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Opinion: 'I am in an abusive relationship with the technology industry' (Salma Alam-Naylor, 6 Mar 2026)

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Opinion: 'I am in an abusive relationship with the technology industry' (Salma Alam-Naylor, 6 Mar 2026)

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I am in an abusive relationship with the technology industry

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Some things I’m struggling with in the technology industry, an appreciation for folk music, and some other thoughts.

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Review: The “Spotify for Fonts” (Troy Leinster, 28 Feb 2026)

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Review: The “Spotify for Fonts” (Troy Leinster, 28 Feb 2026)

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Type.lol Review: Find, Sort, & Collect Fonts in One Place

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Tired of jumping between font sites? Type.lol brings every independent type foundry together in one open, searchable platform. Find out why designers are calling it the Spotify for fonts.

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'What if Our Ancestors Didn’t Feel Anything Like We Do?' (The Atlantic, 5 Dec 2025)

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'What if Our Ancestors Didn’t Feel Anything Like We Do?' (The Atlantic, 5 Dec 2025)

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Mentioned: Rob Boddice

Excerpt: Boddice is an energetic 48-year-old academic who has stormed the field of the history of emotions and senses, a specialized branch that has grown significantly over the past two decades even as most others (such as military and medieval history) have been pruned. Working for the past few years out of an institute he helped found—the Centre of Excellence in the History of Experiences, colloquially known as HEX, housed at Tampere University, in Finland—Boddice has tried to steer this area of study in a radical direction. “Emotions and senses” refers to history focused less on the facts of the past than on its more ineffable qualities, such as the smells of a 19th-century city filled with thousands of horses, and the quality of grief expressed in the letters of widows during World War I. Boddice is interested in a deeper, more expansive concept that encompasses everything about how reality is perceived, melding together emotions and senses and much else into an engagement with “experience.”

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What if Our Ancestors Didn’t Feel Anything Like We Do?

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The historians who want to know how our ancestors experienced love, anger, fear, and sorrow

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When we turned time into a line, we reimagined past and future | Aeon Essays

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In the 19th century, the linear idea of time became dominant, forever changing how those in the West experience the world

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Visual systems: 'New Whitney Museum Identity' (Experimental Jetset)

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Visual systems: 'New Whitney Museum Identity' (Experimental Jetset)

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designboom | architecture & design magazine

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the new responsive W by experimental jetset has replaced pentagram's blocky logotype

experimental jetset have created a new identity for the whitney museum of american art in new york, based around the concept of a 'responsive W'. the 'W' is combined with the typeface neue haas grotesk and in some cases a single image of an artwork - such as in posters or pamphlets for exhibitions.

'in 2011, we were approached by the whitney museum of american art to design their new graphic identity who asked us to create a new graphic language, a sort of graphic 'toolbox', for the whitney's in-house design team to work with. the reason for this redesign was the fact that, in 2015, the whitney will move from its current location (the 'breuer building' at madison avenue) to a new location (a museum designed by renzo piano, situated at the beginning of the high line). in preparation for this upcoming relocation, the whitney decided to redesign their graphic identity (and to launch this new identity well in advance, in 2013).' - experimental jetset

variations of the new logo...

'two years ago, museum staff began a thoughtful internal dialogue regarding the whitney's graphic identity and selected the design studio experimental jetset to develop an approach which embraces the spirit of the museum while serving as a visual ambassador for our new building. the result is a distinctive and inventive graphic system that literally responds to art-a fundamental attribute of the whitney since its founding in 1930. this dynamic identity, which the designers refer to as the 'responsive W', also illustrates the museum's ever-changing nature. in the upcoming years it will provide an important point of continuity for members, visitors, and the public during the transition to the new space.' - whitney museum of american art in new york

read an extensive explanation of the design process here "

update: marieke stolk, danny van den dungen and erwin brinkers of experimental jetset were speakers at the 2014 design indaba conference where they discussed their graphic design practice that emphasizes a particular sensibility towards typographic solutions. among the works they presented on this occasion was the new graphic identity they conceived for the whitney museum of art. see designboom's interview with the dutch trio here.
design indaba conference 2014
dubbed 'the conference on creativity', the design indaba conference is all about how design, creativity and innovation can positively impact the world. so much more than a 'how-to' conference, this is a forum fueled by inspiration that breeds ideas, ingenuity and innovation. the conference is an opportunity to listen to the world's foremost creatives, entrepreneurs and trendsetters. it's the not-to-be-missed creative event in africa.

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new whitney museum identity by experimental jetset

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experimental jetset have created a new identity for the whitney museum of american art in new york, based around the concept of a 'responsive W'.

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If humanity is ever going to settle down on , we may need to become a little less human.

Crewed missions to Mars, which NASA wants to start flying in the 2030s, will be tough on astronauts, exposing them to high radiation loads, bone-wasting microgravity and other hazards for several years at a time. But these pioneers should still be able to make it back to Earth in relatively good nick, agency officials have said.

It might be a different story for those who choose not to come home, however. If we want to stay safe and healthy while living permanently on Mars, or any other world beyond our home planet, we may need to make some tweaks to our species' basic blueprint, experts say.
Related: Space radiation threat to astronauts explained (infographic)
Genetic engineering and other advanced technologies "may need to come into play if people want to live and work and thrive, and establish their family, and stay on Mars," Kennda Lynch, an astrobiologist and geomicrobiologist at the Lunar and Planetary Institute in Houston, said on May 12 during a webinar hosted by the New York Academy of Sciences called "Alienating Mars: Challenges of Space Colonization."

"That's when these kinds of technologies might be critical or necessary," she said.

Coming soon?

Genetic enhancement may not be restricted to the pages of sci-fi novels for much longer. For example, scientists have already inserted genes from tardigrades - tiny, adorable and famously tough animals that can survive the vacuum of space - into human cells in the laboratory. The engineered cells exhibited a greater resistance to radiation than their normal counterparts, said fellow webinar participant Christopher Mason, a geneticist at Weill Cornell Medicine, the medical school of Cornell University in New York City.

NASA and other space agencies already take measures to protect their astronauts physically, via spacecraft shielding, and pharmacologically via a variety of medicines. So, it's not a huge conceptual leap to consider protecting them genetically as well, provided that these measures are proven to be safe, Mason said.

"And are we maybe ethically bound to do so?" he said during the webinar. "I think if it's a long enough mission, you might have to do something, assuming it's safe, which we can't say yet."

Tardigrades and "extremophile" microbes, such as the radiation-resistant bacterium Deinococcus radiodurans, "are a great, basically natural reservoir of amazing traits and talents in biology," added Mason, who has been studying the effects of long-term spaceflight on NASA astronaut Scott Kelly. (Kelly spent nearly a year aboard the International Space Station in 2015 and 2016.) "Maybe we use some of them."

Harnessing these traits might also someday allow astronauts to journey farther than Mars, out to some even more exotic and dangerous cosmic locales. For instance, a crewed journey to the Jupiter moon Europa, which harbors a huge ocean beneath its icy shell, is out of the question at the moment. In addition to being very cold, Europa lies in the heart of Jupiter's powerful radiation belts.

"If we ever get there, those are the cases where the human body would be almost completely fried by the amount of radiation," Mason said. "There, it would be certain death unless you did something, including every kind of shielding you could possibly provide."
Related: The 6 most likely places to find alien life
Genetic engineering at least lets us consider the possibility of sending astronauts to Europa, which is widely regarded as one of the solar system's best bets to harbor alien life. (The Jovian satellite is a high priority for NASA's robotic program of planetary exploration. In the mid-2020s, the agency will launch a mission called Europa Clipper, which will assess the moon's habitability during dozens of flybys. And Congress has ordered NASA to develop a robotic Europa lander as well, though this remains a concept mission at the moment.)

Not just us

Genetic engineering almost certainly won't be restricted to pioneering astronauts and colonists. Recent advances in synthetic biology herald a future in which "designer microbes" help colonists establish a foothold on the Red Planet, Lynch said.

"These are some of the things that we can actually do to help us make things we need, help us make materials to build our habitats," she said. "And these are a lot of things that scientists are researching right now - to create these kinds of things for our trip to Mars."

Some researchers and exploration advocates have even suggested using designer microbes to terraform Mars, turning it into a world much more comfortable for humans. This possibility obviously raises big ethical questions, especially considering that Mars may have hosted life in the ancient past and might still host it today, in subsurface lakes or aquifers. (Permanently changing our own genomes for radiation protection or any other reason may also strike some folks as ethically dubious, of course.)

Most astrobiologists argue against terraforming Mars, stressing that we don't want to snuff out or fundamentally alter a native ecosystem that may have arisen on the Red Planet. That would be both unethical and unscientific, Lynch said.

After all, she said, one of the main reasons we're exploring Mars is to determine if Earth is the only world to host life.

"And how can we do that if we go and change the planet before we go and find out if life actually was living there?" Lynch said.

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Colonizing Mars may require humanity to tweak its DNA

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If humanity is ever going to settle down on , we may need to become a little less human. Crewed missions to Mars, which NASA wants to start flying in the 2030s, will be tough on astronauts , exposing them to high radiation loads, bone-wasting microgravity and other hazards for several years at a time.

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Streets of George Town, An Illustrated Guide to Penang's City Streets and Historic Attractions - Areca Books

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Khoo Su Nin 2026 (first published in 1993). Areca Books. Softcover, 21.8cm x 15.5cm, 191 pages 200+ colour photographs ISBN 9789839886009

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Graphic Thought Facility: How does digital technology affect you?

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An exploration of the ideas, themes and solutions that re-occur in the work of graphic designers Paul Neale and Andrew Stevens. They form GTF “Graphic Thought Facility” and their work profiled here includes: Posters, marketing material, packaging, publications, invitations, exhibitions graphics, etc. for…

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Recovering the Political in Urban Participation

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attention economy (concept)

LTA > bus network, www.lta.gov.sg/content/ltagov/en/getting_around/public_transport/bus_network.html

traffic island > types, https://allaboutcivil.org/types-of-traffic-islands-and-their-design-considerations/

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The bus way to reach your destination

Weaving into the heartlands, business hubs and tourist attractions, buses bring you closer to your destination. They are one of the most convenient and accessible modes of public transport in Singapore.

Public bus services are operated by four operators under LTA's Bus Contracting Model. LTA issues licences to both public and private bus operators to operate bus services and regulates bus advertising.

Types of Bus Services

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The bus way to reach your destination Weaving into the heartlands, business hubs and tourist attractions, buses bring you closer to your destination. They are one of the most convenient and accessible modes of public transport in Singapore. Public bus services are operated by four operators under LTA's Bus Contracting Model.

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keywords: data visualisation, illustration

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How Data Visualisation Influences Human Behaviour - Regine Abos

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List of self-intersecting polygons - Wikipedia

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Original Comic Art titled Doom Patrol 21 page 20 by Tan Eng Huat, located in Shannon El Guapo's Tan Eng Huat Comic Art Gallery (1912550)

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PepsiCo cuts prices on Doritos, Lay’s, Cheetos and other snacks

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PepsiCo says it is cutting prices up to nearly 15% on many snacks including Lay’s, Doritos, Cheetos, Tostitos and more items ahead of the Super Bowl.

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Type West 2025 Online Graduation & Typeface Reveal | Letterform Archive

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Join us online to celebrate the typeface projects of the talented graduates of Type West 2025!

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Masaru Katsumi in 1964 for the Olympic Games in Tokyo (pictograms)

Expressway (or highway) signs

Wayfinding floor signage in hospitals; triage

Orchard Rd signage on lamp posts (see: buntings)

Coloured zones, see Marina Sq basement carpark

URA guidelines for signage in conservation areas

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John Downer

Edward Johnston, Foundational Hand

Adrian Frutiger

Willi Kunz

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via Dr. Frank E. Blokland

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Components: https://handbook.glyphsapp.com/components/

Anchors: https://handbook.glyphsapp.com/anchors/

Open corners: https://forum.glyphsapp.com/t/first-points-on-open-corners/22270

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Optical Illusions in Graphic Design | Leinster Type

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I redrew the Guggenheim monogram and pointed out some problematic optical illusions to look for when drawing logos.

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This is an extract from Bruno Maag's design talk at The Workshop on 20 May 2010. Here Bruno questions the widespread use of Helvetica.

Design Talks are hosted by The Workshop, a leading UK digital and design agency based in Sheffield and London.

www.theworkshop.co.uk

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via Felix > Yong Ning

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Sign & Display - Welcome to OVOL Singapore | Green / Recycled Paper, Packaging, Antibacterial Film, Stickers

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As the leading paper supplier in Singapore, we have an extensive range of wide format media like display board, rigid board, banner, vehicle wrap and floor sticker and other flexible to rigid media for UV Inkjet, solvent, eco-solvent, latex and aqueous printing technology. There are plenty of media options for your indoor / outdoor advertising, signage and display applications in our range. Use our FSC certified display board to support your eco-friendly initiatives!

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Daniel Eatock stands in his London studio amidst a sea of his work, including Assembled Rolled Forms and a Felt-Tip Print in an octagon frame.

Daniel Eatock's London studio is ablaze with thinking and making: "I try to make something every day," he says. "Even if I'm traveling, or dealing with the responsibilities of being a parent, there is always an idle moment when I can take the opportunity to be creative."

To his many admirers, Eatock represents a paradigm of creative production. Surveying his vast body of work, a paradox emerges. At first glance it appears to be an obsession with the banal, and a by-product of happenstance-in ongoing projects, he documents images of ill-conceived repairs to motor vehicles, maintains a collection of found lost luggage labels, gathers pictures of vandalized trees in public spaces, and enlists the public to submit photographs with dangling camera straps intentionally included. But dig beneath the surface, and a highly methodical, process-driven, and individualistic voice emerges.

This process-driven approach is best represented by his Felt-Tip Prints. First trialed when he was pursuing a master's degree, they are made by placing felt-tip pens facing upward or downward in a gridded container and then resting sheets of absorbent paper on the tips-sometimes one sheet, sometimes many. Left in position for varying durations, the ink bleeds through the paper, creating pools of vivid color with varying intensities.

The outcomes are largely unpredictable, and the unpredictability of the art-making process (should you be aware of it) only adds to their beauty. The determining factors are Eatock's choice of pen color, the positioning of the pens, the quantity of sheets, and the amount of time pen and paper remains in contact. As he recalls on his website: "Frustrated with my drawing abilities, I embraced my frustration and removed my hand from the process and let the pen make the work. Thirty years later, I am still exploring the same process and materials."

Eatock's Rolling Pin Paintings, made initially with the ubiquitous kitchen tool, follow a similar model of construction. "The forms that emerge appear anamorphic, stretched, and dilated," he observes. "Colors collide with the rolling, the action creates the composition using the location of the paint's application as their starting points. Like a journey undertaken when a destination is unknown, the painting materializes with the action." In other words, the making of the work becomes the work itself.

The poles of mundane and beatific define Eatock's work, which further resists categorization. Is it art? Is it graphic design? Since he is neither represented by a gallery nor servicing commercial clients, both of which might want to vacuum-pack him into one or other of these designations, he feels no compulsion to attach a label to what he does. And if we take another random specimen of his vast output, for example, the films of him dancing frenetically to the howl of car alarms, we see work that might be classified in many ways: performance art, new-era comedy, a socio-political statement about urban noise pollution.

Eatock leaves it to the viewer to decide. The question of whether he makes art or design does not concern him. Yet it's not hard to imagine a hip London gallery promoting him as the bright new face of British art. He spent seven years studying graphic design, which conceivably could have elevated him to a comfortable career in a fashionable branding studio or as the creative director of a progressive advertising agency.

But comfort is not part of Eatock's sensibility. He spurns the security that comes with being yoked to a discipline. Nor, for that matter, does he crave physical comforts. He recently contemplated getting rid of all the furniture in his house and replacing it with austere monkish constructions of his own making. Only consideration for his wife and young daughter prevented him from proceeding.

Eatock's seeming fascination for the banal, as evidenced in the images he gathers, can be viewed as simply cataloging the ephemeral. But they also harken the legacy of the Smile in the Mind school of British graphic design. Fashionable in the 1970s, this sensibility privileges the idea-usually a witty idea-above everything else. Paul Rand's famous IBM rebus-an image of an eye, a bee, and the letter M-is effective because it is instantly understandable. This, and other examples, function because they rely on the conceptual abilities of the viewer and are carefully calibrated to elicit a predetermined response.

While some of Eatock's creations near this categorization, he insists his approach is different. "I've never created work to try to get some response," he claims. "The wit or humor in my work comes from an angry place, based on conflict, sarcasm, pointing out the ridiculous and stupidity of the everyday. I feel more aligned with Andy Kaufman and Steven Wright than Alan Fletcher and Bob Gill."

Just so, as viewers encountering his work, we experience the mildly destabilizing realization that Eatock is bringing our attention to the kind of visual data we encounter every day but have somehow failed to ever actually see.

This penchant-emphasized through repetition in his work as he riffs on themes like a musician-creates an unexpected resonance with the work of Ray and Charles Eames. Eatock offers admiration for the Eamesian philosophy of finding beauty in the ordinary. And what, after all, is more ordinary than a humble motor car with a wrongly colored panel patched into factory-made bodywork, or a camera strap caught in a photograph?

While Eatock always loved to draw (a teacher called him "little Picasso"), his journey toward the uncategorizable accelerated when he enrolled in a graphic design diploma course as a teen. The two-year curriculum, designed for young people uncertain about their future career, confirmed for Eatock that he had found his path. He went on to study graphic design at the bachelor's level at Ravensbourne, a school with a strong tradition of teaching modernist typography. Finally, he was accepted onto the Communication Art & Design MA program at the Royal College of Art in London.

While at Ravensbourne, Eatock made an important discovery in the school's library. The book Six Years: The Dematerialization of the Art Object from 1966 to 1972 by Lucy R. Lippard helped shape a notion that had been fermenting inside him since his school days. Lippard's book explores the way some 20th-century artists abandoned making aesthetic objects and instead embraced ideas and actions. "The book changed everything for me," Eatock says. "It helped me see that art doesn't have to be about aesthetics. It can be about ideas. I realized I liked art, but I really loved ideas."

At the same time that Eatock encountered and embraced this perspective, progressive graphic designers were questioning the service-based model of the discipline and pioneering an idea of autonomous practice, defined by the term "graphic authorship." Initiating their own work for its own sake, these designers sought stylistic freedom, testing the limits of legibility, challenging definitions of beauty, and proving that they could function without the patronage of clients. It still looked like graphic design-albeit a more experimental variant.

Eatock's work, conversely, does not look like graphic design. This is partly due to his interest in making work that uses materials and tools not commonly associated with the practice. In addition to putting rolling pins to creative purposes, he uses the humble clip frame to make paintings: placing acrylic paint on the backing board, he then secures the glass, generating different results based on the placement and amount of paint, as well as his decisions to lift, rotate, and re-affix the glass. With such projects, Eatock has evolved a different type of authorship, one that curator and designer Andrew Blauvelt has offered as "a conceptual authorship governing the operations of a project to be executed within specific parameters." Specifically, Eatock's authorship is one of uncertainty and chance.

Blauvelt played an important role in Eatock's growth as a creative practitioner. In 1998, as the newly appointed design director of the Walker Art Center in Minneapolis, he invited Eatock to join the in-house design team. "I hadn't worked in a commercial environment before, and I didn't recognize the hierarchies within a contemporary art museum," recalls Eatock. "I would knock on the senior curator's door and say, 'Hello, tell me about your exhibition.' For whatever reason, the other designers didn't do this, but I didn't feel the same restraints."

After one year in Minneapolis, Eatock returned to London, and in partnership with the architect Sam Solhaug, established the collaborative studio Foundation 33. With a near total disregard for design world norms, the studio made furniture, designed the logo for the hit TV show Big Brother, and created the world's largest signed and numbered limited-edition artwork-one million postcards signed by the entire studio over 12 days.

Foundation 33 was disbanded in 2005 and after a brief stint with a small, short-lived advertising agency, Eatock began his solo practice.

Ignoring conventional restraints and carving out a singular path has been the defining feature of Eatock's work since the beginning. But it would be a mistake to suggest he is an entirely free spirit. His work might appear to be the outcome of experimentation and play, but it is in fact highly method-driven experimentation and play-in endless pursuit of the next of his beloved ideas.

While we marvel at Eatock's creative fecundity and envy his productivity, it comes as a surprise to learn that he begins every project with the thought that it will fail, "and/or" as he clarifies later with a wink, "change the world forever." In this, Eatock offers the rest of us some consolation: the realization that not every idea merits further exploration, but that through a dogged pursuit of work, something of value will emerge. ❤

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Kazam! Magazine | Artist as Art Form, Daniel Eatock's Process

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Daniel Eatock stands in his London studio amidst a sea of his work, including Assembled Rolled Forms and a Felt-Tip Print in an octagon frame. Daniel Eatock's London studio is ablaze with thinking and making: "I try to make something every day," he says.

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Observation: 'Le bonheur des femmes' by Sharon Kivland (2000)

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Observation: 'Le bonheur des femmes' by Sharon Kivland (2000)

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Description: Le bonheur des femmes (le parfum d’une femme), se compose de photographies accrochées à hauteur des organes génitaux. Ce sont des pieds de femmes, prises dans les rayons de parfumerie des grands magasins parisiens. Des textes présentés à hauteur d’œil - tels que «envie», «obsession», «allure» et ainsi de suite, peuvent être identifiés à des noms de parfums. ...

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Le bonheur des femmes , 2000 Vue de l’exposition / Le bonheur des femmes, 2000 24 photographies avec textes, c-prints montés sur aluminium, 105 x 75 cm. Le bonheur des femmes (le parfum d’une femme), se compose de photographies accrochées à hauteur des organes génitaux. Ce […]

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Typotheque Type foundry on Instagram: "Dash is a connected script typeface that comes in four writing speeds: Dash Casual, Dash Slow, Dash Fast, Dash Fastest."

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111 likes, 0 comments - typotheque on January 29, 2026: "Dash is a connected script typeface that comes in four writing speeds: Dash Casual, Dash Slow, Dash Fast, Dash Fastest.". 

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View this post on Instagram

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The Design Talks #02 | MotionBrandingTypography Conference

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The Design Talks #02 | MotionBrandingTypography Conference

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The Design Talks #02 | MotionBrandingTypography Conference

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International conference on motion graphics, branding & typography. Feb 7, 2026 in Warsaw. Latest trends, experimental designs. Tickets from 222 zł.

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Ribbit.FYI | Data Storytelling and Illustration on Instagram: "Ever wondered why our roads have random patches of colour on them? 🚗🎨

From Japan-inspired 3D triangles to vibrant pedestrian zones, Singapore’s roads are constantly signalling to us! These markings act as a design language, guiding how drivers move and react in the moments when enforcement can’t be everywhere at once. 

We move through these spaces every day, but once you learn to read the language of the tarmac, you realise the city is designed with a lot more care than meets the eye. Maybe the streets aren’t just for cars after all—they’re for all of us.

#urbandesign #roadsafety #roads #singapore #designthinking"

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429 likes, 8 comments - ribbit.fyi on January 28, 2026: "Ever wondered why our roads have random patches of colour on them? 🚗🎨

From Japan-inspired 3D triangles to vibrant pedestrian zones, Singapore’s roads are constantly signalling to us! These markings act as a design language, guiding how drivers move and react in the moments when enforcement can’t be everywhere at once. 

We move through these spaces every day, but once you learn to read the language of the tarmac, you realise the city is designed with a lot more care than meets the eye. Maybe the streets aren’t just for cars after all—they’re for all of us.

#urbandesign #roadsafety #roads #singapore #designthinking". 

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View this post on Instagram

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Typeface: Closed Caption (Primary, year unknown)

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Typeface: Closed Caption (Primary, year unknown)

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PRIMARY is a type foundry in Los Angeles making new fonts, and a library of prototypical open-source fonts compiled from various collections and sites.

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Camera is a neutral, toned-down grotesque that reimagines light traps, originally used in the 60s and 70s to make text readable on TV screens, for the digital age. Its hole and plain versions are available in five weights plus italics.

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Typeface: GT Pressura (Dominik Huber and Marc Kappeler, Grilli Type, 2022)

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Typeface: GT Pressura (Dominik Huber and Marc Kappeler, Grilli Type, 2022)

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URL: www.grillitype.com/typeface/gt-pressura

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Purchase GT Pressura
Download trial fonts Purchase GT Pressura

GT Pressura is inspired by metal type printing history as well as engineered letters stamped onto shipping boxes. It uses the visual gesture of ink spreading under pressure as a stylistic device, offering an alternative to more spindly typefaces of the digital age.

Latin-alphabet languages: Afaan, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Asturian, Atayal, Aymara, Azerbaijani, Basque, Belarusian, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Cornish, Corsican, Creek, Croatian, Czech, Danish, Dawan, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut), Guadeloupean Creole, Gwich'in, Haitian Creole, Hawaiian, Hiligaynon, Hopi, Hungarian, Icelandic, Ido, Igbo, Ilocano, Indonesian , Irish, Istro-Romanian, Italian, Jamaican, Javanese, Jèrriais, Kaingang, Kala Lagaw Ya, Kapampangan, Kaqchikel, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Kurdish, Ladin, Latin, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Nahuatl, Ndebele, Neapolitan, Niuean, Noongar, Norwegian, Occitan, Old Icelandic, Old Norse, Oshiwambo, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Q'eqchi', Quechua, Rarotongan, Romanian, Romansh, Rotokas, Inari Sami, Lule Sami, Northern Sami, Southern Sami, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Upper and Lower Sorbian, Northern and Southern Sotho, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Tuvaluan, Tzotzil, Venetian, Vepsian, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zarma, Zazaki, Zulu, Zuni

Cyrillic-alphabet languages: Abaza, Adyghe, Aghul, Avar, Bashkir, Balkar, Belarusian, Bosnian, Bulgarian, Buryat, Chechen, Chuvash, Crimean Tatar, Dargin, Dungan, Erzya, Ingush, Kabardian, Kalmyk, Karachay, Karakalpak, Kazakh, Khinalugh, Komi, Kumyk, Kyrgyz, Lak, Lezgian, Macedonian, Moldovan, Mongolian, Moksha, Nanai, Nogai, Ossetian, Russian, Rusyn, Rutul, Serbian, Tabasaran, Tajik, Tat, Tatar, Turkmen, Tuvan, Uyghur, Ukrainian, Uzbek

Further available languages: Greek, Vietnamese

OpenType features enable smart typography. You can use these features in most Desktop applications, on the web, and in your mobile apps. Each typeface contains different features. Below are the most important features included in GT Pressura's fonts:

CASE

Case sensitive forms

Visit the GT Pressura minisite to discover more about the typeface family's history and design concept.

Standard

Light Italic

Text Italic

Regular Italic

Medium Italic

Bold Italic

Black Italic

Mono

Light Italic

Text Italic

Regular Italic

Medium Italic

Bold Italic

Black Italic

Extended

Light Italic

Text Italic

Regular Italic

Medium Italic

Bold Italic

Black Italic

New samples Tabular Numbers Alternate a

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GT Pressura - Typeface Specimen and License Purchase

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GT Pressura is inspired by metal type printing history as well as engineered letters stamped onto shipping boxes. It uses the visual gesture of ink spreading under pressure as a stylistic device, offering an alternative to more spindly typefaces of the digital age.

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Typeface: Exposure (Federico Parra Barrios, 205TF, 2022)

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Typeface: Exposure (Federico Parra Barrios, 205TF, 2022)

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URL: www.205.tf/exposure

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Title: 'System Process Form' (MuirMcNeil 2024)

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Title: 'System Process Form' (MuirMcNeil 2024)

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URL: https://muirmcneil.com/project/system-process-form/

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Kvadrat

Expo MRT platform (mirrors on the ceiling)

Supreme Court Singapore (stone veneer)

search: matching vein

Ani House, Atelier Bow-Wow, 1997

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Title: 'Practical Web Inclusion and Accessibility: A Comprehensive Guide to Access Needs' (Ashley Firth, 2019)

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Title: 'Practical Web Inclusion and Accessibility: A Comprehensive Guide to Access Needs' (Ashley Firth, 2019)

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Practical Web Inclusion and Accessibility: A Comprehens…

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The web has to be inclusive. One in five people living …

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Moon (film)

Archigram (collective; magazine)

District 9 (fim)

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''Thought it was a grey area': NUS student packs up crypto-mining rigs in dorm after fellow resident got caught' (Today, 13 Apr 2022)

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''Thought it was a grey area': NUS student packs up crypto-mining rigs in dorm after fellow resident got caught' (Today, 13 Apr 2022)

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Excerpt:

SINGAPORE — He had been crypto-mining in his university dormitory room since September last year, but the first-year National University of Singapore (NUS) student finally packed up his equipment when he found out on Monday (April 11) that a fellow NUS campus resident was under investigation for doing the same.

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‘Thought it was a grey area’: NUS student packs up crypto-mining rigs in dorm after fellow resident got caught

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He had been crypto-mining in his university dormitory room since September last year, but the first-year National University of Singapore (NUS) student finally packed up his equipment when he found out on Monday (April 11) that a fellow NUS campus resident was

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Report: 'Rewired retail: Winning the future of fashion' (Deloitte, 2025)

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Report: 'Rewired retail: Winning the future of fashion' (Deloitte, 2025)

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Future of Fashion Retail: Digital and Omnichannel Imperatives

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Explore how digital transformation and omnichannel strategies are shaping the future of fashion retail and redefining consumer experiences.

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Report: 'The State of Fashion 2025' (BoF & McKinsey)

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Report: 'The State of Fashion 2025' (BoF & McKinsey)

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of Fashion

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Typeface: 'Area JP: making of Japanese' (Blaze Type, 2025)

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Typeface: 'Area JP: making of Japanese' (Blaze Type, 2025)

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Area JP: making of Japanese | French Type Design foundry 🔥 We design fonts for blazing hot projects!

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We are a Type Design foundry focused on making Variable Fonts with the easiest Font Licensing around. Our fonts are up to trend and will fit your daily design needs.

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Title: 'Seeing <—> Making | Room for Thought' (Inventory Press, 2024)

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Title: 'Seeing <—> Making | Room for Thought' (Inventory Press, 2024)

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Susan Buck-Morss, Kevin McCaughey, Adam Michaels 4.75 × 7.75 inches, 400 pages, softcover ISBN 978-1-941753-53-8 Design by IN-FO.CO and Kevin…

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Set in a mysterious post-apocalyptic world, each map is uniquely hand-drawn from scratch. The game is designed to be simple yet addictive, offering a smooth and relaxing experience tailored for solo players. Whether you're a newcomer or a veteran, you'll easily enjoy the thrill of exploration and personal growth.

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It is our Infinito model turned around, with the light flowing downwards.

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The Handmade Web: Reclaiming Digital Spaces | Beyond Text

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About the Programme With algorithms, feeds and Big Tech platforms, has our experience of the Internet gotten worse? As the Internet becomes increasingly homogenised, discover...

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Display: 'Revoliutsiia! Demonstratsiia!: Soviet Art Put to the Test'

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Display: 'Revoliutsiia! Demonstratsiia!: Soviet Art Put to the Test'

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Exhibition

The October Revolution of 1917 changed the course of world history; it also turned Russia into a showcase filled with models. Every object and sphere of activity had to demonstrate how society could be remade according to revolutionary principles. It would take intensive experimentation and discussion to determine the shape of this unprecedented society. To be realized in any concrete way, communism had to be modeled and put on display.

Soviet Art Put to the Test accordingly fills Regenstein Hall with ten model displays from the early Soviet era. Each of these sections, detailed below, holds rare works of art and features expert, life-size reconstructions of early Soviet display objects or spaces, commissioned especially for this exhibition.

Battleground: Posters from the Civil War years (1918-21) surround a "Lenin Wall" with three dozen works devoted to the first Soviet leader.

School: Rare works from Soviet art schools convey breakthroughs in abstraction. Many loans come from the storied Costakis art collection in Thessaloniki, Greece.

Theater: Model sets, props, and drawings bring to life classic Constructivist stagings that merged viewers and performers in a mass spectacle.

Press: A 14-foot multimedia kiosk built from a design by artist Gustav Klutsis and a suite of his original drawings anchor an extensive display of rare magazines and unique poster maquettes.

Factory: A 30-foot-long Workers' Club designed by Aleksandr Rodchenko can be entered to see period books and magazines.

Exhibition: A reconstructed 1926 exhibition room by El Lissitzky features paintings by artists included in the original exhibition, among them Piet Mondrian, Francis Picabia, and Lissitzky himself.

Festival: A period model for Stalin's Palace of the Soviets joins photographs of mass sports events and commemorative gatherings.

Cinema: A rotating program of Soviet cartoons and documentaries is shown in a space that evokes an agitprop train.

Storefront: Large picture windows showcase textiles, Constructivist advertisements, and Suprematist porcelain.

Home: Personal images of leading Soviet artists, porcelain figurines, and a painting by Socialist Realist Aleksandr Deineka populate a model interior also outfitted with furniture conceived for small or collective apartments.

These ten displays-containing nearly 550 works-come together in the largest exhibition of Soviet art to take place in the United States in 25 years. Visitors have the opportunity to explore the trajectory of early Soviet art in all its forms and consider what it tells us about socially minded art now.

Sponsors

Revoliutsiia! Demonstratsiia! Soviet Art Put to the Test is organized by the Art Institute of Chicago and the V-A-C Foundation.

Major support is provided by Caryn and King Harris, The Harris Family Foundation. Additional funding is contributed by Constance R. Caplan, Karen and Jim Frank, and the Tawani Foundation. Annual support for Art Institute exhibitions is provided by the Exhibitions Trust: Neil Bluhm and the Bluhm Family Charitable Foundation; Jay Franke and David Herro; Kenneth Griffin; Caryn and King Harris, The Harris Family Foundation; Liz and Eric Lefkofsky; Robert M. and Diane v.S. Levy; Ann and Samuel M. Mencoff; Usha and Lakshmi N. Mittal; Sylvia Neil and Dan Fischel; Thomas and Margot Pritzker; Anne and Chris Reyes; Betsy Bergman Rosenfield and Andrew M. Rosenfield; Cari and Michael J. Sacks; and the Earl and Brenda Shapiro Foundation. Generous in-kind support for this exhibition is provided by Tru Vue, Inc. and JIT Companies.

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Revoliutsiia! Demonstratsiia! Soviet Art Put to the Test | The Art Institute of Chicago

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This exhibition explores the trajectory of early Soviet art in all its forms and what it tells us about socially minded art now.

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Opinion: 'AI is Destroying the University and Learning Itself' (Current Affairs, 1 Dec 2025)

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Opinion: 'AI is Destroying the University and Learning Itself' (Current Affairs, 1 Dec 2025)

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AI is Destroying the University and Learning Itself

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Students use AI to write papers, professors use AI to grade them, degrees become meaningless, and tech companies make fortunes. Welcome to the death of higher education.

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Analog Media: 'The man who rewinds time: Breathing new life into old memories' (ST, 8 Oct 2025)

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Analog Media: 'The man who rewinds time: Breathing new life into old memories' (ST, 8 Oct 2025)

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The man who rewinds time: Breathing new life into old memories

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Mr Krishna Raj turns old tapes into timeless treasures, keeping the past alive for his customers, one reel at a time.

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One can imagine that for reasons of consistency and because of technical complexities in the Renaissance and Baroque, no translation into dimensions in thumbs, feet and phalanges was made by punchcutters and typefounders.

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This blog provides information about the doctoral research of Frank E. Blokland at Leiden University, usually presented as 'notes on'. The subtitle of this research, which lasted from October 2006 to October 2016 and resulted in this dissertation, is Renaissance Standardisation, Systematisation, and Unitisation of Textura and Roman Type.
Prof.dr. Adriaan van der Weel and Prof. Frans de Ruiter were the supervisors.

In the practice of the current font designer there seems to be quite a bit of emphasis on technical matters, especially on (the standardization of) fonts and related data storage formats. Perhaps this was also the case more than 500 years ago. Blokland's ongoing research is being conducted to test the hypothesis that Gutenberg and his peers have developed a standardized and even unitized system for 'designing' and casting textura types, and that this system was in fact extrapolated for the production of roman type in Renaissance Italy. For this, humanist handwriting was literally cast in intrinsic predetermined standardized proportions. This research aims to prove that technical aspects of Renaissance font production had a direct inﬂuence on the proportions of roman and italic type, and with it the related conditioning that forms the basis of our perception.
Blokland's research not only provides more insight into the origin of Latin (movable) type, but the results can also be used for the production of current digital type, and even for the parametrization of type-design processes. This blog provides practical information and software for applying customizable patterns based on the ones distilled from the archetypal models for roman and italic type.

Hypothesis
The acknowledgement of the central place of the pen in the historical development of type and hence the importance of (knowledge of) writing for the designing of type has been always shared by many in the ﬁeld. There is not much discussion possible about the fact that written letters were initially standardized and eventually formalized by the Renaissance invention of movable type. Berthold Louis Ullman notes in Ancient writing and its inﬂuence (New York, 1932) that the early printers based their fonts on the writing that was current in books of their day. According to Ullman they imitated it as closely as possible so that their product might not suffer by comparison.

This mimicking may have been the case for books printed in Textura types like for instance the ones by Gutenberg, and Fust and Schöffer. After all, the written Textura Quadrata was a perfect model for justifying and casting, because it made the equal distribution of space between the letters when placed on rectangles quite simple. Also the number of character widths can be limited, which makes for instance casting with ﬁxed-width moulds possible. Standardizations and systematizations could have been relatively easy applied on different levels: on punches, matrices, and the casting of Textura type.

The transition from the handwritten Humanistic minuscule to roman type, and later from Humanistic cursive to italic type, must have been more complex than the transition from Textura writing to Textura type if writing was taken literally as basis. But it is actually hard to trace a literal interpretation of Renaissance handwriting in early roman type. Some standardizations in the roman type by for instance the Da Spira brothers and Jenson actually look like the ones in Textura type. Producing roman type with the same scheme in mind as was used for casting the morphologically related Textura type deﬁnitely would have helped to simplify matters.

The hypothesis for this research is that such an approach requires a standardization of the proportions of type, not only in horizontal direction for the characters and their widths, but also in vertical direction for x-height, ascenders and descenders, and capital height. The horizontal and vertical dimensions in type are inextricably related. Basically this could imply that Renaissance type was made on prediﬁned proportional system, which not only made the design part, i.e., the cutting of punches, easier, but also the justiﬁcation of the matrices, the casting of type, and the justiﬁcation of text.

If the existence of systematizations can be proven, this would also help to explain the transition of a profession practiced initially by only one person, i.e., the punchcutter, who manufactured the punches, matrices, and cast the type, into basically three parts: punch cutting, matrix manufacturer/justiﬁer, and caster. The distribution of type all over Europe must have been easier in case spacing-intelligence (an extrapolation of the standardization of character-proportions) was included in the matrices.

The regularity of the written Textura Quadrata made it relatively easy for Gutenberg and consorts to standardize and systematize their movable Gothic type, which was directly based on its written precursor. This standardization and systematization resulted in a calculable horizontal structure, and a translation of this into fixed vertical dimensions (in handwriting vertical boundaries are not very strict). When this was accomplished, it was obvious to apply the same system to the new roman type (and decades later to italic type).
In contrast to the generally embraced theory that 'the mythical eye' of the Renaissance punchcutters interpreted handwritten Humanistic models, are roman and (and to a lesser extent) italic type the result of this standardized process. What we find optically appealing in Latin type is actually partly the result of standardizations applied during the ﬁfteenth-century font production. Our 'eyes' are conditioned with the outcomes, and due to this we consider the roman and italic types from the early days of typography amongst the very best still.

This culminates into the following research questions:

- How were the structures of textura type translated to roman and later italic type?

- How were the handwritten models standardized for roman and italic type?

- To what extent was the Renaissance font production systematized? Did the punchcutters for instance apply relatively sophisticated forms of unitization?

- Did such standardization and systematization preserve optical preferences for form, rhythm, and harmony (distilled from the handwritten origins), or did they create newones due to the forced grid fitting of the written letters, transforming a new basis for the conditioning of 'the eye'?

- How does this theory relate to the generally embraced one, in which the eye of the punchcutter seems to have been the deciding factor, and calligraphic models the templates, and in which Jenson, Griffo, and Garamont, of whom the first was an engraver and the other two were goldsmiths, are subsequently more or less considered type designers?

- Why is it that seventeenth and eighteenth-century descriptions of the type founders' practice by for instance Moxon and Fournier do not mention the aforementioned extrapolation of the textura model, and subsequent standardization of proportions and widths of characters?

- Could there be a direct relation to different ﬁtting methods for type, such as the appliance of 'set patterns', and the deviations of Renaissance proportions in later roman types, such as due to the 'goût Hollandais'?

- If proportions and structures of Renaissance textura, roman, and italic type are the result of standardization, is it -after mapping this standardization- possible to analyze and reproduce related parts of the type design process artificially? If so, what does this tell us about the creative part of the type design process, in which -as mentioned- many believe that the eye rules?

Central argument
The central argument of Blokland's dissertation is that the harmonic and rhythmic rules for grapheme systems and subsequently for typography, and the related conditioning, which forms the basis for the 'mythical eye' of the type designer (or 'the supreme judge', as Pierre Simon Fournier named it in his Manuel Typographique [1764-1766]), always are relative to the applied models. The underlying patterns of these models are the result of evolution, changes in taste, and (the moments in history of) technical innovations. What is considered to be harmonic, rhythmic, and esthetical in type is merely the result of conditioning, i.e., cultural habituation, of their creators, i.e., type designers, their appliers, i.e., typographers, and their users, i.e., readers. If harmony and rhythm would be absolute matters, there wouldn't be so many differences between scripts.

In case of the Latin script, graphemes were formalized and ﬁxed by the Italian Renaissance punchcutters Nicolas Jenson and Francesco Griffo. Their archetypes were, and still are -directly or indirectly- the prototypes for later variants, such as made by for instance by the 16th-century punchcutter Claude Garamont, the 17th-century punchcutter Christoffel van Dijck, and the 20th-century type designer Jan van Krimpen, just to name a few. The way type designers, typographers, and readers look at type is subsequently also ﬁxed by forenamed Italian Renaissance punchcutters.

Note: the Garamont model is still preferred 'today as the most natural and invisible of typefaces', as Prof.dr. Vervliet wrote in the Journal of the Printing Historical Society in 1965. As such this is perhaps a bit curious, because one would expect that over time the model would become more crystallized and sophisticated, and therefore more preferred. This is clearly not the case with the models from Garamont and his Italian precursors, which we, as mentioned, are so much familiar with.

In the dissertation all facets of harmony in formal representations of the Latin script are described. This is basically unexplored territory. The underlying structures of type in use since the moment that the invention of movable type was introduced in Italy in the ﬁfteenth century have not been coherently mapped so far. Attempts have been made to capture letter forms into geometric models, like the reconstructions of the Roman imperial capitals by for instance Felice Feliciano, Luca de Paciolli, Albrecht Dürer, Giovan Francesco Cresci, and many other Renaissance artists, calligraphers, and scholars. There were also the geometric patterns by the Académie des Sciences for the construction of roman type during the passage from the seventeenth to the eighteenth century.
However, these Renaissance and Baroque pattern-descriptions were absolute, i.e., they were meant to describe and deﬁne certain letter forms via outlines created with ruler and compass. The mutually different patterns for basically the same capital letter forms from Feliciano and consorts, and later the ones by Jaugeon's committee for roman type, did not serve as generic models for describing the underlying structures, but their purpose was to provide speciﬁc construction methods for speciﬁc letter forms. So, the structure of these letter forms were ﬁxed and the patterns were not meant for further modiﬁcation.

By contrast the present research comprises the development of software for parametrized type design, and for measuring and analyzing (digital) type and typography. As mentioned, this site provides some more insight into Blokland's research, and it reveals a couple of the models and patterns he developed over the years.

Research Methodology
Some of the models that also can be found on this site are purely theoretical, and others are the result of empirical research. For distilling information from historical type, like proportional and rhythmic systems, Blokland measured punches, matrices, prints, and even digital revivals. For measuring standardizations of width and possible unitizations of matrices and type, only the research of this metal material makes sense, of course. For measuring the proportions within the body, i.e., the relation between the x-height of the lowercase, the capital-height and the length of the ascenders and descenders, punches, matrices, prints and also meticulously made revivals can be used.

To prove the application of standardized widths in Renaissance type Blokland started measuring type by Claude Garamont and Hendrik van den Keere in the collection of the Museum Plantin-Moretus. Although this type is attributed to the 16th-, or at latest the 17th-century, it is not possible to be completely sure about the age. For dating the C14 technique can't be applied, because there is simply not enough carbon in the alloys. Basically this problem was of limited importance for Blokland's research, because the idea is that the standardization of the matrices determines the widths of the cast type, but to circumvent it completely type was cast from the original 16th-century matrices.

For those who consider Blokland's research to be primarily focused more on the technical fundamentals of type design than on the artistic aspects, it is perhaps good to know that he is by origin a calligrapher, lettering artist, and type designer. The small -relatively arbitrary- selection from Blokland's œuvre presented in his biography , proves his work never suffered from dogmatically applied patterns and grids, although sometimes the use of these was unavoidable.

It should be noted that although Blokland has formal permission from his Dean and his supervisor to publish material from his research here, the information provided is not in any way ofﬁcially approved or endorsed by Leiden University.
Some of the (in the meantime updated) information provided here has been published earlier on for instance the Typophile forum, and on the ATypI members list. Also some of the theories and images were presented by Blokland during talks at conferences on type and typography, such as the ATypI conferences in St. Petersburg (2008), Dublin (2010), and Reykjavik (2011), and at the Type[&]Design 2009 conference in The Hague.
Please note that everything exposed here, from content to structure and design, can -and probably will- be subject to changes (see also Terms of use above). After all, this is work in progress, and a blog is a dynamic medium, of course. Furthermore the info is provided as snippets, i.e., excerpts from the dissertation currently under development.

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On the Origin of Patterning in Movable Latin Type

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This blog provides information about the doctoral research of Frank E. Blokland at Leiden University, usually presented as 'notes on'. The subtitle of this research, which lasted from October 2006 to October 2016 and resulted in this dissertation, is Renaissance Standardisation, Systematisation, and Unitisation of Textura and Roman Type.

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News: ‘Byte-size’ plants: Singapore Herbarium goes online (ST)

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News: ‘Byte-size’ plants: Singapore Herbarium goes online (ST)

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"It would take eight people 10 years to do what this system now does in about a year," says Dr Jana Leong-Skornickova, keeper of the herbarium.

Between October and November, I get to try the technology and explore the herbarium, which is located near the southern side of the Singapore Botanic Gardens.

"Some people think it's a plant or herbal shop," Dr Leong-Skornickova (below) says with a smile. "We are the guardians of plant knowledge."

The Singapore Herbarium is a specialised research facility that safeguards around 800,000 preserved specimens of plants and fungi. The specimens are being scanned as part of the herbarium's largest digitalisation effort.

Stepping inside the herbarium, I am greeted by dozens of tall metal cabinets. Their shelves are stacked with plastic boxes holding plant specimens collected from across South-east Asia, New Guinea, East Asia, the South-west Pacific and beyond.

Within the herbarium is the Rare Collection Room for type specimens, or the official representatives of a species that researchers consult when describing plant species new to science.

A type specimen serves as the original record of a plant's name. Researchers must return to it, much like checking against someone's fingerprint, to trace and confirm a plant's identity.

So, what determines whether a plant is a tomato or a potato? The answer lies in the type specimen.

"The Singapore Herbarium was built by many generations of people in the past for the future of people, because our lives depend on plants," says Dr Leong-Skornickova.

"We cannot live without plants: They are food, medicine - almost everything we use comes from plants in one way or another. Even the steak we eat comes from plants. No grass, no cow; no cow, no steak."

Identifying plants is also essential for documenting our biodiversity, and for research on food security, climate change and conservation.

Hospitals occasionally turn to the herbarium for guidance on plants eaten by patients who fall ill after misidentifying inedible plants as edible ones. The herbarium helps identify the plant, allowing doctors to provide the right treatment.

"I will show you a plant (type) specimen dear to my heart," says Dr Leong-Skornickova, holding up a Zingiber singapurense Skornick, or Singapore ginger.

The label (below) is the most important part of the specimen, says Dr Leong-Skornickova. "A specimen without a label is not a specimen," she adds, "because the label tells you where and when the specimen was collected. Everything is tied to the label. Without it, the plant itself is not really valuable."

To make the role of a herbarium easier to understand, Dr Leong-Skornickova asks me if I drink coffee.

She explains that if a particular coffee bean variety is threatened by climate change or disease, researchers can use herbarium records to identify its closest relatives and origin.

Locally, as nature continues to blend with urban environments, the National Parks Board uses herbarium data to study invasive species and their impact on biodiversity.

The current digitisation set-up involves a box enclosure with a high-resolution camera mounted above. The process is much slower than the conveyor belt imaging system.

To prepare for scanning on the conveyor belt, sheets with QR codes are placed on 22,000 "SING Boxes", or specially designed plastic containers (below). These codes help with identifying the location of the specimens.

Founded in 1875 by the Botanic Gardens' then superintendent Henry James Murton, the Singapore Herbarium was the first of its kind in British Malaya.

It houses specimens dating back 230 years, including cotton, jasmine, blue pea, indigo and tamarind.

The herbarium comprises specimens collected in South-east and South Asia, with about 80 per cent originating from Singapore, Peninsular Malaysia, Borneo and the broader Malesia region.

The remainder includes specimens from Papuasia, Indochina, the Indian sub-continent, temperate Asia and beyond.

Specimens are collected in Singapore as well as on expeditions abroad.

During field collection, a staff member will be tasked with gathering a specimen, while another will take notes for labelling and storing the specimen.

Back at the herbarium, the specimens are trimmed, labelled and pressed together in a plant press. The plant press can hold multiple layers of plants, which are secured with a strap. The press will then be placed in an oven for drying.

Once dried, the plants will be mounted on acid-free paper, labelled and secured with archival tape.

Dr Leong-Skornickova is excited for the future. When digitisation is completed by 2027, the high-resolution images and data will form the largest online database of plant specimens in South-east Asia.

With the information digitised and paired with artificial intelligence, researchers can trawl through the data to study everything from biodiversity, ecology and climate change to shifts in flowering patterns, species distribution and food security.

The herbarium and the neighbouring Library of Botany and Horticulture will expand by about 40 per cent, creating space for 300,000 more specimens. With around 5,000 new specimens collected annually, this expansion secures capacity for the next 50 years.

Even after 150 years, discoveries continue. "It's mind-boggling," says Dr Leong-Skornickova. "It shows just how rich our tropical forests and biodiversity truly are."

Seeing how delicate the older plant specimens are, it goes to show how digitisation can preserve fragile specimens.

In some cases, scientists do not even need to see the physical specimens, thereby reducing handling. There have also been cases where herbaria have lost specimens while sending them overseas.

The database will make plant information accessible to researchers from developing countries who may not be able to visit Singapore.

Just like photojournalists create material to study in the future, scanning plant specimens allows researchers to study plants in new ways. High-resolution images reveal intricate details, offering fresh ways to appreciate nature.

Beyond Singapore, the herbarium's data contributes to global plant studies. "Singapore is small, but what happens in neighbouring countries affects us and our food resources. Four thousand herbaria around the world hold all the knowledge we have about plants on this planet," says Dr Leong-Skornickova.

Donors who contribute at least $1,000 through a fund-raising campaign named "Herbarium in your Pocket" will receive a limited-edition collectible, with a preserved specimen from the iconic tembusu tree featured on Singapore's $5 note.

Staff collect and mount each specimen by hand before labelling it with a serialised collection number printed with ink drawn from the same tree.

Visitors can watch the scanning from a viewing gallery, Mondays to Fridays, 9am to 5pm, excluding public holidays. The accompanying exhibition, Pressed In Pixels: Digitalising The Singapore Herbarium, runs until August 2026.

The digital images of the plant specimens were acquired with Picturae's conveyor belt and automated specimen scanning technology.

Special thanks to the Singapore Botanic Gardens and Picturae for access to this equipment and for their sharing and technical support. The team includes Dr Jana Leong-Skornickova, Mr Ethan Eng and Dr Louise Neo from the Singapore Herbarium, as well as Mr Victor Shields from Picturae.

# data[].attributes.attachment_link.title
'Byte-size' plants: Singapore Herbarium goes online

# data[].attributes.attachment_link.description
Some 800,000 dried plant specimens from the 150-year-old Singapore Herbarium are being digitised using Picturae's conveyor belt imaging system. Photojournalist Shintaro Tay takes a behind-the-scenes look at the process and tries his hand at digitising the specimens.

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Exposicion: Serigrafias de Avilio Cajigas Lugo (Carlos Raquel Rivera)

# data[].attributes.attachment_link.description
It’s always a little weird when one artist/designer designs a silkscreen for an exhibition of silkscreens by another artist/designer. But that’s what we have here as Carlos Raquel Rivera has made this beauty for a 1968 show of silkscreens by Avilio Cajigas Lugo. Zoom!

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Meet Majulah — a love letter to Singapore’s streets and stories.

# data[].attributes.headline
Cities: 'Zohran Mamdani and the Revenge of the Struggling Yuppie' (NYT, 7 Nov 2025)

# data[].attributes.subject
Cities: 'Zohran Mamdani and the Revenge of the Struggling Yuppie' (NYT, 7 Nov 2025)

# data[].attributes.headline
Subcultures: 'Salaam From the Vanguards of the Digital Diaspora: The Subculture of WhatsApp Aunties' (Pilot Magazine, 2025)

# data[].attributes.subject
Subcultures: 'Salaam From the Vanguards of the Digital Diaspora: The Subculture of WhatsApp Aunties' (Pilot Magazine, 2025)

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Salaam From the Vanguards of the Digital Diaspora: The Subculture of WhatsApp Aunties | PILOT Magazine

# data[].attributes.attachment_link.description
If you win the rat race, you're still a rat. Pilot is an experimental art and culture magazine, and an analog-first creative engine.

# data[].attributes.headline
Branding: "Why brands are going custom with type" (Creative Boom, 8 Oct 2025)

# data[].attributes.subject
Branding: "Why brands are going custom with type" (Creative Boom, 8 Oct 2025)

# data[].attributes.body
Case studies: Heinz, Mozilla

# data[].attributes.attachment_link.description
With the help of Studio DRAMA, we explore why typography has shifted from a

# data[].attributes.headline
Southeast Asia: 'What Southeast Asian history tells us about a multipolar order' (Aeon Essays, 30 Oct 2025)

# data[].attributes.subject
Southeast Asia: 'What Southeast Asian history tells us about a multipolar order' (Aeon Essays, 30 Oct 2025)

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What Southeast Asian history tells us about a multipolar order | Aeon Essays

# data[].attributes.attachment_link.description
As Pax Americana ends, a multipolar order is emerging. The history of Southeast Asia holds lessons for what’s to come

# data[].attributes.headline
Technology & Society: 'The Secret Life of the Office' (Tim Hunkin, 1987)

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Technology & Society: 'The Secret Life of the Office' (Tim Hunkin, 1987)

# data[].attributes.body
Description: This is the final Episode of 1The secret Life of Machines' to be launched in the Remastered format. This episode was an experiment -more social history than technology.

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The Secret Life of the Office - Remastered

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Courses: Online Type Design Course (free) by Lynne Yun

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Courses: Online Type Design Course (free) by Lynne Yun

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An accessible online course that covers the foundations of latin type design.

# data[].attributes.headline
Data Journalism (internet culture): 'The Aftermath of a YouTube Apology' (The Pudding)

# data[].attributes.subject
Data Journalism (internet culture): 'The Aftermath of a YouTube Apology' (The Pudding)

# data[].attributes.attachment_link.description
Quantifying the lasting impact of a YouTube controversy.

# data[].attributes.attachment_link.description
The Pudding explains ideas debated in culture with visual essays.

# data[].attributes.attachment_link.title
RAL COLOUR FEELING 2027+ Launch Event | English

# data[].attributes.headline
Handwriting: 'ABC Stefan: Digitizing Artist Stefan Marx’s Handwriting' (Dinamo Typefaces 2025)

# data[].attributes.subject
Handwriting: 'ABC Stefan: Digitizing Artist Stefan Marx’s Handwriting' (Dinamo Typefaces 2025)

# data[].attributes.attachment_link.title
ABC Stefan: Digitizing Artist Stefan Marx’s Handwriting

# data[].attributes.attachment_link.description
ABC Stefan is the results of a long-standing project for which we digitized contemporary artist Stefan Marx’s handwriting as a font. Others can now use…

# data[].attributes.headline
'Dollars Over Dreams? It’s a Material World for Gen Z Singaporeans' (Blackbox Research 2024)

# data[].attributes.subject
'Dollars Over Dreams? It’s a Material World for Gen Z Singaporeans' (Blackbox Research 2024)

# data[].attributes.attachment_link.title
Blackbox Research — Dollars Over Dreams? It’s a Material World for Gen Z Singaporeans

# data[].attributes.attachment_link.description
How do priorities shift across generations? Gen Z craves more money while older folks opt for health and wisdom. Find out in our recent ASEANScan.

# data[].attributes.headline
Greece: 'Athens 2004 Opening Ceremony' (Olympics)

# data[].attributes.subject
Greece: 'Athens 2004 Opening Ceremony' (Olympics)

# data[].attributes.attachment_link.title
Athens 2004 Opening Ceremony - Full Length | Athens 2004 Replays

# data[].attributes.body
Analog algorithm : source-related grid systems

concept: graphiation

# data[].attributes.headline
'Visual hierarchy for maps' (ArcGIS Blog 2024)

# data[].attributes.subject
'Visual hierarchy for maps' (ArcGIS Blog 2024)

# data[].attributes.body
via Shawn

# data[].attributes.attachment_link.description
Three short videos that explain visual hierarchy through examples in ArcGIS Online.

# data[].attributes.headline
Research: "Short Syllabus in Colour Research" (Saara Pyykkö, Apr 2024, ark) 

# data[].attributes.subject
Research: "Short Syllabus in Colour Research" (Saara Pyykkö, Apr 2024, ark) 

# data[].attributes.body
Excerpt: In architecture, colour design is often designated as one of the most difficult areas of design. The reason behind this reserve is that colour design involves not only the colours and materials of a building but also the ways in which these will be perceived and experienced in varying circumstances. While the result of the colour design can be a list of colours and materials, it is not just a question of colouring. Architectural colour research is currently not as well utilized in design practice as it should be. In order to communicate a specific design strategy, we should first adopt clear and unambiguous terminology.

# data[].attributes.attachment_link.description
The research-based colour design is weakly known in Finland. Colour researcher Saara Pyykkö shares her insights on what an architect should know about colour.

# data[].attributes.headline
Playlist: James Mosley's History of Letterforms (YouTube)

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Playlist: James Mosley's History of Letterforms (YouTube)

# data[].attributes.body
About: James Mosley’s lectures on the history of letterforms were delivered in the Department of Typography & Graphic Communication over many years. They represent the sequence of lectures given by Prof. Mosley to students over the course of one academic year. In 2020–21, they were recorded as still images with voice-over. Following Prof. Mosley’s death in August 2025, the Department is pleased to make the recordings generally available in agreement with the Mosley estate.

# data[].attributes.attachment_link.title
Commercial Classics on Instagram: "https://www.youtube.com/playlist?list=PLh8Q6TpPxtgxSG6DEuOrH9iKx9bh6Pr7G

James Mosley’s lectures on the history of letterforms were delivered in the Department of Typography & Graphic Communication over many years. They represent the sequence of lectures given by Prof. Mosley to students over the course of one academic year. In 2020–21, they were recorded as still images with voice-over. Following Prof. Mosley’s death in August 2025, the Department is pleased to make the recordings generally available in agreement with the Mosley estate.

All content © University of Reading and the James Mosley Estate"

# data[].attributes.attachment_link.description
Get an in-depth look at the evolution of letterforms with James Mosley's comprehensive lectures. Delve into the history of letterform development, from ancient scripts to modern typography, and gain valuable insights into the world of typography. With expert insights from the renowned James Mosley, this lecture series is a must-watch for designers, historians, and anyone interested in the world of letters.

# data[].attributes.attachment_link.embed_code
View this post on Instagram

A post shared by Commercial Classics (@commercialclassics)

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Events: "Inscript Type & Tech Festival" (online; 15–19 Oct 2025)

# data[].attributes.subject
Events: "Inscript Type & Tech Festival" (online; 15–19 Oct 2025)

# data[].attributes.body
URL: https://inscript.tf/

Register (40 EUR): https://buy.stripe.com/dRm6oIbhv5He4hA9If5Vu02

Description: Inscript—the go-to virtual event for all things at the overlap of technological and typographic innovation—is back for its fourth year.

# data[].attributes.attachment_link.description
Inscript is an inaugural type festival taking place online between October 12th and 16th. Inscript explores on the overlap of technology and type, celebrating cutting edge and experimental typographic works across mediums.

# data[].attributes.headline
Visual explanations: "Behind the scenes: Analysing your handwriting" (ST, 10 Jul 2025)

# data[].attributes.subject
Visual explanations: "Behind the scenes: Analysing your handwriting" (ST, 10 Jul 2025)

# data[].attributes.body
Lead: The Straits Times Digital Graphics Team analysed the handwriting of 90 participants to understand the differences in styles and attitudes towards handwriting in an increasingly digital age. Here’s how we did it.

Keywords: data journalism

# data[].attributes.attachment_link.authors[].name
Sandy Ng, Youjin Shin, Kimberly Wee, Tang Hao Liang AND

# data[].attributes.attachment_link.description
How The Straits Times analysed handwriting samples to build an experiment that tells us more about you.

# data[].attributes.headline
Exhibition: "Alexey Brodovitch: Astonish Me" (The Barnes Foundation, 3 Mar-19 May 2024)

# data[].attributes.subject
Exhibition: "Alexey Brodovitch: Astonish Me" (The Barnes Foundation, 3 Mar-19 May 2024)

# data[].attributes.body
About: Alexey Brodovitch (American, born Russia, 1898–1971) was a graphic designer, instructor, illustrator, and photographer who spent formative periods of his career in Paris, Philadelphia, and New York. His artistic pursuits were surprising and diverse, in an era when creatives were free to experiment across media. Brodovitch is perhaps known best for being the art director of the US fashion magazine Harper’s Bazaar for nearly a quarter century (1934–58). ...

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Special exhibitions at the Barnes. Photography and design by influential 20th-century art director and educator Alexey Brodovitch. March 3–May 19, 2024.

# data[].attributes.headline
Report: Indonesia Gen-Z Report 2024 (IDN Research Institute)

# data[].attributes.subject
Report: Indonesia Gen-Z Report 2024 (IDN Research Institute)

# data[].attributes.body
URL: https://cdn.idntimes.com/content-documents/indonesia-gen-z-report-2024.pdf

# data[].attributes.headline
Title: "A Philosophy of Communication of Social Media Influencer Marketing: The Banality of the Social" (Sudnick 2023)

# data[].attributes.subject
Title: "A Philosophy of Communication of Social Media Influencer Marketing: The Banality of the Social" (Sudnick 2023)

# data[].attributes.body
Description: Social media influencer marketing emerged in Web 2.0 as a new form of celebrity endorsement in which the Internet-famous create word-of-mouth marketing for brands and organizations on their personal social media pages, blurring the line between organic and sponsored content for their followers. This book explores social media influencer marketing through the lens of philosophy of communication with a praxis-centered approach. ...

# data[].attributes.attachment_link.title
A Philosophy of Communication of Social Media Influencer Marketing

# data[].attributes.attachment_link.description
Social media influencer marketing emerged in Web 2.0 as a new form of celebrity endorsement in which the Internet-famous create word-of-mouth marketing for bran…

# data[].attributes.headline
Conference: 'Typography Theory Practice' (Sat 25 Oct 2025, Leeds School of Arts) 

# data[].attributes.subject
Conference: 'Typography Theory Practice' (Sat 25 Oct 2025, Leeds School of Arts) 

# data[].attributes.body
About: Organised by Fraser Muggeridge, Professor of Design, Leeds Beckett University, this conference aims to bring typographic theory and practice closely together across a range of contexts and applications.

Presentations by Julian Bittiner, Ruth Blacksell, David Cabianca, Filipe Campos, Roy Chan, Matthew Chrislip, Paul Finn, Joost Grootens, Marta Guidotti, Holger Jacobs, Matthias Kreutzer, James Langdon, Hector Mangas, Chloé Motard, Louise Paradis, Amrit Randhawa, Rebecca Ross, Nahal Sheikh, Ane Thon Knutsen, Barrie Tullett, Elena Veguillas.

# data[].attributes.attachment_link.description
A one-day conference at Leeds School of Arts, Leeds Becket University, on Saturday 19 October 2024 exploring how typographic theories and propositions can manifest in practice, can be used to explain practice, and become practice. The conference aims to bring typographic theory and practice closely together across a range of contexts and applications.

# data[].attributes.attachment_link.title
Type Du Nord | Type Foundry on Instagram: "In today’s email, I asked some of my type designer friends to share their sketchbooks with us and they truly delivered!! Go check it out and follow all these cool people if you don’t already! 

💌💌💌

@spacetypeco @aniciaclean @marthasuecoursey @ohnotypeco @tortilla.studio @adriana.garciduenas @__tam.s @overlaptype @sophiatypelove"

# data[].attributes.attachment_link.description
196 likes, 10 comments - typedunord on March 28, 2025: "In today’s email, I asked some of my type designer friends to share their sketchbooks with us and they truly delivered!! Go check it out and follow all these cool people if you don’t already! 

💌💌💌

@spacetypeco @aniciaclean @marthasuecoursey @ohnotypeco @tortilla.studio @adriana.garciduenas @__tam.s @overlaptype @sophiatypelove". 

# data[].attributes.attachment_link.embed_code
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# data[].attributes.headline
Style: "The historical origins of the de-cluttered home" (Dominic Lutyens, BBC, 2023)

# data[].attributes.subject
Style: "The historical origins of the de-cluttered home" (Dominic Lutyens, BBC, 2023)

# data[].attributes.attachment_link.title
The historical origins of the de-cluttered home

# data[].attributes.attachment_link.description
Religion, art and politics have all led to the minimalist idea of “less is more”. Dominic Lutyens explores the ideas and aesthetics behind pared-back simplicity.

# data[].attributes.headline
Explainer: "How One Piece Is Shaping A Generation of Protests" (Warfronts, 20 Sep 2025)

# data[].attributes.subject
Explainer: "How One Piece Is Shaping A Generation of Protests" (Warfronts, 20 Sep 2025)

# data[].attributes.attachment_link.title
How One Piece Is Shaping A Generation of Protests

# data[].attributes.headline
Lettering: A Guide to Sinistral Hand (Phaedra Charles)

# data[].attributes.subject
Lettering: A Guide to Sinistral Hand (Phaedra Charles)

# data[].attributes.body
via Clemence

# data[].attributes.attachment_link.title
Difference Engine on Instagram: "MA, PA, DELAYED AKO
Written & Illustrated by Hansel Dimapilis (@justhanselart)

Study hard. Graduate. Get a job. Sound familiar? The path you thought you knew can seem so simple until all the zig-zags are revealed along the way. This comic is for anyone out there who has felt the pressure to stay “on track” and needs a reminder that sometimes, it’s okay to go with the flow🏄‍♀️

 ✨Read the comic in “DELAY: A Comics Anthology”, available for preorder till 6 October from differenceengine.sg and @wormholesg (links in bio).

#DifferenceEngineSg #DEComics #southeastasiancomics #comicartists #DELAYanthology #anthology #komiks"

# data[].attributes.attachment_link.description
91 likes, 4 comments - differenceenginesg on September 15, 2025: "MA, PA, DELAYED AKO
Written & Illustrated by Hansel Dimapilis (@justhanselart)

Study hard. Graduate. Get a job. Sound familiar? The path you thought you knew can seem so simple until all the zig-zags are revealed along the way. This comic is for anyone out there who has felt the pressure to stay “on track” and needs a reminder that sometimes, it’s okay to go with the flow🏄‍♀️

 ✨Read the comic in “DELAY: A Comics Anthology”, available for preorder till 6 October from differenceengine.sg and @wormholesg (links in bio).

#DifferenceEngineSg #DEComics #southeastasiancomics #comicartists #DELAYanthology #anthology #komiks". 

# data[].attributes.attachment_link.embed_code
View this post on Instagram

A post shared by Difference Engine (@differenceenginesg)

# data[].attributes.attachment_caption
initial research on Instagram: "Join us for an evening program organized by our 2025/2026 fellow te editions @te.editions . The founders of Reliable Copy (India) @reliablecopy and Further Reading (Indonesia) @further.reading.press will visit initial research to share their practices through talks and a workshop.Sarasija Subramanian, founder of Reliable Copy,  will introduce Reliable Copy’s (Fine) Arts Dissertations Series, facsimiles of graduate-level college dissertations by artists from The Maharaja Sayajirao University of Baroda (Gujarat, India), the first art college established in India post-Independence. Functioning as an early mode of artists’ writing which encouraged articulation, research, reflection, rigour, and documentation as key modes of learning within the largely studio-based programme, the dissertation was—and continues to be—a component which encouraged students to reflect on their studio practice and processes.

# data[].attributes.headline
Talk/workshop: 'Making on the Edge: Publishing Potentials in Asia' (NY, 16 Sep 2025)

# data[].attributes.subject
Talk/workshop: 'Making on the Edge: Publishing Potentials in Asia' (NY, 16 Sep 2025)

# data[].attributes.attachment_link.title
initial research on Instagram: "Join us for an evening program organized by our 2025/2026 fellow te editions @te.editions . The founders of Reliable Copy (India) @reliablecopy and Further Reading (Indonesia) @further.reading.press will visit initial research to share their practices through talks and a workshop.

Sarasija Subramanian, founder of Reliable Copy,  will introduce Reliable Copy’s (Fine) Arts Dissertations Series, facsimiles of graduate-level college dissertations by artists from The Maharaja Sayajirao University of Baroda (Gujarat, India), the first art college established in India post-Independence. Functioning as an early mode of artists’ writing which encouraged articulation, research, reflection, rigour, and documentation as key modes of learning within the largely studio-based programme, the dissertation was—and continues to be—a component which encouraged students to reflect on their studio practice and processes.

Januar Rianto, founder of the Indonesian publishing house Further Reading, will share his own practice and lead a workshop titled Collective Index. In this workshop, participants collaboratively create the index of a book that doesn’t exist. Instead of writing the main text, they invent its back matter—entries, cross-references, and fragments that hint at what the book could be. This approach shifts attention away from conventional storytelling toward a speculative structure, resulting in a “publication” that is at once playful, critical, and open-ended.

✅RSVP link in bio. 

🗓Tuesday, September 16, 5-7:30 PM
5:00 - 6:30 PM: Talks by Sarasija Subramanian (Reliable Copy) and Januar Rianto (Further Reading)
6:30 - 7:30 PM: Workshop with Januar Rianto (Further Reading)

📍41 Wooster Street, Floor 2, New York, NY 10013.

____
Image 3: Reliable Copy’s (Fine) Art Dissertation Series 
Image 4: Portrait by Roll Roland
Image 5: Publications by Further Reading"

# data[].attributes.attachment_link.description
358 likes, 1 comments - initialresearch on September 9, 2025: "Join us for an evening program organized by our 2025/2026 fellow te editions @te.editions . The founders of Reliable Copy (India) @reliablecopy and Further Reading (Indonesia) @further.reading.press will visit initial research to share their practices through talks and a workshop.

Sarasija Subramanian, founder of Reliable Copy,  will introduce Reliable Copy’s (Fine) Arts Dissertations Series, facsimiles of graduate-level college dissertations by artists from The Maharaja Sayajirao University of Baroda (Gujarat, India), the first art college established in India post-Independence. Functioning as an early mode of artists’ writing which encouraged articulation, research, reflection, rigour, and documentation as key modes of learning within the largely studio-based programme, the dissertation was—and continues to be—a component which encouraged students to reflect on their studio practice and processes.

Januar Rianto, founder of the Indonesian publishing house Further Reading, will share his own practice and lead a workshop titled Collective Index. In this workshop, participants collaboratively create the index of a book that doesn’t exist. Instead of writing the main text, they invent its back matter—entries, cross-references, and fragments that hint at what the book could be. This approach shifts attention away from conventional storytelling toward a speculative structure, resulting in a “publication” that is at once playful, critical, and open-ended.

✅RSVP link in bio. 

🗓Tuesday, September 16, 5-7:30 PM
5:00 - 6:30 PM: Talks by Sarasija Subramanian (Reliable Copy) and Januar Rianto (Further Reading)
6:30 - 7:30 PM: Workshop with Januar Rianto (Further Reading)

📍41 Wooster Street, Floor 2, New York, NY 10013.

____
Image 3: Reliable Copy’s (Fine) Art Dissertation Series 
Image 4: Portrait by Roll Roland
Image 5: Publications by Further Reading". 

# data[].attributes.attachment_link.embed_code
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# data[].attributes.headline
New title: MacGuffin Magazine Nº 15 (theme: The Stich; 2025)

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New title: MacGuffin Magazine Nº 15 (theme: The Stich; 2025)

# data[].attributes.attachment_link.title
MacGuffin - The Life of Things on Instagram: "MacGuffin Magazine Nº 15 – our 10th anniversary edition is out today! Time to visit your local bookstore, and dive in a magazine entirely devoted to a modest gesture with an expansive reach: the stitch. It connects and repairs, unravels and reveals, speaks
where words fall short.

Featuring contributions from voices across disciplines and cultures, including Tanveer Ahmed, Line Arngaard, Kader Attia, Simona Bortis-Schultz, Rachel Dedman, Olivia Douglass, Jessica Hemmings, Chris Kabel, Ilona Keserü, Emily King, Masaki Komoto, Wietske Maas, Maria McLintock, Rosa Menkman, Johannes Reponen, Scheltens & Abbenes, Nina van de Ven, Hanka van der Voet – and many more.

176 p, 210 x 275 mm, English, SRP Europe € 24, ISSN 2405-8203. Link in bio.

Printed by @robstolk.amsterdam, lithography by @mariskabijl 

#macguffinmagazine 
#thelifeofthings 
#thestitch 
#magazine"

# data[].attributes.attachment_link.description
2,589 likes, 55 comments - macguffinmagazine on September 9, 2025: "MacGuffin Magazine Nº 15 – our 10th anniversary edition is out today! Time to visit your local bookstore, and dive in a magazine entirely devoted to a modest gesture with an expansive reach: the stitch. It connects and repairs, unravels and reveals, speaks
where words fall short.

Featuring contributions from voices across disciplines and cultures, including Tanveer Ahmed, Line Arngaard, Kader Attia, Simona Bortis-Schultz, Rachel Dedman, Olivia Douglass, Jessica Hemmings, Chris Kabel, Ilona Keserü, Emily King, Masaki Komoto, Wietske Maas, Maria McLintock, Rosa Menkman, Johannes Reponen, Scheltens & Abbenes, Nina van de Ven, Hanka van der Voet – and many more.

176 p, 210 x 275 mm, English, SRP Europe € 24, ISSN 2405-8203. Link in bio.

Printed by @robstolk.amsterdam, lithography by @mariskabijl 

#macguffinmagazine 
#thelifeofthings 
#thestitch 
#magazine". 

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# data[].attributes.headline
Sketching: type designer Troy Leinster on sketching type (demo)

# data[].attributes.subject
Sketching: type designer Troy Leinster on sketching type (demo)

# data[].attributes.body
Related to: TypeCooker

# data[].attributes.attachment_link.title
Troy Leinster on Instagram: "Let’s sketch a humanist font!

A humanist font is all about the pen angle

Sketch on a 30 degree angle to help you identify where thew contrast goes

Notice the thin strokes appear top left and bottom right?
 Build up your sketch so it looks more like a font than it does a sketch

Use pen so it’s nice and black, pencil is too grey and will not give you enough contrast"

# data[].attributes.attachment_link.description
176 likes, 2 comments - leinstertype on September 8, 2025: "Let’s sketch a humanist font!

A humanist font is all about the pen angle

Sketch on a 30 degree angle to help you identify where thew contrast goes

Notice the thin strokes appear top left and bottom right?
 Build up your sketch so it looks more like a font than it does a sketch

Use pen so it’s nice and black, pencil is too grey and will not give you enough contrast". 

# data[].attributes.attachment_link.embed_code
View this post on Instagram

A post shared by Troy Leinster (@leinstertype)

# data[].attributes.headline
News: 'Computing to be offered as elective subject to upper secondary students in S’pore from 2026' (ST, 8 Sep 2025)

# data[].attributes.subject
News: 'Computing to be offered as elective subject to upper secondary students in S’pore from 2026' (ST, 8 Sep 2025)

# data[].attributes.attachment_link.readable_text
SINGAPORE - From 2026, all upper secondary students can opt to do computing as an elective subject, in a bid to equip students with increasingly important digital and computational thinking skills.

Previously offered only to students taking G3 subjects, or those in the Express course, it will now include students taking G2 subjects as well.

Students now take subjects at G1, G2 or G3 levels, which are broadly mapped from the Normal (Technical), Normal (Academic) and Express standards, respectively.

Mr Ong Kong Hong, the Ministry of Education's (MOE) divisional director of curriculum planning and development division 1, said: "The syllabuses seek to develop students' appreciation of computing as a creative field while raising their awareness of cyber security, emerging technology and the impact of computing."

Other life skills, such as inventive thinking, communication, as well as striving for accuracy and thoroughness, will also be honed through the subject, he added.

The content covered increases in complexity and depth across the three levels.

G1 computing will replace the computer applications (CPA) subject, which is currently taken by students in the Normal (Technical) course. The subject was discontinued after the 2023 Secondary 1 cohort.

G1 computing will be similar to CPA, with some revisions in topics.

About 1,300 students from some 60 schools currently take O-level computing, which will now be known as G3 computing.

They include about 90 Secondary 3 students who take the subject in school-based centres as part of a pilot in 2025 allowing more students to enrol.

G2 computing includes new content that would be useful in everyday life and develop deeper computational thinking skills, said Mr Ong.

"For example, students will engage in physical computing using microcontrollers to practise computational problem-solving in authentic real-world contexts."

G1 computing exposes students to cloud computing and emerging technologies such as artificial intelligence (AI).

Noor Arissa, a Secondary 3 student from Jurong West Secondary School, discovered computing and coding in 2024 through her school's Applied Learning Programme, where she learnt to program robots. The programme is meant to help students connect academic knowledge and skills with the real world.

The 15-year-old decided to do G3 computing, which she describes as "different from her other subjects".

Jurong West Secondary student Noor Arissa, 15, with her computing teacher, Madam Angeline Kiew.

ST PHOTO: NG SOR LUAN

"One thing I like about it is how creative you can get... There are many ways to solve one problem, but you need to find out which way is the best," she said.

Her computing teacher, Madam Angeline Kiew, said interest in the subject has been strong. About 60 upper secondary students are currently doing G3 computing in the school.

In a recent survey by her school, more than 60 Secondary 2 students indicated interest in taking G2 computing in 2026.

Based on the survey results, about 30 students are expected to take G1 computing, and more than 20 would like to do G3 computing in 2026.

Madam Kiew, who heads educational technology at Jurong West Secondary, said G1 and G2 computing students will pick up computational and basic coding skills using Scratch, a coding platform designed for younger children.

"At G2, students will go further, by acquiring data analysis and problem-solving skills," she said.

At Jurong West Secondary, all students taking mainly G1 subjects will do computing in Secondary 3 from 2026. And those taking mostly G2/G3 subjects will have to pass G2/G3 mathematics respectively to qualify for computing in upper secondary.

At Ngee Ann Secondary, students will have to score at least 60 for mathematics and attend an interview to assess if they are suitable for the subject at upper secondary.

"We want to make sure the kids are well set up for success, which is why we do look at a certain level of proficiency in maths, which demonstrates strength in computational thinking," said Ms Poh Shi Hui, its principal.

Mr Neo Guang Xian, mathematics subject head at Ngee Ann Secondary, said the computing subject is especially relevant in today's rapidly changing world.

The school currently has between 20 and 30 students in Secondary 3 and 4 studying G3 computing.

"We need to have some form of computational thinking to help us understand how to break down complex problems into smaller parts. Computing gives students the handles to approach smaller problems, where they figure out how to solve them step by step," he said.

G1 computing will replace the computer applications subject, which is currently offered to students in the Normal (Technical) course.

ST PHOTO: KUA CHEE SIONG

He added that the skills learnt in computing are transferable, applicable not just toother subjects like mathematics, but in daily scenarios too.

"A lot of careers involve AI, data analytics and other parts of technology. So if students learn computing at an early age, it gives them early exposure to what's happening in the current job market," said Mr Neo.

His student, William Teh, 15, said that although he initially struggled with coding programs like Python, he now relishes the challenge of solving problems.

"I'm in it for the problem-solving. The more trouble you go through, in the end the more satisfaction it brings you," said the Secondary 3 student.

Correction note: This story has been edited for clarity.

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Computing to be offered as elective subject to upper secondary students in S'pore from 2026

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Currently, there are about 1,300 students from some 60 schools taking O-level computing. Read more at straitstimes.com.

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Workshop: Carved in Paper: A Lettering Exploration with Alicia Márquez (Cooper Union)

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Workshop: Carved in Paper: A Lettering Exploration with Alicia Márquez (Cooper Union)

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Type@Cooper on Instagram: "NEW WORKSHOP! Carved in Paper: A Lettering Exploration with Alicia Márquez @alicia__marquez will take place on Sat, October 25 & Sun, October 26 at The Cooper Union. To register go to Workshops linked in our bio!"

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86 likes, 0 comments - coopertype on September 4, 2025: "NEW WORKSHOP! Carved in Paper: A Lettering Exploration with Alicia Márquez @alicia__marquez will take place on Sat, October 25 & Sun, October 26 at The Cooper Union. To register go to Workshops linked in our bio!". 

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View this post on Instagram

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Events: International Conference on Semiotics and Visual Communication (Cyprus Semiotics Circle (CSC))

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Events: International Conference on Semiotics and Visual Communication (Cyprus Semiotics Circle (CSC))

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URL: https://cyprus-semiotics.org/

Note: triannual event; last edition was in 2024; affiliated to Cyprus University of Technology

via Prof. Evripides Zantides

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Welcome to the website of the Cyprus Semiotics Circle (CSC). We are a local community of academics, researchers, scientists, designers, artists, and friends who share a common interest for the study of signs and signification in culture.

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Survey: 'Making VisComm Matter' (deadline: 15 Oct 2025)

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Survey: 'Making VisComm Matter' (deadline: 15 Oct 2025)

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Take the survey here: cmpu.org/mvcm

Making VisComm Matter is a 30-minute survey brought to you by creative agency OuterEdit and supported by the NTUC Infocomm and Media Cluster. It’s designed to capture what it’s really like working in Visual Communications today: from challenges and opportunities, to income benchmarks and outlooks for the future. The insights gathered will be published in a report and used to advocate for better protections for the VisComm community in Singapore.

via Ryan, Joel, OuterEdit

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CMPU | The Union for Infocomm and Media Workers in Singapore

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Making VisComm Matter - CMPU | The Union for Infocomm and Media Workers in Singapore

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This survey is commissioned by the NTUC Infocomm and Media Cluster, in collaboration with OuterEdit. The NTUC Infocomm and Media Cluster includes the Creative Media and Publishing Union (CMPU) and the Visual, Audio, Creative Content Professionals Association [Singapore] (VICPA).

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Lecture: Tan Zi Hao on 'The Written Word as Aesthetic Form: The Abecedarium of Scripting a Language' (17 Sep, 2–3.30pm, Seminar Rm, NAFA Campus 1 Wing B, #02-08)

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Lecture: Tan Zi Hao on 'The Written Word as Aesthetic Form: The Abecedarium of Scripting a Language' (17 Sep, 2–3.30pm, Seminar Rm, NAFA Campus 1 Wing B, #02-08)

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Register: https://forms.office.com/r/3RYVQLC24R

Synopsis: Words are usually written and read, rather than drawn and seen. We see through words as if they are transparent, hardly noticing the script that registers our voice. And yet, implementations of the script carry far-reaching consequences. Ignoring its visuality camouflages the political undercurrents of the written word as aesthetic form. This two-part session begins with an investigation into the politics of language and script in translingual Malaya and Malaysia across the 19th and 20th centuries, followed by a *workshop where participants engage in speculative meaning-making, using antiquated dictionaries and social media platforms as principal mediums of play.

via Lai Chee Kien

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Conference track: 'Visual Cultures of Design' at ICDHS 14, 10 to 12 Oct 2025, New Delhi

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Conference track: 'Visual Cultures of Design' at ICDHS 14, 10 to 12 Oct 2025, New Delhi

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About track: Delving into the myriad of visual languages and expressions shaping our perception of the designed world, this theme encompasses comics, pop art, street art, posters, graphic design, and new media, each offering a unique lens. To further enrich this discourse, reflections on how visual design shapes and is shaped by cultural contexts are invited

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Cultures of Design - Visual Cultures of Design

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Visual Cultures of Design
Delving into the myriad of visual languages and expressions shaping our perception of the designed world, this theme encompasses comics, pop art, street art, posters, graphic design, and new media, each offering a unique lens. To further enrich this discourse, reflections

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Joel - By Design: Singapore : Reframing what Design is

Kai Yun - 2 books

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Title: Fiction as Method (Sternberg Press, 2017)

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Title: Fiction as Method (Sternberg Press, 2017)

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via Eugenia

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Ingo Niermann, Joshua Simon (Eds.) Solution 275–294 Communists Anonymous

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In this anthology, a mixture of new and established names in the fields of contemporary art, media theory, philosophy, and speculative fiction explore the diverse ways fiction manifests, and provide insights into subjects ranging from the hive mind of the art collective 0rphan Drift to the protocols

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How Generative AI Is Remaking UI/UX Design (Andreessen Horowitz, 2024)

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How Generative AI Is Remaking UI/UX Design (Andreessen Horowitz, 2024)

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via Shawn

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How Generative AI Is Remaking UI/UX Design | Andreessen Horowitz

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Mature code-generation technology, coupled with advanced generative AI image models, has shortened the journey from idea to fully operational application.

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"The stroke : theory of writing" by Gerrit Noordzij

"The typographic medium" by Kate Brideau

"Offshoring" by John Urry

"The thing between you and me: the question concerning the sustaining support of digital objects"

"The pleasures and sorrows of work" by Alain De Botton

"FireSigns : a semiotic theory for graphic design" by Steven Skaggs

"Status anxiety" by Alain De Botton

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Courses: 'Chinese Calligraphy: History and Art' (LASALLE, 2 Sep – 21 Oct 2025)

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Courses: 'Chinese Calligraphy: History and Art' (LASALLE, 2 Sep – 21 Oct 2025)

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New! Chinese Calligraphy: History and Art | LASALLE College of the Arts

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This foundational course explores the historical evolution and cultural significance of Chinese calligraphy, tracing its origins from ancient China to its modern influence on artistic expression.

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Arctic display mode options | Rhino 3-D modeling

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The Shaded display mode sets the viewport to opaque shaded mode.

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AY25/25: https://padlet.com/vikasbk/atelier-notes-by-vikas-ay24-25-u7jwoxegnbu1vp0l

AY23/24: https://padlet.com/vikasbk/atelier-notes-by-vikas-ay23-24-th4ejdndqv4jsove

AY22/23: https://padlet.com/vikasbk/atelier-notes-by-vikas-ay22-23-47ayptodu422puf3