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Charts and Graphs of How Things Work and Where Things Are
Map of Life, drawn by Michael Signorella for the Wigwag magazine. Found this at the blog of i.art.rachel
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In the land of Mordor, where the shadows lie. #LordOfTheRings
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The Origins Of Star Wars And Superheroes In Simple Math. Scottish illustrator Matt Cowen has used simple math to explain the origins of Star Wars, Batman and other pop culture titles, including Captain Jack Sparrow.
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The World According to USA by alphadesigner. The Ultimate Bigot's Calendar of the World
from Flickr
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Successive pulses from the first pulsar discovered, CP 1919, are here superimposed vertically. JOY DIVISION UNKNOWN PLEASURE
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Anatomy of a Perfect Mobile Email Designing emails that look great no matter where they’re read can be quite the challenge. As more people read email on mobile devices, chances are your recipient might view your email both on a mobile phone as well as on their desktop. Take the guesswork out of designing your next mobile-friendly email with this infograph. We’ve outlined ten important guidelines to an amazing mobile experience, as well as six things you’ll definitely want to avoid. You’ll also find our mobile compatibility chart at the bottom for easy reference.
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Air traffic routes between North America and Europe.
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MOVIE CHARACTER INTERACTIONS: The Lord of the Rings, Star Wars, Jurassic park, 12 Angry Men, and Primer.
I WANT TO MAKE AN ACTION MOVIE. CANAL+ Advertising Agency: BETC EURO RSCG, Paris, France Executive Creative Director: Stéphane Xiberras Creative Director: Olivier Apers Art Directors / Copywriters: Gregory Ferembach, David Troquier Illustrator: Les Graphiquants
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I WANT TO MAKE A PORN MOVIE. CANAL+ Advertising Agency: BETC EURO RSCG, Paris, France Executive Creative Director: Stéphane Xiberras Creative Director: Olivier Apers Art Directors / Copywriters: Gregory Ferembach, David Troquier Illustrator: Les Graphiquants
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I WANT TO MAKE A SHORT FILM. CANAL+ Advertising Agency: BETC EURO RSCG, Paris, France Executive Creative Director: Stéphane Xiberras Creative Director: Olivier Apers Art Directors / Copywriters: Gregory Ferembach, David Troquier Illustrator: Les Graphiquants
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I WANT TO MAKE A HORROR MOVIE. CANAL+ Advertising Agency: BETC EURO RSCG, Paris, France Executive Creative Director: Stéphane Xiberras Creative Director: Olivier Apers Art Directors / Copywriters: Gregory Ferembach, David Troquier Illustrator: Les Graphiquants
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I WANT TO MAKE AN ANIMATED MOVIE. Canal+ Advertising Agency: BETC EURO RSCG, Paris, France Executive Creative Director: Stéphane Xiberras Creative Director: Olivier Apers Art Directors / Copywriters: Gregory Ferembach, David Troquier Illustrator: Les Graphiquants
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I WANT TO MAKE A MOVIE. Gregory Ferembach: The Movies Flowcharts
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How to Tell Japs from the Chinese, Life Magazine, December 22, 1941.
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Map of Manhattan in the ‘Official Handbook to the Marvel Universe’
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the lower stomach is one of the very hardest places to burn fat and tone. These are some terrific exercises to do in the morning and at night to burn those hard to tone areas! Do this every morning when you wake up, and every night before you sleep. I guarantee you’ll see results in a week flat!
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All you will need to know about the Metric System (for your everyday life)
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U.S.S. Enterprise - NCC-1701-A - Constitution II Class: Multiple Views #Star Trek
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Your Handy Guide to the Potentially Confusing World of SCOTT PILGRIM
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An illustration from Jules Verne's novel "César Cascabel" (1890) drawn by George Roux.
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New York City subway map. Ahead of Its Time | An Icon Goes Digital DESIGN | By STEVEN HELLER | SEPTEMBER 16, 2011, 8:00 AM The interactive subway diagram that was designed by Massimo Vignelli, Beatriz Cifuentes and Yoshiki Waterhouse for The Weekender Web site of the M.T.A. offers riders information — driven and updated by live data — on planned weekend work projects that will affect subway service. At any point, the diagram can be clicked, zoomed, panned or expanded to full screen. In this screen, the B and 5 lines are shaded to indicate a weekend service interruption. In 1972, Massimo Vignelli designed a diagrammatic map for the New York City subway. It was a radical departure. He replaced the serpentine maze of geographically accurate train routes with simple, bold bands of color that turned at 45- and 90-degree angles. Each route was color-coded, its stops indicated by black dots. Its abstract representation of the routes was elegant but flawed. To make the map function effectively, a few geographic liberties were taken, something that didn’t sit well with New Yorkers. For instance, the new map showed Central Park as a square; Vignelli reasoned that for people riding underground, the park’s rectangular proportions were irrelevant. Along Central Park West there are fewer stops than in Midtown, so logic dictated that less map space was required. Vignelli was absolutely right, but New Yorkers did not care about such nuances. They wanted their rectangle back, and other geographical details too. Dissatisfaction was palpable, and in 1979 the map was replaced. Still, the Vignelli map refused to vanish. It was included in the design collection of the Museum of Modern Art, featured in exhibitions and analyzed in history books. In 2008, Vignelli was even asked to create a limited-edition version, which sold out almost immediately. Then last year, Jay Walder, the head of the Metropolitan Transportation Authority (who is leaving his post at the end of the year), asked Vignelli to revise his 1972 map for the M.T.A.’s The Weekender Web site, which informs the public of weekend service changes caused by maintenance projects. How sweet the irony! In fact, the 1972 map was ahead of its time. As a vindicated Vignelli told me, the map was “created in B.C. (before computer) for the A.C. (after computer) era.” He’s right again. His original, economical format is perfect for Web accessibility. The new digital iteration is the result of the combined efforts of Vignelli and two of his associates, Beatriz Cifuentes and Yoshiki Waterhouse. One of their first acts was to rename the map. It is now a diagram, which actually makes sense as it is not a literal representation, but a semantic one. They also agreed to add supplementary neighborhood map options — online versions of the proprietary maps already used in M.T.A. stations. For The Weekender, the team rebuilt the diagram geometry from scratch using a new primary grid for Midtown. This grid is essentially a square bound by 14th and 59th Streets, and Park and Eighth Avenues, with Broadway running diagonally from corner to corner. Intervals between major cross streets like 14th or 42nd were placed equidistantly along the grid, with more minor stops, like 18th and 28th, placed in between. And, Waterhouse adds, “We introduced a hollow dot to represent stops, which were sometimes passed, depending on schedule, known as a ‘sometimes-stop.’” Waterhouse explains that all critiques of the 1972 map — which had been dutifully retained by the M.T.A. — were addressed. But Vignelli’s biggest bugaboo was showing the parks. He believed that including them — particularly Central Park — was the downfall of the 1972 map, so the new iteration eliminates all parks. Issues of type size and legibility were addressed, and line colors, station names and connections were all updated. In addition to temporary closures for maintenance, certain lines (such as the B train) do not run on weekends. Yet rather than eliminate the line from The Weekender map altogether, Waterhouse explained, “We reasoned that it was better to leave it in the diagram to be more consistent with the signage, only in a ghosted shade of the same color. For working lines, we created a series of line-specific animated flashing dots to designate stops undergoing planned work. Thus users can swiftly see if their stop is affected without parsing through the laundry list of text for each line, or referencing which trains stop where.” On The Weekender Web site, the diagram can be panned and zoomed, and as you mouse over it, the adjacent dots that make up each station light up to indicate a link, allowing users to navigate the system graphically. Alternatively, the system can be searched by station, line or borough. Lastly, every view of the diagram is complemented by a geographic neighborhood map, essentially giving riders a means of navigating the system both above and below ground. That Vignelli, who turned 80 this year, was allowed a second chance correct the original map’s flaws is itself incredible. That the digital version works so well is a testament to his decision to make a “diagram” instead of a map — even if it was almost four decades too early.
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Star Wars: Episode V: Part 2 Retold in iconoscope Infographic by Wayne Dorrington. Well, it was great fun doing Star Wars Episode IV Retold in Iconoscope, so after much digital sweating (and swearing) I've finally completed Episode V - The Empire Strikes Back. In doing this one, you realise how much more complex and in-depth the story was compared to first movie. The narrative is split into several sub-stories and keeps jumping between them - plus, in the first move there were virtually no costume changes for the main characters - but in this one, each had several, all of which are iconic. But, I hope I've got it pretty much there. The plot is correct (it was from memory) but apologies if some some of the narrative jumps come in slightly the wrong places. This one is also twice as long to get all the plot in - I tried cutting it down to a shorter length, but it then didnt make sense, so in the end I created two parts to make it a little more manageable to "read". (Is that what you do with icons? Who knows). So, read/view/engage your ocular senses after the break to see it all.
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Star Wars: Episode V: Part 1 Retold in iconoscope Infographic by Wayne Dorrington. Well, it was great fun doing Star Wars Episode IV Retold in Iconoscope, so after much digital sweating (and swearing) I've finally completed Episode V - The Empire Strikes Back. In doing this one, you realise how much more complex and in-depth the story was compared to first movie. The narrative is split into several sub-stories and keeps jumping between them - plus, in the first move there were virtually no costume changes for the main characters - but in this one, each had several, all of which are iconic. But, I hope I've got it pretty much there. The plot is correct (it was from memory) but apologies if some some of the narrative jumps come in slightly the wrong places. This one is also twice as long to get all the plot in - I tried cutting it down to a shorter length, but it then didnt make sense, so in the end I created two parts to make it a little more manageable to "read". (Is that what you do with icons? Who knows). So, read/view/engage your ocular senses after the break to see it all.
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Heyyyyy: A Simple Guide to Decipher Booty Call Texts
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