kottke.org posts about design
The US Postal Service recently released a partial list of the stamps it’s putting out in 2027. One of the sets is Mythical Creatures, featuring five cryptids.1
The legend of Mothman has endured for more than six decades, but of the creatures encountered on these stamps, this flying, man-sized, red-eyed being emerged the most recently. The cryptid was first reported in West Virginia in 1966. Several nights after a gravedigger reported a winged, human-sized creature swooping above, two couples on a midnight drive in the rural outskirts of Point Pleasant reported being chased from overhead at great speed as they fled back to town. Newspapers dubbed the creature “Mothman.” After a year of eerie sightings was followed by a local tragedy, some interpreted the appearances as harbingers of disaster. In the years since, a lighter side of Mothman has been embraced by festival attendees, many in “spooky-cute” costumes that evoke this increasingly popular cryptid.
Unlike most of the creatures on these stamps, the Jackalope has been spotted by a great many Americans. It has multiplied rapidly, especially in the West, since first appearing in the 1930s in Douglas, Wyoming. This antlered rabbit was the creation of two young brothers studying taxidermy by mail who, in a moment of inspiration after a hunting trip, crafted the hoax. When the masterful mashup was displayed at a local inn, the Jackalope quickly sprang into regional folklore. Today, Jackalopes are found in gift shops in the Great Plains and Western states — on postcards, stickers, and T-shirts, and as plush toys and mounted specimens. The fanciful hybrid endlessly inspires the imaginations of those who encounter it, and who add to its lore with their own stories, songs, and artworks.
The Squonk hides away in northern Pennsylvania’s dense hemlock forests, so distressed by its own appearance that it cries constantly. This piglike animal, wrinkled, blemished, and self-conscious, was first described in print in a 1910 collection of lumberjack folklore, Fearsome Creatures of the Lumberwoods. The book — recounting tales often spun and re-spun by the fireside in remote logging encampments of the 19th and early 20th centuries — relates an episode of a Squonk captured in a bag: As the hunter carried his prey, its weeping faded and the sack grew lighter. Investigation revealed that the Squonk had melted into “nothing but tears and bubbles.” In recent years, the melancholy character has been revived as a darling mascot of introverts and anyone else who relates to the Squonk’s social anxiety.
Sasquatch captures the American imagination like no other cryptid. Nobody, though, has captured Bigfoot, as this large hairy hominid is commonly called, nor even retrieved a confirmed strand of hair from its notoriously stinky, shaggy fur. In the Pacific Northwest, ancient Indigenous tales of mysterious, hairy humanoids encouraged caution in the wild and mindful custodianship of forest habitat. By the late 20th century, reported sightings of Sasquatch and similar regional creatures had taken hold and spanned the nation. In fact, tales of huge bipeds are told worldwide, almost anywhere shadowy terrain could conceivably conceal such elusive beings. Hoaxes abound, including blurry films and casts of outsized human-like footprints, but the most notable impression Sasquatch makes is its lasting mark on American popular culture. Even if our most famous mythical creature is nowhere to be found, Sasquatch is everywhere.
Champ, as the Lake Champlain monster is affectionately known, is said to dwell within the nation’s sixth largest lake, which defines more than 100 miles of the New York–Vermont border. A glacial lake reaching 400 feet deep and 14 miles wide is bound to contain mysteries — over the last few centuries, hundreds have claimed to see the serpentine organism. Cryptozoologists have tried to determine what it could be: perhaps a descendant of an aquatic, dinosaur-era reptile or whale, as found in fossils? Skeptics point to more mundane possibilities: sturgeon and other large fish that inhabit the lake, swimming deer, waves, mirages, and tree trunks riding currents. While a living specimen has proven elusive, Champ is ever-present as a beloved mascot of the region, celebrated in business logos, and in festivals and museum exhibits.
The stamps feature the artwork of tattoo artist Nat Power and will be available next year.
The Match Archive is creating “the first research-grade, digital archive cataloging American matchbooks as primary sources for graphic design, commercial culture, and social history”. They haven’t launched a website yet (they’re working on it), but they’ve been sharing some of their collection on their Instagram account.
I love the art on the matches themselves…you don’t see that much anymore.
See also Vintage Eastern European Matchbox Labels (1950-1980s) and Matchbook Diaries of New York City.
Princeton houses a large digital collection of posters from Russia and Eastern Europe, almost 5000 total item spanning 101 years (1904-2004). This album on Flickr contains nearly 1500 Russian & Soviet posters from 1917-1991 — not sure how much overlap there is between the two.
To go along with my recent post about control rooms, here’s the Control Panels group on Flickr, containing almost 3000 photos of control interfaces for all kinds of things.
You’ll see some of the same photos as in the Control Rooms group, but when you get past the first couple of pages, there’s more variety: fiddly knobs, entire walls of nearly identical switches, dials, inscrutable gauges, soda machine interfaces, bump it and you might die buttons, computers with switches, Swinging Fingers (!!), and many more…
How much Gorton did you spot?
A lovely contemplative short video featuring Toshiyuki Ueno of the Japanese fashion brand Visvim talking about craftsmanship.
We want to make things that people will get attached to and will use for a long time. And that’s at the core of our creating process. It’s simple and not that complicated.
He continues:
I think about how people grow attached to things over time as they use them, and how those things add to its allure over time.
“Those things” is a little ambiguous without the context of the video…he means the wear that develops from use and how people grow attached to those “imperfections”. See also wabi-sabi.
Using a handheld scanner, designer/illustrator Noah Nolet captures textures from surfaces in cities around the world, including Tokyo, LA, Paris, Kyoto, NYC, and Berlin. On his website, he offers city packs of hundreds of scans for sale and free sample packs as well. You can also check out how he captures the textures on Instagram and YouTube. This is a modern take on stone rubbing.
So that companies can use them to make accessories like cases and bands, Apple maintains a collection of downloadable dimensional drawings and tech specifications for many of their products, including the iPhone, AirPods, Watch, and iPad. They are beautiful.
I love their corner & edge measurements…you can see how fiddly Apple is with their curves. Curiously, the only Mac listed is the Macbook Neo. I guess that’s the only one that needs accessorizing?
Also, I presume if you’ve got a 3D printer, you could use these to make your own very precise accessories?
Artist Maya Barkai assembled a collection of pedestrian traffic signals from around the world: Walking Men Worldwide.
I love all of these little people. The Warsaw one reminds me somewhat of Rocky from Project Hail Mary. Some of the ones from smaller places have more personality, but I feel like the New York and Boston ones are my favorites aesthetically. Weirdly, the iconic German Ampelmännchen isn’t among the crowd here.
A screenprint of the collected pedestrian people is available on the Walking Men Worldwide website. (via @jessicabrillhart)
The gang from Craighill explains the origins and uses of three seemingly small design details that show up everywhere: pips, nubs, and the very useful union of pips and nubs. You’ve seen pips on dice and dominos, nubs are used for Braille text, and the pips/nubs combo is used for locks or stops that can be released under pressure. Craighill even has a pips + nubs category in their online store. (thx, rion)
Over on Flickr, Jane McDevitt maintains a huge collection of 20th century matchbox label art from Eastern Europe, over 4000 photos in all. Some of the labels are available as prints. They did a book too, but it’s sold out. It was really difficult to narrow these down to some of my favorites, but I managed.
P.S. I wrote this whole post and then discovered that I’d written about this collection before. But I picked different labels so it’s all good.
Oh wow, Williams College’s Hopkins Observatory has a huge collection of eclipse glasses & viewers (and other eclipse ephemera), some of them dating back to 1793. Here are a few of my favorites:
(via present & correct)
The European Central Bank is providing a sneak peek at the next design of the Euro banknotes. From a shortlist of 10 designs created by artists and designers from across the EU, one will be selected as the basis of how Euro banknotes from €5 to €200 will look in the future. Here are a few I pulled out from all of the designs:
It’s notable (*cough*) that some of the banknotes are designed vertically vs horizontally. The influence of portrait mode on smartphones?
Nicholas Rougeux, whose work I have featured here before, has published a complete digital edition of William Jardine’s 40-volume book series on natural history published in the early-to-mid 19th-century. As part of the project, Rougeux restored each of the more than 1300 illustrations in the library, and the results are fantastic.
Rougeux wrote a post on the history of The Naturalist’s Library and how the project came about.
The Library is credited with having a significant democratizing effect on the study of natural history because Jardine and Lizars prioritized affordability and portability. Each book was only 4 by 6 inches and priced at six shillings, making them a much more accessible alternative to the “unwieldy folios” from other naturalists. This led to a tremendous demand for each one, resulting in tens of thousands of copies being printed overall. Just two years into publication, a notice appears at the beginning of one volume stating, “we have sold upwards of 60,000 volumes, in which there have been nearly 2,400,000 coloured plates given as Illustration.” Exact sales numbers are difficult to come by but history has shown that the series was very popular with estimates of 10,000 copies sold for each volume, totaling at least 400,000.
In order to help with his research, he borrowed a biography of Jardine from the library and built a custom rig out of K’nex construction toy pieces to scan the whole thing.
About a month later, I discovered a 2001 biography about Jardine, Sir William Jardine: A Life in Natural History, which only existed as a physical copy. I emailed the publisher to ask for a digital copy but had no luck. So I did what any self-respecting researcher would do and borrowed it on an inter-library loan and made my own digital copy by building a very janky custom rig out of old K’nex parts to take pictures of each page with my phone that I later combined into a searchable PDF. The OCR on it could be improved but having it available digitally allowed me to consult it in my research.
You can check out the shop for posters of the illustrations as well as a complete, bound, 800-page volume of all 1300+ illustrations.
Marcos Paulo has been making all sorts of phone-sized wallpapers for the World Cup and posting them to Threads. You have to poke around to find them in his account, but here are a few direct links: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10.
A graphic of a floppy disk hamburger was created on an early Amiga computer, photographed, and then deleted (more specifically, it couldn’t be saved). Stuart Brown set out to recreate this image as accurately as possible, including colors, dimensions, etc. This is deliciously nerdy. Here’s the resulting image (with some horizontal padding I added):
(via unsung)
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