Bottled Finnish Landscapes Captured With Double-Exposure Photography by Christoffer Relander
he wasn't even looking at me and he found me
Sade Olutola

ellievsbear
Not today Justin

Andulka
🪼

祝日 / Permanent Vacation
"I'm Dorothy Gale from Kansas"

Product Placement
d e v o n
tumblr dot com
Sweet Seals For You, Always
wallacepolsom

Kaledo Art

Origami Around
dirt enthusiast
KIROKAZE

titsay
ojovivo
PUT YOUR BEARD IN MY MOUTH

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seen from Palestinian Territories

seen from United States

seen from Palestinian Territories
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@katie-goode
Bottled Finnish Landscapes Captured With Double-Exposure Photography by Christoffer Relander
Intricate Moss Assemblages Sprout From Embroidery Hoops
“I grew up in a farming community in central Pennsylvania and I remember summers harvesting corn in the fields. Farmworkers are some of our nation’s most vital workers. Their labor brings us low cost fresh fruits and vegetables year round. I wanted to capture an image of the migrant farmworker who travels from place to place to work in agriculture.” - Jessica Gerlach for We Can Do It.
Brand New: Opinions on corporate and brand identity work. A division of UnderConsideration.
Founded in 1965, Ravensbourne is a university sector college with “a vocationally focused portfolio of courses, spanning fashion, television and broadcasting, interactive product design, architecture and environment design, graphic design, animation, moving image, music production for media and sound design”, offering undergraduate and postgraduate degrees as well as pre-degree courses and professional short courses for industry. Located in London, Ravensbourne has a community of 2,400 students and a fancy campus at Greenwich Peninsula next to The O2. As it seeks to achieve university status, Ravensbourne has begun rolling out a new identity designed by London-based NB.
There’s a certain kind of freshness and energy in the way a design student approaches an identity that they carry into their first “real world” jobs (before the demands of clients beats it out of them—kidding!). The portfolio of recent Art Center College of Design grad Jena Myung still has that exci
Studio Vanessa Ban
Broken Ceramics Found on the Beach, Turned Into Chopstick Rests Using Kintsugi
Mesmerizing Kaleidoscopic GIFs by Anna Taberko
A Giant Glass Raindrop Balances on a Bronze Man’s Face in Ukraine
Remastering London Undergrounds’ Iconic Typeface
2016 marks 100 years of Edward Johnston’s typeface which binds together the visual identity of London’s transport network. Described as the ‘typographic voice of London’ Johnston’s typeface has remained largely the same for the last century, used throughout Transport for London’s signage, posters and architecture.
The expansion of London’s transport system places new demands on the typeface, from station maps to mobile apps, requiring the design to be expanded and updated. This had to be done without compromising on Johnston’s originals intentions.
Monotype was commissioned by Transport for London (TfL) to remaster their Johnston typeface. Monotype designers Malou Verlomme and Nadine Chahine worked closely with Jon Hunter, Head of Design at TfL to remaster the Johnston typeface for digital use and expand it to five weights.
“Our brief to Monotype was to go back to the original principles of Johnston, to reflect on the way the font is now, and see what we might have lost in its 100-year journey,” said TfL Head of Design Jon Hunter.
An original drawing of Johnston from February 1916
Some examples of original and remastered glyphs:
The new Johnston100 family includes five weights of the design, including two brand new weights: Hairline and Thin. The result, especially the Hairline, is contemporary in flavour without undermining the characteristics that make it recognisable.
Johnston100 will be rolled out by TfL starting July 2016. Initially it will be used for printed material such as tube maps and posters, but over time the typeface will be used within TfL’s trains and station signage, including London’s new Crossrail Elizabeth Line – scheduled to open in 2018.
More images and information here.
Patrick Dougherty, Shindig, (2015), now at Renwick Gallery.
LITTLE HOUSE ON THE PRAIRIE | 1880s
African American settler family, unidentified location, circa 1880s. [Click Image To Enlarge]
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Stephen Doyle and Alexander Isley, Brochure Memphis (Condominiums): Portfolio, 1985. Made for Alvin Preiss, USA. Via Cooper Hewitt.
Ghanaian artist Jeremiah Quarshie finds the inspiration for his paintings in his immediate environment. Living and working in Accra, the capital of Ghana, his hyper-realistic acrylic portraits depict models, typically ordinary women, in roles of beauty queens, businesswomen, and laborers alike. In his own words, the people in his portraits are characters representing the “foundations of society into pools of utter elegance”, 21st century workers and fictional women.
See more on Hi-Fructose.
Vintage National Park posters — 1938 - 1941
Sarah Robbins
The legislation would allow the remains of women who served as Women Airforce Service Pilots, or WASP, in the 1940s to be buried in the veterans cemetery.
The WASPs (Women Airforce Service Pilots) flew noncombat and training missions for the US during WW2, but were not afforded honors such as burials in military cemeteries – until now.
They flew over 60 million miles, in every type of military aircraft. They suffered 38 losses. Their members included trailblazers like previously-covered Maggie Gee (who, undeterred by how difficult this was, went on to become a nuclear physicist).
Congratulations, ladies.