Bronze Interface, Interaction and User Experience Design · 2026
Ttmm for Pebble Time 2 Clock Faces Collection
- A' Design Award 2026 Bronze Winner in Interface, Interaction and User Experience Design
- Awarded April 15, 2026
- CLIENT: TTMM sp. z o.o.
- Estimated Number of Design Views: 10,456
- Verification code 2450F8C620 · Verify this award
About Ttmm for Pebble Time 2 Clock Faces Collection
Ttmm for Pebble Time 2 is a premium watch face collection created for Pebble Time 2 by Core Devices. It merges data rich functionality with minimalist elegance and futuristic abstraction. Each face offers a distinct scope of features and displayed information, tailored to different aesthetic preferences and practical needs. Health metrics, weather, AQI, and intelligent safety alerts are integrated into refined, glanceable layouts that remain clear, efficient, and visually disciplined.
Albert Salamon's Ttmm for Pebble Time 2 Clock Faces Collection represents a thoughtful contribution to the evolving discipline of wearable interface design, positioning itself within the contemporary digital design landscape where functional clarity and aesthetic consideration merge to create meaningful user experiences throughout the rhythms of daily life, and the collection demonstrates sophisticated understanding of the unique constraints and opportunities inherent in smartwatch display design, where limited screen real estate, variable lighting conditions, and glanceable interaction patterns demand rigorous prioritization and systematic visual thinking, and the designer appears to engage with multiple historical lineages simultaneously, drawing upon the rationalist clarity of mid-century Swiss graphic design with its emphasis on grid structures and typographic precision, the emerging vocabulary of digital interface conventions developed through decades of screen-based interaction design, and the rich heritage of horological display innovation spanning mechanical, electromechanical, and digital eras, creating works that honor tradition while embracing contemporary technological possibilities, and the formal accomplishment of the collection resides particularly in its chromatic discipline, where the consistent deployment of saturated cyan blue against deep black grounds creates both maximum contrast for optimal legibility under diverse viewing conditions and a cohesive visual identity across the six variations, suggesting the cool luminosity of active electronic displays while avoiding the visual fatigue that can result from excessive chromatic complexity on small illuminated screens, and the compositional achievement spans multiple successful strategies for temporal representation, from the playfully abstract binary-inspired matrix that transforms time reading into a gentle cognitive puzzle, to the bold typographic directness of oversized numerals that prioritize instantaneous legibility, to the elegant circular progress indicators that visualize time's passage as spatial completion, each approach offering distinct experiential qualities suited to different user preferences, contexts, and moments, and the technical facility evident throughout includes precise alignment systems ensuring visual stability, carefully calibrated transparency and layering effects creating dimensional interest within the flat display plane, and thoughtful integration of supplementary information including date, weather, battery status, and activity tracking without overwhelming the primary temporal function, and the work invites consideration of how digital tools shape daily experience, how interface design decisions influence the character of human-technology relationships, and how contemporary designers navigate the balance between innovation and convention, clarity and personality, technological capability and human cognitive capacity, ultimately suggesting that even highly functional utilitarian design objects can embody care, intentionality, and aesthetic consideration, offering users not merely information delivery but moments of visual pleasure integrated seamlessly into the continuous flow of daily life, and one might observe how each variation creates its own temporal experience, its own micro-relationship between wearer and time, some emphasizing the steady mathematical progression of hours and minutes, others celebrating the cyclical nature of the day, still others presenting time as pure abstract data awaiting interpretation, and the collection as a whole demonstrates that constraint need not limit creativity but can instead focus and intensify it, that systematic thinking and aesthetic sensibility complement rather than contradict each other, and that the design of everyday digital interfaces represents a significant and worthy arena for thoughtful creative practice, inviting viewers to consider how the objects and systems that mediate their daily experience might themselves become sources of quiet satisfaction, functional beauty, and human-scale technological grace.
Press Kit
- Unique Properties
- TTMM for Pebble Time 2 is a systematic watch face collection that transforms wearable data into a structured visual language. Inspired by typographic principles and reading systems, it organizes time and health metrics through hierarchy, rhythm, and reduction. Unlike decorative interfaces, TTMM prioritizes semantic clarity, modular composition, and intelligent alerts, pioneering a modernist, information-driven approach to smartwatch design.
- Dimensions & Packaging
- Binary apps for Pebble are about 550 Kb
- Tags
- ttmm, ttmmaftertime, pebble time 2, watch face, core devices
- Production Technology
- All clock faces were designed in Sketch.
- Design Challenge
- The primary challenge was inventing new visual expressions of time after more than a decade and 200 TTMM faces, while avoiding creative repetition. The revived Pebble Time 2 offered a larger screen and longer battery life, yet required strict e-paper minimalism. To overcome this, a custom pixel font with dedicated typographic icons was developed, enabling new decoding logics, layered abstractions, and richer yet instantly readable micro-interfaces.
- Project Duration
- Development of TTMM for Pebble Time 2 began in November 2025. The collection is scheduled for full public release by the end of 2026.
Conceptual design and visual language were crafted in Poland, while the core programming, optimization for e-paper and integration of health/safety features were developed in France — a true European collaboration uniting Polish creative vision with French technical precision. - Operation Flow
- TTMM watch faces are downloaded from the official Pebble App Store using the Pebble mobile app, which handles installation and transfer to the smartwatch. After installation, users activate a monthly subscription via the KiezelPay system. Settings allow easy personalization, including color options, data selection, and health or environmental alerts, keeping the interface clean and relevant.
- Research
- Type of Research: Author-driven, practice-based design research grounded in long-term professional experience. Research Objectives: To structure complex data into clear, readable systems on stamp-sized wearable screens. Methodology: Intuitive iteration, visual reduction, and system thinking. Data Collection and Research Tools Used: Sketching, typographic experimentation, and real-device testing. Participants or Experiments: Self-initiated prototyping refined through user feedback. Results: Highly legible, low-noise interfaces. Insights and Impacts: Experience-based intuition can produce coherent micro-information systems. Effect: Advances minimalist wearable design and responsible data presentation.
- Inspiration
- TTMM for Pebble Time 2 was inspired by the structure, logic, and diversity of written languages and their systems of reading. Different scripts organize meaning through direction, hierarchy, rhythm, and symbol. This project explores the idea that data, like language, can be structured into a coherent visual grammar. The motivation was to transform raw information into a readable, elegant system where every element has purpose, order, and semantic clarity.
- Image Credits
- Pebble Time 2 Images by Core Devices
- Patents
- TTMM clock faces design © Copyright by Albert Salamon 2012-2026. All rights reserved. TTMM name and TTMM logo are registered trademark of TTMM in European Union and other countries. Trademark (2017) EUIPO (017506437), (2018) USPTO (88463421)
Colors of Ttmm for Pebble Time 2 Clock Faces Collection
Design Interview about 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.
A few months. I have more than 12 years of experience designing for Pebble smartwatch screens, whose image technology relies on reflecting ambient light. That requires testing designs under very different lighting conditions. Until now I built every collection by studying these reflections on a real smartwatch. This collection is a leap through my experience — for the first time I created a project without a physical device. It is May 2026 and only now are clients receiving the units they ordered. This is a test of experience and intuition. I designed my own font that preserves legibility while maximizing the surface that reflects light. Designing is the art of balancing readability with character and beauty.
For more than a decade TTMM has been defining TIME through original solutions never seen before. It is a mission and a brave vision, rooted in the need to bring into design culture forms adequate to the digital era. This crossing-over of the past is visible in the brand’s DNA and in the new name for TIME — the word TTMM.
Licensing is possible, though I think of TTMM as a personal brand. It is my private vision of TIME and, because the work has an individual character, it sits for me somewhere between design and art. My dream is to enter a collection of art or a museum of contemporary design. TTMM is a vision different from the mainstream functional offerings of giants like Apple, Google or Casio.
A significant driver behind TTMM is the unpleasant experience of a flood of clockfaces without character — ugly, imitating (Apple), copying (CASIO), trivializing (faces with memes, e.g. cats). The openness of the Pebble platform produces an overwhelming number of clockfaces made by programmers (in my estimate 99.9%) who are not designers. The result is users wasting their time searching for well-designed clockfaces, and a gradual flattening of audience taste. This is why the Apple platform is closed to third-party clockface distribution.
Many, from very different fields. The foundation was my education at the Academy of Fine Arts, where I encountered, among others, Swiss design and the Bauhaus movement. *Minimum of form, maximum of meaning* is the core of what moves me. A great influence on TTMM was the innovation of Kraftwerk’s music, which uncompromisingly set new standards of sound, rhythm and minimal lyrics. From the field of watch design I drew courage and encouragement from two designers: Brent Car of Kisai (blog.tokyoflash.com) and Matthew Waldman of nooka.com.
Myself, but I hope not only myself. I am the first person on whom I test my designs. I examine their usability and the way reflection works inside them — the philosophical dimension and the meaning they bring into daily life. That reflection lives in the slightly prolonged moment of deciphering the time. It triggers, alongside the conscious reading of time, an unconscious reading that asks: “but why does this time have this form?” (for example TTMMSQARE, QUERNTTMM or COLONTTMM). So this collection is for those who have the time to think TIME and appreciate its singular character. It is for them that I create TTMM.
I hope everything. From the form — which, thanks to my experience designing graphic marks, must be recognizable as distinctive at a glance — to the experience of high usability and even of safeguarding health, perhaps life. Designs in the TTMM for Pebble Time 2 series are equipped with an aftershake view that reveals additional configurable information about the user’s activity, the weather including UV, air pollution and pollen concentration. Important hazards can be enabled and take the form of alerts which, through vibration and an additional view, warn the user of danger. Alerts also include warnings about dangerous heart rate (HR) and, for example, a full moon. This is my private vision of a design fit for the 21st century — one that does not merely show time as hours and minutes, but TIME as a weave of many pieces of information assisting the user in everyday life.
TTMM is a word I made up to name TIME as it appears in the 21st century. It is a transformation of the word TIME and of the code HH:MM = TTMM. The word contains a doubled repetition of different letters, capturing the essence of time, which is rhythm, succession, and the repetition of difference. The letters T T and M M act like the first elements of the Polish language and can refer to two source-words: TaTa (dad) and MaMa (mom). The word TTMM is the linguistic-semantic DNA carried inside the names of all collections and products of the TTMM company.
For several years I have been using Sketch. This year, for the production documentation prepared for the programmer, I also used Affinity tools. For designing the typefaces I used Glyphs Mini 2.
The size and character of Pebble device screens are comparable to a postage stamp. A stamp is like a micro-poster or a logo — it must, in a single moment, catch the eye and at the same time express itself and deliver content. I believe TTMM designs carry these synthesizing qualities and become postage stamps of time — TTMMSTAMPS.
Yes. I am only a designer and cannot program. For years I have worked with the brilliant programmer and remarkable mind Grégoire Sage. His skills were recognized and appreciated by Pebble itself, where he demonstrated memory-compression techniques that allowed the early Pebble devices to hold more programs within rather limited resources. When I hand over my design documentation, graphic assets and fonts to Grégoire, I know they will be implemented pixel-perfect and that the clockfaces themselves will be optimized for energy consumption and network use.
The technology of screen size and character, together with the smartwatch’s ability to deliver weather data to a personal wrist-worn time device, is the foundation of the entire project. It is also worth noting that the graphic designs of the clockfaces take into account and converse with the device’s metal casing. That understanding shows, for instance, in the margin present in all TTMM designs and in the rounded corners of the white frame used in the alert views.
It is not. I rely on my own needs and taste, trusting that this will be recognized and appreciated by my audience. I work from the assumption that a good design simply works. That can only be verified in real usage.
The challenge — and an act of courage on my part — is the absence of a physical device for testing. For the first time in TTMM’s history I had to make decisions about the thickness of graphic elements based on experience and intuition alone. The new screen, compared to the previous generation, has higher resolution but also a smaller pixel point. This forced me to redesign every graphic element from scratch, taking that dependency into account. I trust they will reflect light beautifully, but I cannot be sure.
I have taken part in the A’ Design Award for more than a decade. Participation pushes me to look for new inventions and to develop my practice. It is also a way to submit my work to the judgment of design professionals. Recognition and awards for TTMM designs become a marker of design standard, creating a living history of the future. It validates my clients — their choice of TTMM rests on uniqueness and recognized merit. The pioneering work and decades of development inscribe TTMM into the canon of clockface design, not only in Poland but worldwide.
During this project, as a function supporting my design practice, I discovered the helpfulness of AI. On a daily basis I use the Claude Opus 4.7 model from Anthropic for legal protection work and registration of industrial designs at EUIPO. Claude helps me optimize the website for SEO, analyze brand reception on Discord, and handles English translations. To AI I can delegate work in which I have no competence.
Using AI on a daily basis and observing the speed of transformations it brings, I sense an enormous wave of AI-generated clockfaces approaching the Pebble App Store. A gargantuan number of designs (already in the tens of thousands today) will make it impossible for any human to review, judge or choose. Excess has turned into a waste of time. My own experience taught me that a limit is a valuable thing. That is why, after designing more than 250 clockfaces, the reduction to 12 per year is a conscious choice. But all the more, TTMM will drown in the coming wave.
My dream is to offer and develop TTMM as a standalone, independent product. Creating my own hardware would be a fabulous way to do this.
My dream is to offer and develop TTMM as a standalone, independent product. Creating my own hardware would be a fabulous way to do this.
Grand Interview about Ttmm for Pebble Time 2 Clock Faces Collection
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).
I have a certain difficulty here. On one hand I am very glad of the recognition from the A’ Design Award experts in the field of User Experience; on the other, I want to be honest — what I am proposing is a deliberate experiment, a proposition, not a closed proof. I built this interface by observing my own experience with different devices and forming a view of what really works. Its novelty lies in the division into three layers of reading: the main view, like a car dashboard; details on demand; and alerts.And it is the alerts that say the most about my approach. Most smartwatch interfaces turn time and complications into something pretty: smooth, slender typography, fluid color transitions when visualizing temperature — in a word, perfection. And I read just one thing from that: everything is wonderful, everything is beautiful, don’t worry, with us you’ll cope with any hardship. My approach is different — I believe that time is something interesting, but also serious. Through their reductionist style, TTMM faces do not idealize reality; they create a different reality, picturing a certain truth about it.That is why I present an alert about heart rate, air quality, temperature or excessive UV as a strong sign — in a large scale of the pixel font. I believe that the sharpness of the letter sharpens the message itself and works more effectively than a pretty, colorful icon. The pixel typeface reminds us that this is technology — that there are algorithms inside it. It doesn’t hide under smooth typography; it represents itself. Such information, read on the run, at work or in motion, lets you make a decision — for instance, to stop running because the air pollution around me is too high. For me, that is a different relationship with one’s health than the one offered by a beautiful icon and perfectly glowing typography.
Designing more than 200 different ways of visualizing time has let me recognize which projects are the strongest and most original. That is why I treat this collection not as yet another set of novelties at any cost, but as a reduction and a mature selection — I refine and improve solutions that have proven themselves. My strategy against repeating myself is curating my own body of work: from two hundred projects I choose the strongest and re-record them anew — like a musician who adapts his pieces for a medium with a better technology, a higher resolution.The larger, denser screen of the Pebble Time 2 — 200 × 228 pixels at 202 DPI, against the old 144 × 168 — allows for sharper, more precise work with the pixel and for denser layering of complications while keeping them legible.I am also intrigued by the new functionalities of the PT2: the touchscreen and the small speaker. The speaker I will certainly use to reinforce or signal time and events without looking at the screen — today I do this with vibration, although that is reportedly less perceptible. The touchscreen I will test: if I judge that it improves the experience of using TTMM faces, I will turn a blind eye to the fingerprints on the screen. These are decisions for the future.
This method rests on thirteen years of experience — hundreds of designed patterns and the testing of perhaps thousands of solutions. The deliberation and the choice of a visual combination — the proportions, the selection of components that coexist and talk to one another — I would compare to spontaneously drawing a portrait on a sheet of paper. My painting professor, Włodzimierz Pawlak, used to say that a picture has to be good from the very first line. Intuition works here: the accurate recognition of proportion in how elements play together.These micro-decisions come from studying legibility and the reflection of light in different lighting conditions: at different times of day and in different weather, outdoors and indoors, in natural and artificial light, and also when a sleeve cuff covers the screen or casts a shadow on it. These are real-life moments in which one has to account for the movement of the hand, bringing the watch closer to the eyes, or glancing at it sideways, from a greater distance. The size of the graphic elements is also shaped by the fact that I myself wear reading glasses — this lets me check legibility both with and without them. I design above all for my own comfort, so this ergonomics of seeing also takes into account the eyes of older people.At the level of design I never revise a released project — like a logo, which you don’t fix: it is either good or bad. I do, however, verify the rightness of that intuition later: first in experiments, then in practice — from observing sales and from contact with users, who send remarks or write letters appreciating the faces they use.
Until now I have designed within the technological frameworks of manufacturers — Pebble, Fitbit, and today Pebble again. It is they who have a ready functional program for their customers, while TTMM tries to fit into that framework — of design, of technology, of the visual — giving its own answer to those requirements. The collection itself is created in Poland — this is where its visual and conceptual layer is born — while the programming and the e-paper optimization happen in France. That division of roles forces precision: I have to describe each face so unambiguously that the idea survives the journey from my design to the code at the other end of Europe. My long-standing collaboration with Grégoire Sage bears excellent results — sometimes I fail to account for some new feature in the API, and Grégoire, understanding my standards, adds it on his own initiative.When the collection reaches its full audience, I intend to listen to particular needs — for example a doctor who, after a shake of the wrist, wants to see the seconds for 20 seconds; such a short interval of animation saves battery. But the collection’s development will follow from my curiosity about time.My dream is to create my own device, my own watch — one that would focus even more strongly on the question of time and aim at its meaning, and concern itself less with additional events such as heart rate, weather, air pollution and heat. In my vision it is an entirely new product. I am not, however, a hardware designer or a manufacturer, I am not a marketer, a programmer or an investor — so I realize my dream by writing it into a pebble.
It is not easy to grasp, but from the very beginning, while creating the TTMM collection, I have been interested in the question of the meaning of time. Meaning in the sense that the form of time means something to the person looking at it; that the structure on which a face is built somehow acts on the viewer; and that the name itself acts too, carrying within it a gene — a meme — of TTMM. For example: what does an hourglass mean as a sign — of time, of technology, of material, of an epoch? I am thinking of sand. And, interestingly, glass too is made of sand. So one can perceive time within time here: the glass shape of the hourglass is the future fate of the sand pouring through it. This is a way of looking at the meaning of time — or rather a question: what does the form I see mean, and what does it mean to me personally? This question enriches me intellectually — if only through how the hourglass relates to the twenty-first century.There is also a second thing I would like to put on record, more contemporary. In this collection I have reached an extreme of filling with content. On one hand it is very legible and helpful; on the other, it expresses my contemporary sense of drowning in data. We know too much. That excess lives in the shake function; whoever looks for calm in TTMM should not activate it.
It seems to me that this question is aiming at style. A certain character that simply is — and is recognizable. A character you can find across the whole collection, in one face after another — even though each has its own distinctness. By “character” I mean an idea, a vector, an algorithm — for example the way an artist draws lines. In my case it is the way of laying down pixels and grouping them, and also a certain ability to imagine how the succession, the change, will look. This form leaves a recognizable trace — a little like QR codes. At a single glance we know it is a QR code: we recognize the markers in the corners and the set of pixels that carry content between devices.
A poster and a postage stamp are exactly the same thing — only you look at the stamp from close up, and the poster from afar. It has to have that certain something and to work like music — like a chord of data vibrating with change. My projects arise from the need to express a question about time, and that question takes a visual form.In SPINTTMM there are three circles — of hours, minutes and seconds. It is a graphic sign of cutting apart the digital cogwheels that, in a mechanical watch, are threaded onto a single axle. And here time has split apart: the hour points to the time of day, the minutes to the cycle, and the seconds, with a line across them, show the grinding of time. It is a sign that the complications modestly accompany, dominated by the rush of the three circles.