:date>2021-04-13T04:50:21+00:00</dc:date>
    <link>https://docs.google.com/document/d/1Hbymt6a3zz044xF_LCqGfTmXJip3cetj5sHlxZEjtJ4/edit#</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[saved a pdf export of this at time of boomarking (12 April 2021)]

“Ramon Tejada / Decolonizing Design Reader 
(in-progress)
Version as of Winter 2021
Tinyurl address: https://tinyurl.com/y43sukuu”

[bookmark from a month ago: https://pinboard.in/u:robertogreco/b:9b92dc7c77e9 ]]]></description>
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<item rdf:about="https://eyeondesign.aiga.org/the-internet-is-turning-on-big-techs-colorful-corporate-mascots/">
    <title>Is It Time to Move on From Big Tech’s Colorful Corporate Mascots? – Eye on Design</title>
    <dc:date>2021-03-19T00:39:59+00:00</dc:date>
    <link>https://eyeondesign.aiga.org/the-internet-is-turning-on-big-techs-colorful-corporate-mascots/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also (cited within:
https://www.youtube.com/watch?v=lFb7BOI_QFc
https://www.are.na/claire-l-evans/corporate-memphis
https://www.are.na/justin-pickard/after-corporate-memphis ]]]></description>
<dc:subject>corporatememphis flatdesign rachelhawley claireevans justinpickard 2021 design graphicdesign memphisgroup illustration graphics uber facebook google apple skeuomorphism interface ux ix interfacedesign stevejobs ios neumorphism lyft postmates airbnb corporatism capitalism community cooperation post-race labor organizing socialgood idealism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ca64df37a189/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=3erffO75QCs">
    <title>Typographics 2020: Exploring type and culture by … misusing technology with Kelli Anderson - YouTube</title>
    <dc:date>2021-01-27T23:38:33+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=3erffO75QCs</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This talk took place on July 24, 2020 as part of Typographics Conference. The livestreaming, recording and archiving of the event is made possible with the generous support of Google Fonts. 

During the pandemic, I’ve been busy recreating digital/technological processes with what has been on-hand: craft materials. I’m exploring how MetaFont reconceptualized the question of ‘what is a letter?’ in an animated paper pop-up. I’m working on an interactive modular typography device using a cardboard volvelle as “interface.” With colored gels, I’m demonstrating how Germany’s development of FE-Schrift for license plates sought to thwart human falsification—while communicating directly to the vision of OCR software. Additionally, I’ve made dozens of “risographed animations” to dramatize the minute morphological differences of letterforms in an impossibly noisey, shakey, and uncontrollable medium.

Understanding black-box digital processes by hand is undoubtedly absurd, but it also reacquaints us with the unique, embodied (and magical) way that humans process the world. With this work, I hope to provide an oblique lens to behold what we’ve created with our technology, so that we may engage more deeply with its philosophical implications and possibilities.

Kelli Anderson is a designer and paper engineer who pushes the materials of graphic design to their interactive extreme. Operating in the space between conceptual art, graphic design, and tech, her books have featured a working paper planetarium, a pop-up pinhole camera, and a paper record player. Whenever she can, she uses humble materials to showcase the surprising complexity and magic of the tangible, lo-fi world.

She is best known for her design, animation, and illustration work for NPR, The New Yorker, Wired, MoMA, the Exploratorium, and the New York Times, as well as her redesign of NYC brands such as Russ & Daughters and Momofuku. Her two experimental and interactive pop-up books: This Book is a Camera, which transforms into a pinhole camera, and This Book is a Planetarium, which houses a tiny planetarium and other contraptions, have been called “A marvel of paper engineering and imagination”— NY Times. Some of her other projects include Tinybop’s award-winning Human Body app and a counterfeited “utopian” newspaper distributed with The Yes Men. She teaches at the School for Poetic Computation and the New School in NYC and spends her free time making typography-based risograph animations at The Arm."]]></description>
<dc:subject>kellianderson 2020 graphicdesign senses allthesense risograph pop-upbooks interactive multisensory texture visual type typography fonts letterforms print tools technology howwework physical variabletype sliders animation paper folding origami miuraori miura miurafold classideas tactile digital typographics graphics art arts design 3d light projection optics photo-lettering letterformarchive riso miura-ori</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=6wqPtBA7qGI">
    <title>Typographics 2020: To All the Fonts I’ve Loved Before with Eric Hu - YouTube</title>
    <dc:date>2021-01-27T23:16:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=6wqPtBA7qGI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This talk took place on Friday, July 24, 2020 as part of the Typographics Conference. The live streaming, recording and sharing of the video archive was made possible by the generous support of Google Fonts. 

Part history lesson, part complicated love letter to a city, Eric Hu shares how his upbringing in multicultural Los Angeles fueled his lifelong passion for letters.

Eric Hu is a multidisciplinary creative director and typographer based in New York City. His practice has an international reputation for pairing maximalist image-making with typographic nuance for a variety of clients operating in fashion, music, architecture, and technology. He is also a co-creative director for Mold Magazine, a publication about the future and science of food. Previously Eric was Global Design Director at Nike Sportswear and the Director of Design at SSENSE where he formed its inaugural design team."]]></description>
<dc:subject>2020 erichu losangeles typography california signs signage graphics design graphicdesign via:robinsloan race racism streets graffiti blackletter handlettering lettering fonts rossfgeorge oldenglish letters writing spraypaint history chicanomovement punk music skating skateboarding montereypark chineseexclusionact immigration chinese language retna usugrow revok saber calidewitt jonathangold cholowriting cholos boyleheights lincolnpark influences cities place urban urbanism chazbojórquez</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4db3fed5ccbd/</dc:identifier>
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</item>
<item rdf:about="https://www.sadieredwing.com/">
    <title>SADIE RED WING | sadie-red-wing</title>
    <dc:date>2020-09-16T04:21:41+00:00</dc:date>
    <link>https://www.sadieredwing.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[first saw this: https://www.sadieredwing.com/copy-of-new-page-1 ]]]></description>
<dc:subject>sadieredwing graphicdesign graphics design lakota language symbols flags indigeneity indigenous form visual visualessays</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b255c57ae4a4/</dc:identifier>
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<item rdf:about="https://viljamis.com/2015/the-iconic-work-of-reid-miles/">
    <title>The Iconic Work of Reid Miles | Viljami Salminen</title>
    <dc:date>2020-05-01T05:18:24+00:00</dc:date>
    <link>https://viljamis.com/2015/the-iconic-work-of-reid-miles/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Reid Miles was an American modernist designer, a genius of his time, best known for his work for Blue Note Records through the 1950’s and 60’s. During this period he designed almost 500 record covers for the label. This article is a tribute to Miles, who’s work contin­ues to inspire me and many others.

It’s the summer of 1998—a long wait has finally come to an end. After saving for months I’ve acquired my first turntable. It’s Technics SL-1210 MK II and I am carrying it uphill towards home that is nearly two and a half miles further. The package weighs 26 pounds, not an easy task for the scrawny teenager I was back then.

He was a genius, ahead of his time, and the way he treated the typography as visual elements that can be broken apart and form something new still feels fresh.
I remember vividly how I after arriving tear apart the package, took out all the gleaming parts, put them together, and the great enthusiasm and eagerness I felt inside. I also remember how I connected the turntable to the speakers and played the first vinyls I had picked up months earlier.

There I was, eyes closed, letting the unison of the brasses sink into my brain.

Seventeen years later, that same turntable still looks and works like a brand new thing. It was and still is an amazingly well built piece. I feel the same about the work of Reid Miles. He was a genius, ahead of his time, and the way he treated the typography as visual elements that can be broken apart and form something new still feels fresh.[1]

I didn’t know it back then, but the day I bought the turntable and started collecting vinyls shaped my future career as a designer. Slowly through the years the jazz music and artworks of these 12" records became the main source of inspiration for me."]]></description>
<dc:subject>reidmiles jazz history bluenote bluenoterecords typography graphicdesign graphics design viljamisalminen</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5fa29ab80ba1/</dc:identifier>
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<item rdf:about="https://krita.org/en/">
    <title>Krita | Digital Painting. Creative Freedom.</title>
    <dc:date>2020-03-22T08:57:41+00:00</dc:date>
    <link>https://krita.org/en/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Krita is a professional FREE and open source painting program. It is made by artists that want to see affordable art tools for everyone.

- concept art
- texture and matte painters
- illustrations and comics"

[via: https://kokorobot.ca/site/tools.html ]]]></description>
<dc:subject>drawing graphics opensource software applications mac osx windows linux</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:86c8a2b84d6b/</dc:identifier>
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<item rdf:about="https://github.com/hundredrabbits/Ronin/">
    <title>GitHub - hundredrabbits/Ronin: Experimental Graphics Terminal</title>
    <dc:date>2019-12-02T04:22:22+00:00</dc:date>
    <link>https://github.com/hundredrabbits/Ronin/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://wiki.xxiivv.com/#ronin

video:
https://twitter.com/neauoire/status/1156172332102123520 ]

“Ronin is a procedural graphics tool designed to automate simple graphical tasks, like resizing, cropping, coloring, and generating algorithmic images. It interprets a minimal dialect of LISP, look at these examples to better understand how this all works.

The library updates is constantly revealing new applications to Ronin, you can see the list of available functions here. Most of our iconography and designs were created with both Ronin and Dotgrid.

Learn more by reading the manual, or have a look at some experiments on twitter. If you need help, visit the Community, follow the workshop or watch the video tutorial.”]]></description>
<dc:subject>ronin graphics lisp devinelulinvega hundredrabbits 110r 100r</dc:subject>
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<item rdf:about="https://p5js.org/">
    <title>p5.js</title>
    <dc:date>2019-10-25T07:19:09+00:00</dc:date>
    <link>https://p5js.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“p5.js is a JavaScript library for creative coding, with a focus on making coding accessible and inclusive for artists, designers, educators, beginners, and anyone else! p5.js is free and open-source because we believe software, and the tools to learn it, should be accessible to everyone.

Using the metaphor of a sketch, p5.js has a full set of drawing functionality. However, you’re not limited to your drawing canvas. You can think of your whole browser page as your sketch, including HTML5 objects for text, input, video, webcam, and sound.”

[via: https://usesthis.com/interviews/maya.man/ ]]]></description>
<dc:subject>p5.js javascript processing programming js art coding visual sound graphics video webcams html5</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:12d1a0893ccd/</dc:identifier>
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<item rdf:about="https://eyeondesign.aiga.org/listen-up-look-sharp-graphic-designers-bauhaus-moving-image-proves-good-design-isnt-just-about-communication/">
    <title>Listen Up, Look Sharp, Graphic Designers—Bauhaus Moving Image Proves Good Design Isn't Just About Communication | | Eye on Design</title>
    <dc:date>2019-06-27T15:00:23+00:00</dc:date>
    <link>https://eyeondesign.aiga.org/listen-up-look-sharp-graphic-designers-bauhaus-moving-image-proves-good-design-isnt-just-about-communication/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“As evidenced by a long-lost short film by Laszlo Moholy-Nagy”

…

“His sentiments around type and print are echoed across his vast output—painting, drawing, photography, collage, sculpture, film, theater, and writing—but one of its most fascinating distillations is in a recently rediscovered film, Tönendes ABC (ABC in Sound), from 1933. What the piece also conveys is a cheekier side to Moholy-Nagy’s practice, and a brazen approach to “appropriating” other people’s work.

ABC in Sound, a minutes-long experimental optical sound film was missing for more than 80 years, before being found at the BFI National Archive in London and identified as Moholy-Nagy’s for the first time by BFI curators. Its screening coincides with a wider László Moholy-Nagy London exhibition at Hauser & Wirth gallery, which is showing his 1930 film Ein Lichtspiel: Schwarz Weiss Grau (A Lightplay: Black White Grey); alongside works on paper, photographic pieces, and the mesmeric kinetic sculpture Light Prop for an Electric Stage (also 1930), which the aforementioned Lightplay documents in deliciously abstract modes.

The reason ABC in Sound remained undiscovered for so long is partially because, as it turns out, it’s not as original in concept as much of Moholy-Nagy’s other works. ABC in Sound existed, but not in isolated form, or credited to the artist: In 1936, the original nitrate for ABC in Sound was accidentally spliced to a copy of Oskar Fischinger’s Early Experiments in Hand Drawn Sound from 1931 by an archivist for a screening program at the London Film Society.”

[See also: https://player.bfi.org.uk/free/film/watch-abc-in-sound-1933-online

"Inspired by advances in sound recording and fascinated by the production of synthetic sound, Hungarian artist and Bauhaus professor László Moholy-Nagy (1895-1946) explored the idea of reverse-engineering an alphabet of sounds from the visual representation they produced by the grooves on gramophone discs. Taking this a step further, after the release of Rudolph Pfenninger’s Tönende Handschrift (Sounding Handwriting), he produced this film of ‘visual sounds’ which showed the image of the track that was passing through the sound head of the projector - so that the audience could directly compare the image with the sound that it made.

In later years Moholy-Nagy recalled that the soundtrack for Tönendes ABC “used all types of signs, symbols, even the letters of the alphabet, and my own finger prints. Each visual pattern on the sound track produced a sound which had the character of whistling and other noises. I had especially good results with the profiles of persons”. In this it differed from its companion piece, Oskar Fischinger’s Early Experiments in Hand Drawn Sound, which used purely abstract shapes in the same way; Moholy-Nagy even wittily uses the word ‘Handschfift’ printed onto his soundtrack. The films were shown together at the London Film Society on 10 December 1933 and the combined print donated to the newly formed BFI, where it was recently rediscovered.

Moholy-Nagy would have undoubtedly seen Fischinger’s film before he made his own. Fischinger’s many experiments with “ornamental animation in sound,” predated ABC in Sound. The films made by the pair are remarkably similar in concept, realization, and form (see screenshots from some of Fischinger’s experiments below): in each we hear synthetic sound, created by white patterns that appear visually along one side of the screen. The variations in the shapes of the lines generate the changes in the sounds—some of which seem quite beautiful, in a strange, non-human way; others more like bone-shaking blasts of a pneumatic drill; all—as was imperative for their creators—impossible to create using the conventional instruments of the time, or the human voice."]

[On YouTube: https://www.youtube.com/watch?v=ui_FU-KAZMM

"Missing for over 80 years, this experimental film by Bauhaus teacher and artist László Moholy-Nagy was found by BFI curators embedded in a reel of film that also contained Oskar Fischinger’s Early Experiments in Hand Drawn Sound. 

László Moholy-Nagy (1895-1946) was a tenacious, restless creative who associated with various early twentieth century vanguard art movements. Teaching at the legendary Bauhaus school, which this year sees its centenary, his early optical sound films experimented with the formal properties of film and blurred the lines between sound and image and the act of hearing and seeing sound. Newly scanned at 4K, the restoration of ABC in Sound / Tönendes ABC will receive its world premiere at BFI Southbank on 18 June."]]]></description>
<dc:subject>film sound design graphics graphicdesign play tinkering filmmaking video materials type typography print appropriation audio oskarfischinger rudolphpfenninger bauhaus lászlómoholy-nagy communication classideas</dc:subject>
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<item rdf:about="http://scratchingthesurface.fm/post/181237427850/104-cab-broskoski-and-chris-sherron">
    <title>Scratching the Surface — 104. Cab Broskoski and Chris Sherron</title>
    <dc:date>2019-01-11T20:22:24+00:00</dc:date>
    <link>http://scratchingthesurface.fm/post/181237427850/104-cab-broskoski-and-chris-sherron</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cab Broskoski and Chris Sherron are two of the founders of Are.na, a knowledge sharing platform that combines the creative back-and-forth of social media with the focus of a productivity tool. Before working on Arena, Cab was a digital artist and Chris a graphic designer and in this episode, they talk about their desire for a new type of bookmarking tool and building a platform for collaborative, interdisciplinary research as well as larger questions around open source tools, research as artistic practice, and subverting the norms of social media."

[direct link to audio:
https://soundcloud.com/scratchingthesurfacefm/104-cab-broskoski-and-chris-sherron ]]]></description>
<dc:subject>jarrettfuller are.na cabbroskoski chrissherron coreyarcangel del.icio.us bookmarkling pinterest cv tagging flickr michaelcina youworkforthem davidbohm williamgibson digital damonzucconi stanleykubrick stephaniesnt julianbozeman public performance collections collecting research 2000s interview information internet web sharing conversation art design socialmedia socialnetworking socialnetworks online onlinetoolkit inspiration moodboards graphicdesign graphics images web2.0 webdesign webdev ui ux scratchingthesurface education teaching edtech technology multidisciplinary generalists creative creativitysingapore creativegeneralists learning howwelearn attention interdisciplinary crossdisciplinary crosspollination algorithms canon knowledge transdisciplinary tools archives slow slowweb slowinternet instagram facebook</dc:subject>
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