Mario Breskic : Social Wall

Meine Social‑Media‑Beiträge – offen und ohne Anmeldung

  • Ich schieße in letzter Zeit wieder mehr mit der „daten­ehrlichen“ Kamera Open Camera und gehe dann von RAW zu TIF, dann von TIF mit #ImageMagick zu JPG. Ich mag das Rauschen. #asca

    Quelle: Bluesky

  • Nachdem ich einige Änderungen an meinem Kalender für Social Media durchführte, wurde mir klar, dass ich nicht mehr auf Englisch schreiben mag. Das hat nicht nur praktische, sondern auch persönliche Gründe, aber auch berufliche: die meisten Personen, mit denen ich auf Social Media interagiere, sind deutsch­sprachige Konten.

    Überhaupt stand die ganze Woche im Zeichen von Ver­änderungen hinsichtlich Social Media: ich habe einige Abläufe in huginn, sowie in Buffer und IFTTT angepasst, um meinem neuen Kalender gerecht zu werden.

    Dabei steht für mich das sogenannte achtsame Posten an erster Stelle: der Kalender ist nur dafür da, dass ich sehe, zu welchen Zeiten ich was wo ver­öffentlichen kann. Wenn ich also nichts habe, das zu Tag und Uhrzeit passt, dann muss ich auch nichts erfinden.

    Ebenfalls habe ich meine Leseliste an Grafik­design­büchern wieder mit Threads verknüpft: Grafik­design­bücher werden in huginn aus meinem Lesefeed aus Goodreads gefiltert, geparst, und dann zu Threads und Twitter geschickt. Eventuell erweitere ich diese Updates noch um Bluesky und meinen Mastodon‑Server.

    Quelle: Code & Canvas

  • Nur durch das Lesen von Büchern wird sich der Mensch dessen bewusst, wieviel er sich merken kann: selbst sich nur die Seite zu merken, auf der man zuletzt las, wird unerwartete Früchte tragen. #asca

    Quelle: Twitter

  • First, there is the asset type, raster graphics, vector, print, photo, font.

    Then, there is the exported master file: a TIFF, a PNG, an SVG, or a PDF.

    Then come the delivery variants, made with ImageMagick, pngquant, svgo, or Ghostscript.

    These delivery variants are the ones you then upload. Neat, right?

    Shout out to Koschatzky. He gave me this idea by teaching me that engravers made quite a few delivery versions of their work.

    You get to enjoy tiny file sizes, I get to enjoy a new tool in my workshop. Control like this feels nice.

    Quelle: Code & Canvas

  • Koschatzkys Erklärungen über die ver­schiedenen Güte­grade eines Drucks in „Die Kunst der Graphik” haben bei mir einen bleibenden Eindruck hinterlassen. #asca

    Quelle: Twitter

  • Consolidating my note‑taking software

    I’ve noticed an issue with software lately: I always have around three programs that are so similar in what they do, I find it difficult to work with any of them at all. Case in point: my note‑taking setup consists of OneNote, GoodNotes, and Notability.

    Confused? So am I.

    So, instead of asking myself which “suit” I should wear to work today, I’ve ditched all but OneNote—for one good reason: it does what I want it to do. Since I take notes for my own education and do not plan on sharing or presenting them, I don’t need my notes to look pretty. I just need them to be my own, so I can think on paper—even if that “paper” is actually a glowing screen.

    As a graphic designer, I’m done with confusing myself. This is a kind of follow-up to my previous post. These days, I just want modularity in function, as if I’m plugging in some hardware when I need it, and unplugging it when I don’t.

    As a test, I imported one of my study files (a PDF) into OneNote as a page, and I can easily add my own handwritten notes to it. That is all I need.

    There are people out there who use a baker’s dozen of note-taking programs, and if you ask me, I consider myself lucky to have stopped before it got any worse.

    Written in Sublime Text on a Europatastatur.

    Quelle: Code & Canvas

  • Ich habe Modularität als Gerüst für Gestaltung wieder­entdeckt. Gestaltung wird belebt, indem man Werkzeuge als Module begreift. #asca https://t.co/8JFYXpbePL

    Quelle: Twitter

  • Photoshop isn’t the finish line, it’s just the (raster) engine

    I am not only changing the way I practice and read about graphic design, but I am also rethinking the way I work with my software.

    After working out my first actual social media schedule (of which this is the christening post) I realized that, despite knowing Photoshop is for raster graphics, Illustrator for vector graphics, and InDesign for composition and layout, I didn’t truly understand what that meant for my workflow.

    Then along comes a neat little model by Brad Frost, called Atomic Design.

    The files, layer comps, Smart Objects, AI symbols, are just assets. The finished graphic is the whole composition, not the individual pieces. InDesign, in my workflow, is where these pieces get assembled, moved around, viewed together, and iterated upon.

    This, I think, is as close to a studio in silico as I dare to imagine.

    Up until recently, I would put what I did in Photoshop into a folder called “Photoshop”, give the file a name prefixed by YYYYMMDD, and call it done. Same with all my other programs. Each file existed on its own, with no connection to anything­–not a project, not a composition, not a larger purpose.

    In a horrifying way, I was just spinning my wheels. I was using programs, but I wasn’t understanding what a finished product was.

    So when I look at applying a modular system to my workflow, I no longer see what I export from Photoshop as the final product. Instead, I have assets that live inside a composition. These assets are editable, swappable, and allow iteration beyond simple versioning.

    What I actually have in front of me, looks like this:

    • Raster engine (pixel‑level editing, color correction, masking…)
    • Vector engine (vector construction, path logic, typography geometry…)
    • Compositing engine (comp/assembly, final layout, export orchestration)

    So, instead of using this logic:

    /illustrator
    /photoshop
    /indesign

    I can apply this much more enticing and inspiring structure:

    /assets
      /raster
      /vector
      /type
    /compositions
    /exports

    This already looks like a scaffold for a project, not like a graveyard full of files.

    Quelle: Code & Canvas

  • The amount of dust I never saw as a child is a testament to my parents.
    Heavily considering starting a collective called “lords of dust” for people who have become graphic designers after 36.
    Sort of like greybeards for gaming, yeah?

    Quelle: Mastodon

  • https://t.co/fDM7Pi3NFW

    Muß mehr mit meiner sogenannten „Typotastatur“ arbeiten. Die Möglichkeiten sind unglaublich. https://t.co/GB7F8DXwTM

    #asca

    Quelle: Twitter

Schließe dich 900+ Abonnenten an

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