Teletext’s creative legacy lives on
> Like Walkmans and VHS recorders, teletext now seems impossibly quaint. But designer and writer Craig Oldham explains that not only was Teletext a revolutionary technology in its prime, its creative legacy lives on with a new generation of artists who love its creative limits.
The New York City Subway Map as You’ve Never Seen It Before
The three ins of web design: interesting and infuriatingly interactive.
The Atlantic Makes a New Mark
> New visual identity and product experience launch today, with redesigned print magazine and reimagined iOS App.
Mostly fluff, but the logo is now just an A because words are hard.
The wet bird
> This image won the March-April 2000 round of the Internet Ray-Tracing Competition, with the topic “City”
> There are many city pictures in Oyonale. Cities are a favourite subject of mine, so that the IRTC “City” topic was somehow perfect.Too perfect actually, because it came at a time when I was of tired of making urban pictures. I didn’t want to make another “something strange happens here” picture, or model another building. I wanted fresh ideas that would involve the use of new techniques.
> Of course, even with the city as the main attraction, the image still lacked concept. The Megapov documentation provided the solution: because meshes can be copied (almost) endlessly, they?re good candidates for motion blur. So here it was: the picture would be about New York (actually a fantasy twin), and it would involve a motion-blurred character. Since motion blur is primarily a photographic effect, it was another excuse to make the picture highly realistic. The character could be a ghost from the past : a human being, like a XIXe century lady, or even an animal. I briefly ran experiments with a deer, but I decided that I had made enough of “animals in the city” pictures. The character also could be a simple, hurried passer-by. In fact, I’m still not sure of what the blurred character really is.
Book Cover Archive
Covers of books.
Evolution of the Scrollbar
And the Verge review: https://www.theverge.com/2019/11/1/20943552/scroll-bar-visual-history-30-years
> Sébastien Matos has built a fantastic interactive trip through the history of one of the most important UI elements we encounter every day: the scroll bar. He’s recreated, as faithfully as possible, 30 years of scroll bars from some of the top desktop platforms of their day, from Xerox Star to Windows 10.
> Take a minute out of your busy day to enjoy the zen of playing with old UI design. Then come back here and read The Verge’s very serious review of scroll bars through history.
The role of posters in video game worldbuilding
> Symbolic of a larger universe, video game posters provide the gateway to a more expansive world.
> Here’s a fun, personal story about what can go wrong in an otherwise fine UI when things are redesigned.
> Why didn’t she know there were options further down the share sheet? Because she’s using an iPhone 8, which happens to be just the right height to perfectly crop the share sheet.
Stairs to nowhere are everywhere these days. Where are they taking us?
> We love to look down on other people, and we love it even more when they look up at us. The architect Morris Lapidus understood this when he designed the grand staircase of the Fontainebleau Hotel in Miami. He called it the “Stairs to Nowhere” because they led only to a coat closet, where the beautiful people could leave their jackets and then swan down the stairs, catching the eye of everyone below.
> Sixty-five years later, the new stairs-to-nowhere are “stepped seating” — though it may look like the thing in high school you called “bleachers” — and it’s become one of the most Instagrammable and possibly the most overused architectural features of the decade.
Relearn CSS layout
> If you find yourself wrestling with CSS layout, it’s likely you’re making decisions for browsers they should be making themselves. Through a series of simple, composable layouts, Every Layout will teach you how to better harness the built-in algorithms that power browsers and CSS.
Some free, some pay.
The (Mostly) True Story of Helvetica and the New York City Subway
> There is a commonly held belief that Helvetica is the signage typeface of the New York City subway system, a belief reinforced by Helvetica, Gary Hustwit’s popular 2007 documentary about the typeface. But it is not true—or rather, it is only somewhat true. Helvetica is the official typeface of the MTA today, but it was not the typeface specified by Unimark International when it created a new signage system at the end of the 1960s. Why was Helvetica not chosen originally? What was chosen in its place? Why is Helvetica used now, and when did the changeover occur? To answer those questions this essay explores several important histories: of the New York City subway system, transportation signage in the 1960s, Unimark International and, of course, Helvetica. These four strands are woven together, over nine pages, to tell a story that ultimately transcends the simple issue of Helvetica and the subway.
Lots of articles and links about design of shared urban spaces and their affect on behavior.
How to Design Interruptions
> We’re alerted hundreds of times per day. Some are useful and non-invasive, like an oven burner turning orange when it’s hot. Some are needed, like a critical security update, while others are just generally helpful, like a feature suggesting something new. But when they appear at inopportune moments, even the most useful notifications often have detrimental results like anxiety, frustration, and reduced productivity. While a pop-up might be nearly invisible to one person, to another it might stop a critical task completely for hours. We must examine when our communications are helpful vs. harmful.
“Building Meaningfully”: Burroughs Wellcome Corporate Headquarters, 1972
> In 1969, pharmaceutical company Burroughs Wellcome commissioned renowned modernist architect Paul Rudolph to design its new corporate headquarters and research facility in Durham, North Carolina. The result was a visionary modular complex whose geometries created a futuristic melding of spaces and forms.
Basic Custom Control Requirements
> If you are working on a custom control, a complex widget, or a novel interface element to integrate into a project, library, or framework, there are some core features you need to build.
> These represent not just what works for users across the most contexts and preferences, but also what usability, accessibility, and internationalization practitioners (among many others) review to evaluate whether a solution can be used (purchased, integrated, discarded).
Engagement Is the Enemy of Serendipity
> Whenever I’m grumpy about an update to a technology I use, I try to perform a self-audit examining why I’m unhappy about this change. It’s a helpful exercise since we are all by nature resistant to even minor alterations to the technologies we use every day (which is why website redesign is now a synonym for bare-knuckle boxing), and this feeling only increases with age. Sometimes the grumpiness is justified, since one of your tools has become duller or less useful in a way you can clearly articulate; other times, well, welcome to middle age.
> The New York Times recently changed their iPad app to emphasize three main tabs, Top Stories, For You, and Sections.
The AI of GoldenEye 007
> GoldenEye 007: one of the most influential games of all time. A title that defined a generation of console gaming and paved the way forward for first-person shooters in the console market. In this article I’m winding the clock back over 20 years to learn the secrets of how one of the Nintendo 64’s most beloved titles built friendly and enemy AI that is still held in high regard today.
The Mutable Web
> This is my question: why do we put up with websites that we don’t like looking at? I think most people would answer that question with another question: What choice do we have?
The Marvelous Mississippi River Meander Maps
> Fisk’s maps represent the memory of a mighty river, with thousands of years of course changes compressed into a single image by a clever mapmaker with an artistic eye. Looking at them, you’re invited to imagine the Mississippi as it was during the European exploration of the Americas in the 1500s, during the Cahokia civilization in the 1200s (when this city’s population matched London’s), when the first humans came upon the river more than 12,000 years ago, and even back to before humans, when mammoths, camels, dire wolves, and giant beavers roamed the land and gazed upon the river.