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Design & Creativity

Visual culture, tools, and the creative process

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Why Owl Post covers Design & Creativity

Design coverage tilts toward portfolio showcases and tool-launch announcements. The coverage that is actually useful to people who work in design or think seriously about visual culture takes more hunting.

Owl Post reads design with attention to where practice is actually changing. AI is reshuffling creative workflows faster than most design publications are acknowledging clearly. The gap between what design tools can do now and what most practitioners have integrated is widening in ways that are worth understanding. At the same time, the craft fundamentals of typography, layout, color, and visual communication have not changed, and the work of understanding them deeply remains as relevant as ever. Owl Post covers both: the tooling layer and the craft layer, and the honest conversation about how they interact.

Read the full Design & Creativity briefing

The beat covers graphic and visual design, UX and product design (including the software tools and the professional practice), brand identity and the strategic decisions behind it, architecture and industrial design where the stories are significant, and the broader visual culture including illustration, photography, and the design of physical environments. Owl Post reads design publications with serious editorial standards, practitioner writing from working designers, and the technology press covering creative software.

Your digest adapts to how you engage with design. If you want the tooling-focused, what-is-worth-using framing that helps you evaluate what to add to your workflow, it reads that way. If you want the essayistic, culture-aware approach that treats design as a lens on how things get made and why they look the way they do, that register is available.

A daily design digest. Tools, craft, visual culture, and the conversations shaping where the field is going.

‘Vibrant, design-led and surprisingly green’: why the Dutch city of Eindhoven is perfect for a relaxed arty break

After electronics giant Philips left, the city reinvented itself as a multicultural hub for creativity and innovation, and the home of Dutch Design Week A baggily clad skateboarder’s wheels clatter across concrete floors, the noise bouncing off exposed pipes and iron girders. Vaulted skylights set in high ceilings illuminate the industrial space and its central kitchen, from which my main course – a silky lemon risotto, spiked with samphire, rhubarb, garlic, baby onions and basil – has just been transported. I’m in the Dutch city of Eindhoven, in North Brabant, famous for its historic connection to Philips, the one-time electronics giant. The restaurant, Radio Royaal, is housed in what was once their engine room, in the Strijp-S neighbourhood. Today, Strijp-S buzzes with concept stores, an indoor food market, MU Hybrid Art House and the Area 51 skatepark. The broader area, Strijp, was where the company was largely headquartered: its zones are named S, T and R. In the late 90s, Philips withdrew from the city where it had started in 1891, and the letters I, J and P were never assigned.

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Crush-worthy photography, camp sci-fi and a centenarian’s florals: five free exhibitions to see

A little exhibition of Daidō Moriyama at his artiest and strangest, like Warhol with added filth, is among the best on show in London’s free-entry commercial galleries this week If it’s a crime to have a crush on an elderly avant garde Japanese street photographer then lock me up and throw away the key, because I have some seriously strong feelings for Daidō Moriyama. His ultra-confrontational, high contrast, aggressive take on photography just gets me blushing, what can I say.

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Robert Ryman review – can your brain handle a show that only has white paintings?

Barbican Art Gallery, London What seem at first indistinguishable canvases offer challenges, revelations and transcendental effects – but only if you can give yourself over to them Writing about painting is a futile exercise at the best of times. This is especially the case when, as with Robert Ryman, the paintings in question are variations on the theme of white. If that sounds pretentious – or like a tired joke – then it might also be understood as a reaction against the dependence of so much art on language (which is also to say, bullshit). Because these bare-bones paintings – white paint, a flat surface, wall fixtures – are the “real thing” in the most literal way: they are not trying to tell you a story, they do not require you to be familiar with any abstruse theories. There is just you and the materials, how the paint lies, how it scatters the light. So the question is: how much do you like looking at paint? Happily for me, given that it is a non-negotiable part of my job, I really like looking at paint. If you also like looking at paint, then there is much in this exhibition that will take your breath away. Take The Painting of the Mysterious Shadow from the mid-60s, after Ryman had left his job as a guard at MoMA, having given up on a career as a jazz musician, and settled into the project that would occupy the rest of his life. Six thick white stripes run horizontally across the canvas, as close to each other as can be managed by a steady hand without overlapping. The fabric is stretched over a deep wooden frame, meaning that its surface sits about three inches off the wall, and casts a thin shadow upon it. That’s your lot.

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