The NY Times has had a difficult time covering the 2024 election in a clear, responsible manner. But I wanted to highlight this short opinion piece from the paper’s editorial board, which I’m reproducing here in its entirety:
What makes this piece so effective is its plain language and its information density. This density is a real strength of hypertext that is often overlooked and taken for granted. Only 110 words in that paragraph but it contains 27 links to other NYT opinion pieces published over the last several months that expand on each linked statement or argument. If you were inclined to follow these links, you could spend hours reading about how unfit Trump is for office.
A simple list of headlines would have done the same basic job, but by presenting it this way, the Times editorial board is simultaneously able to deliver a strong opinion; each of those links is like a fist pounding on the desk for emphasis. Lies, threat, corruption, cruel, autocrats — bam! bam! bam! bam! bam! Here! Are! The! Fucking! Receipts!
How the links are deployed is an integral part of how the piece is read; it’s a style of writing that is native to the web, pioneered by sites like Suck in the mid-90s. It looks so simple, but IMO, this is top-notch, subtle information design.
Kostya Petrenko makes 80s versions of tech/media company logos as if they’ve been screencapped from CRT displays. I think my favorite of his might be the retro OpenAI logo, which you can see in this reel.
I did have a close working relationship with Mike Myers, who basically wrote his own sketches and would come down to our art department to talk to me about the graphics. He wanted to approve everything himself. He was very specific in what he wanted, and I truly enjoyed working with him.
I clicked with him on where he was coming from creatively. I loved establishing the Euro-style SPROCKETS graphics for him, and creating all his Simon drawings for that series of his sketches, which was really fun. As someone with a similar passion for UK ’60s pop culture, I also loved drawing and creating the title sequence for his “1960s Movie” sketch, which I have a hunch was the seed of the idea for his Austin Powers movies!
A site called Chromeography collects chrome logos and typography from vintage cars & electric appliances. As I was looking through these, I wondered: “What the hell is chrome anyway?” So I looked it up:
Chrome plating (less commonly chromium plating) is a technique of electroplating a thin layer of chromium onto a metal object. A chrome plated part is called chrome, or is said to have been chromed. The chromium layer can be decorative, provide corrosion resistance, facilitate cleaning, and increase surface hardness. Sometimes, a less expensive substitute for chrome, such as nickel may be used for aesthetic purposes.
This exhibition will be the first time museum visitors have the opportunity to delve into the art of his complete filmography, examining his inspirations, homages, and the meticulous craftsmanship that define his work.
Through a curated collection of original props, costumes, and behind-the-scenes insights, including from his personal collection, this exhibition offers an unprecedented look into the world of Wes Anderson, celebrating his enduring influence on contemporary cinema.
I am such a sucker for a pixel fonts and Departure Mono is no exception.
Departure Mono is a monospaced pixel font inspired by the constraints of early command-line and graphical user interfaces, the tiny pixel fonts of the late 90s/early 00s, and sci-fi concepts from film and television.
Oh and there’s a playable Breakout game at the bottom of the page if you scroll all the way down.
Occlupanids are generally found as parasitoids on bagged pastries in supermarkets, hardware stores, and other large commercial establishments. Their fascinating and complex life cycle is unfortunately severely under-researched. What is known is that they take nourishment from the plastic sacs that surround the bagged product, not the product itself, as was previously thought. Notable exceptions to this habit are those living off rubber bands and on analog watch hands.
In most species, they often situate themselves toward the center of the plastic bag, holding in the contents. This leads to speculation that the relationship may be more symbiotic than purely parasitic.
I admire the commitment to the bit, but HORG appears not to have studied the one actual bit of bread tag taxonomy that could actually be useful: whether the color of the bread tag indicates when the bread was baked. (via kelli anderson)
I read a lot of comments about political logos… Having helped shape the logo of every Democratic president in the twenty-first century (hflr.io/biden, hflr.io/obama), let me say from experience that campaign typography is *completely* unlike graphic design: it’s a strange and fascinating agility sport, marked by limited information, a ticking clock, unimaginable pressures, and serious consequences. It’s Iron Chef, but in Adobe Illustrator.
Imagine a client asking for a logo in 24 hours, but not telling you the name of the company! That’s what it’s like to participate in the veepstakes. Nobody who commented on the Biden/Harris logo realized that Robyn Kanner and I were busy developing *dozens* of possible identities in parallel, completely firewalled from the political side of things, awaiting the news until 40 minutes before press time.
The designer, known for his powerful and positive messaging, has created exclusive artworks in partnership with drumming legends, including Paul McCartney’s drummer Abe Laboriel Jnr, Arctic Monkeys’ Matt Helders, Simple Minds’ Cherisse Osei, Slayer’s Dave Lombardo, and Porcupine Tree’s Gavin Harrison.
It would be fun to see a working visualizer that used Burrill’s style to visualize any song’s drum beats. (via daniel benneworth–gray)
Maripedia is an online database of hundreds of print patterns that Marimekko has used in their products since the 1940s. You can browse by decade, designer, or style…or you can search by image. That’s right, just upload an image of the pattern on your pillowcase or dress and it’ll tell you who designed it and when.
Reproduced from a rare original copy, the book features over 165 highly-detailed scans of the legendary art by José Luis García-López, with an introduction by Paul Levitz, former president of DC Comics.
First issued in 1982, the Style Guide aimed to assist licensees in delivering a consistent look for DC’s Super Heroes. The reissue is based on the original copy held by Standards Manual, containing an amalgam of pages added by the owners of the original from ‘82 to ‘85.
Hosted by the New York Academy of Medicine, #ColorOurCollections is a yearly assemblage of coloring books sourced from the collections of museums and libraries. You can download this year’s coloring books (as well as those from past years) for free from the website. (via open culture)
The Hydrant Directory is a collection of colorful fire hydrants where “each hydrant has been processed into color palettes for free use by artists and designers”. I love stuff like this. (via @presentandcorrect)
The word “text” originated from the Latin word “textus,” which means “a weaving” or “a fabric.” In ancient times, textus referred specifically to the process of weaving fabric. Over time, the meaning of the word expanded to include written or printed material, reflecting the idea of words being woven together to create a coherent written work. This metaphorical extension continues today with words and phrases such as seamless, threadbare, unraveled, looming, frayed, tangled, and spinning a yarn, highlighting the connection between the physical act of weaving fabric and the intellectual act of composing written language, both of which involve the interlacing of individual elements to create a unified whole. In this installment of For Your Reference, we revisit the Archive’s stacks for books and other items that build a tangible connection between threads and letterforms.
According to the analysis, just 20 4-digit numbers account for 27% of all PINs: 1234, 0000, 7777, 2000, 2222, 9999, 5555, 1122, 8888, 2001, 1111, 1212, 1004, 4444, 6969 (nice), 3333, 6666, 1313, 4321, 1010. The diagonal line is people using repeated pairs of digits (e.g. 2727 or 8888) while the horizontal line near the bottom is people who are presumably using their (19xx) birth year as a PIN. (You can see the beginning of a 20xx line on the left side.)
The best causally unguessable PINs would seem to be unrepeated pairs of numbers greater than 50 — so 8957, 7064, 9653, etc. Choose wisely.
San Francisco’s Arion Press still uses decades-old machines to make beautiful books by hand. They’re one of the few remaining presses in the world that do everything from start to finish — they even cast their own type.
Arion dwells in an almost extinct corner of the book world: Call it Slow Publishing. It produces only three books a year, each a unique art object reproduced in editions of less than 300. Art is so important, in fact, that the illustrators-art-world luminaries-drive the title selection process.
“We learned that the projects went a lot more smoothly when we said to the artist, ‘What do you want to do?’” Blythe said.
Anthony Bourdain visited Arion in 2015 for a online series called Raw Craft — it’s a great look at how and why they produce books this way:
Business Insider’s Still Standing series recently profiled Arion as well:
This is such a wild story. Two men, Thomas James Cobden-Sanderson & Emery Walker, founded the Doves Press in London in 1900. They made a typeface called Doves Roman:
During its short life early last century, the Doves Press printed and bound some of the finest books ever produced in England and its approach to typography and printing subsequently exerted a major influence over book design in Europe and the United States. Many of Cobden-Sanderson’s ideas would, decades later, find expression or adaptation in both Traditionalist and Modernist circles respectively.
The partnership busted up and Cobden-Sanderson eventually took all of the lead type and dumped it in the Thames River. No more typeface.
The thought of ‘his’ typeface being used by anyone else, and in a manner beyond his control, prompted Cobden-Sanderson’s now infamous course of action. Only the Doves Press, run exclusively by him, could be bestowed the honour of printing his type. And so the mission to destroy it, beginning with the punches and matrices on Good Friday 1913, began. On an almost nightly basis from August 1916 the ailing septuagenarian dumped the type into the Thames, wrapped in paper parcels and tied with string; “bequeathed to the river” as he put it in his personal diary. Every piece of this beautiful typeface, more than a ton of metal, was destroyed in a prolonged ritual sacrifice.
Type designer Robert Green, working from printed materials, made a digital facsimile font of Doves Roman. In a bid to improve the font, he set out to find the lead type dumped in the river, aided by Cobden-Sanderson’s diary entries of the type-destroying mission. He found a few of the metal sorts (i.e. pieces of lead type) and with assistance from the Port of London Authority’s diving team, ended up retrieving 151 metal sorts in all, “out of a possible 500,000”.
Here’s a short film about the recovery of the type:
Ronny Flanagan took pride in his record as a police officer in Plano, Texas. He had an incident-free career. He took safety training regularly. He was known at the range as a very good shot.
Yet he killed a man when he was simply trying to press a flashlight switch mounted beneath the trigger on his pistol.
In a deposition, Flanagan expressed his remorse and made a prediction.
“I don’t want anyone to ever sit in a chair I’m in right now,” he said. “Think about the officers that aren’t as well trained, officers that don’t take it as seriously, and you put them in a pressure situation, another accident will happen. Not if, but will.”
Jeeeeesus Christ this is the most American shit ever. First of all: guns, guns, guns!! We love ‘em! Don’t forget the complete militarization of the police (they’ve got tanks!), which happens in tinpot countries where leaders fear the citizenry. Those gun flashlights were initially developed for the Navy SEALs and now city cops wield them around students.
And then. And then! There’s the completely genius idea of PUTTING A SECOND TRIGGER ON A GUN — I wish I had letters more uppercase than uppercase for this next part — RIGHT BELOW THE FIRST TRIGGER!!!!!!! 1
You know, the one that propels a projectile out of the weapon at deadly speeds!?
You’re familiar with those doors where the handle makes it seem like a pull but you actually have to push it? They’re called Norman doors, the canonical example of bad design. These flashlight guns are like Norman doors that kill people. W T Actual Fuck. (via @ygalanter.bsky.social)
I know I’m gonna get email about this so I’ll stop you right there Johnny Gmail: I am sure “not all guns” 🥴 with flashlights are designed like this. I am positive that putting yet another switch on a firearm that’s designed to be used when the gun is pointed at something or someone is a Bad Idea. And anyway, this whole thing about being an “accident” is BS anyway…there is nothing accidental about where that officer was with the gear that he had, doing what he was doing. It is all perfectly predictable that guns are fired by militarized police in Gun Land USA.↩
Ryan Gosling was on Saturday Night Live this weekend and they did a sequel to one of my favorite SNL sketches (which is completely dorky in a design nerd sort of way) ever: Papyrus. Behold, Papyrus 2:
Avatar spawned worlds, right? Every little leaf of every little flower, every little eyelash of every little creature: thoroughly thought out. But the logo: it’s Papyrus, in bold. Nobody cares. Does James Cameron care? I don’t think so.
I love a good movie poster and Dawn Baillie designed one of the best ones ever: the iconic poster for The Silence of the Lambs. Her other work includes posters for Dirty Dancing, Little Miss Sunshine, Zoolander, The Truman Show, and The Royal Tenenbaums. A show of her work opens soon at Poster House in NYC. Some of Baillie’s original posters are for sale at Posteritati.
{ Important: If the “logo” on the left/top is not circles and is squares/diamonds instead, you can update your browser to the latest version to see it how I intended. (Will be looking for a fix for this…) }
(Justified and) Ancient.The last time I redesigned the site, a guy named Barack Obama was still President. Since then, I’ve launched the membership program, integrated the Quick Links more fully into the mix, (more recently) opened comments for members, and tweaked about a million different things about how the site works and looks. But it was overdue for a full overhaul to better accommodate all of those incremental changes and, more importantly, to provide a solid design platform for where the site is headed. Also, I was just getting tired of the old design.
Back to the Future. In my post introducing the new comments system, I wrote about the potential for smaller sites like mine to connect people and ideas in a different way:
The timing feels right. Twitter has imploded and social sites/services like Threads, Bluesky, and Mastodon are jockeying to replace it (for various definitions of “replace”). People are re-thinking what they want out of social media on the internet and I believe there’s an opportunity for sites like kottke.org to provide a different and perhaps even better experience for sharing and discussing information. Shit, maybe I’m wrong but it’s definitely worth a try.
Before Facebook, Tumblr, Twitter, Instagram, and Snapchat came along and centralized social activity & output on the web, blogs (along with online diaries, message boards, and online forums) were social media. Those sites borrowed heavily from blogging — in the early years, there wasn’t much that those sites added in terms of features that blogs hadn’t done first. With the comments and now this redesign, I’m borrowing some shit back from the behemoths.
A social media design language has evolved, intelligible to anyone who’s used Twitter or Facebook in the past decade. Literally billions of people can draw what a social media post looks like on a napkin, show it to someone else from the other side of the world, and they’d say, “oh, that’s a post”. In thinking about how I wanted kottke.org to look and, more importantly, feel going forward, I wanted more social media energy than blog energy — one could also say “more old school blog energy than contemporary blog energy”. Blogs now either look like Substack/Medium or Snow Fall and I didn’t want to pattern kottke.org after either of those things. I don’t want to write articles — I want to blog.
Practically speaking, “social media energy” means the design is more compact, the type is smaller,1 the addition of preview cards for Quick Links, and the reply/share/???? buttons at the bottom of each post. But, it also still looks like a personal (old school) blog rather than a full-blown Twitter clone (I hope). I think this emphasis will become clearer as time goes on.
So What’s Different? I mean, you can probably tell for yourself what’s changed, but I’ll direct your eye to a few things. 1. Member login + easy account access for members on the top of every page. kottke.org has always been very much my site…but now it’s just a little bit more our site. 2. No more top bar (on desktop), so the content starts much higher on the page. 3. Most Quick Links have a preview card (also called an unfurl) that shows the title, a short description, and often an image from the link in question — the same as you’d get if someone sent you a link via text or on WhatsApp. 4. We’ve bid a fond farewell to the Whitney typeface and welcomed Neue Haas Unica into the fold. 5. IMO, the design is cleaner but also more information dense, reflecting the type of blogging I’d like to do more of. 6. Dark mode! There’s no toggle but it’ll follow your OS settings.
Billions and Billions. kottke.org has (famously?) never had a logo. I’ve never wanted one thing to represent the site — in part because the site itself is all over the place and also because it’s fun to switch things up every once in awhile. Instead, I’ve always gone for a distinctive color or gradient that lets readers know where they are. This time, I’ve opted for a series of circles — a friend calls them “the planets” — but with a twist. There are 32 images, each with 4 different hues and 8 different rotations, that can slot into the 4 available spaces…and no repeats. By my calculations (corrections welcome!), there are over 900 billion different permutations that can be generated, making it extremely unlikely that you’ll ever see the same exact combo twice. Even if, like last time, this design lasts for almost eight years.
Gimme the Goods. The tiny collection of kottke.org t-shirts has its own page on the site now. The Hypertext Tee based on the previous design will be offered only for another few weeks and then probably be retired forever. To be replaced with…TBD. 😉
Winnowing Down. Last time I redesigned, I went back and modified the template of every page on the site, even stuff from the late 90s and early 00s that no one actually remembers. This time around, I’m focusing only on the core site: blog posts from 1998-present, tag pages, membership, and the few pages you can get to from the right sidebar. The rest of the site, mostly pages deep in the archive that see very little (if any) traffic, are going to stick with the old design, effectively archived, frozen in digital amber. We wish those old pages well in their retirement.
So yeah, that’s kind of it for now. There is so much left to do though! The comments need some lovin’, some social media things need tightening up, the about page could use some tuning, the newsletter needs a visual refresh, a few other small things need doing — and then it’s on to the next project (which I haven’t actually decided on, but there are several options).
I’m happy to hear what you think in the comments, on social media, or via email — feedback, critique, and bug reports are welcome. Now, if you’ll excuse me, I have not taken a full day off from the site since late December (including weekends), so I’m going to go collapse into a little puddle and sleep for about a week.
If you’d like the text bigger, you can adjust the size using your browser’s zoom controls (cmd + & cmd -). This is what I do for viewing Instagram on my desktop web browser — 150% is the way to go…the photos are teensy otherwise. (I adjust Daring Fireball and Threads too.) The browser even remembers your settings for a site between visits…you only have to adjust it once.↩
Ansel Adams made a career of crafting photographs in exquisitely sharp focus and nearly infinite tonality and detail. His ability to consistently visualize a subject — not how it looked in reality but how it felt to him emotionally — led to some of the most famous images of America’s natural treasures including Half Dome in California’s Yosemite Valley, the Grand Tetons in Wyoming, and Denali in Alaska, the highest peak in the United States.
No pre-order links yet, but the stamps will be available on May 15. (via @anseladams)
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