This piece really pushes the envelope when thinking in terms of what we could consider ‘traditional.’ Designed by Marlies Romberg, the Wooden Computer Station does a great job of fusing the lines between technology and traditional woodworking. For those of you who might have seen my posts in the past, this would be a great accompanying piece to the Wooden Mouse designed by Alest Rukov.

Props
Design: Marlies Romberg
Article: Design Milk

Okay, so I was searching around this morning through some of my regular websites and came across a very interesting article that got me really thinking about typography on the web. A common problem I have is writing CSS and designing the type as I’d like it to be presented on the screen to the viewer. So you can imagine how insane of a task it might be for type designer who is actually crafting the fonts. There is a big difference between designing typefaces for print and the web; pixels behave differently than blobs of ink on paper. Typefaces for the Web need different qualities. “The bigger problem is all of the technology that delivers the font to the viewer. The website is delivered by one cluster of hardware to another, often with a different operating system, different browser and, in some cases, different pieces of software. That’s a very long chain. The number of variations is almost bottomless, and the results are unreliable at best.”

Imagine that you are a super-successful movie director, who’s been given hundreds of millions of dollars and lots of whiz-bang technology to make a cinematic epic. Sounds good? Not once you are told that people will have to watch it on fuzzy old black and white television sets.

The new publishing world of pixels presents striking complications to displaying fonts on the Web, according to a recent New York Times article. Browsers grow; eyes get strained; fonts become unclear and unappealing. As the Web world has evolved, typographers have worked to develop new tricks to fashion fonts for computer screens while preserving the craft’s rich history and nuance. For instance, if typographers “make enclosed spaces, like those in an ‘a’ and ‘e,’ bigger than they need to be in print.”

Props
Reference: All Top
Article: New York Times
Photo Credit: Fotolia

Okay, so this post might not be the most useful thing I’ve ever posted, but its pretty damn interesting. With technology constantly on the rise, its no surprise that digital cameras have pretty much taken over as far as photography is concerned. But have you ever sat and thought about how far you can really take digital photography? Well, with me and all my randomness I happened to stumble upon the largest picture in the world. Yep, you heard me right. And you thought megapixels were large . . . try gigapixels!

Technical Aspects

The picture was made with the Canon 5D mark II and a 400mm-lens. It consists of 1.665 full format pictures with 21.4 megapixel, which was recorded by a photo-robot in 172 minutes. The converting of 102 GB raw data by a computer with a main memory cache of 48 GB and 16 processors took 94 hours. With a resolution of 297.500 x 87.500 pixel (26 gigapixel) the picture is the largest in the world.

Image Content

The photo was taken on the roof of the building “Haus der Presse” and starts at the left side with the Ostragehege. You can see the Congress Center and the Maritim Hotel rightwards. In the center is the city of Dresden with the famous Semperoper (back view), the castle and the Church of Our Lady. In the background is the television tower and you can identify outlines of the Saxon Switzerland. In the right part you can see the south of Dresden.

To check out this enormous panoramic image for yourself and to find out some more information, please check out the following link:

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