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Patrick Thomas & his PULP silkscreen prints respond to the era of "truth decay"

Type room

A-Z presents , exhibition , Patrick Thomas , talk , Berlin , fake news , truth , artivism , silkscreen , silkscreening prints , newspaper , printing. Between 2004–05 he was Graphic Research Fellow at Liverpool John Moores University and since October 2013 he is a professor of visual communication at the Stuttgart State Academy of Art.

Print 40
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The 37 Best Design Books to Level Up Your Skills

Inkbot Design

Perfect for beginners, it introduces universally applicable design concepts like proximity, alignment, contrast, scale, visual hierarchy and more across four concise chapters. With practical applications for print and digital media, mini-exercises let you put lessons into practice as you go.

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The mechanics of non-human personas

UX Collective

Yes, there are important movements like sustainable design, eco design and circular design. Design For The Real World by Victor Papanek / Photo via Twitter We can replace “industrial design” with “interaction design”, “UX design” or “service design” and the quote is still accurate. Tomlinson B.,

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The case for using non-human personas in design

UX Collective

This article makes a case for adding non-human personas to the repertoire of personas considered in design projects. Without knowing you have likely already been designing for a non-human stakeholder. Daktronics are a manufacturer of digital billboards based in South Dakota in the US. But more about that later.

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Patterns are good

UX Collective

Even when developers consciously focus on user interface design, the resulting applications can have usability, consistency, and interoperability problems. Welcome to Design Patterns. Head First Design Patterns, FREEMAN et al., This enables the design experience to be reused. Someone has already solved your problems.”

Patterns 109
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Uncharacteristic Characters

Fonts by Hoefler&Co.

While the book was inherently entertaining, it was also going to be a dictionary, and needed to present as such. When I started designing typefaces professionally, back in 1989, I spent a lot of time advocating for custom typography as a way to end the monoculture of early digital fonts.