Internet Culture specialist Tom Galle is an NYC-based digital creative blending contemporary tech influences with expressive works of art. By combining seemingly disparate ideas together and backing them up with an oftentimes witty avant-garde approach, he creates game-changing visual displays, webpages, products, memes, and performative compositions.
Milos “Sholim” Rajkovic is a Serbian artist who has found a unique way to express his anti-war and anti-corrupt corporation/government/religion sentiments: with animated GIFs.
Rajkovic creates animated portraits of anonymous archetypes with deconstructed heads and symbolic components that operate like finely tuned machines. Everything is fair game: a religious figure with alter, candles, and a rotating luxury car; U.S. military figures with weight-lifting Ronald McDonald, skeletons, praying hands, and a flat screen TV playing 24-hour cable news.
We didn’t know this, but Times New Roman, the default font for our entire childhood, was from the mind of Stanley Morison, who “oversaw” the design for The Times of London newspaper in the 1930s. But their is a controversy surrounding Morison and if he actually created it.
According to BoingBoing and their research, “Evidence found in 1987 — drawings for letters and corresponding brass plates — suggests that the real father of the font wasn’t a typographer at all, but a wooden boat designer from Boston named William Starling Burgess.Burgess is famous in his field for having designed inventive, beautiful yachts (including three that won the America’s Cup), planes for the U.S. Navy and Wilbur and Orville Wright, and some experimental cars.
“But before he accomplished any of those things, Burgess — in 1904, when he was only 26 — had a brief and brilliant flirtation with typography. He wrote to the U.S. branch of the Lanston Monotype Corp. requesting that a font be made to his specifications. He planned to use it on company documents at his nascent shipyard in Marblehead, Mass. He penciled letters and mailed them in. Some work went into creating the font on the corporation’s end — a few brass plates of the letters were cut — but then Burgess abandoned the project to partner with the Wright brothers. Lanston Monotype tried to sell the fledgling font to Time magazine in 1921, but it declined the offer, and Burgess’ unfinished project, simply labeled “Number 54,” was shelved for more than half a century.”