http://ikhoor.com/

❣ Chile in a Photography ❣
$LAYYYTER
Peter Solarz
hello vonnie

Kiana Khansmith
Misplaced Lens Cap

tannertan36

shark vs the universe
styofa doing anything

Love Begins
Monterey Bay Aquarium
tumblr dot com
One Nice Bug Per Day

Discoholic 🪩
Cosimo Galluzzi
we're not kids anymore.
occasionally subtle

oozey mess

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AnasAbdin

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@see0through
http://ikhoor.com/
Information design : a visual representation of time units.
"Hour", my final piece, was printed as an A1 poster. The rest are my experiments and the initial one minute circle that was the basis for the hour. When I decided to devise a system to visualise time units, I was struck by the fact that they’re all contained within each other and tried to use that through my design.
Foundation for my info design project, a list of different time units.
I felt compelled to make them the basis of my project because not only I’m a sucker for evocative names and new words but also because for humans these units are the basis of our interaction with time. The names we use for them is what we use to verbally represent time so I thought to utilise these units to help me visually represent time.
Finally got around to posting my term one projects, now that I've had bit of holidays to recover from deadline madness.
This is my typography project :
A series of posters based on grid systems found in everyday fabrics.
I chose the blue and yellow colours as I found them to be just the right balance between aesthetically appealing and visually confusing. They contrast each other enough for the word to stand out on the page while still giving off the illusion of the two colours slightly blending into each other.
I also was concerned about the pieces still being accessible to people with colour-blindness and after researching it for a while, I found out thanks to this website that it was a colour combination compatible with the different types of the condition.
In each of the patterns I tried to evoke the texture and make of fabric while still using geometric graphical shapes.
I had a lot of fun carefully choosing which of the pattern elements would turn yellow, some happy accidents in selecting gave me new ideas about how to shape my letters. The element of randomness and surprise while playing with letterforms is what made me enjoy this project the most.
The Londonist
things to keep in mind
It's about time that I introduce this blog into the second year, with a minimal amount of introspection hopefully. For minimal cringe I will also overlook talking in length about my first year experience, where I learned a lot, regretted some and grew once again a tiny bit. It's mostly the same as when I finished foundation, but with the next level of progress. I guess I just have the same issues and I've gotten once again slightly better at dealing with them, which might not be a miracle change but hey, progress! You won't see me complaining. You can't be perfect at 20, is what I tell myself to boost morale, no matter how many of my classmates can challenge that idea.
But new beginnings is always my favourite part of everything and i can say that I'm excited about the potential greatness ahead.
Also our new projects are exciting and our tutors are inspiring and I live next to uni and everything is slightly rainbow coloured, despite the insisting rain. And I'm studying Doctor Who for contextual and theoretical studies, which I thought I would regret but I really really really don't.
One of the first insights that I've had during this second year of graphics is how excited I am to be in class with so many talented people. During first year I was orientated towards tutors and myself, taking in briefs and wrestling with them all by my lonesome, slightly embarrassed during the whole ordeal. Add a couple of bad group projects and I just wasn't convinced by "your best resource is each other".
But this year, coming back from break to all my graphically inclined friends and classmates, I'm amazed by how creative, motivated and plain brill everyone is.
Of course we're all different levels of confused and I highly suspect that the exceptions are just also talented at pretending. But still we are all here because we love design and having access to so many different approaches and point of views is exhilarating. Every day in class I look forward to discussing the brief, ideas and design, it's truly one of the most pleasing AND effective sources of inspiration.
(special ugh mention to the few that seem to come in to complain about the course and having any sort of work to do : i will nod, smile and sit somewhere else)
Everybody’s Newspaper
~ Etiquette for Americans, by A Woman of Fashion, 1898
Black Square with Blue, Ellsworth Kelly, 1970
Tate Modern
Counter-Composition VI, Theo van Doesburg
Tate Modern
Art to see while in London.
Biblio-
— Alain de Botton
Soho inspired palette for my project5 pdf, I'm crying a bit about it because posted on tumblr it looks quite different than on photoshop, I might print off the pdf just to be sure that my tutor is not blinded.
Browns/earthy colours for the brick buildings
Gold for pub names and various embellishments
Rhodamine Red for the borough's history with the sex industry/neons
Riso Guide http://bit.ly/ZX1Mzk
In Japan, people often refer to traffic lights as being blue in color. And this is a bit odd, because the traffic signal indicating ‘go’ in Japan is just as green as it is anywhere else in the world. So why is the color getting lost in translation? This visual conundrum has its roots in the history of language.
Blue and green are similar in hue. They sit next to each other in a rainbow, which means that, to our eyes, light can blend smoothly from blue to green or vice-versa, without going past any other color in between. Before the modern period, Japanese had just one word, Ao, for both blue and green. The wall that divides these colors hadn’t been erected as yet. As the language evolved, in the Heian period around the year 1000, something interesting happened. A new word popped into being – midori – and it described a sort of greenish end of blue. Midori was a shade of ao, it wasn’t really a new color in its own right.
One of the first fences in this color continuum came from an unlikely place – crayons. In 1917, the first crayons were imported into Japan, and they brought with them a way of dividing a seamless visual spread into neat, discrete chunks. There were different crayons for green (midori) and blue (ao), and children started to adopt these names. But the real change came during the Allied occupation of Japan after World War II, when new educational material started to circulate. In 1951, teaching guidelines for first grade teachers distinguished blue from green, and the word midori was shoehorned to fit this new purpose.
In modern Japanese, midori is the word for green, as distinct from blue. This divorce of blue and green was not without its scars. There are clues that remain in the language, that bear witness to this awkward separation. For example, in many languages the word for vegetable is synonymous with green (sabzi in Urdu literally means green-ness, and in English we say ‘eat your greens’). But in Japanese, vegetables are ao-mono, literally blue things. Green apples? They’re blue too. As are the first leaves of spring, if you go by their Japanese name. In English, the term green is sometimes used to describe a novice, someone inexperienced. In Japanese, they’re ao-kusai, literally they ‘smell of blue’. It’s as if the borders that separate colors follow a slightly different route in Japan.
And it’s not just Japanese. There are plenty of other languages that blur the lines between what we call blue and green. Many languages don’t distinguish between the two colors at all. In the Thai language, khiaw means green except if it refers to the sky or the sea, in which case it’s blue. The Korean word purueda could refer to either blue or green, and the same goes for the Chinese word qīng.It’s not just East Asian languages either, this is something you see across language families. In fact, Radiolab had a fascinating recent episode on color where they talked about how there was no blue in the original Hebrew Bible, nor in all of Homer’s Illiad or Odyssey!
I find this fascinating, because it highlights a powerful idea about how we might see the world. After all, what really is a color? Just like the crayons, we’re taking something that has no natural boundaries – the frequencies of visible light – and dividing into convenient packages that we give a name.
Read on.