Everlane is headed up the mountain to The Unique Camp tomorrow to give a workshop and eat s’mores in good company. 

Michael Wolf documents Hong Kong in his photo series Architecture of Density. 

A man after our own OCD:
Artist Ursus Wehrli’s “The Art of Clean Up: Life Made Neat and Tidy,” proves that anything can be organized—even the stars.

Photos from Cool Hunting.

From Co.Design on Adam Ferriss’ art made by re-sorting pixels of existing images using open-source code:

“For this particular collection of greyscale patterns, Ferriss used code written in the popular programming language Processing that employed two techniques: pixel sorting and cellular automata. Starting with a photograph of a wave crashing against a craggy shore, Ferriss first used code to sort the pixels from brightest to darkest (his program was a tweaked version of one written by fellow artist Jeff Thompson). Then Ferriss made a greyscale version of that image and sorted its pixels again. At this point in the process, the original ocean scene is totally unrecognizable, having been rearranged pixel by pixel into a bouquet of monochrome diamonds.”

When not the face of Everlane, our friend Ana Kraš is a furniture designer and photographer. Here, she gives Garance Doré a look inside her creative studio.

513 years of typefaces summed up into one clear infographic by Shelby White.

If you didn’t master the art on New Year’s Eve, you’ll be fully prepared to wear your Everlane Liberty Cherry Blossom Bow come spring.

Found on the The Visual Telling of Stories.

Using materials found after Hurricane Sandy, Reclaim NYC, a collective of designers and artists, creates new pieces to then auction off for the benefit of Sandy relief efforts.

Treasures turned trash turned treasures again. Brilliant.

“Form without function is formalism. Typography can neither be modern nor beautiful if it just pays homage to form rather than fulfill its purpose – a legible communication.” 

Robert Büchler, pioneer of modern typography from Thinking Form.

Like Peter Menzel before him, photographer Huang Qingjun traveled with his lens to document the material possessions of rural families.

Tomorrow, we’ll be taking note and giving thanks for what we have and those we love. 

“French artist Armelle Caron has satisfied this curiosity in “Tout bien rangé,” an assembly of what Caron calls “graphic anagrams” of well-known cities. The series, whose title translates roughly as “All in order,” is composed of digital images of cities printed on canvas — cities whole and cities disassembled, catalogs of parts for some Borgesian Ikea project.”

Without the map to the left, the pieces of these cities—New York, Paris, Le Havre and Istanbul, respectively—would simply be deconstructed groupings of shapes, none of them recognizable as pieces of a metropolis. 

Proof that a city is the sum of its parts? 

From Atlantic Cities. 

While inspiration comes in many forms and from anywhere, when we need a dose from our desks we explore here. 

We know how we’re voting, but if you’re still undecided, let this Time chart be your guide.

Hurricane Sandy above, Hurricane Isaac below.

“On most days, the simply named wind map, is a beautiful visualization of the nation’s wind patterns.Today, the massive storm system heading right for the New York metro area has entangled a vast chunk of the continent’s wind, not to mention the entire Atlantic’s weather, which we don’t see on this map. Sandy is a hemispheric scale storm. If you’re east of the Mississippi and west of central Europe, this system is influencing the air around you.”

Both a fascinating and alarming look at the far-reaching effects of Hurricane Sandy from The Atlantic.

We’re sending our thoughts to all those on the East Coast. Stay safe, friends.

“Yeohyun Ahn is a designer who has a different fate in mind for typography. She uses computer code compiled in the visual programming language Processing to algorithmically craft letters as individual pieces of software. The collection of 10 typefaces is called TYPE+CODE II, and it reimagines letters as complex, visually varied creations that, while not quite sentient or interactive, don’t utilize any of the traditional tools in a typical typographer’s arsenal.”

From Fast Co.Design