Design

A lot of typography has roots in calligraphy – someone holding a brush in their hand and making natural but delicate movements that result in nuanced curves filled with thoughtful interchanges between thin and thick. Most of the fonts you ever saw follow those rules; even the most “mechanical” fonts have surprising humanistic touches if you inspect

Star Trek: The quintessential computer of the future. Touchy, talky and, er, video-y.

The infinite canvas isn't bad, necessarily, but the unstructured sprawl of mixed information they often lead to seems to offer little value to the vast majority of computer users. When adding structure and bounds to the canvas, the idea does seem to appeal to a wider audience: spreadsheets are very popular. But there's a limited amount of

I work with developers and other IT professionals all day, hang out with similar people on my free time, ride a commute jam packed with project managing office dwellers, and regularly find myself in big cities - but I haven't heard a single "Hey, Siri" for years. Like with the scarcity of touchscreen laptops, I'm sure that means something .

Only in newer keyboards are the letters printed on top of the keys, or charred from their surface by a laser. In older ones – those from the early 1960s laboratory computers, or the 1980s microcomputers – the way every key was constructed was by first molding the letter from plastic of one color, and then grabbing a different plastic and molding

Across all creative fields, what isn’t there is just as important as what is there. In fashion, Coco Chanel advised, “Before you leave the house, look in the mirror and take one thing off.” In music, Miles Davis famously quipped, “It’s not the notes you play, it’s the notes you don’t play.” In design, Jan Tschichold noted that “white space is to be