“My design features: a vertical orientation, because it’s how I handle money; American artists, we’re a culture, not just a government; corresponding geographical scenes; and a complementary color scheme, with bold, high-contrast numbers.”. (Dean Potter)

The Dollar ReDe$ign Project: “It’s time to rebrand the buck.”. By Richard Smith.

“Either printer ink is made from unicorn blood or we’re all getting screwed.”.
(Why I believe printers were sent from hell to make us miserable)

“Once you fix something, they’ll forever regard you as the Computer genius.
If it reaches this point, you’re pretty much screwed.”.
(Why it’s better to pretend you don’t know anything about computers)

The Oatmeal: written and drawn by Matthew Inman.

Beatriz Martin Vidal, illustrator. See also her work on deaviantART.

Above: Little Red Riding Hood, watercolor. (from Carbonmade)

“The history of the Milan subway signs was very interesting, because the subway was completely new. Usually the architect designed the furnishings and then say, “now you have to put the signals”. Instead we created a new system, the famous red band on the M1 line , for the signals. Before then, the station’s name appeared only once in the middle of the quay. I proposed to repeat the name every five meters so that, with the train still in motion, one could immediately see it. This was a world first.”.

“I believe that my work is always a work of communication. Communication means that I have to do a service to another, to be able to make readable a text, and to make understand enough. That’s not to say that it is boring and you can’t do anything. No, there are many possibilities.”. (interview for Rai Educational, 2002)

Top, right: Milan metro sign, 1964.
Bottom, left: Bob Noorda (Amsterdam, 1927 – Milan, 2010), designer.

“…You listen to these modern records,
they’re atrocious, they have sound all over them.
There’s no definition of nothing, no vocal, no nothing, just like … static.”.
(Bob Dylan, interviewed by Rolling Stone, 1996)

The Loudness War, or “the practice of digitally mastering albums with progressively increasing levels of loudness and reduced dynamic range.”.