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Scale & Rhythm

This page is both an essay and a tool. It sets out to explore how two, intertwined concepts, often playful but sometimes cheeky, can be encouraged to dance in web pages. Drag the colored boxes along the scale to throw these words anew. For the most part, this text is just a libretto for the performance you are about to play upon it.

Typographical Music

Don't compose without a scale. These words were written not in reference to choosing notes of music, but rather, to selecting a harmonious series of type sizes. In The Elements of Typographic Style, author Robert Bringhurst includes this principle as one of the old, well-traveled roads at the core of the tradition.

Of course, good typesetting is something more than selecting a series of sizes, just as music consists of something more than well-chosen notes. Rhythm, in particular, enables a sequence of notes to beat with musical life, and tempo sustains their wit. It is much the same for the world of letters.

Vertical Tempo

Most pages of continuous prose pulse with a particular vertical rhythm, established by the lines of its main words, sentences, and paragraphs. If a subheading is set in a different size than the rest of the main text, it needs to be offset in a way that flows with the page's intrinsic rhythm.

For this, Bringhurst suggests another rule of thumb: Add and delete vertical space in measured intervals. When sized correctly, the vertical spacing around a chunk of larger text can act like the rests in a musical score, allowing the main text to resume on beat.

Size and rhythm make each other interesting. Now it's time to explore how to weave them into web pages. Bear in mind these words are meant to be chewed on more as appetizers than something like a final course. They offer a path, trampled in the hopes of offering passage - not to an automatic destination, but to places for possible, conscious, even mischievous departure.

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Experience Design — Futures Thinking — Interdisciplinarity
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Scientific-Fiction (not Science-Fiction)

Matt Webb did not talk about visions of the future from the past, which was refreshing. So no 50's sci-fi movies in this presentation. (The guy below is Jörg Jelden but it's Matt's presentation)

Scientific fiction, unlike most examples of sci-fi, includes meaningful surprise. It breaks someone's guessing machine and then fixes it. It is rather a laboratory for thinking, an experiment. Webb gives the example of World War Z here (I am enjoying the award winning audiobook now). Cheap sci-fi incessantly introduces unrelated events in the story line and then wrapping up with 'it was all a dream' or by sending aliens 10 billion years back in time.

Webb says scientific fiction is exploring a chart possible worlds. But which products work in these possible worlds? His proposed methodology (rather than market research) is evolution or crossbreeding (something that we are also encouraged at EDG Konstfack). His take on this is different, taking an existing product, something that works, and changing it gradually towards adjacent alternative worlds. He refers to Olinda, to show how this process works.

Here is an explanation of how drawing informs ideation.
Olinda drawing

Olinda drawing

Another method that Webb illustrates is by using counterfactuals, imagining worlds that never existed. What would happen if everybody manufactured their own mobile phone?

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