There have been a LOT of people who have said this in recent years: ideas are relatively of no value. Until someone actually executes and makes them valuable, ideas are about as value-less as dreams.
A simple way for journalists, designers, and creators to weave interactive stories
Intake Center is a tool by the creator of North to assist in the project intake process, especially around North's Content Strategy section. Every project, from small brochure sites to large webapps all have a core set of intake requirements that need to be determined before development work can begin. Designed as the deliverable for these core requirements, Intake Center aims to make it easy to ensure these deliverables for Content Strategy are complete and available before development starts.
Découvrez l’appartement du futur dont les meubles s’agenceront et se plieront au moindre de vos désirs | Daily Geek Show
Tout le monde a déjà expérimenté le fait de devoir choisir entre un appartement peu cher et un appartement spacieux. Des ingénieurs américains ont trouvé une solution : ils ont développé un appartement modulable où vous pouvez agencer tous les meubles d’un simple mouvement de la main.
Bounce, swivel, spin. Today’s interface design is all about making things move. But the tools we use to create those interactions haven’t kept pace with our smart, intuitive enough for a 3-year-old child devices.
This Video Might Be the Most In-Depth Exploration Into the Making of Kubrick's 'The Shining' « No Film School
It’s no secret that we at NFS (primarily me) have an affinity for Stanley Kubrick’s 1980 horror/ chrisangelmindfreak/ familydrama/ paulruddromcom, The Shining, an adaptation of Stephen King’s classic novel and one of the strangest movies ever put out by a major studio in wide release. My second post for NFS was a survey of the exhaustive theories about this movie. Now, for the first time, the major players in the production of the film have come together for an oral history of this masterpiece of modern horror.
When Jim Golden was a child growing up in the 1980s, he identified as a geek. He was enamored with the technology of his youth, and waxed poetic about using a rotary phone to dial up his modem. The renowned commercial photographer’s career has spanned more than 15 years, taking him from the fast-past advertising world of New York City to the more laid-back vibe of his studio in Portland, Oregon. Though his aesthetic has grown and shifted in that time, his appreciation of “direct and logical design”–namely, simplicity in form, influenced by typologies and categorization–pervades his work.