Creative Ref

Creative Ref

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Posters in the Palestine Poster Project Archives
Posters in the Palestine Poster Project Archives
This website has been created to mark headway on my masters' thesis project at Georgetown University. It is a work-in-progress. I first began collecting Palestine posters when I was a Peace Corps volunteer in Morocco in the mid-1970s. By 1980 I had acquired about 300 Palestine posters. A small grant awarded with the support of the late Dr. Edward Said allowed me to organize them into an educational slideshow to further the "third goal" of the Peace Corps: to promote a better understanding of other peoples on the part of Americans. Over the ensuing years, while running my design company, Liberation Graphics, the number of internationally published Palestine posters I acquired steadily grew. Today the Archives numbers some 5,000 Palestine posters from myriad sources making it what many library science specialists say is the largest such archives in the world. The Palestine poster genre dates back to around 1900 and, incredibly, more Palestine posters are designed, printed and distributed today than ever before. Unlike most of the political art genres of the twentieth century such as those of revolutionary Cuba and the former Soviet Union, which have either died off, been abandoned, or become mere artifacts, the Palestine poster genre continues to evolve. Moreover, the emergence of the Internet has exponentially expanded the genre’s network of creative contributors and amplified the public conversation about contemporary Palestine.
·palestineposterproject.org·
Posters in the Palestine Poster Project Archives
Elizabeth Laraki on X: "In 2007, I was 1 of 2 designers on Google Maps. The app was growing like wildfire. But it was becoming a cluttered mess — new features were being shoved into every pixel. Here’s the 4-step process we used to redesign Google Maps into one of the most loved apps in the world: 🧵… https://t.co/6svTptq67I" / X
Elizabeth Laraki on X: "In 2007, I was 1 of 2 designers on Google Maps. The app was growing like wildfire. But it was becoming a cluttered mess — new features were being shoved into every pixel. Here’s the 4-step process we used to redesign Google Maps into one of the most loved apps in the world: 🧵… https://t.co/6svTptq67I" / X
·twitter.com·
Elizabeth Laraki on X: "In 2007, I was 1 of 2 designers on Google Maps. The app was growing like wildfire. But it was becoming a cluttered mess — new features were being shoved into every pixel. Here’s the 4-step process we used to redesign Google Maps into one of the most loved apps in the world: 🧵… https://t.co/6svTptq67I" / X
DepressedBergman on X: ""As a little kid. I would fantasize a lot about stories. And I would draw my own movies." --- Martin Scorsese 11 year old Scorsese’s childhood “film,” one of the many epics he drew in storyboard form. His only audience was his childhood friend. https://t.co/9gDAuFjDLQ" / X
DepressedBergman on X: ""As a little kid. I would fantasize a lot about stories. And I would draw my own movies." --- Martin Scorsese 11 year old Scorsese’s childhood “film,” one of the many epics he drew in storyboard form. His only audience was his childhood friend. https://t.co/9gDAuFjDLQ" / X
Martin scorsese's storyboard doodles
·twitter.com·
DepressedBergman on X: ""As a little kid. I would fantasize a lot about stories. And I would draw my own movies." --- Martin Scorsese 11 year old Scorsese’s childhood “film,” one of the many epics he drew in storyboard form. His only audience was his childhood friend. https://t.co/9gDAuFjDLQ" / X
nibras ꩜ i love نبراس ◡̈ on X: "yesterday i had a convo with someone which started with him commenting on a book i was reading and then we kind of just didn’t stop talking we kept talking because the most natural next action to take, the path of most ease and relaxation, was to continue talking" / X
nibras ꩜ i love نبراس ◡̈ on X: "yesterday i had a convo with someone which started with him commenting on a book i was reading and then we kind of just didn’t stop talking we kept talking because the most natural next action to take, the path of most ease and relaxation, was to continue talking" / X
·twitter.com·
nibras ꩜ i love نبراس ◡̈ on X: "yesterday i had a convo with someone which started with him commenting on a book i was reading and then we kind of just didn’t stop talking we kept talking because the most natural next action to take, the path of most ease and relaxation, was to continue talking" / X
Elizabeth Goodspeed on Twitter / X
Elizabeth Goodspeed on Twitter / X
I'm so excited about this role and the chance to carve out a new space to discuss visual trends and all the weird realities of being a designer today! As a vehement generalist, I'll of course still be maintaining my freelance design practice the other half of my time as well 😈 https://t.co/K0PVpPG1Qg— Elizabeth Goodspeed (@domesticetch) November 28, 2023
·twitter.com·
Elizabeth Goodspeed on Twitter / X
Interview with Justin Duke on Visual Design
Interview with Justin Duke on Visual Design
Users tend to respect a very dense visual field so long as that density is consistent and easily navigable, and the user testing I do shows that people tend to get more distracted when the ’noise’ comes from inconsistency rather than from volume itself.
·anthonyhobday.com·
Interview with Justin Duke on Visual Design
Real-time dreamy Cloudscapes with Volumetric Raymarching - Maxime Heckel's Blog
Real-time dreamy Cloudscapes with Volumetric Raymarching - Maxime Heckel's Blog
This article is a deep dive into my experimentations with Volumetric rendering and how to leverage it to render beautiful raymarched cloudscapes in React Three Fiber and WebGL. In it, I walk you through everything from the basics of Volumetric Raymarching to the techniques used in video games to render physically accurate clouds.
·blog.maximeheckel.com·
Real-time dreamy Cloudscapes with Volumetric Raymarching - Maxime Heckel's Blog
Maxime Heckel's Blog
Maxime Heckel's Blog
Hi I'm Maxime, and this is my blog. Here, I share through my writing my experience as a frontend engineer and everything I'm learning about on React, Shaders, React Three Fiber, Framer Motion, and more.
·blog.maximeheckel.com·
Maxime Heckel's Blog
Smoother & sharper shadows with layered box-shadows
Smoother & sharper shadows with layered box-shadows
With a simple CSS trick, we can get fine-tuned control over how shadows are rendered, and create richer and more realistic 3D effects
The box-shadow CSS property isn’t exactly built to encourage expressiveness. It essentially produces a blurred silhouette of an object—you can change its offset, blur radius, spread, and color, but that’s it. We can’t get anywhere near to expressing the complexities and nuances of shadows in real life.
Look at how square and clumsy the default box-shadow effect (first box) looks compared to the layered box-shadow (second box). We can achieve this effect by creating multiple box-shadows (separating each shadow with a comma), and increasing the offset and blur for every shadow (the box-shadow syntax is X-offset Y-offset blur color)
·tobiasahlin.com·
Smoother & sharper shadows with layered box-shadows
Designing Beautiful Shadows in CSS
Designing Beautiful Shadows in CSS
In my humble opinion, the best websites and web applications have a tangible “real” quality to them. There are lots of factors involved to achieve this quality, but shadows are a critical ingredient.
When I look around the web, though, it's clear that most shadows aren't as rich as they could be. The web is covered in fuzzy grey boxes that don't really look much like shadows.In this tutorial, we'll learn how to transform typical box-shadows into beautiful, life-like ones
By using different shadows on the header and dialog box, we create the impression that the dialog box is closer to us than the header is. Our attention tends to be drawn to the elements closest to us, and so by elevating the dialog box, we make it more likely that the user focuses on it first. We can use elevation as a tool to direct attention.When I use shadows, I do it with one of these purposes in mind. Either I want to increase the prominence of a specific element, or I want to make my application feel more tactile and life-like.
If you're in a well-lit room, press your hand against your desk (or any nearby surface) and slowly lift up. Notice how the shadow changes: it moves further away from your hand (larger offset), it becomes fuzzier (larger blur radius), and it starts to fade away (lower opacity). If you're not able to move your hands, you can use reference objects in the room instead. Compare the different shadows around you.Because we have so much experience existing in environments with shadows, we don't really have to memorize a bunch of new rules. We just need to apply our intuition when it comes to designing shadows. Though this does require a mindset shift; we need to start thinking of our HTML elements as physical objects.
So, to summarize:Each element on the page should be lit from the same global light source.The box-shadow property represents the light source's position using horizontal and vertical offsets. To ensure consistency, each shadow should use the same ratio between these two numbers.As an element gets closer to the user, the offset should increase, the blur radius should increase, and the shadow's opacity should decrease.
By layering multiple shadows, we create a bit of the subtlety present in real-life shadows.
We've covered 3 distinct ideas in this tutorial:Creating a cohesive environment by coordinating our shadows.Using layering to create more-realistic shadows.Tweaking the colors to prevent “washed-out” gray shadows.
·joshwcomeau.com·
Designing Beautiful Shadows in CSS
Superorganism → Goodside
Superorganism → Goodside
Superorganism reached out to Goodside to create a brand identity as unique as they are. Inspired by the wonder of nature and the ambition of their vision, we developed a strategy and identity that did exactly that.
·goodside.studio·
Superorganism → Goodside