[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"website-detail-print":3,"facets-{\"includeAuthors\":\"false\"}":154,"facets-baseline-false":316,"similar-websites-print":348},{"id":4,"name":5,"slug":6,"url":7,"dateUpdated":8,"fetchedAt":9,"coverId":10,"coverMobileId":11,"coverWidth":12,"coverHeight":13,"coverMobileWidth":14,"coverMobileHeight":15,"descriptionEn":16,"seoMeta":17,"industry":20,"styles":24,"credits":36,"pages":37,"typefaces":49,"technologiesByCategory":77,"pagespeedDesktop":104,"pagespeedMobile":116,"performanceDesktop":107,"performanceMobile":118,"colorBuckets":122,"colorPalette":135},"dcc5bd38-03ab-4c70-9676-ee28cb06887c","Print","print","https:\u002F\u002Fprint.lapels.club","2026-05-23T19:25:34.000Z","2026-05-05T15:58:00.000Z","90954dee-da5a-4cec-b895-68e70658eba4","85ce10f7-bb5c-40a0-b7cb-6aebdb989ed1",1440,900,780,1688,"This website serves as a digital preservation and presentation of George French's seminal work, *Printing in Relation to Graphic Art*. It functions as a minimalist, scholarly archive that allows readers to explore the intersection of printing mechanics and aesthetic principles through a highly structured, chapter-based digital reading experience.\n\nThe visual identity is defined by a sophisticated, high-contrast typographic approach. Utilizing a stark dark mode for the hero sections and a clean, cream-toned background for the reading experience, the design emphasizes legibility and intellectual weight. The use of oversized serif typefaces and expansive negative space creates a sense of historical gravity, appealing to academics, graphic designers, and bibliophiles who value the intersection of craft and art.",{"title":18,"meta_description":19},"Printing in Relation to Graphic Art | George French","Explore the principles of graphic art and printing in George French's classic work. A digital edition focused on the intersection of craft and aesthetics.",{"name":21,"label":22,"slug":23},"Art & Culture","Art and Culture","art-and-culture",[25,28,32],{"name":26,"label":26,"slug":27},"Dark Mode","dark-mode",{"name":29,"label":30,"slug":31},"Clean \u002F Minimalist","Minimalist","minimalist",{"name":33,"label":34,"slug":35},"Typographic \u002F Big Type","Typographic","typographic",[],[38],{"name":39,"title":40,"description":41,"url":42,"coverId":10,"coverMobileId":11,"alt":43,"altMobile":44,"pageType":45},"Homepage","Printing in Relation to Graphic Art by George French","It is not the purpose of this book to try to establish a claim for printing that it is an art. It is hoped that it may show that the principles of art may be applied to printing, and that such application may lead to improvement in some essentials of printing.","https:\u002F\u002Fprint.lapels.club\u002F","The desktop homepage features a dark charcoal background with large, white serif typography reading 'Printing in Relation to Graphic Art'. Large, subtle dark grey letter 'A' shapes serve as a background graphic, and the author's name and publication details are positioned in the bottom corners. The layout is spacious and minimalist, emphasizing high-contrast text.","The mobile version maintains the dark charcoal theme and white serif headline, but the layout is vertically compressed. The large background 'A' graphics are scaled down or cropped to fit the narrower viewport, and the text elements are rearranged to stack vertically for readability.",{"name":46,"label":47,"slug":48},"Home \u002F Landing Page","Home \u002F Landing","home-landing",[50,54,57,61,64,67,70,73],{"name":51,"label":51,"slug":52,"foundryName":53},"Austin","austin","Commercial Type",{"name":55,"label":55,"slug":56,"foundryName":53},"Druk","druk",{"name":58,"label":58,"slug":59,"foundryName":60},"Freight","freight",null,{"name":62,"label":62,"slug":63,"foundryName":53},"Giorgio","giorgio",{"name":65,"label":65,"slug":66,"foundryName":53},"Graphik","graphik",{"name":68,"label":68,"slug":69,"foundryName":60},"Roboto","roboto",{"name":71,"label":71,"slug":72,"foundryName":60},"Source Sans","source-sans",{"name":74,"label":74,"slug":75,"foundryName":76},"Trio Grotesk","trio-grotesk","Schick Toikka",{"Analytics":78,"Security":82,"Miscellaneous":86,"CDN":90,"Web servers":94,"Reverse proxies":98,"Page builders":100},[79],{"name":80,"label":80,"slug":81},"Google Analytics","google-analytics",[83],{"name":84,"label":84,"slug":85},"HSTS","hsts",[87],{"name":88,"label":88,"slug":89},"HTTP\u002F3","http3",[91],{"name":92,"label":92,"slug":93},"jsDelivr","jsdelivr",[95],{"name":96,"label":96,"slug":97},"Nginx","nginx",[99],{"name":96,"label":96,"slug":97},[101],{"name":102,"label":102,"slug":103},"Readymag","readymag",[105,108,111,114],{"category":106,"score":107},"performance",61,{"category":109,"score":110},"accessibility",89,{"category":112,"score":113},"best-practices",100,{"category":115,"score":113},"seo",[117,119,120,121],{"category":106,"score":118},53,{"category":109,"score":110},{"category":112,"score":113},{"category":115,"score":113},[123,127,131],{"value":124,"label":125,"hex":126},"black","Black","#000000",{"value":128,"label":129,"hex":130},"white","White","#ffffff",{"value":132,"label":133,"hex":134},"gray","Gray","#737373",[136,139,142,145,148,151],{"hex":137,"percent":138},"#212121",0.5794,{"hex":140,"percent":141},"#111111",0.3948,{"hex":143,"percent":144},"#FEFEFE",0.0203,{"hex":146,"percent":147},"#696969",0.0025,{"hex":149,"percent":150},"#B4B4B4",0.0021,{"hex":152,"percent":153},"#404040",0.001,{"facetDistribution":155,"facetLabels":233},{"industry":156,"styles":176,"technologies":191,"font_families":217,"page_type_name":231},{"Agency & Studio":157,"Art & Culture":158,"SaaS & Software":159,"Fashion & Apparel":160,"Architecture & Real Estate":161,"Entertainment & Media":162,"Food & Beverage":163,"Photography & Video":164,"Finance & Fintech":165,"Healthcare & Wellness":166,"Technology & Hardware":167,"Industrial & Manufacturing":168,"Beauty & Cosmetics":169,"Travel & Hospitality":170,"Non-Profit & Charity":171,"Education & Courses":172,"Crypto & Web3":173,"Sports & Fitness":174,"Automotive & Transportation":175},716,296,210,167,163,138,125,120,76,62,54,49,47,45,41,32,24,21,11,{"Clean \u002F Minimalist":177,"Typographic \u002F Big Type":178,"High-End \u002F Luxury":179,"Dark Mode":180,"Vibrant \u002F Colorful":181,"Monochrome \u002F Grayscale":182,"Fun \u002F Playful":183,"Brutalist \u002F Neo-Brutalist":184,"Corporate \u002F Professional":185,"Illustrative \u002F Hand-drawn":186,"Futuristic \u002F Sci-Fi":187,"3D \u002F Spatial":188,"Retro \u002F Vintage \u002F Y2K":189,"Glassmorphism":190,"Bento Grid":190},2056,1713,1012,570,393,317,257,236,205,87,69,55,33,15,{"jQuery":192,"PHP":193,"WordPress":194,"Node.js":195,"React":196,"Vercel":197,"Vue.js":198,"Shopify":199,"Next.js":200,"Klaviyo":201,"Nuxt.js":202,"Typekit":203,"Amazon Web Services":204,"reCAPTCHA":205,"YouTube":206,"MailChimp":207,"Modernizr":208,"Bootstrap":209,"Slick":210,"Google Font API":211,"Craft CMS":212,"Framer Sites":213,"Contact Form 7":214,"Stimulus":215,"Google Maps":216},875,629,504,320,311,262,207,196,161,149,147,141,129,117,95,92,91,85,82,79,66,65,64,59,58,{"Inter":218,"Times New Roman":219,"Roboto":220,"Open Sans":221,"Neue Haas Grotesk":221,"Suisse Intl":222,"Arial":187,"Poppins":212,"Helvetica Neue":214,"Montserrat":223,"Diatype":188,"Neue Montreal":167,"Lato":168,"Graphik":224,"Source Sans":225,"Monument Grotesk":226,"Noto Sans":227,"Helvetica":228,"Söhne":229,"DM Sans":229,"Founders Grotesk":229,"GT America":230,"Google Sans":230,"Editorial":189,"IBM Plex Mono":172},315,168,127,90,88,60,46,44,40,39,36,35,34,{"Home \u002F Landing Page":232},2397,{"industry":234,"styles":253,"page_type_name":266,"technologies":267,"font_families":293},{"Agency & Studio":235,"Art & Culture":22,"SaaS & Software":236,"Fashion & Apparel":237,"Architecture & Real Estate":238,"Entertainment & Media":239,"Food & Beverage":240,"Photography & Video":241,"Finance & Fintech":242,"Healthcare & Wellness":243,"Technology & Hardware":244,"Industrial & Manufacturing":245,"Beauty & Cosmetics":246,"Travel & Hospitality":247,"Non-Profit & Charity":248,"Education & Courses":249,"Crypto & Web3":250,"Sports & Fitness":251,"Automotive & Transportation":252},"Agencies","Software","Fashion","Real Estate","Entertainment","Food and Drink","Photography","Fintech","Wellness","Technology","Industrial","Beauty","Travel","Non-Profit","Education","Web3","Sports","Automotive",{"Clean \u002F Minimalist":30,"Typographic \u002F Big Type":34,"High-End \u002F Luxury":254,"Dark Mode":26,"Vibrant \u002F Colorful":255,"Monochrome \u002F Grayscale":256,"Fun \u002F Playful":257,"Brutalist \u002F Neo-Brutalist":258,"Corporate \u002F Professional":259,"Illustrative \u002F Hand-drawn":260,"Futuristic \u002F Sci-Fi":261,"3D \u002F Spatial":262,"Retro \u002F Vintage \u002F Y2K":263,"Glassmorphism":264,"Bento Grid":265},"Luxury","Vibrant","Monochrome","Playful","Brutalist","Corporate","Illustrative","Futuristic","3D and Spatial","Retro and Y2K","Glassmorphism","Bento Grid",{"Home \u002F Landing Page":47},{"jQuery":268,"PHP":269,"WordPress":270,"Node.js":271,"React":272,"Vercel":273,"Vue.js":274,"Shopify":275,"Next.js":276,"Klaviyo":277,"Nuxt.js":278,"Typekit":279,"Amazon Web Services":280,"reCAPTCHA":281,"YouTube":282,"MailChimp":283,"Modernizr":284,"Bootstrap":285,"Slick":286,"Google Font API":287,"Craft CMS":288,"Framer Sites":289,"Contact Form 7":290,"Stimulus":291,"Google Maps":292},"jQuery","PHP","WordPress","Node.js","React","Vercel","Vue.js","Shopify","Next.js","Klaviyo","Nuxt.js","Typekit","Amazon Web Services","reCAPTCHA","YouTube","MailChimp","Modernizr","Bootstrap","Slick","Google Font API","Craft CMS","Framer Sites","Contact Form 7","Stimulus","Google Maps",{"Inter":294,"Times New Roman":295,"Roboto":68,"Open Sans":296,"Neue Haas Grotesk":297,"Suisse Intl":298,"Arial":299,"Poppins":300,"Helvetica Neue":301,"Montserrat":302,"Diatype":303,"Neue Montreal":304,"Lato":305,"Graphik":65,"Source Sans":71,"Monument Grotesk":306,"Noto Sans":307,"Helvetica":308,"Söhne":309,"DM Sans":310,"Founders Grotesk":311,"GT America":312,"Google Sans":313,"Editorial":314,"IBM Plex Mono":315},"Inter","Times New Roman","Open Sans","Neue Haas Grotesk","Suisse Intl","Arial","Poppins","Helvetica Neue","Montserrat","Diatype","Neue Montreal","Lato","Monument Grotesk","Noto Sans","Helvetica","Söhne","DM Sans","Founders Grotesk","GT America","Google Sans","Editorial","IBM Plex Mono",{"facetDistribution":317,"facetLabels":332},{"industry":318,"styles":319,"technologies":320,"font_families":321,"page_type_name":322},{"Agency & Studio":157,"Art & Culture":158,"SaaS & Software":159,"Fashion & Apparel":160,"Architecture & Real Estate":161,"Entertainment & Media":162,"Food & Beverage":163,"Photography & Video":164,"Finance & Fintech":165,"Healthcare & Wellness":166,"Technology & Hardware":167,"Industrial & Manufacturing":168,"Beauty & Cosmetics":169,"Travel & Hospitality":170,"Non-Profit & Charity":171,"Education & Courses":172,"Crypto & Web3":173,"Sports & Fitness":174,"Automotive & Transportation":175},{"Clean \u002F Minimalist":177,"Typographic \u002F Big Type":178,"High-End \u002F Luxury":179,"Dark Mode":180,"Vibrant \u002F Colorful":181,"Monochrome \u002F Grayscale":182,"Fun \u002F Playful":183,"Brutalist \u002F Neo-Brutalist":184,"Corporate \u002F Professional":185,"Illustrative \u002F Hand-drawn":186,"Futuristic \u002F Sci-Fi":187,"3D \u002F Spatial":188,"Retro \u002F Vintage \u002F Y2K":189,"Glassmorphism":190,"Bento Grid":190},{"jQuery":192,"PHP":193,"WordPress":194,"Node.js":195,"React":196,"Vercel":197,"Vue.js":198,"Shopify":199,"Next.js":200,"Klaviyo":201,"Nuxt.js":202,"Typekit":203,"Amazon Web Services":204,"reCAPTCHA":205,"YouTube":206,"MailChimp":207,"Modernizr":208,"Bootstrap":209,"Slick":210,"Google Font API":211,"Craft CMS":212,"Framer Sites":213,"Contact Form 7":214,"Stimulus":215,"Google Maps":216},{"Inter":218,"Times New Roman":219,"Roboto":220,"Open Sans":221,"Neue Haas Grotesk":221,"Suisse Intl":222,"Arial":187,"Poppins":212,"Helvetica Neue":214,"Montserrat":223,"Diatype":188,"Neue Montreal":167,"Lato":168,"Graphik":224,"Source Sans":225,"Monument Grotesk":226,"Noto Sans":227,"Helvetica":228,"Söhne":229,"DM Sans":229,"Founders Grotesk":229,"GT America":230,"Google Sans":230,"Editorial":189,"IBM Plex Mono":172},{"Home \u002F Landing Page":323,"About Us \u002F Team":324,"Projects \u002F Portfolio":325,"Contact Us":326,"Blog \u002F Article Layout":327,"Services \u002F Features":328,"Shop \u002F Catalog":329,"Careers \u002F Jobs":110,"Pricing Page":166,"Sign Up \u002F Login":330,"404 Error Page":331},2401,774,527,418,378,341,299,27,9,{"industry":333,"styles":334,"page_type_name":335,"technologies":346,"font_families":347},{"Agency & Studio":235,"Art & Culture":22,"SaaS & Software":236,"Fashion & Apparel":237,"Architecture & Real Estate":238,"Entertainment & Media":239,"Food & Beverage":240,"Photography & Video":241,"Finance & Fintech":242,"Healthcare & Wellness":243,"Technology & Hardware":244,"Industrial & Manufacturing":245,"Beauty & Cosmetics":246,"Travel & Hospitality":247,"Non-Profit & Charity":248,"Education & Courses":249,"Crypto & Web3":250,"Sports & Fitness":251,"Automotive & Transportation":252},{"Clean \u002F Minimalist":30,"Typographic \u002F Big Type":34,"High-End \u002F Luxury":254,"Dark Mode":26,"Vibrant \u002F Colorful":255,"Monochrome \u002F Grayscale":256,"Fun \u002F Playful":257,"Brutalist \u002F Neo-Brutalist":258,"Corporate \u002F Professional":259,"Illustrative \u002F Hand-drawn":260,"Futuristic \u002F Sci-Fi":261,"3D \u002F Spatial":262,"Retro \u002F Vintage \u002F Y2K":263,"Glassmorphism":264,"Bento Grid":265},{"Home \u002F Landing Page":47,"About Us \u002F Team":336,"Projects \u002F Portfolio":337,"Contact Us":338,"Blog \u002F Article Layout":339,"Services \u002F Features":340,"Shop \u002F Catalog":341,"Careers \u002F Jobs":342,"Pricing Page":343,"Sign Up \u002F Login":344,"404 Error Page":345},"About Us","Portfolio","Contact","Blog \u002F Article","Services","Shop \u002F Catalog","Careers","Pricing","Sign Up \u002F Login","404 Error",{"jQuery":268,"PHP":269,"WordPress":270,"Node.js":271,"React":272,"Vercel":273,"Vue.js":274,"Shopify":275,"Next.js":276,"Klaviyo":277,"Nuxt.js":278,"Typekit":279,"Amazon Web Services":280,"reCAPTCHA":281,"YouTube":282,"MailChimp":283,"Modernizr":284,"Bootstrap":285,"Slick":286,"Google Font API":287,"Craft CMS":288,"Framer Sites":289,"Contact Form 7":290,"Stimulus":291,"Google Maps":292},{"Inter":294,"Times New Roman":295,"Roboto":68,"Open Sans":296,"Neue Haas Grotesk":297,"Suisse Intl":298,"Arial":299,"Poppins":300,"Helvetica Neue":301,"Montserrat":302,"Diatype":303,"Neue Montreal":304,"Lato":305,"Graphik":65,"Source Sans":71,"Monument Grotesk":306,"Noto Sans":307,"Helvetica":308,"Söhne":309,"DM Sans":310,"Founders Grotesk":311,"GT America":312,"Google Sans":313,"Editorial":314,"IBM Plex Mono":315},{"hits":349},[350,404,455,591],{"id":351,"website_id":352,"page_id":351,"name":353,"slug":354,"url":355,"website_name":353,"website_slug":354,"website_url":356,"result_url":355,"fetched_at":357,"score":358,"score_boost":359,"ai_score":210,"freshness_score":360,"scored_at":361,"page_name":39,"page_url":355,"page_title":362,"page_description":363,"page_content":364,"page_sort":359,"is_home":365,"is_home_rank":366,"page_type_id":367,"page_type_name":46,"cover":368,"cover_mobile":371,"cover_sequence":373,"translations":377,"industry":21,"styles":381,"credits":383,"font_families":386,"technologies":390,"pagespeed":391,"pagespeed_mobile":396,"buckets":401,"search_payload":403},"9f828c2e-1e0b-46f1-b799-cf8e44f31a16","f3c7b10b-4708-4e90-9c4f-048f1964389d","Notations","on-the-impulse-to-notate","https:\u002F\u002Fnotations.xyz\u002F","https:\u002F\u002Fnotations.xyz","2026-05-04T10:10:07.000Z",80,0,74,"2026-05-23T19:24:23.000Z","On the Impulse to Notate","On the Impulse to Notate is a digital translation of the printed catalog of the same name. Composed in fragments — written and collected, designed and curated — this catalog resists linear narrative formulas to favor an open poetic syntax. Here, the designer reads and translates stories spatially, frequently shifting their frames.","On the Impulse to Notate TextImageText+Image Order \\[+\\] notational compositions The notation is defined as the practice of recording anything by marks, figures, or characters. It sometimes implies “literal or etymological significations.” As Roland Barthes writes, this... \\[EXPAND\\] projective verse In Charles Olson’s late 1950s manifesto the self-described “archaeologist of morning” makes the case for poems composed “by field.” A poem of this nature is shaped by sound rather than sense, he writes. The nuances... \\[EXPAND\\] white spaces Early into February, I asked the poet Henri Cole if he relates to poetic theories like Charles’s Olson’s. Henri is the author of numerous collections of poetry, including among many others Gravity and Center, Blizzard,... \\[EXPAND\\] an email exchange with henri cole | white spaces “Recently, when I visited the marvelous Rothko exhibit in Paris, it seemed to me that many of his paintings were like sonnets, with octaves and sextets of color — or with three... \\[EXPAND\\] an email exchange with henri cole | white spaces “And this same slightly rectangular shape is present in Agnes Martin’s grid paintings, whose work I adore. Even as I type this now, Lydia, I am... \\[EXPAND\\] historical consciousness The beauty of composing in an open visual field is its potential to contain not just one gesture, but many. It exists as a zone of contact, an animate circuit through which we can trace... \\[EXPAND\\] malleable substance This document catalogs a series of returns. It attends to various preoccupations with language. Embodied in letterforms, transformed through oral and written redefinitions, and expanded into symbols, ... \\[EXPAND\\] material language While quite like the writer or translator in her ability to narrate, the designer differs from these practitioners in her material performance of language. She attends to the visual form of words — their geometric edges, their ... \\[EXPAND\\] layered simultaneity My body of work often resides inside transparencies, between multiple layers existing in simultaneity. It is characterized by an active... \\[EXPAND\\] restless words In a 1937 radio broadcast, Virginia Woolf suggests that words survive as a consequence of their multiplicities — ­­“the truth they try to catch... \\[EXPAND\\] habit formations For me, design is about understanding the manner in which we have been trained and habituated to gather information from our... \\[EXPAND\\] comparative contexts The definitions we learn early on — round and square, red and blue — we understand because they are taught to us in this very manner. They are made partners and opponents of... \\[EXPAND\\] parallel significations While we continue to define words for ourselves, it is often the order in which they are placed that generates meaning. It is the position of words... \\[EXPAND\\] compelled progress We live in a time of precarity, which frequently overwhelms our ability to perceive things beneath the surface. It is easier everyday to neglect the... \\[EXPAND\\] a conversational exchange with isabel seiffert | compelled progress “You can really feel the difference when that responsibility is taken. There is a different level of appreciation on both sides, on the maker side and the receiver side. It’s almost more on the maker’s side in a way, because you have... \\[EXPAND\\] exhausted exuberance In her piece “Exhaustion and Exuberance,” Jan Verwoert describes the societal pressure to perform and the progressively debilitating nature of saying “I Care.” We share exhaustion, she says, and suggests we have the... \\[EXPAND\\] constrained time The behaviors we perform at work as well as those we perform at home are constrained by the clock — 24 hours a day, 7 days a week. The clock... \\[EXPAND\\] transformative encounter Design has the potential to redirect our attention, to extend beyond commerce if we let it. It has the power to move toward forms of certitude. That is, if we understand this pursuit as universal and daily. That is, if we stitch... \\[EXPAND\\] habitual sightlines As when taking a small sip of water, we move through life by force of habit, hardly ever recognizing how we’ve come to read the world. It takes practice to notice the vessel holding that... \\[EXPAND\\] durational configurations In his essay, “Intuition as Method,” French philosopher Gilles Deleuze examines a lump of sugar. He suggests that beyond its spatial configuration, the lump of sugar also contains... \\[EXPAND\\] philosophical angles On the evening of my father’s seventieth birthday party, my uncle steps up to read with great animation a series of haiku he’s written about one of his... \\[EXPAND\\] a conversation exchange with joshua chodosh | philosophical angles “My parents did a lot of renovation on our house, so I was often surrounded by construction and by the people who did it. I think it was as much about the people as about anything else. I don’t know that they were better... \\[EXPAND\\] credible visibility John Berger begins Ways of Seeing by describing our visible environment’s impact on our individual sense of self. The former is the first thing... \\[EXPAND\\] blue starts In an interview with The Paris Review, William Gass describes “the way in which meanings are historically attached to words” as accidental, remote, and twisted. “A word is like a schoolgirl’s room — a complete mess,” he... \\[EXPAND\\] blue coalescing Part of the bank of research I begin to aggregate on the color blue, I reformulate into my own words and read over cuts of 35mm footage pulled from my family’s archive. This is... \\[EXPAND\\] ordinary affects I understand what is ubiquitous to coincide with the ordinary and mundane, the habitual moments of the lives we lead daily, the objects that permit our performance of... \\[EXPAND\\] observational potential In her essay on the art of dialogue, Patricia Romney describes how quantum physics might inform our relational encounters. Such theoretical frameworks suggest that a singular, unobserved entity behaves like a particle... \\[EXPAND\\] visible truths “We can never see the truth straight on,” Anne West notes in the margins of a piece of writing I share with her one January, “but through... \\[EXPAND\\] profit structures The field of design is defined by profit, by linear forms of power and the ongoing institutional arbitration of ideas. As Audre Lorde asserts, feelings were never meant to survive under such conditions. “Kept around as... \\[EXPAND\\] a conversational exchange with jonathan mark jackson | image interference “It’s not risky stuff, photographing still lives of objects and whatnot. But as I’ve grown into this medium, I’ve begun to notice a certain quality of... \\[EXPAND\\] structural magic Grammar is both an act of learning and imposing rules; it is simultaneously a project in making meaning, in pursuing magic. We can trace this understanding etymologically. Among the... \\[EXPAND\\] measurable stories I understand that we live by stories, and most imperatively, by the structures we impose on such stories; that we have been trained to expect... \\[EXPAND\\] paradoxical trends Quite like the color blue and the word grammar, my practice is not easily classifiable. It is always steeped in paradox. Nevertheless, at various junctures in time, I have... \\[EXPAND\\] paratactic style What I like about lists is well described by Brian Dillon in his essay on parataxis, a narrative structure defined by the placement of clauses or phrases, one after another, resisting the need to abide by notions of power and... \\[EXPAND\\] a conversational exchange with jonathan mark jackson | paratactic style “Sometimes, there are descriptions from novels or poems or visual metaphors that end up feeling like direct ideas for constructing pictures. I write... \\[EXPAND\\] dialogic presence Our vocabulary for experience takes root not only in formal definitions, but also as a result of verbal intonations. When written, the verbal is implied by punctuation — by question... \\[EXPAND\\] participatory expression I grew up at high-volume dinner tables, both crowded with people and crowded with voices. These voices often turned out indulgent stories, long-winded debates, and pithy turns of... \\[EXPAND\\] intervening experience We oscillate between passive delight in what we can only imagine and the desire to communicate that reality with precision. We oscillate alone... \\[EXPAND\\] aggregated material I have a tendency to aggregate readable material from others — not just words, but all manners of form. I am inclined toward Thomas Hirschhorn’s use of the word ramifications... \\[EXPAND\\] formal resistance In Caroline Levine’s book-length analysis of networks, she nods to Deleuze and Guattari at length, suggesting how a view of... \\[EXPAND\\] collective knowledge Typically used to refer to the general body of mankind, or of a nation, state, or community, the word public ends to encapsulate the people,... \\[EXPAND\\] networked knowledge It is Deleuze and Guatarri’s theoretical framework that animates my first steps toward a networked catalog of “knowledge,” which I eventually house online under the title, Spore Site. I had discovered in library... \\[EXPAND\\] reliable relations Everything is reliant on context — time and space. surface tension I follow up with Henri Cole immediately after his reply to my first set of questions. I begin —“Henri, before I clicked “reply” to this email,... \\[EXPAND\\] an email exchange with henri cole | surface tension “When I worked with Kiki Smith, I was responding to beautiful\u002Fsad color prints she'd made of the dying flower bouquets collected at her mother's... \\[EXPAND\\] an email exchange with henri cole | surface tension “With Jenny Holzer’s light projections of text at night, it is perhaps more a matter of black than white framing the words that are scrolling against a surface in the night.” surface production In 2008, the Dutch design studio Metahaven published a manifesto analyzing the presence of “surface” in our designed environments, and its propensity for replication.... \\[EXPAND\\] beauty’s legacy A quiet embrace of our prescribed bodily habits allows some of us to sustain momentum. To satisfy others is perhaps a means through which to satisfy ourselves.As my mother’s mother used to say, “A little makeup... \\[EXPAND\\] temptuous truths At times, I am loath to admit my temptation toward beauty, too easily convinced of its potential to work in service of truth. Of course, pursuing this endlessly bears some degree... \\[EXPAND\\] buoyant forces I remind myself of my grandmother. I play her voice in my ear. I play my mother’s voice as she sings her praises. “She taught us about light,”... \\[EXPAND\\] recurring dreams I have one dream which reanimates my imagination every couple of months. The arc of its narrative varies but its composition is always the same. It resides in a world I left behind a number of years ago, but which... \\[EXPAND\\] persistent pursuits Late one night, I ask my friend and former teammate Georgia Clopefil, a young writer with a forthcoming nonfiction debut, what... \\[EXPAND\\] a conversation exchange with georgia cloepfil | persistent pursuits “I do feel like I am chasing a voice, a sentence, a sound, an image from my brain. In that sense, the words are never going to be perfect and you... \\[EXPAND\\] image rhetoric I often feel that I am chasing similar things — a voice, a sentence, a sound, an image, an anecdote. It frustrates me, however, when the words aren’t the same shape as the moment lodged... \\[EXPAND\\] unconsummated desire In a short fragment of one of her essays, the photographer and w …",true,1,"1",{"id":369,"height":13,"width":12,"blurhash":370},"27ea8635-6897-4860-90ab-b2888b1b6189","radial-gradient(at 0 0,#fbfcff,#00000000 50%),radial-gradient(at 33% 0,#fbfafa,#00000000 50%),radial-gradient(at 67% 0,#fffcfb,#00000000 50%),radial-gradient(at 100% 0,#fffcfa,#00000000 50%),radial-gradient(at 0 50%,#f0f2f3,#00000000 50%),radial-gradient(at 33% 50%,#f1efec,#00000000 50%),radial-gradient(at 67% 50%,#f4f0e9,#00000000 50%),radial-gradient(at 100% 50%,#f5f1e9,#00000000 50%),radial-gradient(at 0 100%,#f1f5f6,#00000000 50%),radial-gradient(at 33% 100%,#f2f1ed,#00000000 50%),radial-gradient(at 67% 100%,#f7f3ed,#00000000 50%),radial-gradient(at 100% 100%,#f6f3ec,#00000000 50%)",{"id":372,"height":15,"width":14,"blurhash":60},"687bae8c-3e18-4123-bf4a-157eef847ceb",[374],{"directus_files_id":375},{"id":376},"4ab712fd-766f-4c4d-98ab-80da3ced0c07",[378],{"languages_code":379,"description":380},"en","Notations is a sophisticated digital translation of a printed catalog, functioning as an experimental, non-linear archive of poetic and visual fragments. The website serves as a spatial reading experience, eschewing traditional narrative structures in favor of a fragmented, curated syntax that allows the designer to shift frames and explore stories through a multi-dimensional lens.\n\nThe visual identity is deeply intellectual and avant-garde, characterized by a complex, layered typographic layout that mimics the tactile density of a physical publication. Utilizing a muted, parchment-like color palette and a sophisticated interplay of serif typography and spatial arrangement, the design targets an audience of academics, artists, and design theorists who appreciate high-concept, experimental digital architecture.",[29,382,33],"Monochrome \u002F Grayscale",[384,385],"Lydia Chodosh","Donald Zhu",[295,387,388,387,389,389],"Aperçu","Aperçu Mono","Bradford",[],[392,393,394,395],{"score":224,"category":106},{"score":222,"category":109},{"score":113,"category":112},{"score":208,"category":115},[397,398,399,400],{"score":188,"category":106},{"score":360,"category":109},{"score":113,"category":112},{"score":207,"category":115},[128,402,132],"brown","Website: Notations. Page: Homepage. Page type: Home \u002F Landing Page. Page title: On the Impulse to Notate. Page description: On the Impulse to Notate is a digital translation of the printed catalog of the same name. Composed in fragments — written and collected, designed and curated — this catalog resists linear narrative formulas to favor an open poetic syntax. Here, the designer reads and translates stories spatially, frequently shifting their frames.. Page content: On the Impulse to Notate TextImageText+Image Order \\[+\\] notational compositions The notation is defined as the practice of recording anything by marks, figures, or characters. It sometimes implies “literal or etymological significations.” As Roland Barthes writes, this... \\[EXPAND\\] projective verse In Charles Olson’s late 1950s manifesto the self-described “archaeologist of morning” makes the case for poems composed “by field.” A poem of this nature is shaped by sound rather than sense, he writes. The nuances... \\[EXPAND\\] white spaces Early into February, I asked the poet Henri Cole if he relates to poetic theories like Charles’s Olson’s. Henri is the author of numerous collections of poetry, including among many others Gravity and Center, Blizzard,... \\[EXPAND\\] an email exchange with henri cole | white spaces “Recently, when I visited the marvelous Rothko exhibit in Paris, it seemed to me that many of his paintings were like sonnets, with octaves and sextets of color — or with three... \\[EXPAND\\] an email exchange with henri cole | white spaces “And this same slightly rectangular shape is present in Agnes Martin’s grid paintings, whose work I adore. Even as I type this now, Lydia, I am... \\[EXPAND\\] historical consciousness The beauty of composing in an open visual field is its potential to contain not just one gesture, but many. It exists as a zone of contact, an animate circuit through which we can trace... \\[EXPAND\\] malleable substance This document catalogs a series of returns. It attends to various preoccupations with language. Embodied in letterforms, transformed through oral and written redefinitions, and expanded into symbols, ... \\[EXPAND\\] material language While quite like the writer or translator in her ability to narrate, the designer differs from these practitioners in her material performance of language. She attends to the visual form of words — their geometric edges, their ... \\[EXPAND\\] layered simultaneity My body of work often resides inside transparencies, between multiple layers existing in simultaneity. It is characterized by an active... \\[EXPAND\\] restless words In a 1937 radio broadcast, Virginia Woolf suggests that words survive as a consequence of their multiplicities — ­­“the truth they try to catch... \\[EXPAND\\] habit formations For me, design is about understanding the manner in which we have been trained and habituated to gather information from our... \\[EXPAND\\] comparative contexts The definitions we learn early on — round and square, red and blue — we understand because they are taught to us in this very manner. They are made partners and opponents of... \\[EXPAND\\] parallel significations While we continue to define words for ourselves, it is often the order in which they are placed that generates meaning. It is the position of words... \\[EXPAND\\] compelled progress We live in a time of precarity, which frequently overwhelms our ability to perceive things beneath the surface. It is easier everyday to neglect the... \\[EXPAND\\] a conversational exchange with isabel seiffert | compelled progress “You can really feel the difference when that responsibility is taken. There is a different level of appreciation on both sides, on the maker side and the receiver side. It’s almost more on the maker’s side in a way, because you have... \\[EXPAND\\] exhausted exuberance In her piece “Exhaustion and Exuberance,” Jan Verwoert describes the societal pressure to perform and the progressively debilitating nature of saying “I Care.” We share exhaustion, she says, and suggests we have the... \\[EXPAND\\] constrained time The behaviors we perform at work as well as those we perform at home are constrained by the clock — 24 hours a day, 7 days a week. The clock... \\[EXPAND\\] transformative encounter Design has the potential to redirect our attention, to extend beyond commerce if we let it. It has the power to move toward forms of certitude. That is, if we understand this pursuit as universal and daily. That is, if we stitch... \\[EXPAND\\] habitual sightlines As when taking a small sip of water, we move through life by force of habit, hardly ever recognizing how we’ve come to read the world. It takes practice to notice the vessel holding that... \\[EXPAND\\] durational configurations In his essay, “Intuition as Method,” French philosopher Gilles Deleuze examines a lump of sugar. He suggests that beyond its spatial configuration, the lump of sugar also contains... \\[EXPAND\\] philosophical angles On the evening of my father’s seventieth birthday party, my uncle steps up to read with great animation a series of haiku he’s written about one of his... \\[EXPAND\\] a conversation exchange with joshua chodosh | philosophical angles “My parents did a lot of renovation on our house, so I was often surrounded by construction and by the people who did it. I think it was as much about the people as about anything else. I don’t know that they were better... \\[EXPAND\\] credible visibility John Berger begins Ways of Seeing by describing our visible environment’s impact on our individual sense of self. The former is the first thing... \\[EXPAND\\] blue starts In an interview with The Paris Review, William Gass describes “the way in which meanings are historically attached to words” as accidental, remote, and twisted. “A word is like a schoolgirl’s room — a complete mess,” he... \\[EXPAND\\] blue coalescing Part of the bank of research I begin to aggregate on the color blue, I reformulate into my own words and read over cuts of 35mm footage pulled from my family’s archive. This is... \\[EXPAND\\] ordinary affects I understand what is ubiquitous to coincide with the ordinary and mundane, the habitual moments of the lives we lead daily, the objects that permit our performance of... \\[EXPAND\\] observational potential In her essay on the art of dialogue, Patricia Romney describes how quantum physics might inform our relational encounters. Such theoretical frameworks suggest that a singular, unobserved entity behaves like a particle... \\[EXPAND\\] visible truths “We can never see the truth straight on,” Anne West notes in the margins of a piece of writing I share with her one January, “but through... \\[EXPAND\\] profit structures The field of design is defined by profit, by linear forms of power and the ongoing institutional arbitration of ideas. As Audre Lorde asserts, feelings were never meant to survive under such conditions. “Kept around as... \\[EXPAND\\] a conversational exchange with jonathan mark jackson | image interference “It’s not risky stuff, photographing still lives of objects and whatnot. But as I’ve grown into this medium, I’ve begun to notice a certain quality of... \\[EXPAND\\] structural magic Grammar is both an act of learning and imposing rules; it is simultaneously a project in making meaning, in pursuing magic. We can trace this understanding etymologically. Among the... \\[EXPAND\\] measurable stories I understand that we live by stories, and most imperatively, by the structures we impose on such stories; that we have been trained to expect... \\[EXPAND\\] paradoxical trends Quite like the color blue and the word grammar, my practice is not easily classifiable. It is always steeped in paradox. Nevertheless, at various junctures in time, I have... \\[EXPAND\\] paratactic style What I like about lists is well described by Brian Dillon in his essay on parataxis, a narrative structure defined by the placement of clauses or phrases, one after another, resisting the need to abide by notions of power and... \\[EXPAND\\] a conversational exchange with jonathan mark jackson | paratactic style “Sometimes, there are descriptions from novels or poems or visual metaphors that end up feeling like direct ideas for constructing pictures. I write... \\[EXPAND\\] dialogic presence Our vocabulary for experience takes root not only in formal definitions, but also as a result of verbal intonations. When written, the verbal is implied by punctuation — by question... \\[EXPAND\\] participatory expression I grew up at high-volume dinner tables, both crowded with people and crowded with voices. These voices often turned out indulgent stories, long-winded debates, and pithy turns of... \\[EXPAND\\] intervening experience We oscillate between passive delight in what we can only imagine and the desire to communicate that reality with precision. We oscillate alone... \\[EXPAND\\] aggregated material I have a tendency to aggregate readable material from others — not just words, but all manners of form. I am inclined toward Thomas Hirschhorn’s use of the word ramifications... \\[EXPAND\\] formal resistance In Caroline Levine’s book-length analysis of networks, she nods to Deleuze and Guattari at length, suggesting how a view of... \\[EXPAND\\] collective knowledge Typically used to refer to the general body of mankind, or of a nation, state, or community, the word public ends to encapsulate the people,... \\[EXPAND\\] networked knowledge It is Deleuze and Guatarri’s theoretical framework that animates my first steps toward a networked catalog of “knowledge,” which I eventually house online under the title, Spore Site. I had discovered in library... \\[EXPAND\\] reliable relations Everything is reliant on context — time and space. surface tension I follow up with Henri Cole immediately after his reply to my first set of questions. I begin —“Henri, before I clicked “reply” to this email,... \\[EXPAND\\] an email exchange with henri cole | surface tension “When I worked with Kiki Smith, I was responding to beautiful\u002Fsad color prints she'd made of the dying flower bouquets collected at her mother's... \\[EXPAND\\] an email exchange with henri cole | surface tension “With Jenny Holzer’s light projections of text at night, it is perhaps more a matter of black than white framing the words that are scrolling against a surface in the night.” surface production In 2008, the Dutch design studio Metahaven published a manifesto analyzing the presence of “surface” in our designed environments, and its propensity for replication.... \\[EXPAND\\] beauty’s legacy A quiet embrace of our prescribed bodily habits allows some of us to sustain momentum. To satisfy others is perhaps a means through which to satisfy ourselves.As my mother’s mother used to say, “A little makeup... \\[EXPAND\\] temptuous truths At times, I am loath to admit my temptation toward beauty, too easily convinced of its potential to work in service of truth. Of course, pursuing this endlessly bears some degree... \\[EXPAND\\] buoyant forces I remind myself of my grandmother. I play her voice in my ear. I play my mother’s voice as she sings her praises. “She taught us about light,”... \\[EXPAND\\] recurring dreams I have one dream which reanimates my imagination every couple of months. The arc of its narrative varies but its composition is always the same. It resides in a world I left behind a number of years ago, but which... \\[EXPAND\\] persistent pursuits Late one night, I ask my friend and former teammate Georgia Clopefil, a young writer with a forthcoming nonfiction debut, what... \\[EXPAND\\] a conversation exchange with georgia cloepfil | persistent pursuits “I do feel like I am chasing a voice, a sentence, a sound, an image from my brain. In that sense, the words are never going to be perfect and you... \\[EXPAND\\] image rhetoric I often feel that I am chasing similar things — a voice, a sentence, a sound, an image, an anecdote. It frustrates me, however, when the words aren’t the same shape as the moment lodged... \\[EXPAND\\] unconsummated desire In a short fragment of one of her essays, the photographer and w …. A Clean \u002F Minimalist, Monochrome \u002F Grayscale, Typographic \u002F Big Type website in the Art & Culture industry. Designed by Lydia Chodosh, developed by Donald Zhu. The overall color palette features White, Brown, Gray. The typography features Times New Roman (Serif), Aperçu (Sans Serif, Colophon), Aperçu Mono (Sans Serif, Colophon), Aperçu (Sans Serif, Colophon), Bradford (Serif, Lineto), Bradford (Serif, Lineto). AI description: Notations is a sophisticated digital translation of a printed catalog, functioning as an experimental, non-linear archive of poetic and visual fragments. The website serves as a spatial reading experience, eschewing traditional narrative structures in favor of a fragmented, curated syntax that allows the designer to shift frames and explore stories through a multi-dimensional lens. The visual identity is deeply intellectual and avant-garde, characterized by a complex, layered typographic layout that mimics the tactile density of a physical publication. Utilizing a muted, parchment-like color palette and a sophisticated interplay of serif typography and spatial arrangement, the design targets an audience of academics, artists, and design theorists who appreciate high-concept, experimental digital architecture.",{"id":405,"website_id":406,"page_id":405,"name":407,"slug":408,"url":409,"website_name":407,"website_slug":408,"website_url":410,"result_url":409,"fetched_at":411,"score":412,"score_boost":359,"ai_score":413,"freshness_score":360,"scored_at":414,"page_name":39,"page_url":409,"page_title":407,"page_description":60,"page_content":415,"page_sort":359,"is_home":365,"is_home_rank":366,"page_type_id":367,"page_type_name":46,"cover":416,"cover_mobile":419,"cover_sequence":421,"translations":431,"industry":21,"styles":434,"credits":435,"font_families":437,"technologies":438,"pagespeed":440,"pagespeed_mobile":447,"buckets":452,"search_payload":454},"cf9f198b-d6ac-4ca6-a7eb-d14d9f6c4fc2","f9fbdbd5-d5d4-450b-8457-f6edaab30558","Face Forward","face-forward","https:\u002F\u002Ffaceforward.typography.ie\u002F","https:\u002F\u002Ffaceforward.typography.ie","2026-05-04T09:21:59.000Z",84,86,"2026-05-23T19:09:49.000Z","_Face Forward_ is an international peer-reviewed conference focused on typography that seeks to examine design and typographic practice, and to make explicit existing connections between craft, research, theory, history, criticism and pedagogy. This conference aims to provoke informed, rigorous and critical debate on aspects of typographic research and practice that relate to current discourse and contexts. It is the inaugural event in what will become an annual international conference. This year’s conference is supported by ID2015 Year of Irish Design and the Dublin Institute of Technology. In the field of visual communication and typographic practice, a great deal of epistemological uncertainty still exists. As a consequence, concrete theoretical or methodological positions around which the discipline could cohere have yet to emerge—a situation this conference seeks to address. The conference will provide a forum for research into typographic production, representation, dissemination and use. It encourages interdisciplinary enquiry; thus we welcome papers dealing with typography in all its forms, material and immaterial. We encourage submissions that consider typography in as broad a sense as possible, that celebrate the vitality and range of typography and which seek to expand definitions of both typographic object and practice. – Registration is now open. In partnership with: Identity by Clare Bell and Brenda Dermody. Site by BONG and Post Friday track a - 9.00 _Registration_ – - 10:00 Tom Spalding _Show me the way to go home! Eighteenth and early-nineteenth century lettering and public signage, Cork City, 1730–1840_ – - 10:30 Elena Veguillas _Architectural lettering and corporate identity, early branding on commercial buildings: the Truman’s case_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Ann Bessemans _Type design features for children with low vision_ – - 12:00 Luciano Perondi, Giulia Bonora and Daniele De Rosa _Pass — augmentative and alternative communication_ – - 12:30 Silvia Barbero and Irene Stracuzzi _Sustainability for typography design processes_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Hilary Kenna _A practice-led study of design principles for screen typography: with reference to the teachings of Emil Ruder_ – - 14:45 Tom Grace _The alluring trap of vector-based drawing_ – - 15:15 Marcus Leis Allion _Typrograms: The Shaped Typography of Computer Programs_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Amy Papaelias _Future displays: towards a history of type specimens in digital environments_ – - 16:45 Mathieu Lommen _Lettering artists’ model books_ – - 17:15 _Discussion_ – - 17:30 _Close_ – track b - 9.00 _Registration_ – - 10:00 Marcus Swan _Meaning without words: the emoji revolution_ – - 10:30 Johannes Bergerhausen _Digital cuneiform_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Aoife Mooney _Super-charged type: An investigation into the potential for a dynamic typeface family modelled on axes of typographic expression_ – - 12:00 Siobhán Murphy _Print, Pixel and notions of Legacy — recalibrating Harold Innis’ time-binding and space-binding communication technology theories for a post-digital age_ – - 12:30 Cathy Gale _This is your life: the multiplicities of X_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Sheena Calvert _Punctuating Philosophy_ – - 14:45 Pavel Pisklakov _Typography and Media: History of Evolution and Contemporary Tendencies_ – - 15:15 Kyle Rath _Form vs. Fame: exploring the craft of typographic selection_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Robin Fuller _Linguistics, grammatology, typography_ – - 16.45 – _–_ – - 17:15 _Discussion_ – - 17.30 _Close_ – - 19:00 Tobias Frere-Jones _Keynote_ – track c - 9.00 _Registration_ – - 10:00 – _–_ – - 10:30 – _–_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Diederik Corvers _The architect’s new face_ – - 12:00 María Pérez Mena, Eduardo Herrera Fernández and Leire Fernández Iñurritegui _An artistic approach to typography from Eduardo Chillida’s graphic language_ – - 12:30 Naoise Ó Conchubhair _An Post: typography rooted in the past — ahead of its time_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 – _–_ – - 14:45 Dermot McGuinne _Accident by design_ – - 15:15 Teresa Breathnach _Matthew Walker: nationalist printer 1846–1922_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Richard McElveen and Pauline Clancy _Typographic DNA of place_ – - 16:45 Michael Everson _Authenticity and Ireland’s tradition of Gaelic type_ – - 17:15 _Discussion_ – - 17:30 _Close_ – Saturday track d - 9:00 Aspasia Papadima _Introducing a new set of typographic characters for the representation of Greek-Cypriot dialect’s distinct sounds_ – - 9:30 Robert Lzicar _Swiss Types — the invention of a national typography_ – - 10:00 Radek Sidun _Milestones in Czech type design_ – - 10:30 Keith Tam _Typographic cueing in bilingual documents_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Juan Luis Blanco _The case of the Tifinaghscript: typeface design to the rescue_ – - 12:00 Meta Newhouse and Nathan Davis _Type of place: a systematic preservation of cultural memory_ – - 12:30 Ian Montgomery, Liam McComish and Ruth Brolly _Graphic de:re:generation_ – - 13:00 _Discussion_ – - 13:15 _Lunch break_ – - 14:15 Evripides Zantides _Exploring the mythical qualities of letterforms through semiotics and content analysis_ – - 14:45 Jill Spratt _The word_ – - 15:15 Liam McComish and Ian Montgomery _Spread the word_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16.15 Onur Yazıcıgil and Özlem Özka _Ottoman Typography towards Modernisation_ – - 16:45 Dan Reynolds _East German typefaces, twenty-five years on_ – - 17:15 Crystian Cruz _Unveiling censored content through typography_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track e - 9:00 Denise Gonzales Crisp _Educating toward the discipline_ – - 9:30 Gerry Leonidas _A framework for developing discourse in typeface design_ – - 10:00 Silas Munro _Hands on-again, off-again: a paradigm of typographic pedagogy in hybrid learning_ – - 10:30 Brenda Dermody _The role and impact of the professional body in typographic design education and practice in Ireland_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 John Paul Dowling _Teach content, not type!_ – - 12:00 Gabriel Solomons _Family monograms: tradition and a connection to the past through typographic form_ – - 12:30 Connell Vaughan and Glenn Loughran _Typography and the Video Essay_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Jo De Baerdemaeker _Lean back: the evolution of reverse italics_ – - 14:45 Jesus Barrientos Mora _A typology for calligraphic type_ – - 15:15 Frank E. Blokland _Application of archetypal patterns in present-day type design practice and related education_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Timothy Donaldson _Type is clip-art_ – - 16:45 Will Hill _Letter, craft and ornament in post-digital practice_ – - 17:15 Phil Baines _Fonts and restoration_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track f - 9:00 John Mulloy _Body type_ – - 9:30 Jamie Mahoney _Gutenberg remix: a case study_ – - 10:00 Mary Plunkett _Letterpress as commemoration: making books for Yeats2015_ – - 10:30 Jamie Murphy and Thomas Mayo _End grain impressions: letterpress printed display type in the twenty-first century_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Niall McCormack _Soul Type: the Ludlow Typograph and 1960s Chicago soul record label art_ – - 12:00 Annette O’Sullivan _Letter marking with bold upright letters: stencilling histories on New Zealand sheep stations_ – - 12:30 Mohammad Shahid and Dharmalingam Udaya Kumar _Evolution of title design in Bollywood film posters_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Lozana Rossenova and Maria Inês Cruz _The form of the book in alternative publishing practices_ – - 14:45 Trond Klevgaard _From functionalist to functional typography in Scandinavian book design_ – - 15:15 Niall McCormack in conversation with Peter Maybury _–_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Brian Dixon _Experiencing the Structure: considering the possibility of studying how typographic forms are encountered through the application of information design theory_ – - 16:45 Barrie Tullett _Of progress and loss_ – - 17:15 _Discussion_ – - 17:45 – _–_ – - 18:00 _Close_ – …",{"id":417,"height":13,"width":12,"blurhash":418},"ee6ba0b9-978f-4682-94f5-f10503f98584","radial-gradient(at 0 0,#babaff,#00000000 50%),radial-gradient(at 33% 0,#7878ff,#00000000 50%),radial-gradient(at 67% 0,#b2b2ff,#00000000 50%),radial-gradient(at 100% 0,#dfdfff,#00000000 50%),radial-gradient(at 0 50%,#bfbfe8,#00000000 50%),radial-gradient(at 33% 50%,#a2a2e1,#00000000 50%),radial-gradient(at 67% 50%,#c6c6ed,#00000000 50%),radial-gradient(at 100% 50%,#dedef7,#00000000 50%),radial-gradient(at 0 100%,#b4b4e6,#00000000 50%),radial-gradient(at 33% 100%,#9c9cf7,#00000000 50%),radial-gradient(at 67% 100%,#b3b3f5,#00000000 50%),radial-gradient(at 100% 100%,#cbcbed,#00000000 50%)",{"id":420,"height":15,"width":14,"blurhash":60},"d4e07c88-6674-4460-9621-b66d952ea4f3",[422,425,428],{"directus_files_id":423},{"id":424},"b5f1f613-ecd9-4c14-8e2d-8bfcb012ccc8",{"directus_files_id":426},{"id":427},"2a247199-2226-423a-9962-6fd931df0026",{"directus_files_id":429},{"id":430},"09fdf48e-0b65-4ae6-bda7-9f4e6eb98664",[432],{"languages_code":379,"description":433},"Face Forward is a sophisticated digital platform dedicated to an international peer-reviewed conference centered on the evolution of typography. The website serves as a scholarly hub, facilitating critical discourse between craft, research, theory, and pedagogy. It is designed to attract academics, designers, and typographic practitioners seeking to explore the intersection of visual communication and epistemological inquiry.\n\nThe visual identity is a masterclass in typographic expression, utilizing a bold, high-contrast aesthetic that mirrors the site's subject matter. Through a striking combination of electric blue and stark monochrome, the design employs massive, experimental letterforms and a rigorous grid system. The layout is unapologetically structural, using scale and negative space to create a sense of intellectual authority and avant-garde elegance.",[29,382,33],[436],"Bong",[295],[268,269,439],"Three.js",[441,443,444,446],{"score":442,"category":106},99,{"score":165,"category":109},{"score":445,"category":112},96,{"score":221,"category":115},[448,449,450,451],{"score":206,"category":106},{"score":187,"category":109},{"score":445,"category":112},{"score":221,"category":115},[128,453,124,132],"blue","Website: Face Forward. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Face Forward. Page content: _Face Forward_ is an international peer-reviewed conference focused on typography that seeks to examine design and typographic practice, and to make explicit existing connections between craft, research, theory, history, criticism and pedagogy. This conference aims to provoke informed, rigorous and critical debate on aspects of typographic research and practice that relate to current discourse and contexts. It is the inaugural event in what will become an annual international conference. This year’s conference is supported by ID2015 Year of Irish Design and the Dublin Institute of Technology. In the field of visual communication and typographic practice, a great deal of epistemological uncertainty still exists. As a consequence, concrete theoretical or methodological positions around which the discipline could cohere have yet to emerge—a situation this conference seeks to address. The conference will provide a forum for research into typographic production, representation, dissemination and use. It encourages interdisciplinary enquiry; thus we welcome papers dealing with typography in all its forms, material and immaterial. We encourage submissions that consider typography in as broad a sense as possible, that celebrate the vitality and range of typography and which seek to expand definitions of both typographic object and practice. – Registration is now open. In partnership with: Identity by Clare Bell and Brenda Dermody. Site by BONG and Post Friday track a - 9.00 _Registration_ – - 10:00 Tom Spalding _Show me the way to go home! Eighteenth and early-nineteenth century lettering and public signage, Cork City, 1730–1840_ – - 10:30 Elena Veguillas _Architectural lettering and corporate identity, early branding on commercial buildings: the Truman’s case_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Ann Bessemans _Type design features for children with low vision_ – - 12:00 Luciano Perondi, Giulia Bonora and Daniele De Rosa _Pass — augmentative and alternative communication_ – - 12:30 Silvia Barbero and Irene Stracuzzi _Sustainability for typography design processes_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Hilary Kenna _A practice-led study of design principles for screen typography: with reference to the teachings of Emil Ruder_ – - 14:45 Tom Grace _The alluring trap of vector-based drawing_ – - 15:15 Marcus Leis Allion _Typrograms: The Shaped Typography of Computer Programs_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Amy Papaelias _Future displays: towards a history of type specimens in digital environments_ – - 16:45 Mathieu Lommen _Lettering artists’ model books_ – - 17:15 _Discussion_ – - 17:30 _Close_ – track b - 9.00 _Registration_ – - 10:00 Marcus Swan _Meaning without words: the emoji revolution_ – - 10:30 Johannes Bergerhausen _Digital cuneiform_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Aoife Mooney _Super-charged type: An investigation into the potential for a dynamic typeface family modelled on axes of typographic expression_ – - 12:00 Siobhán Murphy _Print, Pixel and notions of Legacy — recalibrating Harold Innis’ time-binding and space-binding communication technology theories for a post-digital age_ – - 12:30 Cathy Gale _This is your life: the multiplicities of X_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Sheena Calvert _Punctuating Philosophy_ – - 14:45 Pavel Pisklakov _Typography and Media: History of Evolution and Contemporary Tendencies_ – - 15:15 Kyle Rath _Form vs. Fame: exploring the craft of typographic selection_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Robin Fuller _Linguistics, grammatology, typography_ – - 16.45 – _–_ – - 17:15 _Discussion_ – - 17.30 _Close_ – - 19:00 Tobias Frere-Jones _Keynote_ – track c - 9.00 _Registration_ – - 10:00 – _–_ – - 10:30 – _–_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Diederik Corvers _The architect’s new face_ – - 12:00 María Pérez Mena, Eduardo Herrera Fernández and Leire Fernández Iñurritegui _An artistic approach to typography from Eduardo Chillida’s graphic language_ – - 12:30 Naoise Ó Conchubhair _An Post: typography rooted in the past — ahead of its time_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 – _–_ – - 14:45 Dermot McGuinne _Accident by design_ – - 15:15 Teresa Breathnach _Matthew Walker: nationalist printer 1846–1922_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Richard McElveen and Pauline Clancy _Typographic DNA of place_ – - 16:45 Michael Everson _Authenticity and Ireland’s tradition of Gaelic type_ – - 17:15 _Discussion_ – - 17:30 _Close_ – Saturday track d - 9:00 Aspasia Papadima _Introducing a new set of typographic characters for the representation of Greek-Cypriot dialect’s distinct sounds_ – - 9:30 Robert Lzicar _Swiss Types — the invention of a national typography_ – - 10:00 Radek Sidun _Milestones in Czech type design_ – - 10:30 Keith Tam _Typographic cueing in bilingual documents_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Juan Luis Blanco _The case of the Tifinaghscript: typeface design to the rescue_ – - 12:00 Meta Newhouse and Nathan Davis _Type of place: a systematic preservation of cultural memory_ – - 12:30 Ian Montgomery, Liam McComish and Ruth Brolly _Graphic de:re:generation_ – - 13:00 _Discussion_ – - 13:15 _Lunch break_ – - 14:15 Evripides Zantides _Exploring the mythical qualities of letterforms through semiotics and content analysis_ – - 14:45 Jill Spratt _The word_ – - 15:15 Liam McComish and Ian Montgomery _Spread the word_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16.15 Onur Yazıcıgil and Özlem Özka _Ottoman Typography towards Modernisation_ – - 16:45 Dan Reynolds _East German typefaces, twenty-five years on_ – - 17:15 Crystian Cruz _Unveiling censored content through typography_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track e - 9:00 Denise Gonzales Crisp _Educating toward the discipline_ – - 9:30 Gerry Leonidas _A framework for developing discourse in typeface design_ – - 10:00 Silas Munro _Hands on-again, off-again: a paradigm of typographic pedagogy in hybrid learning_ – - 10:30 Brenda Dermody _The role and impact of the professional body in typographic design education and practice in Ireland_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 John Paul Dowling _Teach content, not type!_ – - 12:00 Gabriel Solomons _Family monograms: tradition and a connection to the past through typographic form_ – - 12:30 Connell Vaughan and Glenn Loughran _Typography and the Video Essay_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Jo De Baerdemaeker _Lean back: the evolution of reverse italics_ – - 14:45 Jesus Barrientos Mora _A typology for calligraphic type_ – - 15:15 Frank E. Blokland _Application of archetypal patterns in present-day type design practice and related education_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Timothy Donaldson _Type is clip-art_ – - 16:45 Will Hill _Letter, craft and ornament in post-digital practice_ – - 17:15 Phil Baines _Fonts and restoration_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track f - 9:00 John Mulloy _Body type_ – - 9:30 Jamie Mahoney _Gutenberg remix: a case study_ – - 10:00 Mary Plunkett _Letterpress as commemoration: making books for Yeats2015_ – - 10:30 Jamie Murphy and Thomas Mayo _End grain impressions: letterpress printed display type in the twenty-first century_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Niall McCormack _Soul Type: the Ludlow Typograph and 1960s Chicago soul record label art_ – - 12:00 Annette O’Sullivan _Letter marking with bold upright letters: stencilling histories on New Zealand sheep stations_ – - 12:30 Mohammad Shahid and Dharmalingam Udaya Kumar _Evolution of title design in Bollywood film posters_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Lozana Rossenova and Maria Inês Cruz _The form of the book in alternative publishing practices_ – - 14:45 Trond Klevgaard _From functionalist to functional typography in Scandinavian book design_ – - 15:15 Niall McCormack in conversation with Peter Maybury _–_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Brian Dixon _Experiencing the Structure: considering the possibility of studying how typographic forms are encountered through the application of information design theory_ – - 16:45 Barrie Tullett _Of progress and loss_ – - 17:15 _Discussion_ – - 17:45 – _–_ – - 18:00 _Close_ – …. A Clean \u002F Minimalist, Monochrome \u002F Grayscale, Typographic \u002F Big Type website in the Art & Culture industry. The overall color palette features White, Blue, Black, Gray. The typography features Times New Roman (Serif). Built using jQuery, PHP, Three.js. AI description: Face Forward is a sophisticated digital platform dedicated to an international peer-reviewed conference centered on the evolution of typography. The website serves as a scholarly hub, facilitating critical discourse between craft, research, theory, and pedagogy. It is designed to attract academics, designers, and typographic practitioners seeking to explore the intersection of visual communication and epistemological inquiry. The visual identity is a masterclass in typographic expression, utilizing a bold, high-contrast aesthetic that mirrors the site's subject matter. Through a striking combination of electric blue and stark monochrome, the design employs massive, experimental letterforms and a rigorous grid system. The layout is unapologetically structural, using scale and negative space to create a sense of intellectual authority and avant-garde elegance.",{"id":456,"website_id":457,"page_id":456,"name":458,"slug":459,"url":460,"website_name":458,"website_slug":459,"website_url":460,"result_url":460,"fetched_at":461,"score":210,"score_boost":359,"ai_score":186,"freshness_score":360,"scored_at":462,"page_name":39,"page_url":460,"page_title":463,"page_description":464,"page_content":465,"page_sort":359,"is_home":365,"is_home_rank":366,"page_type_id":367,"page_type_name":46,"cover":466,"cover_mobile":469,"cover_sequence":471,"translations":562,"industry":565,"styles":566,"credits":569,"font_families":571,"technologies":572,"pagespeed":574,"pagespeed_mobile":581,"buckets":588,"search_payload":590},"812da76c-93db-4fcc-b623-04b07028561c","ebaae344-c91c-4ff4-bbd0-1fd16c0e5496","Read Me: Magazine","read-me-magazine","https:\u002F\u002Freadymag.com\u002Fdesigns\u002F1961938","2026-05-04T12:23:34.000Z","2026-05-23T19:24:45.000Z","Readymag templates: Read Me: Magazine","Glitzy and varied template for editorials.","Read me! 9 tips on Creating a readable web text Part 4 FONTS THAT ADDRESS SPECIAL ISSUES Part 3 EVOLUTION OF LAYOUTS AND TYPESETTINg ON THE WEB Part 2 what makes on-Screen readability special Part 1 Define and conquer 8 min read More and more text-based content is shared over the Internet, but not everything is thoroughly read. In fact, by the time this article reaches the next screen, a significant share of you will have already stopped reading. New York subway, 2019. Photo: Susan Jane Golding, CC by 2.0 studies suggest that on medium, a popular platform for long blog posts, the average read-through rate is around 40 %—that means only two out of five readers that start reading an article, will actually stick around to finish it (though some argue that there is still significant variance). Readymag Stories project read-through data revolves around the same numbers—by the end of each story, we lose over half of those who began interested. To make things worse, people almost never consume digital content word by word: instead, they rapidly scan the text. “People scan because they’re trying to absorb as much information as they need,” notes Kate Moran, a Senior User Experience Specialist at Nielsen Norman Group. To make the problem go away, it’s become almost a cliche to blame the reader. According to this view, the public, addicted to everything new and shiny, is almost eager to be bored by text so that they can switch to the next article, video game, insta account, etc. But what if the problem is deeper, and what is posed as an ethical question is in fact a matter of pure physiology? Some studies suggest that on-screen text might be inherently more difficult to read than printed. That implies that there is no way creators can raise the bar for read-through above a certain level, pre-determined by the properties of a human eye and a human brain. Still, to increase the chances of their work being seen, great creators work hard to create good content and set it in type, as they always have. In this essay we offer some advice on how to deal with both. PART 1 contents Define and conquer Let’s start by defining readability. According to a classic paper by Edgar Dale and Jeanne Chall, readability is “…the sum total (…) of all those elements within a given piece of printed material that affect the success a group of readers have with it. The success is the extent to which they understand it, read it at an optimal speed, and find it interesting.” In other words, readability is a metric that evaluates the ease and comfort of reading a particular text. The question of how to create this kind of metric was asked long before the web emerged—as early as the 19th century. French psychologist Louis Émile Javal provided one of the first known studies of the matter in 1879 with his paper Essai sur la physiologie de la lecture (On the Physiology of Reading). Javal’s key insight was that readers’ eyes don’t move steadily across the text; they actually make short, rapid movements (saccades), mixed with longer stops (fixations). Javal also noted that sometimes, while reading, the eyes unconsciously move backwards to text the reader has already seen. His idea was that the number of stops and backwards moves might help determine readability level—however, Javal lacked precise tools for the task and the idea was dropped at that time. Two other prominent approaches came forward later, in the middle of the 20th century. One was based on the speed of perception, while another emphasized measuring overall eye fatigue. These were pioneered by two researchers, Miles Tinker and Matthew Luckiesh—whose different approaches to measuring readability even led to a certain animosity for each other (you can learn more from a paper by William Berkson). Top: 14\u002F21 Bottom: 20\u002F30 Consider the needs of your audience when selecting the type size: smaller type is harder to read for seniors, children and visually impaired people. Set in Spectral Top: 18\u002F18 Bottom: 18\u002F24 Tight line spacing reduces readability, as you can clearly see in these examples. Set in Suisse Int’l At the end of the day, Tinker’s idea of speed measurement transformed into the notion of legibility, the ease of distinguishing one letter from another as measured by perception speed. Luckiesh’s fatigue-based measurement became what is nowadays known as readability in a strict sense, the ease of reading a text as a whole—including layout, colors etc—measured using fatigue indicators like blink time. It can also be useful to distinguish the readability of a text (as a product of writing) versus the readability of text setting. The first primarily evaluates the skill of a writer, while the second has to do with design. part 2 What makes on-screen readability special Contents [ ](\u002Fdesigns\u002Freadme\u002F1\u002F) Contrast The pioneers of readability studies were obviously only dealing with printed text. However, by the end of the 1960s, computers with led screens had become relatively mainstream. Due to their inherent properties, they turned out to be more demanding on the eye. Glowing screens make the reading experience physically different from a paper that only reflects light—the higher the brightness level, the stronger the effect. “If you set the brightness up much too high, a direct focus of light will come into your retina, causing fatigue,” explains Nick Sherman, a typographic consultant and the founder of hex projects typographic company. High contrast between the type and the background ensure good readability This problem can be partially tackled by selecting proper contrast color schemes, keeping brightness levels at bay. Some great tools that measure text contrast are: Webaim color contrast checker, Luminosity contrast ratio analyser, Color contrast check, and Color contrast visualiser. Resolution The second hindrance factor is resolution—the number of dots within a given area that can be used to convey visual information. Resolution is measured in dots per inch (dpi) or pixels per inch (ppi), with these terms used interchangeably. MacBook retina displays (praised for their high resolution) have still only exceeded 200ppi, while offset printing offers 2400dpi or even higher. Most fonts that weren’t specially designed for computers tend to decline in readability when displayed on monitors. Historically, the two major it giants, Apple and Microsoft, have offered different solutions. The key feature in macos font rendering was so-called anti-aliasing—a technique used to add pixels of different color to letter fringes, making them look more smooth. Alias. Click to zoom in Anti-aliased In contrast, Windows tried to maximize legibility. They adapted the distribution of pixels within letters and words to make pixel density and letter shape optimal for reading. Microsoft used what’s now called font hinting, a set of instructions describing when to add additional pixels to each letter. This allows for improved legibility, but alters and even distorts original letterforms. Unhinted character Hinted character However, changes to how fonts are rendered have reduced the differences between these approaches. [ ](\u002Fdesigns\u002Freadme\u002F1\u002F) Evolution of layouts and typesetting on the web Part 3 The first website was published in 1990 by computer scientist Tim Berners-Lee and now it seems like an eyesore. Early web sites were basic, using vertically structured, text-heavy pages with few graphics. Before the introduction of tables as a web page structure, there were few design components and no way to emulate the layouts of conventional printed texts. In the early web there were no people well-versed in typesetting. Website layouts were fluid (did not have fixed width), so text lines came in any possible width. That was not so great: all sorts of typographic rules aimed at text legibility were smudged,” says Readymag product designer Stas Aki. The situation demanded new approaches to the creation of web layouts. The variety of screen sizes also strongly impacted web layouts and quality of typesetting. While print designers knew beforehand the paper format that will house their …",{"id":467,"height":13,"width":12,"blurhash":468},"2cd27844-cf53-48d3-8c2c-6f643c0580bc","radial-gradient(at 0 0,#ffbdb6,#00000000 50%),radial-gradient(at 33% 0,#ffdcd7,#00000000 50%),radial-gradient(at 67% 0,#ebe5e0,#00000000 50%),radial-gradient(at 100% 0,#f5ece9,#00000000 50%),radial-gradient(at 0 50%,#fffbf8,#00000000 50%),radial-gradient(at 33% 50%,#fdfaf7,#00000000 50%),radial-gradient(at 67% 50%,#e8e5e2,#00000000 50%),radial-gradient(at 100% 50%,#f0ecea,#00000000 50%),radial-gradient(at 0 100%,#f3ebeb,#00000000 50%),radial-gradient(at 33% 100%,#fbfafa,#00000000 50%),radial-gradient(at 67% 100%,#dbdbdc,#00000000 50%),radial-gradient(at 100% 100%,#dbd8d9,#00000000 50%)",{"id":470,"height":15,"width":14,"blurhash":60},"3efc691f-4419-46fe-a333-f409186b82e3",[472,475,478,481,484,487,490,493,496,499,502,505,508,511,514,517,520,523,526,529,532,535,538,541,544,547,550,553,556,559],{"directus_files_id":473},{"id":474},"b6fd3dfe-3bb3-4d65-a1f9-918b0b634fc7",{"directus_files_id":476},{"id":477},"a27dd8ab-76ce-440d-9b3a-bc512ac1853d",{"directus_files_id":479},{"id":480},"13b58551-19e3-4f1e-8590-a86311c6c3ab",{"directus_files_id":482},{"id":483},"a97bf3c1-86d9-4b1c-804b-fb159447e2ba",{"directus_files_id":485},{"id":486},"e11558be-75b1-4bd0-85c6-f60e84997432",{"directus_files_id":488},{"id":489},"f776de3e-4340-4111-ae70-449364c5ac55",{"directus_files_id":491},{"id":492},"b57c39e3-51f5-46c6-a991-50c68959838f",{"directus_files_id":494},{"id":495},"127175f3-6dd7-4408-9f99-5265891bda6b",{"directus_files_id":497},{"id":498},"46649577-5ac6-4af6-9214-4f7bb6491467",{"directus_files_id":500},{"id":501},"4bcae40d-8033-4a45-a1f3-6acb76fb1edb",{"directus_files_id":503},{"id":504},"649e5edc-c568-4f49-8e52-62a7b64f423f",{"directus_files_id":506},{"id":507},"f35548e1-efa4-489e-a4eb-d9c41ecf5e3f",{"directus_files_id":509},{"id":510},"fd5a7aa0-ddc3-4c77-b114-333866717fef",{"directus_files_id":512},{"id":513},"54339e8a-8e66-4b85-bc78-25494287f3c6",{"directus_files_id":515},{"id":516},"10286efd-9171-431f-8f91-e5fae3d58734",{"directus_files_id":518},{"id":519},"7b57ba8d-f4a6-449e-966c-011b887f0c57",{"directus_files_id":521},{"id":522},"219e2d59-e5dc-43ea-8e63-84391964d7f4",{"directus_files_id":524},{"id":525},"18049c48-d6ef-4397-9274-bd704fb92988",{"directus_files_id":527},{"id":528},"8acc811f-33ca-4d12-bb20-88131e50d14a",{"directus_files_id":530},{"id":531},"79b9726f-74f0-41e8-91ee-1a492304d9f9",{"directus_files_id":533},{"id":534},"f0eef290-f0df-4492-a16d-d107d2219d8f",{"directus_files_id":536},{"id":537},"d82bbb9c-7efa-45f9-970a-08a1e26676c4",{"directus_files_id":539},{"id":540},"17d78d20-b627-4383-a263-384c671b4c97",{"directus_files_id":542},{"id":543},"67d73b9f-dfd0-48cb-b679-86fbb59284ab",{"directus_files_id":545},{"id":546},"547847bc-6ee6-4715-afab-fbe9c1aef768",{"directus_files_id":548},{"id":549},"0297ca8b-a23c-49ac-9e05-65d48c880d28",{"directus_files_id":551},{"id":552},"065dd807-3b11-4e7e-81b6-795dd60d492c",{"directus_files_id":554},{"id":555},"08ad383c-4cc5-49ac-939b-d468f2e7ef42",{"directus_files_id":557},{"id":558},"aab13d2a-66c3-4c35-94dc-c14e803b0236",{"directus_files_id":560},{"id":561},"6a139b4e-0e4f-4b3f-aa0d-6fa06a849a12",[563],{"languages_code":379,"description":564},"Read Me: Magazine is a high-impact digital editorial template designed to challenge the conventions of web typography and layout. It serves as a playground for long-form storytelling, utilizing aggressive scale and experimental compositions to command attention in an era of rapid scrolling. The design is built for creators who want to transform text-heavy content into a visceral, immersive visual experience.\n\nThe visual identity is defined by a bold, maximalist approach that leans heavily into typographic hierarchy. Using high-contrast color palettes—vibrant oranges, deep purples, and electric blues—against stark backgrounds, the design creates a sense of urgency and modern edge. The layout breaks traditional grid structures with oversized headings and organic, overlapping shapes, making it an ideal choice for avant-garde digital publications and experimental design portfolios.","Entertainment & Media",[567,33,568],"Brutalist \u002F Neo-Brutalist","Vibrant \u002F Colorful",[570],"Pavel Kedzich",[68,71,51,55,55,62,65,58,74],[573,102],"FirstPromoter",[575,577,579,580],{"score":576,"category":106},31,{"score":578,"category":109},78,{"score":445,"category":112},{"score":207,"category":115},[582,584,586,587],{"score":583,"category":106},25,{"score":585,"category":109},83,{"score":445,"category":112},{"score":207,"category":115},[128,132,124,589],"red","Website: Read Me: Magazine. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Readymag templates: Read Me: Magazine. Page description: Glitzy and varied template for editorials.. Page content: Read me! 9 tips on Creating a readable web text Part 4 FONTS THAT ADDRESS SPECIAL ISSUES Part 3 EVOLUTION OF LAYOUTS AND TYPESETTINg ON THE WEB Part 2 what makes on-Screen readability special Part 1 Define and conquer 8 min read More and more text-based content is shared over the Internet, but not everything is thoroughly read. In fact, by the time this article reaches the next screen, a significant share of you will have already stopped reading. New York subway, 2019. Photo: Susan Jane Golding, CC by 2.0 studies suggest that on medium, a popular platform for long blog posts, the average read-through rate is around 40 %—that means only two out of five readers that start reading an article, will actually stick around to finish it (though some argue that there is still significant variance). Readymag Stories project read-through data revolves around the same numbers—by the end of each story, we lose over half of those who began interested. To make things worse, people almost never consume digital content word by word: instead, they rapidly scan the text. “People scan because they’re trying to absorb as much information as they need,” notes Kate Moran, a Senior User Experience Specialist at Nielsen Norman Group. To make the problem go away, it’s become almost a cliche to blame the reader. According to this view, the public, addicted to everything new and shiny, is almost eager to be bored by text so that they can switch to the next article, video game, insta account, etc. But what if the problem is deeper, and what is posed as an ethical question is in fact a matter of pure physiology? Some studies suggest that on-screen text might be inherently more difficult to read than printed. That implies that there is no way creators can raise the bar for read-through above a certain level, pre-determined by the properties of a human eye and a human brain. Still, to increase the chances of their work being seen, great creators work hard to create good content and set it in type, as they always have. In this essay we offer some advice on how to deal with both. PART 1 contents Define and conquer Let’s start by defining readability. According to a classic paper by Edgar Dale and Jeanne Chall, readability is “…the sum total (…) of all those elements within a given piece of printed material that affect the success a group of readers have with it. The success is the extent to which they understand it, read it at an optimal speed, and find it interesting.” In other words, readability is a metric that evaluates the ease and comfort of reading a particular text. The question of how to create this kind of metric was asked long before the web emerged—as early as the 19th century. French psychologist Louis Émile Javal provided one of the first known studies of the matter in 1879 with his paper Essai sur la physiologie de la lecture (On the Physiology of Reading). Javal’s key insight was that readers’ eyes don’t move steadily across the text; they actually make short, rapid movements (saccades), mixed with longer stops (fixations). Javal also noted that sometimes, while reading, the eyes unconsciously move backwards to text the reader has already seen. His idea was that the number of stops and backwards moves might help determine readability level—however, Javal lacked precise tools for the task and the idea was dropped at that time. Two other prominent approaches came forward later, in the middle of the 20th century. One was based on the speed of perception, while another emphasized measuring overall eye fatigue. These were pioneered by two researchers, Miles Tinker and Matthew Luckiesh—whose different approaches to measuring readability even led to a certain animosity for each other (you can learn more from a paper by William Berkson). Top: 14\u002F21 Bottom: 20\u002F30 Consider the needs of your audience when selecting the type size: smaller type is harder to read for seniors, children and visually impaired people. Set in Spectral Top: 18\u002F18 Bottom: 18\u002F24 Tight line spacing reduces readability, as you can clearly see in these examples. Set in Suisse Int’l At the end of the day, Tinker’s idea of speed measurement transformed into the notion of legibility, the ease of distinguishing one letter from another as measured by perception speed. Luckiesh’s fatigue-based measurement became what is nowadays known as readability in a strict sense, the ease of reading a text as a whole—including layout, colors etc—measured using fatigue indicators like blink time. It can also be useful to distinguish the readability of a text (as a product of writing) versus the readability of text setting. The first primarily evaluates the skill of a writer, while the second has to do with design. part 2 What makes on-screen readability special Contents [ ](\u002Fdesigns\u002Freadme\u002F1\u002F) Contrast The pioneers of readability studies were obviously only dealing with printed text. However, by the end of the 1960s, computers with led screens had become relatively mainstream. Due to their inherent properties, they turned out to be more demanding on the eye. Glowing screens make the reading experience physically different from a paper that only reflects light—the higher the brightness level, the stronger the effect. “If you set the brightness up much too high, a direct focus of light will come into your retina, causing fatigue,” explains Nick Sherman, a typographic consultant and the founder of hex projects typographic company. High contrast between the type and the background ensure good readability This problem can be partially tackled by selecting proper contrast color schemes, keeping brightness levels at bay. Some great tools that measure text contrast are: Webaim color contrast checker, Luminosity contrast ratio analyser, Color contrast check, and Color contrast visualiser. Resolution The second hindrance factor is resolution—the number of dots within a given area that can be used to convey visual information. Resolution is measured in dots per inch (dpi) or pixels per inch (ppi), with these terms used interchangeably. MacBook retina displays (praised for their high resolution) have still only exceeded 200ppi, while offset printing offers 2400dpi or even higher. Most fonts that weren’t specially designed for computers tend to decline in readability when displayed on monitors. Historically, the two major it giants, Apple and Microsoft, have offered different solutions. The key feature in macos font rendering was so-called anti-aliasing—a technique used to add pixels of different color to letter fringes, making them look more smooth. Alias. Click to zoom in Anti-aliased In contrast, Windows tried to maximize legibility. They adapted the distribution of pixels within letters and words to make pixel density and letter shape optimal for reading. Microsoft used what’s now called font hinting, a set of instructions describing when to add additional pixels to each letter. This allows for improved legibility, but alters and even distorts original letterforms. Unhinted character Hinted character However, changes to how fonts are rendered have reduced the differences between these approaches. [ ](\u002Fdesigns\u002Freadme\u002F1\u002F) Evolution of layouts and typesetting on the web Part 3 The first website was published in 1990 by computer scientist Tim Berners-Lee and now it seems like an eyesore. Early web sites were basic, using vertically structured, text-heavy pages with few graphics. Before the introduction of tables as a web page structure, there were few design components and no way to emulate the layouts of conventional printed texts. In the early web there were no people well-versed in typesetting. Website layouts were fluid (did not have fixed width), so text lines came in any possible width. That was not so great: all sorts of typographic rules aimed at text legibility were smudged,” says Readymag product designer Stas Aki. The situation demanded new approaches to the creation of web layouts. The variety of screen sizes also strongly impacted web layouts and quality of typesetting. While print designers knew beforehand the paper format that will house their …. A Brutalist \u002F Neo-Brutalist, Typographic \u002F Big Type, Vibrant \u002F Colorful website in the Entertainment & Media industry. The overall color palette features White, Gray, Black, Red. The typography features Roboto (Sans Serif), Source Sans (Sans Serif), Austin (Serif, Commercial Type), Druk (Sans Serif, Commercial Type), Druk (Sans Serif, Commercial Type), Giorgio (Display, Commercial Type), Graphik (Sans Serif, Commercial Type), Freight (Serif), Trio Grotesk (Sans Serif, Schick Toikka). Built using FirstPromoter, Readymag. AI description: Read Me: Magazine is a high-impact digital editorial template designed to challenge the conventions of web typography and layout. It serves as a playground for long-form storytelling, utilizing aggressive scale and experimental compositions to command attention in an era of rapid scrolling. The design is built for creators who want to transform text-heavy content into a visceral, immersive visual experience. The visual identity is defined by a bold, maximalist approach that leans heavily into typographic hierarchy. Using high-contrast color palettes—vibrant oranges, deep purples, and electric blues—against stark backgrounds, the design creates a sense of urgency and modern edge. The layout breaks traditional grid structures with oversized headings and organic, overlapping shapes, making it an ideal choice for avant-garde digital publications and experimental design portfolios.",{"id":592,"website_id":593,"page_id":592,"name":594,"slug":595,"url":596,"website_name":594,"website_slug":595,"website_url":597,"result_url":596,"fetched_at":598,"score":221,"score_boost":359,"ai_score":221,"freshness_score":599,"scored_at":600,"page_name":39,"page_url":596,"page_title":601,"page_description":602,"page_content":603,"page_sort":359,"is_home":365,"is_home_rank":366,"page_type_id":367,"page_type_name":46,"cover":604,"cover_mobile":607,"cover_sequence":609,"translations":661,"industry":664,"styles":665,"credits":666,"font_families":668,"technologies":670,"pagespeed":671,"pagespeed_mobile":676,"buckets":682,"search_payload":683},"49f14de2-fda8-4888-8a5b-8e54ce4c0e50","dcee47f8-69d6-4587-b30d-a2f6625fce76","Salomon Ligthelm","salomon-ligthelm","https:\u002F\u002Fligthelm.work\u002F","https:\u002F\u002Fligthelm.work","2026-05-05T15:57:07.000Z",1777996627,"2026-05-24T20:58:29.000Z","Home — Salomon Ligthelm","Salomon is a self-taught filmmaker whose international background figures strongly in his distinctive, visual style.","Loading ALL PROJECTS Selected work Narrative Music Videos Commercials Format Agnostic [ Little Simz 'Flood' ](\u002Fproject\u002Flittle-simz-flood) [ Epiclesis 'Short Film' ](\u002Fproject\u002Fepiclesis-short-film) “Pain and suffering are always inevitable for a large intelligence and a deep heart. The really great men must, I think, have great sadness on earth.”— Fyodor Dostoevsky [ He Gets Us 'Be' ](\u002Fproject\u002Fhe-gets-us-be) “Fallacies do not cease to be fallacies because they become fashions.\"— G.K. Chesterton [ Aldi 'Candies' ](\u002Fproject\u002Faldi-candies) “Joy does not simply happen to us. We have to choose joy and keep choosing it every day.”— Henri J.M. Nouwen [ He Gets Us 'More' ](\u002Fproject\u002Fhe-gets-us-more) \"Darkness cannot drive out darkness; only light can do that. Hate cannot drive out hate; only love can do that.\"— Martin Luther King Jr. [ Moeder 'Short Film' ](\u002Fproject\u002Fmoeder-short-film) “If you want to overcome the whole world, overcome yourself.”— Fyodor Dostoevsky [ He Gets Us 'Questions' ](\u002Fproject\u002Fhe-gets-us-questions) [ Young Fathers 'Mr. Martyr' ](\u002Fproject\u002Fyoung-fathers-mr.-martyr) [ S7 Airlines 'I Am You' ](\u002Fproject\u002Fs7-airlines-i-am-you) [ Beyond The Endless Light 'Short Film' ](\u002Fproject\u002Fbeyond-the-endless-light-short-film) [ The House of Diligence 'Documentary' ](\u002Fproject\u002Fthe-house-of-diligence-documentary) [ HP 'The Wrong Kind of Busy' ](\u002Fproject\u002Fhp-the-wrong-kind-of-busy) [ NBA 'Don't Miss A Thing' ](\u002Fproject\u002Fnba-donand39t-miss-a-thing) The whole secret of mysticism is this: that man can understand everything by the help of what he does not understand. The morbid logician seeks to make everything lucid, and succeeds in making everything mysterious. The mystic allows one thing to be mysterious, and everything else becomes lucid.— G.K. Chesterton [ Joopiter 'Son of Pharaoh' ](\u002Fproject\u002Fjoopiter-son-of-pharaoh) “You don't think your way into a new kind of living. You live your way into a new kind of thinking.”— Henri J.M. Nouwen [ Riyadh Season 'Four Crowns' ](\u002Fproject\u002Friyadh-season-four-crowns) [ Ford 'Starting Line' ](\u002Fproject\u002Fford-starting-line) [ Ayia 'Easy' ](\u002Fproject\u002Fayia-easy) “You become like what you worship. When you gaze in awe, admiration, and wonder at something or someone, you begin to take on something of the character of the object of your worship.”— N.T. Wright [ Mercedes AMG 'Hyperloop' ](\u002Fproject\u002Fmercedes-amg-hyperloop) [ Giveon 'Lost Me' ](\u002Fproject\u002Fgiveon-lost-me) [ Top Boy 'Portrait of A Top Boy' ](\u002Fproject\u002Ftop-boy-portrait-of-a-top-boy) [ Skrillex x Bieber x Toliver 'Dont Go' ](\u002Fproject\u002Fskrillex-x-bieber-x-toliver-dont-go) [ Ford 'Tough' Shot in Alabama Hills, and the Greater LA area. 36.6100° N, 118.1000° W ](\u002Fproject\u002Fford-tough) “If we find ourselves with a desire that nothing in this world can satisfy, the most probable explanation is that we were made for another world.”— C.S. Lewis [ Little Simz 'Introvert' ](\u002Fproject\u002Flittle-simz-introvert) Touched by a masterpiece, a person begins to hear in himself that same call of truth which prompted the artist to his creative act. When a link is established between the work and its beholder, the latter experiences a sublime, purging trauma.\"— Andrei Tarkovsky [ Call of Duty 'Makarov' ](\u002Fproject\u002Fcall-of-duty-makarov) [ Genesis 'Light' Shot in Lisbon, Portugal. 38.7223° N, 9.1393° W ](\u002Fproject\u002Fgenesis-light) [ Victoria 'Xibalba' ](\u002Fproject\u002Fvictoria-xibalba) [ KIA 'Every Four Years' ](\u002Fproject\u002Fkia-every-four-years) “You build something but you cant live in the house because you sit around guarding it.”— Rodney Mullen [ Victoria 'Cempazúchitl' ](\u002Fproject\u002Fvictoria-cempazuchitl) “To have a right to do a thing is not at all the same as to be right in doing it.”— G. K. Chesterton [ Olympics 'Stronger Together' Shot in Buenos Aeries --- 34.6037° S, 58.3816° W --- \"Every rise, every fall, every victory - we’re in it together.\" ](\u002Fproject\u002Folympics-stronger-together) “...before the origin of things, geometry was coeternal with the Divine Mind”— JOHANNES KEPLER [ Alfa Romeo 'Near Life Experience' ](\u002Fproject\u002Falfa-romeo-near-life-experience) \"Relationships are the spiritual work of the West\"— Eckharte Tolle [ Daughter 'Medicine' ](\u002Fproject\u002Fdaughter-medicine) [ Victoria 'Mictlan' ](\u002Fproject\u002Fvictoria-mictlan) \"Man is a mystery. It needs to be unravelled, and if you spend your whole life unravelling it, don't say that you've wasted time. I am studying that mystery because I want to be a human being.\"— Fyodor Dostoevsky [ GStar x Zalando 'Denim Never Stops' ](\u002Fproject\u002Fgstar-x-zalando-denim-never-stops) [ Victoria 'Icnocuicatl' ](\u002Fproject\u002Fvictoria-icnocuicatl) “To love means loving the unlovable. To forgive means pardoning the unpardonable. Faith means believing the unbelievable. Hope means hoping when everything seems hopeless.\"— G. K. Chesterton [ Ford 'Bronco' ](\u002Fproject\u002Fford-bronco) \"I too play with symbols... but I play in such a way that I do not forget that I am playing. For nothing is proved by symbols... unless by sure reasons it can be demonstrated that they are not merely symbolic but are descriptions of the ways in which the two things are connected and of the causes of this connection.\"\"— JOHANNES KEPLER Ethos symbol [ Puma 'Cross The Line' ](\u002Fproject\u002Fpuma-cross-the-line) [ Giveon 'Heartbreak Anniversary' ](\u002Fproject\u002Fgiveon-heartbreak-anniversary) [ Young Fathers 'He Says He Needs Me' ](\u002Fproject\u002Fyoung-fathers-he-says-he-needs-me) “A poet is someone who can use a single image to send a universal message.”— Andrei Tarkovsky [ Adolfo Dominguez 'The Wind' ](\u002Fproject\u002Fadolfo-dominguez-the-wind) “Modern mass culture, aimed at the 'consumer', the civilisation of prosthetics, is crippling people's souls, setting up barriers between man and the crucial questions of his existence, his consciousness of himself as a spiritual being.”— Andrei Tarkovsky [ WWF 'Race Back To Life' London, United Kingdom 51.5072° N, 0.1276° W ](\u002Fproject\u002Fwwf-race-back-to-life) “The spiritual life does not remove us from the world but leads us deeper into it”— Henri J.M. Nouwen [ The Weeknd 'Privilege' ](\u002Fproject\u002Fthe-weeknd-privilege) [ You Will Not Have My Hatred 'Tone Poem' ](\u002Fproject\u002Fyou-will-not-have-my-hatred-tone-poem) “The allotted function of art is not, as is often assumed, to put across ideas, to propagate thoughts, to serve as an example. The aim of art is to prepare a person for death, to plough and harrow his soul, rendering it capable of turning to good.”— Andrei Tarkovsky [ Grey Goose 'We Live, We Speak' ](\u002Fproject\u002Fgrey-goose-we-live-we-speak) [ Intersport 'Always Sport' ](\u002Fproject\u002Fintersport-always-sport) “Any eyes on me – a late-night street sweeper, some dude texting in his parked car, the homeless guy talking to himself – make me feel uncomfortable when I skate. Everyone expects me to do certain things.”— Rodney Mullen [ Mercedes 'Storm' ](\u002Fproject\u002Fmercedes-storm) [ Prince 'Mary' Harlem & The Bronx, New York City, New York. 40.7128° N, 74.0060° W. Shot on Film. ](\u002Fproject\u002Fprince-mary) [ Fox Sports 'Champions Collide' ](\u002Fproject\u002Ffox-sports-champions-collide) “A waiting person is a patient person. The word patience means the willingness to stay where we are and live the situation out to the full in the belief that something hidden there will manifest itself to us.”— Henri J.M. Nouwen [ Adidas '70 years' ](\u002Fproject\u002Fadidas-70-years) “There’s an intrinsic value in creating something for the sake of creating it.”— Rodney Mullen [ Condition 'Just Be There' ](\u002Fproject\u002Fcondition-just-be-there) “There is the great lesson of 'Beauty and the Beast,' that a thing must be loved before it is lovable.”— G. K. Chesterton [ Audi 'Test Drive' ](\u002Fproject\u002Faudi-test-drive) \"It is a most certain truth, that the richer we see ourselves to be, confessing at the same time our poverty, the greater will be our progress, and the more real our humility.\"— Saint Teresa of Avila [ I Have Been To The Mountaintop 'Tone Poem' ](\u002Fproject\u002Fi-have-been-to-the-mountaintop-tone-poem) [ Transcend 'Bury The Imposters' ](\u002Fproject\u002Ftranscend-bury-the-imposters) Ethos symbol [ Jordan Max 'War' ](\u002Fproject\u002Fjordan-max-war) \"Above all, don't lie to yourself. The man who lies to himself and listens to his own lie comes to a point that he cannot distinguish the truth within him, or around him, and so loses all respect for himself and for others. And having no respect he ceases to love.\"— Fyodor Dostoevsky [ Bearcubs 'Underwaterfall' ](\u002Fproject\u002Fbearcubs-underwaterfall) [ Young Fathers 'Toy' ](\u002Fproject\u002Fyoung-fathers-toy) “I think a person needs to learn from childhood to find himself alone. It means to not be bored when you’re by yourself, because a person who finds himself bored when alone – as it seems to me – is in danger.”— Andrei Tarkovsky [ Adidas 'Ultraboost 20' ](\u002Fproject\u002Fadidas-ultraboost-20) “Some sort of pressure must exist; the artist exists because the world is not perfect. Art would be useless if the world were perfect, as man wouldn’t look for harmony but would simply live in it. Art is born out of an ill-designed world.”— Andrei Tarkovsky [ Our Future Is In Baltimore 'Tone Poem' ](\u002Fproject\u002Four-future-is-in-baltimore-tone-poem) [ Valvoline 'Never Idle' ](\u002Fproject\u002Fvalvoline-never-idle) Ethos symbol [ Imposter 'Short Film' ](\u002Fproject\u002Fimposter-short-film) “As long as we continue to live as if we are what we do, what we have, and what other people think about us, we will remain filled with judgments, opinions, evaluations, and condemnations. We will remain addicted to putting people and things in their \"right\" place.”— Henri J.M. Nouwen [ Tesla 'The Ghost' ](\u002Fproject\u002Ftesla-the-ghost) [ Audi 'Rainmaker' ](\u002Fproject\u002Faudi-rainmaker) \"A dead thing can go with the stream, but only a living thing can go against it.”— G.K. Chesterton [ Anomaly 'Short Film' ](\u002Fproject\u002Fanomaly-short-film) Mysticism keeps men sane. As long as you have mystery you have health; when you destroy mystery you create morbidity. The ordinary man has always been sane because the ordinary man has always been a mystic. He has permitted the twilight. He has always had one foot in earth and the other in fairyland.— G.K. Chesterton [ Rocket Wars 'Short Documentary' ](\u002Fproject\u002Frocket-wars-short-documentary) \"Sad songs, make sad people happy\"— Unknown Ethos symbol [ Buick 'Progress' ](\u002Fproject\u002Fbuick-progress) \"Prayer does not change God, but changes him who prays.\"— Soren Kierkagaard [ HSC 'Speak We Are Listening' ](\u002Fproject\u002Fhsc-speak-we-are-listening) [ O2 Telefonica 'Can Do' Shot in Belgrade, Serbia 44.8125° N, 20.4612° E ](\u002Fproject\u002Fo2-telefonica-can-do) [ Modelo 'Mark of a Fighter' ](\u002Fproject\u002Fmodelo-mark-of-a-fighter) Ethos symbol [ Silent Transitions 'Tone Poem' Dubai, UAE. 25.2048° N, 55.2708° E. Shot on Canon 7D, 60D Canon Mount Sigma 30mm Lens ](\u002Fproject\u002Fsilent-transitions-tone-poem) [ Kye Kye 'Honest Affection' ](\u002Fproject\u002Fkye-kye-honest-affection) “Who are you? What is your distinct contribution? That is so valuable whether it gets you anything or not. Trophies? Doesn’t matter. If you know you did it, that’s what keeps you going, you know? Success is illusive.”— Rodney Mullen [ Pater Noster 'Tone Poem' ](\u002Fproject\u002Fpater-noster-tone-poem) “A poet is someone who can use a single image to send a universal message.” — …",{"id":605,"height":13,"width":12,"blurhash":606},"d14d6b63-556e-41fa-8345-4000abecd64c","radial-gradient(at 0 0,#042114,#00000000 50%),radial-gradient(at 33% 0,#001906,#00000000 50%),radial-gradient(at 67% 0,#172110,#00000000 50%),radial-gradient(at 100% 0,#001500,#00000000 50%),radial-gradient(at 0 50%,#2b2c2c,#00000000 50%),radial-gradient(at 33% 50%,#3e3734,#00000000 50%),radial-gradient(at 67% 50%,#353235,#00000000 50%),radial-gradient(at 100% 50%,#3c3f3f,#00000000 50%),radial-gradient(at 0 100%,#475050,#00000000 50%),radial-gradient(at 33% 100%,#3a4141,#00000000 50%),radial-gradient(at 67% 100%,#313331,#00000000 50%),radial-gradient(at 100% 100%,#333b3d,#00000000 50%)",{"id":608,"height":15,"width":14,"blurhash":60},"e42c1196-499f-4119-9d42-7067ae321c92",[610,613,616,619,622,625,628,631,634,637,640,643,646,649,652,655,658],{"directus_files_id":611},{"id":612},"e7bb2783-3d4d-4495-96ec-3ea700909f39",{"directus_files_id":614},{"id":615},"00f34fe4-a002-458e-96c1-ad0db4b5a7fc",{"directus_files_id":617},{"id":618},"64cda70f-26ec-4e9f-a947-07a3cf6a2384",{"directus_files_id":620},{"id":621},"d5423263-cffb-4e9d-9df3-3f0f93e65ba9",{"directus_files_id":623},{"id":624},"e8417bee-4944-4baa-96ca-3ad4a9fff73e",{"directus_files_id":626},{"id":627},"5b2244e5-e552-4785-8ad6-691d33b8b29e",{"directus_files_id":629},{"id":630},"6378e79e-790d-4e5a-aa84-675da39e9778",{"directus_files_id":632},{"id":633},"820477ef-7aaa-46a9-abfa-6f4e2c89135b",{"directus_files_id":635},{"id":636},"027d6c10-7277-4950-96ea-93a94e7b1679",{"directus_files_id":638},{"id":639},"01d817c7-b61f-4770-ad53-edd92a40c9ad",{"directus_files_id":641},{"id":642},"93fb3fc6-4623-44cd-a973-b3826943be40",{"directus_files_id":644},{"id":645},"e5e06915-a0f7-4acb-a4e2-82b2c693989a",{"directus_files_id":647},{"id":648},"ba113cdc-497a-4ec9-8f2e-d06d13253bce",{"directus_files_id":650},{"id":651},"7f6f254c-d1a3-40f3-a727-105a3ceb695d",{"directus_files_id":653},{"id":654},"e9c3f9cc-84c2-4c74-922d-ff8a307b9bd4",{"directus_files_id":656},{"id":657},"3b70f5e6-6392-468a-a24a-9ad7e0223ad4",{"directus_files_id":659},{"id":660},"121cb711-8be1-43f8-b49a-bcd78deb687c",[662],{"languages_code":379,"description":663},"Salomon Ligthelm’s portfolio is a masterclass in cinematic minimalism, serving as a high-impact visual archive for a filmmaker with a distinct international perspective. The website functions as a digital gallery, prioritizing raw, evocative imagery from narrative films, music videos, and commercials. By stripping away unnecessary UI elements, the site allows the texture, lighting, and mood of the film stills to command absolute attention.\n\nThe visual identity is defined by a sophisticated dark mode aesthetic and a strong typographic hierarchy. The use of a refined serif typeface for the brand name creates a sense of prestige and artistry, contrasting beautifully against the gritty, atmospheric cinematic frames. The layout is structured and rhythmic, utilizing a clean grid that feels both organized and expansive, perfectly catering to creative directors and industry professionals seeking high-end visual storytelling.","Photography & Video",[29,26,33],[667],"Mouthwash Studio",[304,669],"Akkurat",[],[672,673,674,675],{"score":171,"category":106},{"score":206,"category":109},{"score":113,"category":112},{"score":208,"category":115},[677,679,680,681],{"score":678,"category":106},93,{"score":206,"category":109},{"score":113,"category":112},{"score":208,"category":115},[124,132,128],"Website: Salomon Ligthelm. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Home — Salomon Ligthelm. Page description: Salomon is a self-taught filmmaker whose international background figures strongly in his distinctive, visual style.. Page content: Loading ALL PROJECTS Selected work Narrative Music Videos Commercials Format Agnostic [ Little Simz 'Flood' ](\u002Fproject\u002Flittle-simz-flood) [ Epiclesis 'Short Film' ](\u002Fproject\u002Fepiclesis-short-film) “Pain and suffering are always inevitable for a large intelligence and a deep heart. The really great men must, I think, have great sadness on earth.”— Fyodor Dostoevsky [ He Gets Us 'Be' ](\u002Fproject\u002Fhe-gets-us-be) “Fallacies do not cease to be fallacies because they become fashions.\"— G.K. Chesterton [ Aldi 'Candies' ](\u002Fproject\u002Faldi-candies) “Joy does not simply happen to us. We have to choose joy and keep choosing it every day.”— Henri J.M. Nouwen [ He Gets Us 'More' ](\u002Fproject\u002Fhe-gets-us-more) \"Darkness cannot drive out darkness; only light can do that. Hate cannot drive out hate; only love can do that.\"— Martin Luther King Jr. [ Moeder 'Short Film' ](\u002Fproject\u002Fmoeder-short-film) “If you want to overcome the whole world, overcome yourself.”— Fyodor Dostoevsky [ He Gets Us 'Questions' ](\u002Fproject\u002Fhe-gets-us-questions) [ Young Fathers 'Mr. Martyr' ](\u002Fproject\u002Fyoung-fathers-mr.-martyr) [ S7 Airlines 'I Am You' ](\u002Fproject\u002Fs7-airlines-i-am-you) [ Beyond The Endless Light 'Short Film' ](\u002Fproject\u002Fbeyond-the-endless-light-short-film) [ The House of Diligence 'Documentary' ](\u002Fproject\u002Fthe-house-of-diligence-documentary) [ HP 'The Wrong Kind of Busy' ](\u002Fproject\u002Fhp-the-wrong-kind-of-busy) [ NBA 'Don't Miss A Thing' ](\u002Fproject\u002Fnba-donand39t-miss-a-thing) The whole secret of mysticism is this: that man can understand everything by the help of what he does not understand. The morbid logician seeks to make everything lucid, and succeeds in making everything mysterious. The mystic allows one thing to be mysterious, and everything else becomes lucid.— G.K. Chesterton [ Joopiter 'Son of Pharaoh' ](\u002Fproject\u002Fjoopiter-son-of-pharaoh) “You don't think your way into a new kind of living. You live your way into a new kind of thinking.”— Henri J.M. Nouwen [ Riyadh Season 'Four Crowns' ](\u002Fproject\u002Friyadh-season-four-crowns) [ Ford 'Starting Line' ](\u002Fproject\u002Fford-starting-line) [ Ayia 'Easy' ](\u002Fproject\u002Fayia-easy) “You become like what you worship. When you gaze in awe, admiration, and wonder at something or someone, you begin to take on something of the character of the object of your worship.”— N.T. Wright [ Mercedes AMG 'Hyperloop' ](\u002Fproject\u002Fmercedes-amg-hyperloop) [ Giveon 'Lost Me' ](\u002Fproject\u002Fgiveon-lost-me) [ Top Boy 'Portrait of A Top Boy' ](\u002Fproject\u002Ftop-boy-portrait-of-a-top-boy) [ Skrillex x Bieber x Toliver 'Dont Go' ](\u002Fproject\u002Fskrillex-x-bieber-x-toliver-dont-go) [ Ford 'Tough' Shot in Alabama Hills, and the Greater LA area. 36.6100° N, 118.1000° W ](\u002Fproject\u002Fford-tough) “If we find ourselves with a desire that nothing in this world can satisfy, the most probable explanation is that we were made for another world.”— C.S. Lewis [ Little Simz 'Introvert' ](\u002Fproject\u002Flittle-simz-introvert) Touched by a masterpiece, a person begins to hear in himself that same call of truth which prompted the artist to his creative act. When a link is established between the work and its beholder, the latter experiences a sublime, purging trauma.\"— Andrei Tarkovsky [ Call of Duty 'Makarov' ](\u002Fproject\u002Fcall-of-duty-makarov) [ Genesis 'Light' Shot in Lisbon, Portugal. 38.7223° N, 9.1393° W ](\u002Fproject\u002Fgenesis-light) [ Victoria 'Xibalba' ](\u002Fproject\u002Fvictoria-xibalba) [ KIA 'Every Four Years' ](\u002Fproject\u002Fkia-every-four-years) “You build something but you cant live in the house because you sit around guarding it.”— Rodney Mullen [ Victoria 'Cempazúchitl' ](\u002Fproject\u002Fvictoria-cempazuchitl) “To have a right to do a thing is not at all the same as to be right in doing it.”— G. K. Chesterton [ Olympics 'Stronger Together' Shot in Buenos Aeries --- 34.6037° S, 58.3816° W --- \"Every rise, every fall, every victory - we’re in it together.\" ](\u002Fproject\u002Folympics-stronger-together) “...before the origin of things, geometry was coeternal with the Divine Mind”— JOHANNES KEPLER [ Alfa Romeo 'Near Life Experience' ](\u002Fproject\u002Falfa-romeo-near-life-experience) \"Relationships are the spiritual work of the West\"— Eckharte Tolle [ Daughter 'Medicine' ](\u002Fproject\u002Fdaughter-medicine) [ Victoria 'Mictlan' ](\u002Fproject\u002Fvictoria-mictlan) \"Man is a mystery. It needs to be unravelled, and if you spend your whole life unravelling it, don't say that you've wasted time. I am studying that mystery because I want to be a human being.\"— Fyodor Dostoevsky [ GStar x Zalando 'Denim Never Stops' ](\u002Fproject\u002Fgstar-x-zalando-denim-never-stops) [ Victoria 'Icnocuicatl' ](\u002Fproject\u002Fvictoria-icnocuicatl) “To love means loving the unlovable. To forgive means pardoning the unpardonable. Faith means believing the unbelievable. Hope means hoping when everything seems hopeless.\"— G. K. Chesterton [ Ford 'Bronco' ](\u002Fproject\u002Fford-bronco) \"I too play with symbols... but I play in such a way that I do not forget that I am playing. For nothing is proved by symbols... unless by sure reasons it can be demonstrated that they are not merely symbolic but are descriptions of the ways in which the two things are connected and of the causes of this connection.\"\"— JOHANNES KEPLER Ethos symbol [ Puma 'Cross The Line' ](\u002Fproject\u002Fpuma-cross-the-line) [ Giveon 'Heartbreak Anniversary' ](\u002Fproject\u002Fgiveon-heartbreak-anniversary) [ Young Fathers 'He Says He Needs Me' ](\u002Fproject\u002Fyoung-fathers-he-says-he-needs-me) “A poet is someone who can use a single image to send a universal message.”— Andrei Tarkovsky [ Adolfo Dominguez 'The Wind' ](\u002Fproject\u002Fadolfo-dominguez-the-wind) “Modern mass culture, aimed at the 'consumer', the civilisation of prosthetics, is crippling people's souls, setting up barriers between man and the crucial questions of his existence, his consciousness of himself as a spiritual being.”— Andrei Tarkovsky [ WWF 'Race Back To Life' London, United Kingdom 51.5072° N, 0.1276° W ](\u002Fproject\u002Fwwf-race-back-to-life) “The spiritual life does not remove us from the world but leads us deeper into it”— Henri J.M. Nouwen [ The Weeknd 'Privilege' ](\u002Fproject\u002Fthe-weeknd-privilege) [ You Will Not Have My Hatred 'Tone Poem' ](\u002Fproject\u002Fyou-will-not-have-my-hatred-tone-poem) “The allotted function of art is not, as is often assumed, to put across ideas, to propagate thoughts, to serve as an example. The aim of art is to prepare a person for death, to plough and harrow his soul, rendering it capable of turning to good.”— Andrei Tarkovsky [ Grey Goose 'We Live, We Speak' ](\u002Fproject\u002Fgrey-goose-we-live-we-speak) [ Intersport 'Always Sport' ](\u002Fproject\u002Fintersport-always-sport) “Any eyes on me – a late-night street sweeper, some dude texting in his parked car, the homeless guy talking to himself – make me feel uncomfortable when I skate. Everyone expects me to do certain things.”— Rodney Mullen [ Mercedes 'Storm' ](\u002Fproject\u002Fmercedes-storm) [ Prince 'Mary' Harlem & The Bronx, New York City, New York. 40.7128° N, 74.0060° W. Shot on Film. ](\u002Fproject\u002Fprince-mary) [ Fox Sports 'Champions Collide' ](\u002Fproject\u002Ffox-sports-champions-collide) “A waiting person is a patient person. The word patience means the willingness to stay where we are and live the situation out to the full in the belief that something hidden there will manifest itself to us.”— Henri J.M. Nouwen [ Adidas '70 years' ](\u002Fproject\u002Fadidas-70-years) “There’s an intrinsic value in creating something for the sake of creating it.”— Rodney Mullen [ Condition 'Just Be There' ](\u002Fproject\u002Fcondition-just-be-there) “There is the great lesson of 'Beauty and the Beast,' that a thing must be loved before it is lovable.”— G. K. Chesterton [ Audi 'Test Drive' ](\u002Fproject\u002Faudi-test-drive) \"It is a most certain truth, that the richer we see ourselves to be, confessing at the same time our poverty, the greater will be our progress, and the more real our humility.\"— Saint Teresa of Avila [ I Have Been To The Mountaintop 'Tone Poem' ](\u002Fproject\u002Fi-have-been-to-the-mountaintop-tone-poem) [ Transcend 'Bury The Imposters' ](\u002Fproject\u002Ftranscend-bury-the-imposters) Ethos symbol [ Jordan Max 'War' ](\u002Fproject\u002Fjordan-max-war) \"Above all, don't lie to yourself. The man who lies to himself and listens to his own lie comes to a point that he cannot distinguish the truth within him, or around him, and so loses all respect for himself and for others. And having no respect he ceases to love.\"— Fyodor Dostoevsky [ Bearcubs 'Underwaterfall' ](\u002Fproject\u002Fbearcubs-underwaterfall) [ Young Fathers 'Toy' ](\u002Fproject\u002Fyoung-fathers-toy) “I think a person needs to learn from childhood to find himself alone. It means to not be bored when you’re by yourself, because a person who finds himself bored when alone – as it seems to me – is in danger.”— Andrei Tarkovsky [ Adidas 'Ultraboost 20' ](\u002Fproject\u002Fadidas-ultraboost-20) “Some sort of pressure must exist; the artist exists because the world is not perfect. Art would be useless if the world were perfect, as man wouldn’t look for harmony but would simply live in it. Art is born out of an ill-designed world.”— Andrei Tarkovsky [ Our Future Is In Baltimore 'Tone Poem' ](\u002Fproject\u002Four-future-is-in-baltimore-tone-poem) [ Valvoline 'Never Idle' ](\u002Fproject\u002Fvalvoline-never-idle) Ethos symbol [ Imposter 'Short Film' ](\u002Fproject\u002Fimposter-short-film) “As long as we continue to live as if we are what we do, what we have, and what other people think about us, we will remain filled with judgments, opinions, evaluations, and condemnations. We will remain addicted to putting people and things in their \"right\" place.”— Henri J.M. Nouwen [ Tesla 'The Ghost' ](\u002Fproject\u002Ftesla-the-ghost) [ Audi 'Rainmaker' ](\u002Fproject\u002Faudi-rainmaker) \"A dead thing can go with the stream, but only a living thing can go against it.”— G.K. Chesterton [ Anomaly 'Short Film' ](\u002Fproject\u002Fanomaly-short-film) Mysticism keeps men sane. As long as you have mystery you have health; when you destroy mystery you create morbidity. The ordinary man has always been sane because the ordinary man has always been a mystic. He has permitted the twilight. He has always had one foot in earth and the other in fairyland.— G.K. Chesterton [ Rocket Wars 'Short Documentary' ](\u002Fproject\u002Frocket-wars-short-documentary) \"Sad songs, make sad people happy\"— Unknown Ethos symbol [ Buick 'Progress' ](\u002Fproject\u002Fbuick-progress) \"Prayer does not change God, but changes him who prays.\"— Soren Kierkagaard [ HSC 'Speak We Are Listening' ](\u002Fproject\u002Fhsc-speak-we-are-listening) [ O2 Telefonica 'Can Do' Shot in Belgrade, Serbia 44.8125° N, 20.4612° E ](\u002Fproject\u002Fo2-telefonica-can-do) [ Modelo 'Mark of a Fighter' ](\u002Fproject\u002Fmodelo-mark-of-a-fighter) Ethos symbol [ Silent Transitions 'Tone Poem' Dubai, UAE. 25.2048° N, 55.2708° E. Shot on Canon 7D, 60D Canon Mount Sigma 30mm Lens ](\u002Fproject\u002Fsilent-transitions-tone-poem) [ Kye Kye 'Honest Affection' ](\u002Fproject\u002Fkye-kye-honest-affection) “Who are you? What is your distinct contribution? That is so valuable whether it gets you anything or not. Trophies? Doesn’t matter. If you know you did it, that’s what keeps you going, you know? Success is illusive.”— Rodney Mullen [ Pater Noster 'Tone Poem' ](\u002Fproject\u002Fpater-noster-tone-poem) “A poet is someone who can use a single image to send a universal message.” — …. A Clean \u002F Minimalist, Dark Mode, Typographic \u002F Big Type website in the Photography & Video industry. The overall color palette features Black, Gray, White. The typography features Neue Montreal (Sans Serif, Pangram Pangram), Akkurat (Lineto). AI description: Salomon Ligthelm’s portfolio is a masterclass in cinematic minimalism, serving as a high-impact visual archive for a filmmaker with a distinct international perspective. The website functions as a digital gallery, prioritizing raw, evocative imagery from narrative films, music videos, and commercials. By stripping away unnecessary UI elements, the site allows the texture, lighting, and mood of the film stills to command absolute attention. The visual identity is defined by a sophisticated dark mode aesthetic and a strong typographic hierarchy. The use of a refined serif typeface for the brand name creates a sense of prestige and artistry, contrasting beautifully against the gritty, atmospheric cinematic frames. The layout is structured and rhythmic, utilizing a clean grid that feels both organized and expansive, perfectly catering to creative directors and industry professionals seeking high-end visual storytelling."]