Ttmm for Pebble Time 2 Clock Faces Collection

What stands behind TTMM is the question of what TIME means in the 21st century. How should and could TIME appear on the screen of a Pebble smartwatch — a platform whose openness invited me to answer this question in the form of clockfaces. The return of Pebble after its 2016 bankruptcy, with new hardware, encouraged me to continue this question about the appearance of TIME.

This collection accumulates 12 years of experience with different devices and platforms, and offers its audience the best solutions worked out during that time, redesigned for the new screen resolution of the Pebble Time 2. I wanted to offer the most contemporary design for 2026 that I am capable of creating.

I would like to register a part of these designs as industrial designs at EUIPO. Copyists have begun to appear, and this is the only legal means of protection. If TTMM products gain popularity and become profitable, the income will go into further development and expansion of the collection with new clockfaces. From a design point of view I am intrigued by new functions such as the touchscreen and the possibility of emitting sound signals.

It wasn’t a recognition — it was an experience. The experience of music paper and of writing a melody onto a stave. The next one was the punched tape of Odra computers, which as a small child I used to find next to the social insurance office. The third phase of absorbing and recognizing the grammar of language was working with the interfaces of twentieth-century music software: on the monochrome screen of an Atari ST I used Steinberg’s Cubase, where sound and musical events were represented as abstract lines and squares.All of this, of course, collided and coexisted in parallel with leafing through albums of postage stamps. All these experiences were a kind of code that wove together and began to carry over onto the screen of the Pebble smartwatch.

It lies in repetition and in checking the results that emerge while building a visual structure. You see it best when playing with Lego bricks: from a finite number of bricks you can build a vast number of different arrangements, and each one can mean something — and what it means depends on our imagination. A good illustration is an old Lego advertisement in which just two bricks, different in shape and color, appear to the imagination now as a tank, now as a plane, now as a ship. This experience of building forms and checking how they interact, what they express and how the individual elements talk to one another is something you simply feel — after so many attempts and experiments that act of algorithmization is already embodied; you just know.In GREATTMM you can see it directly: everything is subordinate to the form of time and flows from it. In the center there is a stack of digits split by a horizontal colon — and it is against this that the hierarchy is read. The complications — steps, heart rate, weather — are supporting actors: smaller, and in the accent color. A shake gesture opens a second layer of reading, like those postcards where the angle of viewing reveals a different state of the image.

I see it differently. This custom pixel font is nothing new — it is rather an evolution and adaptation of typefaces I know and have worked with for twelve years, designed by other people. What is new is something else: over thirteen years of practice I have recognized which letter-space, on a light-reflecting screen, gives the best legibility while staying compact.Each letter is built on a grid of 3 × 5 modules, and a single module is 3 × 3 pixels — so the whole letter fits within a field of 9 × 15 pixels. Arriving at such a simple form is the fruit of thirteen years of studying how light reflects off Pebble screens. That grid also imposed the rule for creating glyphs for different values — for example Steps (..), Distance (a flag), Sleep (a colon in superscript).