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Scarlet – Supertype
Had Alexander Girard & Aldo Novarese teamed up to design a typeface, Scarlet might have been the result. In his admiration of the graphic language of the 1960s, Jürgen Huber has designed this sans serif typeface with a matching script in 2015/16.
typography  typeface  tobuy  ****  sans  fun 
4 days ago by gpe
Laslo - Hungarumlaut
The Bauhaus Archive in Berlin is one of my favourite places. I like drinking there a coffee, and sketching ideas on the terrace, while thinking on what does ‘functional’ mean. After the first TypoLabs conference I visited again the museum, with a lot of ideas after those inspirational days. On the exhibition there was a Tapetenmusterbuch (facing paper specimen) from the early 1930’s. I fell in love immediately with the letter ‘a’ on the cover and wanted to redraw it and adapt to my language.
typography  typeface  ****  sans  bauhaus 
4 days ago by gpe
Making Your Design Optically Perfect - Rafal Tomal
This article probably messed with your head a little bit and you’ll never look at spacing and alignment the same way again. Maybe you already hopped over to your design project and nudged all of the spacing by a few pixels to the left and right.

Optical adjustments are nothing really new in design. There is so much more to this subject. I only showed you some more common examples I found in my work.

If you’re interested in reading more about it, here are some very good articles I found while doing my research:
design  howto  tips  ****  typography 
august 2019 by gpe
An Introduction to Fabric-Formed Concrete for Architectural Structures - Part 1
Throughout the 20th century, a number of innovators experimented with fabric as a flexible membrane for the support of fluid concrete, forming structural members. Significant among the early innovators were James H. de W. Waller (1884-1968) who in 1934 patented a fabric-formed system using hessian (burlap) fabric for numerous building components and in 1948, along with Kurt Billig, built corrugated concrete shell roof structures utilizing hessian fabric. In 1949, Felix Candela one of the most prolific of the shell builders and influenced by Waller began to experiment with fabric by utilizing burlap sacks stretched over wooden arches to form corrugated shell roofs. In the years following, Candela in turn influenced other visionaries including Pier Luigi Nervi (1891-1979) and Heinz Isler (1926-2009). Besides Nervi and Isler a few of the architects and engineers who used the forming materials at hand to create expressive forms out of concrete and masonry were Antoni Gaudi (1852-1926), Robert Maillart (1872-1940), Eladio Dieste (1917-2000) and Miguel Fisac (1913-2006).
State-of-the-art: Architectural formworks
One of the first architects to use a flexible formwork in an architectural application was the late Spanish architect Miguel Fisac with his 1970’s design of the Juan Zurita residence in Madrid, Spain, Figure 1. His use of rope and plastic sheeting to create these precast panels imparts a sense of “warmth and softness” to an otherwise cold and hard substance. Fisac used this method throughout the 1970’s to form the cladding of a number of structures.2

Another architect whose work has softened up concrete is Japanese architect Kenzo Unno. Working independently of Fisac he has developed several cast-in-place (CIP) fabric-formed wall systems since the mid-1990’s. The Kobe earthquake on January 17, 1995 provided the motivation for Unno to create residential designs that are intended to provide safe housing using simple methods of construction with as little construction waste as possible. Using standard wall ties and the wall’s reinforcement for support of the fabric membrane his quilt-point restraint method, for example, creates a pattern reminiscent of a quilt for the Eiji Hoshino Residence, Figure 2.

For the Susae Nakashima “Stone Renaissance” house a ”frame” restraint method was employed using pipes at a slight angle to restrain the fabric and give these walls their own distinct character, Figure 3. See Umi Architectural Atelier website:

Another practitioner that comes to mind is Sandy Lawton, a Vermont, USA design-builder. Lawton used geotextiles to form the columns, walls and floors for a nontraditional “treehouse” which was completed in 2007, Figure 4. See Sandy Lawton ARRODESIGN website:
architecture  concrete  ****  diy  todo 
august 2019 by gpe
An Interview with Nick Harkaway: Algorithmic Futures, Literary Fractals, and Mimetic Immortality - Los Angeles Review of Books
But I’m more interested in — and in some ways more frightened at the moment by — the existential problems arising out of what’s been called the Dialectic of Enlightenment. People like Anthony Giddens and Bruno Latour have been talking for decades about late or liquid modernity: what happens when the traditional axes of self are cut loose. For example, people no longer define themselves so much by their family name; we’re all singleton individuals. We know where we come from, but we don’t for the most part see “The Name” as a living entity to which we add. Likewise we are from a place, but we don’t any more expect to be born, live, and die within a couple of kilometers of that location, and we don’t define our identity by our village in the way that our forebears did. The same phenomenon is occurring with religion, profession, or trade — almost every traditional domain of human identity. Any one of these things — even all of them — might still be important to you, but at the same time they’re less absolute than they once were. The distance from one coast of the United States to another might be vast to walk, but it’s a day in a plane.

But as those things fade, so we lose our traditional ways of locating ourselves in the societal nexus. The ends of the axes flap about and we end up with lunging, desperate identifications with single points like fundamentalism, or Trump, or Brexit. These aren’t political decisions at all; they’re ontologies to protect the self.
books  future  interview  ****  self  trump  scifi  ideas  trends  religion 
august 2019 by gpe
Political correctness: how the right invented a phantom enemy | Moira Weigel | US news | The Guardian
Trump drew upon a classic element of anti-political-correctness by implying that while his opponents were operating according to a political agenda, he simply wanted to do what was sensible. He made numerous controversial policy proposals: deporting millions of undocumented immigrants, banning Muslims from entering the US, introducing stop-and-frisk policies that have been ruled unconstitutional. But by responding to critics with the accusation that they were simply being politically correct, Trump attempted to place these proposals beyond the realm of politics altogether. Something political is something that reasonable people might disagree about. By using the adjective as a put-down, Trump pretended that he was acting on truths so obvious that they lay beyond dispute. “That’s just common sense.”

The most alarming part of this approach is what it implies about Trump’s attitude to politics more broadly. His contempt for political correctness looks a lot like contempt for politics itself. He does not talk about diplomacy; he talks about “deals”. Debate and disagreement are central to politics, yet Trump has made clear that he has no time for these distractions. To play the anti-political-correctness card in response to a legitimate question about policy is to shut down discussion in much the same way that opponents of political correctness have long accused liberals and leftists of doing. It is a way of sidestepping debate by declaring that the topic is so trivial or so contrary to common sense that it is pointless to discuss it. The impulse is authoritarian. And by presenting himself as the champion of common sense, Trump gives himself permission to bypass politics altogether.
america  language  politics  trump  ****  politically.correct 
august 2019 by gpe
The best way to learn is drawing, even if you're no artist — Quartzy
But we’ve been thinking about drawing all wrong, says the design historian D.B. Dowd. In his illuminating new book, titled Stick Figures: Drawing as a Human Practice, Dowd argues that putting a pencil to paper shouldn’t be about making art at all.

“We have misfiled the significance of drawing because we see it as a professional skill instead of a personal capacity,” he writes. “This essential confusion has stunted our understanding of drawing and kept it from being seen as a tool for learning above all else.”

Put another way: Drawing shouldn’t be about performance, but about process. It’s not just for the “artists,” or even the weekend hobbyists. Think of it as a way of observing the world and learning, something that can be done anytime, like taking notes, jotting down a thought, or sending a text.

Mistaking drawing for art is embedded in our institutions, says Dowd, a professor of art and American culture at the Washington University in St. Louis. For centuries, schools have lumped drawing with painting and confined it in an “aesthetic cage,” he says.

Our anxiety around drawing starts around puberty, when we begin self-critiquing our abilities to render a perfect likeness, Dowd says. “The self-consciousness associated with ‘good’ drawing, or a naive form of realism, is mostly to blame,” he explains to Quartz. ”If you take a step back, and define drawing as symbolic mark-making, it’s obvious that all human beings draw. Diagrams, maps, doodles, smiley faces: These are all drawings!”
art  drawing  thinkery  process  ****  education 
august 2019 by gpe
Just Twenty-Five Pages a Day
The solution I devised for myself is a simple one I wanted to share. It’s 25 pages a day. That’s it. Just commit to that, and then do it. What will 25 pages a day get you?

Let’s say that two days out of each month, you probably won’t have time to read. Plus Christmas. That gives you 340 days a year of solid reading time. 25 pages a day for 340 days is 8,500 pages. 8,500. What I have also found is that, when I commit to a minimum of 25 pages, I almost always read more. So let’s call the 8,500 pages 10,000. (I only need to extend that 25 pages into 30 to get there.)

With 10,000 pages a year, at a general pace of 25/day, what can we get done?

Well, The Power Broker is 1,100 pages. The four LBJ books are collectively 3,552 pages. Tolstoy’s two masterpieces come in at a combined 2,160. Gibbons is six volumes and runs to about 3,660 pages. That’s 10,472 pages.

That means, in about one year, at a modest pace of 25 pages a day, I’ve knocked out 13 masterful works and learned an enormous amount about the history of the world. In one year!
learning  practice  reading  ****  education  books 
august 2019 by gpe
Get Your Kid to Act Differently With a 'Complaint Sandwich'
Kid forgot to make their bed again? Instead of going right in with the, “You know, I’m really tired of reminding you every morning to blahblahblah,” try this:

“Hey, I know you’ve been working hard to remember to do all your chores (bread), but I noticed this morning that you forgot to make your bed (meat). I would appreciate if you could get that done before we leave for school.”

Or maybe they’re moving sloooooow as you’re trying to get out the door in the morning, as usual, and you’re *this close* to yelling your typical, “Come. On. Let’s. GO!” Instead, you might try, “I was so impressed with how quickly you got dressed this morning! It seems like you’ve slowed down now a bit as you’re packing up your backpack. It would be great if you could get back up to your getting-dressed speed.”

You’re still driving the point home and you’re setting up an expectation but it feels much less confrontational.
parenting  tips  howto  **** 
august 2019 by gpe
A javascript tool for adjusting size, leading, and grades to cast continuously responsive typography. It works over your current CSS as a progressive enhancement.
typography  software  css  javascript  tool  webdev  **** 
august 2019 by gpe
The Value of Multi-Typeface Design - About Face - Medium
Given the right content and the right faces, any number of typefaces can work in a design. I often find it is designers who are trying to enforce their own opinions of aesthetics pushing for these limitations instead of people actually arguing for the sake of the audience at hand. I don’t think your grandma is commenting on the number of fonts used in her cookbooks. That’s because your grandma is wise.

Don’t design for other designers, design for your audience. Using multiple families can mean you have to make fewer compromises, and it gives you an opportunity to create rich, distinctive palettes. Every typeface you add makes your visual language more nuanced, which can aid, instead of hinder, clarity for your audience and establish an aesthetic that is unique.
One key to effective type systems is picking typefaces that might be similar and finding ways to give them their own distinctive voice. You can always stretch out the differences between typefaces in the way you treat them, but typefaces that are fundamentally different will remain so. It’s all about pulling and pushing against differences and similarities between faces to try to find the right amount of shared characteristics and interesting contrasts.
One of the greatest arguments you can make for adding typefaces to your design is to make it easy for your audience to know what type of information they are looking at before they’ve even read it. The issue is that usually when you are given copy it’s just a mountain of paragraphs, headings and subheadings. Not exactly compelling stuff. But are you going to shrug your shoulders and just decorate that crap? No, because you’re a designer, and that’s not your job. Visual design goes beyond how the content looks. Visual design is about how to make the content communicate most effectively.

Your job as a designer isn’t just to mindlessly style what’s been given to you. You need to find the life in the content and bend it to your will. Don’t give up when you’re given copy that’s not thoughtfully composed. Absorb the message and find ways you can extract meaningful data in a repeatable way that will not only flesh out your designs, but help your audience process the data in front of them. You have to become an expert in the subject you are working on and put yourself in the audience’s shoes and help them find the best bits of content. That’s the mark of a real designer.

Alright, bite-sized insights we’ve learned today!

It’s less about the fonts themselves and more about how you use them
Focus on the differences of typefaces that are similar at first glance
Start with relationships within a pairing, then add from there
Set rules about typeface usage and stick to them
Contrast in type pairings is overrated; real contrast comes from content and hierarchy
If you don’t have layered structures within your content, build them yourself
Use different faces to distinguish distinctive elements in your content
Use distinctive faces sparingly, with clear intention
design  howto  typography  pairing  **** 
august 2019 by gpe
Thoughts on Design: Paul Rand on Beauty, Simplicity, the Power of Symbols, and Why Idealism Is Essential in Creative Work – Brain Pickings
To achieve an effective solution to his problem, the designer must necessarily go through some sort of mental process. Conscious or not, he analyzes, interprets, formulates. He is aware of the scientific and technological developments in his own and kindred fields. He improvises, invents, or discovers new techniques and combinations. He co-ordinates and integrates his material so that he may restate his problem in terms of ideas, signs, symbols, pictures. He unifies, simplifies, and eliminates superfluities. He symbolizes — abstracts from his material by association and analogy. He intensifies and reinforces his symbol with appropriate accessories to achieve clarity and interest. He draws upon instinct and intuition. He considers the spectator, his feelings and predilections.
paul.rand  design  quotation  curiosity  howto  ****  simplicity 
august 2019 by gpe
Re-learning how to talk about Design - Bethany Heck - Medium
Think of negative space like water—it should be allowed to gently drift back and forth down the design, until it ultimately trickles out. We don’t want stagnant puddles! Trapping space often leads to your eye being confused about where it should go next, because all directions are given equal prominence. You’ve drawn them to a cul-de-sac in typographic hell and there’s no way out without bloodshed and judgmental stares from behind the curtains.
critique  design  ****  howto 
august 2019 by gpe
The place I always forget about.
hardware  tools  thinkery  ****  resources  supplies 
august 2019 by gpe
The Army Is Preparing to Go Underground | RealClearDefense
The Army can encounter subterranean environments in rural tunnels and cave complexes or dense urban sewer or subway systems as well as hardened underground military sites. Although varying in type, all underground environments mitigate U.S. technological superiority.
underground  subway  ****  military  future  trends 
july 2019 by gpe
Production Type - Mars
I love this one. Such a neat tension between brawny and delicate.
typography  typeface  tobuy  ****  productiontype 
june 2019 by gpe
Files · master · bonjour-monde / syne-typeface · GitLab
Syne is a 5-style type family originally designed in 2017 for the art center Synesthésie, based in Saint-Denis in the very close suburb of Paris, France. Used across their identity, print and screen, Syne has been released under open-source license in June 2018.
font  open.source  typography  typeface  git  gitlab  **** 
june 2019 by gpe
Concrete Pigment | Integral Concrete Color Powder | Direct Colors
High Quality, UV Stable Pigment for Any Concrete or Concrete Countertop Project.
concrete  thinkery  ****  topurchase  color 
may 2019 by gpe
Desserts for Breakfast: Current Food Photography Styles and Trends: A Cake Case Study
As part of our presentation, Anita and I scoured the food-blogosphere and collected a handful of work we thought was representative of the different styles found out there today. We also looked at the history of food photography, and the changes in styles and trends that the field has undergone since food photography's beginnings in the 1940s and 50s. Style, we determined, is made up of a conglomeration of many elements--propping, lighting, etc.--and each style develops (and had developed over time historically) for a specific purpose. To understand the purpose behind style choices allows us as photographers and artists to be able to use features of each style intelligently and to help develop our individual visual voices as well.
photography  howto  lighting  ****  food 
may 2019 by gpe
The Definitive Superfood Ranking - Outside - Pocket
Take away: eat more blueberries, turmeric, salmon, apples, dark chocolate, blackbeans, & brocolli. And drink more green tea & red wine (and coffee, which I get enough of already).
food  list  health  nutrition  **** 
april 2019 by gpe
Type to Logotype: Simple Type Customizations for Branding ☠️ OH no Type Company
Those are just a few of the infinite options, but the idea is the same: type is not clip art. It’s so much more useful than that. At it’s best, type is a raw material just like paint or clay that can be endlessly tweaked, remixed, and improved to elegantly sing the virtues of whatever organization it represents. A good logotype can give you the fleeting feeling, that just for a moment, all is right with the world. And just maybe, you’ll inspire some weird kid to pursue a career in it.
branding  design  logo  process  tutorial  ****  howto  typography 
march 2019 by gpe
About Knowable Magazine
Knowable Magazine, the digital publication from Annual Reviews, seeks to make that knowledge accessible to all. Knowable Magazine explores the real-world significance of scholarly work through a journalistic lens. We report on the current state of play across a wide variety of fields — from agriculture to high-energy physics; biochemistry to water security; the origins of the universe to psychology.

Review articles written by leading scholars from the 50 Annual Reviews journals serve as springboards for stories in Knowable Magazine. Through in-depth features, explainers, articles, essays, interviews, infographics, slideshows, and comics, Knowable Magazine presents insights from research to a broader audience. The content is published under a CC BY-ND copyright license, and the Annual Reviews journal articles featured in Knowable Magazine are free to all for a limited period. We encourage others to republish our content, guidelines for which can be found here.
science  academic  journal  journalism  writing  ****  knowledge  journals  magazine 
february 2019 by gpe
Kanelsnurrer - Charlotte Pike
1kg plain flour, plus extra for the worksurface.
25g quick action dried yeast
10g sea salt
2g ground green cardamom seeds
150g caster sugar
150g butter
325ml whole milk, warmed
1 large egg, beaten
For the cinnamon butter
200g salted butter
15g ground cinnamon
200g demerara sugar
1 egg, beaten
30g demerara sugar

Place the flour, yeast, salt, cardamom and sugar into a stand mixer or large mixing bowl. Stir together to combine the dry ingredients. Add the butter and rub in or process to form a fine breadcrumb-like mixture. Add the milk and egg and stir in to form a wet dough. Knead for 15 minutes. Once you have a light, elastic dough, set aside to prove for an hour in a warm place, covered with cling film.

Meanwhile, make the cinnamon butter, by beating the butter, cinnamon and sugar together to form a smooth, even paste. Set aside, but don’t refrigerate, as you want it to be soft and spreadable to use soon.

Once the dough has proved, it will be about 1.5 times the volume of the original size. Turn it out onto a well-floured worksurface, and roll to a rectangle 60x30cm in size. Spread the butter all over the rectangle and fold one third in, and the other third on top to form a smaller rectangle, with three layers. Roll out to 30x30cm. Cut into 12 evenly sized strips. Twist each strip 6 or 7 times to form a twist and pull it round itself twice to form a snail–like formation. Set the kanelsnurrer on to a large baking sheet, covered with non-stick baking parchment. Cover the 12 buns with cling film and leave to prove for another 45 minutes.

Meanwhile, preheat the oven to 180C/ Gas Mark 4. Brush the kanelsnurrer with beaten egg and sprinkle with sugar before baking for 15-20 minutes until they are a rich, glossy brown and feel firm-ish, not doughy in the middle.

Cool fully before enjoying with a good cup of coffee. They are best enjoyed very fresh.
recipes  recipe  bread  food  **** 
january 2019 by gpe
How to Scale SVG | CSS-Tricks
So forget height and width. You don't actually want to set the exact height and width anyway, you want the SVG to scale to match the width and/or height you set in the CSS. What you want is to set an aspect ratio for the image, and have the drawing scale to fit. You want a viewBox.
#The viewbox attribute

The SVG viewBox is a whole lot of magic rolled up in one little attribute. It's the final piece that makes vector graphics Scalable Vector Graphics. The viewBox does many things:

It defines the aspect ratio of the image.
It defines how all the lengths and coordinates used inside the SVG should be scaled to fit the total space available.
It defines the origin of the SVG coordinate system, the point where x=0 and y=0.

The viewBox is an attribute of the <svg> element. Its value is a list of four numbers, separated by whitespace or commas: x, y, width, height. The width is the width in user coordinates/px units, within the SVG code, that should be scaled to fill the width of the area into which you're drawing your SVG (the viewport in SVG lingo). Likewise, the height is the number of px/coordinates that should be scaled to fill the available height. Even if your SVG code uses other units, such as inches or centimeters, these will also be scaled to match the overall scale created by the viewBox.

The x and y numbers specify the coordinate, in the scaled viewBox coordinate system, to use for the top left corner of the SVG viewport. (Coordinates increase left-to-right and top-to-bottom, the same as for identifying page locations in JavaScript). For simple scaling, you can set both values to 0. However, the x and y values are useful for two purposes: to create a coordinate system with an origin centered in the drawing (this can make defining and transforming shapes easier), or to crop an image tighter than it was originally defined.
css  design  webdesign  scale  svg  ****  howto 
january 2019 by gpe
A Practical Guide to SVGs on the web
This guide aims to give a practical overview of how you can use SVGs on your websites — with some tips and tricks along the way to get the most out of them.
design  webdesign  guide  images  svg  reference  **** 
january 2019 by gpe
Social Media Management Platform | Buffer
Buffer makes it easy for businesses and marketing teams to schedule posts, analyze performance, and manage all their accounts in one place
socialmedia  tools  twitter  facebook  ****  fixagraph 
january 2019 by gpe
The Power of Serverless
A good, well-executed list of services.
tools  webdesign  webdev  serverless  list  **** 
november 2018 by gpe
Drawing Vectors for Type & Lettering ☠️ OH no Type Company
Anagha Narayanan wrote in to say, “I wanted to ask if you could also share your constructions in future posts. Your beziers are killer and it would be a delight for the community to see them. It would teach a whole lot for those like me who wouldn’t mind framing these up on the wall - haha!”
typography  vector  howto  ****  drawing 
september 2018 by gpe
An Interview with Galen Strawson - Believer Magazine
BLVR: Well, let’s move on to the argument then. There’s a famous saying of Schopenhauer’s that goes like this: “A man can surely do what he wants to do. But he cannot determine what he wants.” Is this idea at the core of your argument against moral responsibility?

GS: Yes—and it’s an old thought. It’s in Hobbes somewhere, and it’s in Book Two of Locke’s Essay, and I bet some ancient Greek said it, since they said almost everything.

Actually, though, there’s a way in which it’s not quite true. If you want to acquire some want or preference you haven’t got, you can sometimes do so. You can cultivate it. Perhaps you’re lazy and unfit and you want to acquire a love of exercise. Well, you can force yourself to do it every day and hope you come to like it. And you just might; you might even get addicted. Maybe you can do the same if you dislike olives.

BLVR: But then where did that desire come from—the desire to acquire the love of exercise…or olives?

GS: Right—now the deeper point cuts in. For suppose you do want to acquire a want you haven’t got. The question is, where did the first want—the want for a want—come from? It seems it was just there, just a given, not something you chose or engineered. It was just there, like most of your preferences in food, music, footwear, sex, interior lighting and so on.

I suppose it’s possible that you might have acquired the first want, that’s the want for a want, because you wanted to! It’s theoretically possible that you had a want to have a want to have a want. But this is very hard to imagine, and the question just re-arises: Where did that want come from? You certainly can’t go on like this forever. At some point your wants must be just given. They will be products of your genetic inheritance and upbringing that you had no say in. In other words, there’s a fundamental sense in which you did not and cannot make yourself the way you are. And this, as you say, is the key step in the basic argument against ultimate moral responsibility, which goes like this:

(1) You do what you do—in the circumstances in which you find yourself—because of the way you are. (2) So if you’re going to be ultimately responsible for what you do, you’re going to have to be ultimately responsible for the way you are—at least in certain mental respects. (3) But you can’t be ultimately responsible for the way you are (for the reasons just given). (4) So you can’t be ultimately responsible for what you do.
free  freedom  interview  ****  morality  philosophy  believermag  freewill  counterintuitive 
august 2018 by gpe
The Case for a Breakfast Feast - The New York Times
But the researchers also found that those who ate their largest meal early in the day were more likely to have a lower body mass index than those who ate a large lunch or dinner. Breakfast eaters tended to keep their weight down generally, compared with breakfast skippers. The lowest B.M.I.s were recorded in the fraction of people — about 8 percent of the total sample — who finished lunch by early afternoon and did not eat again until the next morning, fasting for 18 to 19 hours.

Fasting signals to the body to start burning stores of fat for fuel, the researchers said. “It seems our bodies are built to feast and fast,” said Dr. Hana Kahleova, one of the authors of the study, which was done by researchers at Loma Linda University School of Public Health in California and published in The Journal of Nutrition in July. “It needs some regular cycling between having food intake and fasting. This seems to be hard-wired.”

Having the largest meal in the morning appears to have advantages for weight control compared with having a large meal in the evening, she said, since the digestive process and the action of insulin, the pancreatic hormone that the body uses to process the sugars in carbohydrates and store glucose, appear to be at their peak performance early in the day. As a result, “our body can use the nutrients as a source of energy the easiest,” Dr. Kahleova said.
eating  nyt  nytimes  ****  health  food  counterintuitive  time  sleep 
august 2018 by gpe
Paris, Chicago and Beyond: How to Have a Luxury Trip for Much Less Than You Think - The New York Times
The article focuses on luxury travel, but these cities and smart choices can also support regularly-priced travel, too, I'm sure.
paris  nytimes  barcelona  nyt  ****  london  nyc  list  travel  cities 
august 2018 by gpe
Advice on writing | Devon's Site
One is called The Most Dangerous Writing App, which deletes your writing if you stop for more than a few seconds.

The second is I often walk around the city recording my voice on my phone.

The third is actually emails just like this!
advice  writing  howto  ****  tips  list 
august 2018 by gpe
Grand Designs | Netflix
Host Kevin McCloud presents people who take self-building houses to a new level, following every step of their ambitious plans from beginning to end.
television  home  diy  towatch  netflix  **** 
august 2018 by gpe
Kevin Shields of My Bloody Valentine - Part 1: Obsession | Jazzmaster 60th Anniversary | Fender
Kevin Shields of My Bloody Valentine - Part 1: Obsession | Jazzmaster 60th Anniversary | Fender
video  music  sound  process  ****  interview  towatch  my.bloody.valentine 
august 2018 by gpe
What you Create for an Audience of One is Much More Likely to Reach An Audience of Millions
In 2013, something shifted in my writing. Up until that point, I had been writing to impress an audience. I held back, played it safe, and didn’t risk saying anything too provocative or crazy. That year, I took a different approach to my writing. Rather than write to impress an audience, I wrote to make myself happy.
What emerged was an unapologetic, no bullshit, full expression of my creativity. I self-published two books. The first one sold 1000 copies. The second became a Wall Street Journal bestseller and eventually led to a book deal and to rebranding our podcast as The Unmistakable Creative.
When we’re no longer trying to impress an audience, we’re liberated from the need for their validation.
inspiration  creativity  howto  **** 
july 2018 by gpe
Jaron Lanier Interview on What Went Wrong With the Internet
One of the things that I’ve been concerned about is this illusion where you think that you’re in this super-democratic open thing, but actually it’s exactly the opposite; it’s actually creating a super concentration of wealth and power, and disempowering you. This has been particularly cruel politically. Every time there’s some movement, like the Black Lives Matter movement, or maybe now the March for Our Lives movement, or #MeToo, or very classically the Arab Spring, you have this initial period where people feel like they’re on this magic-carpet ride and that social media is letting them broadcast their opinions for very low cost, and that they’re able to reach people and organize faster than ever before. And they’re thinking, Wow, Facebook and Twitter are these wonderful tools of democracy.

But then the algorithms have to maximize value from all the data that’s coming in. So they test use that data. And it just turns out as a matter of course, that the same data that is a positive, constructive process for the people who generated it — Black Lives Matter, or the Arab Spring — can be used to irritate other groups. And unfortunately there’s this asymmetry in human emotions where the negative emotions of fear and hatred and paranoia and resentment come up faster, more cheaply, and they’re harder to dispel than the positive emotions. So what happens is, every time there’s some positive motion in these networks, the negative reaction is actually more powerful. So when you have a Black Lives Matter, the result of that is the empowerment of the worst racists and neo-Nazis in a way that hasn’t been seen in generations. When you have an Arab Spring, the result ultimately is the network empowerment of ISIS and other extremists — bloodthirsty, horrible things, the likes of which haven’t been seen in the Arab world or in Islam for years, if ever.
criticism  technology  virtual.reality  jaron.lanier  silicon.valley  internet  ****  nymag  algorithms 
july 2018 by gpe
How to make a book – The Creative Independent
There is a lot of writing advice out there, but I don’t find much of it especially helpful. I do not mean that it’s “inaccurate”; I only want to note that a lot of it suggests that there are only a few “correct” methods, and that can endanger the process, or at least make it a lot less fruitful. Writing a book is an individual endeavor, an expression of a writer’s unique and thoughtful approach to inspiration, process, and refinement. The way a book is written is part of what makes it so singular. This guide points to a few approaches that have worked for some writers.
books  book  howto  ****  creativity 
july 2018 by gpe
Jessica Hische - Upping Your Type Game
A sibling relationship example would be a sans-serif and serif from the same super family or a sans-serif and serif that have a very similar skeletal structure. When pairing typefaces that have a lot in common, ask yourself if the second typeface you have chosen is different enough to justify its use. Could you just get by with one typeface? Is this second typeface bringing something new to the table?
For a cousin relationship, two typefaces would have a lot in common structurally but exhibit differences that make them feel only tangentially related. Typefaces from the same type designer that are very different stylistically or typefaces created in the same era that share subtle similarities might be considered cousins. Some of the words you wrote down during your brainstorming session may come in handy now to help you figure out what your typefaces have in common.
To pair distant relatives together you have to get a little loose. Sometimes the only thing that unites a pair of typefaces is their mood or the feeling that you get when you see them. Some typefaces are like married couples that on paper seem like a terrible match but when you see them together it all makes sense.
****  howto  reference  typography  design 
july 2018 by gpe
Nicole Fenton | Interface Writing: Code for Humans
In his essay We Have Always Coded, Tim Maly says:

“It is no coincidence that many women have compared weaving code to instructing a child. With both kids and computers, you must carefully think through what you want them to do, and then carefully phrase your commands.”

From a high level, these are my goals when I’m writing strings:

Be clear.
Be kind.
Be careful.
Be honest.
Focus on the reader’s needs. Think about the implications of what you’re asking for. Be honest about what you’re doing with the data. That’s extremely important.
software  technology  design  writing  code  ****  essay  coding  interface 
july 2018 by gpe
Post-Authenticity and the Ironic Truths of Meme Culture
What I’ve sought to argue in this essay, then, is that we are indeed living in an a strange, surface-centric moment in popular, digital culture right now — where the original “essence of things” has indeed become somewhat unfashionable (or just less entertaining). Social and media technologies, optimised for the diffusion of highly emotive, reaction-generating content, encourage a rapid trade in attention-grabbing ideas over slower-burning systematic, contextualised thinking.
Yet, even as authenticity, both as a claim and an aesthetic feels outdated, deeper forms of realness in our communications still persist. People are still seeking to communicate their deepest personal truths: their values, hopes, and fears with each other. In sharing media, we’re still creating community.
Nonetheless, the kind of truth in play is changing form: emotional and moral truths are in ascendance over straightforward, factual claims. Truth becomes plural, and thereby highly contested: global warming, 9/11, or Obama’s birthplace are all treated as matters of cultural allegiance over fact, as traditionally understood. “By my reckoning, the solidly reality-based are a minority, maybe a third of us but almost certainly fewer than half,” writer Kurt Andersen posits.
authenticity  ****  memes  medium  truth  news  future  politics 
july 2018 by gpe
Liz Jackson | 30 second pitches | CreativeMornings/NYC
This has a great bit about baseball as a sport whose overriding aesthetic is one of beautiful solutions to design for disabled people (see the baseball glove).


After becoming disabled in 2012, Liz Jackson began to wonder why her eyeglasses were fashionable when her cane was not. This question ultimately led Liz to found The Disabled List, a disability self advocacy organization that focuses on design. The Disabled List is a curated list of creative disabled people who are available to consult, collaborate and support brands that are interested in reaching their disabled consumers. The DL is shifting the disability narrative by ensuring disabled people are treated as the experts in disability. And through a program called WITH, The DL is creating new pathways into design for disabled people.
politics  empathy  design  ****  video  disability  accessibility 
july 2018 by gpe
I have forgotten how to read - The Globe and Mail
For many writers, this is the new wisdom. A cynical style of reading gives way to a cynical style of writing. I've watched my own books become "useful" as they made their way into public conversation. I never meant them to be useful – in a self-help sense – but that was how they were often read. I say this with less reproach than surprise: Almost every interviewer has asked me for tips and practical life advice, despite the fact my books offer neither.

Meanwhile, I admit it: The words I write now filter through a new set of criteria. Do they grab; do they anger? Can this be read without care? Are the sentences brief enough? And the thoughts? It's tempting to let myself become so cynical a writer because I'm already such a cynical reader. I am giving what I get.

In Silicon Valley, they have a saying that explains why an algorithm starts producing unwanted results: Garbage in, garbage out. The idea is that an algorithm can only work with the information you feed it. Aren't writers – all creators – algorithmic in that way? Our job is to process what we consume. Beauty in, beauty out. Garbage in, garbage out.

So maybe that change into a cynical writer can be forestalled – if I can first correct my reading diet, remember how to read the way I once did. Not scan, not share, not excerpt – but read. Patiently, slowly, uselessly.

Books have always been time machines, in a sense. Today, their time-machine powers are even more obvious – and even more inspiring. They can transport us to a pre-internet frame of mind. Those solitary journeys are all the more rich for their sudden strangeness.
trends  books  reading  algorithms  future  writing  **** 
july 2018 by gpe
Encyclopedia of Woodblock Printmaking : Carving Tools
This discussion came in handy when I was selecting my tools.
****  tools  linocut  tobuy  lino 
july 2018 by gpe
4 Art Lessons from Bauhaus Master Josef Albers - Artsy
For Albers, art lessons always doubled as life lessons, and he believed that students who cultivated “visual empathy” would also develop social empathy. “Respect the other material, or color—or your neighbor. Respect the one you weren’t paying attention to,” he told his classes.
howto  josef.albers  art  creativity  list  **** 
july 2018 by gpe
A Book Apart, Accessibility for Everyone
You make the web more inclusive for everyone, everywhere, when you design with accessibility in mind. Let Laura Kalbag guide you through the accessibility landscape: understand disability and impairment challenges; get a handle on important laws and guidelines; and learn how to plan for, evaluate, and test accessible design. Leverage tools and techniques like clear copywriting, well-structured IA, meaningful HTML, and thoughtful design, to create a solid set of best practices. Whether you’re new to the field or a seasoned pro, get sure footing on the path to designing with accessibility.
design  webdesign  book  ****  howto  tobuy  accessibility 
july 2018 by gpe
How to add product features without making it more complex
So what is Default Valid vs Default Invalid? I think rather than explaining it, the best way to articulate this concept is to show you an example. Look at these two forms:

These two forms are gathering the same information. They’re both asking you how many pets you have, and what your favourite pet shop is. The difference is that a user filling out the form on the left can essentially continue through the form without changing anything, whilst the form on the right forces the user to enter something in to progress. The one on the left is by default, ‘valid’ while the one of the right is by default ‘invalid’.
“Uhh… okay..? What’s your point?” I hear you saying. Well here’s the key — by making a form default valid, a user is much much more likely to complete it. Even though a user might need to enter in the same amount of content or take the same number of actions, making the form default valid reduces what I like to call ‘mental friction’.
minimalism  strategy  webdesign  howto  ****  business  forms  design 
july 2018 by gpe
Things are... not good - Lawyers, Guns & Money
To continue with this theme, it is simply becoming impossible to ignore that American political institutions have already entered a pivotal phase—a critical juncture. The unravelling of the Civil War and New Deal reorganizations of the American political system is well underway. The Supreme Court may be the major player here, but the other branches of government are doing their part. In general, we think about this in strictly ideological terms: ‘this is bad for liberal policy preferences, good for conservative ones.’ I think this is too narrow a perspective.

We are talking about the potential for significant decentralization that precludes country-wide policy coordination, even more extensive local variation in political systems between “Red” and “Blue” states, and attenuation of the fiscal capacity to engage in national projects. This kind of system might work for a nineteenth-century federation largely shielded from great-power competition (although, in truth, it careened from crisis to crisis and its survival only looks inevitable in retrospect), but it is likely ill-suited for twenty-first century challenges: environmental, national-security, and economic. Moreover, deregulation of campaign finance, among other things, leaves the country vulnerable to globalizing authoritarianism.
politics  institutions  crisis  usa  ****  2018  trump  failure  democracy 
july 2018 by gpe
FontShop | Paiper
Diana Ovezea's folded paper font.
sans  tobuy  fun  serif  ****  typography 
july 2018 by gpe
Does American ‘Tribalism’ End in a Compromise, or a Fight? - The New York Times
Some people think that dialogue and debate can help the United States defeat its current tribalism. If only we could calmly talk about our differences, the argument goes, we would reach some compromise. But not all disagreements are bridgeable. The Union and the Confederacy did not resolve their differences through dialogue; it was a civil war that put an end to slavery. Jim Crow laws were defeated through mass protests and civil disobedience. Schools were desegregated though a Supreme Court decision, which had to be implemented with the help of the National Guard. The Chinese Exclusion Act was repealed as a political necessity during World War II. Some fights are not talked away; they are, in the end, either won or lost.

This is not to say that tribal impasses of the moment can’t be broken. But it is generally not a good idea to expect people on the receiving end of brutal policies — like families broken apart by police violence, immigration raids, travel bans or anti-L.G.B.T. discrimination — to hash out a compromise over sweet tea. “Maybe we pushed too far,” Barack Obama is quoted as saying in a new memoir by Benjamin Rhodes, one of his closest aides. “Maybe people just want to fall back into their tribe.” What the ever-compromising Obama doesn’t consider is that resolution sometimes requires pushing even further.
politics  2018  ****  nytimes  compromise  nyt  tribalism  trump  usa 
july 2018 by gpe
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