TTMM for Fitbit Clock Faces Apps

High readability, minimal aesthetic style and a pinch of thinking differently.

I wanted to make it very easy in use - that is why instead of using sophisticated settings operated by a phone app, a user can customize all specifications, color presets or special functions such as the torch, timer or stopwatch with a simple tap on the screen. Such a solution saves a lot of time and brings the changes immediately to the screen. So my TTMM collection is designed for everyday use - ready be to be customized to the user's actual needs - color of the band or cloth style.

I plan to develop and release more clock faces for Fitbit Ionic.

In searching for new forms of time, and being in the role of a designer, the most important task is to understand the medium and its constraints. I mean the technology of presenting information on a screen — its size, the resolution of available points, and the awareness that every portion of space must carry meaning. This thinking comes from observing postage stamps — where the struggle for space among individual components and pieces of information is arbitrarily settled by the author, who establishes a hierarchy of importance while respecting the harmony of the whole. This is the urbanism of information.I think most creators have accepted the standard of information architecture imposed by companies such as Apple and Google, in which icons and pictograms are used. I — for the sake of saving space and preserving formal coherence — have transformed icons into special letters. This solution has long worked in linguistic usage, for example as units of measure: kilometers, degrees of temperature. I drew these signs by arbitrary choice: marking and reusing existing characters of the alphabet. Steps are footprints rendered as three abstract dots; distance is a Flag; battery level is %; and so on. This solution excellently distinguishes and characterizes a specific type of information by means of a single sign — creating coherence without disturbing the message with additional icons.

On two levels. The first — visionary — as an encouragement to build my own new forms of TIME that did not exist before. The second — inspired by, paying tribute to other creators, honoring their accomplishments.In Blade Runner, Syd Mead’s vision brought forth the most important actor of that film, the World: through architecture, clothing, vehicles, light, and vangelizing music. In Twin Peaks, David Lynch visualized human NEUROSIS — the conflict of longing and desire — in the form of black-white-red diagonally lightning-striking stripes.In TTMMPEAKS I used that pattern as a sign for temporalizing this shift. Here is 3:25 — it expresses the level of conflict tension, without indicating whether good or evil will manifest. I wonder if David Lynch would wear TTMMPEAKS.In TTMM2048, to express time, I used a Japanese kana font, finding a certain resemblance between Japanese characters and Arabic numerals. The mixing of language represents Gaff. Two dots indicate the battery level — as in Deckard’s two-shot pistol.

The simplest answer is my internal need, arising from boredom with the old form and from its inadequacy on the new medium of the smartwatch. Apple bypassed the problem of innovating the form of time, focusing instead on the co-presence and reading of multiple data points that the Apple Watch delivers. This is a strategy of controlling various information and functions, familiar from a car or aircraft cockpit. Time here serves as a function without form.Through TTMM I am searching for a form, a sign, a logo for TIME. It is like inventing entirely new versions of the hourglass or sundial — where the inspiration is not sand or sun, but the meanings and spirit of the moment in civilization. I turn to pure digitization and its signs — to data and to what data means for us today, as desert sand and gravity around the sun once did.For example, in 1TTMM you see 12 dashes marking the hours, and beneath them the minutes as digits. The centric arrangement of 12 lines evokes an analog clock and at the same time resembles a data-loading animation. The minutes beneath the lines break this analog reference, while the slowness with which the hours light up in no way matches efficient data loading. This reveals the question: WHAT DOES IT MEAN?