Interviews with Albert Salamon

What pushed me in this direction was a combination of three things: music, SF and the "desire of a different world". From the age of 7, I sang in the choir for 13 years. My active contact with music led me to composing music with the help of music programs and synthesizers. I perceived the moment of transformation of notations and sequence codes (micro programs) into sound (MUSIC) as the magic of creation, not only in the dimension of harmony but also colours. Something invisible and abstract (music) was created, woven from many threads of sound, influencing the imagination and emotions of the listener. SF (science fiction) - this is my first love. I was raised on international SF literature (Dick, Asimov, Lem) as well as on the cinema (Star Wars, Close Encounters of the Third Kind, ET). The third component were my high school friends who used to draw futuristic spaceships, war machines, robots and worlds of the future, and later they also became students at the Academy of Fine Arts (ASP). I followed in their footsteps and discovered that ASP would allow me to create the world of the future - the way I want it.

In the past few years, I have changed priorities and I do not work for clients anymore but directly for people (recipients). I create and develop the TTMM brand, which produces software images of time. My priority is to introduce new solutions into the real product - in my case, a smartwatch screen and hardware. Each product is different, it differs in quality, type and resolution of the screen, and the way of interaction. I try to bring a new look and some new, previously non-existent value in each project. Sometimes this is done at the formal level, sometimes it is a combination of form and description, or name of the face of time, through which I try to draw the attention of the recipient to some paradox or solution, e.g. SPLITTMM or 9TTMM. I would like the simplicity of my projects to withstand the passing of fashions, and for them to remain "good" in their simplicity and accuracy of the original composition.

A large part of the TTMM projects was created inadvertently - i.e. while reading a book or watching a movie I sketched an idea that came to my mind. It can be said that it is an emotion that creates the desire to create and drives a new project. The process itself is a cool, artisanal implementation and refinement of the original idea, and there is no place for emotions. They return at the moment of naming the created watch. I try to make this process as short as possible - I trust intuition and associations that combine the image with the word association, creating a unique emotion. This is the moment when the project (file) Untitled is saved under a new name. This is when its character is born.

The primary, most vital feature of my education and skills is music. Composing, harmonizing and creating (sculpting) the colours and depths of the musical space - is a similar process to creating an image. Working with melody lines for instruments is like tracking chunks of information that appear on interfaces. I think that it was the multi-vocality (polyphony) of music, seen as the translation of black and white notation into music, which taught me to build a hierarchy of information through maintaining distinction and legibility, while creating a unified whole.

I went through the line of work for clients, supporting their businesses and responding to their demands and tastes, followed by working on my own creations and business, the products of which are used, appreciated and enjoyed directly by recipients - consumers. This mode of operation allows me, on the one hand, to listen to the needs of people, and on the other hand, to bear full responsibility for the failure or success of my creations. This is a great responsibility and great satisfaction at the same time. Creating applications (software) for devices from companies such as Apple, Pebble or Fitbit does not burden me with high costs of producing expensive physical products, while limiting my creative activity to the screen offers a great opportunity to create original and supplementary projects. Working with digital material (creating software) gives me, a human and a designer, the feeling that my job reflects the nature of the 21st century because I do not use Earth's natural resources. I’m developing an idea of a game that will not devour human life but develop its memory. I would like to bring people value, meaning, meaning, and not to rob them of their priceless life.

I have three sentences for that. During my studies, I heard from a well-known professor that "One designs with one’s bottom (ass) and not with head". This sentence instilled in me diligence, consistency and a habit of finishing projects. The second sentence is "a project that is not produced - does not exist". This sentence taught me that it is not enough to design and draw an idea - you must help it to come into being: prepare technical documentation, supervise production, correct errors and make improvements at the level of user tests and comments. I heard my last sentence long after my studies: “a project that has not been sold does not exist”. This sentence really enlightened me and revealed the key importance of combining the project with promotion and advertising, and encouraged me to build a long-term relationship with my recipients. I can add that the most difficult thing in designing is to "be yourself" and from this place (from the subjectivity of your being) give to others your otherness and originality. I discovered that it is a hidden foundation of every creation - because there is always a specific person of flesh and blood behind it, a person with a unique story and name. ONLY by practicing how to express yourself in design – can you find fulfilment and develop, sharing yourself with others.

Find your "hobby horse" (Citizen Kane and Blade Runner 2049) and get on it. Use it but also respect and care for it. Let it carry you to the place you are afraid of and, at the same time, you desire. Let this wild ride show you the world from a different point of view and with a power that cannot be compared with anything else. This "horse" is hidden in your unconscious.

A kiss of my love. Coffee!!! Breakfast and news from the world. Work: improving projects, making documentation, promotion in social media (Facebook, Instagram, twitter), sometimes taking photos of designs. A nap - I love it like morning coffee. And in the evening, a book and a movie at home cinema. And before going to sleep, talking to my love and kissing - it prepares me well for sleep and dreaming.

I ignore trends because following them means not speaking your own voice. I create them. It is only seemingly more difficult, while in fact it is the foundation of creativity (individuality). I set myself totally new tasks - for example: how do I arrange a group of minutes in an innovative way, give them a new form. The source of inspiration for me is the recognition of structures away from design, i.e. in books, in films, in music and in everyday objects, e.g. in dishes and how they are composed.

This is an important question! It seems that a good project is supposed to seduce, delight or be beautifully functional; and it is clear that, YES, (we creators) chose creativity because we have a love of beauty, but in my opinion it is not essential for a GOOD project. The essence lies in the otherness – a question posed anew – in observing something and uncovering / concealing it in a harmonious form. Will it be noticed or will it bring some change in thinking, feeling of aesthetics in a new way - time will show.

It is difficult to answer this question because the moment "this is it" is irrational and comes from intuition or unconsciousness, which recognizes the finished project, in some secret way it "knows" that the project is complete - fulfilled - ready for use, a bit like a written letter, a poem or composed melody, at the moment when we do not add any more words and sounds because the FULL EXTENT of the essence of things has already been revealed. In addition, I like to work quickly so that I do not succumb to the effect of "wearing out" and thus stop liking created projects. My projects are a success when they can function in circulation and be used, giving recipients what they were called to exist for. Sometimes, on the financial level, I know which projects are successful and popular, but deep down I am most happy about single purchases of very unpopular faces of TTMM time, because it means to me that something resonated in the recipient for him to honour it with clicking - "I pay".

I am particularly proud of the collection of TTMM watch applications for the Pebble pioneer smartwatch. The restrictive requirements as to the amount of memory occupied by a single program, the black and white screen with very low resolution, were a great design limitation and a challenge to create new (not seen before) time forms. The project took 4 years to complete and received a total of five design awards. It is a project that contains 140 different faces of time and is a gold-mine of formal ideas, meanings and experiments that I can develop in the future and which can be a source of inspiration for others. The biggest challenge was changing the recipients' thinking and creating new signs of time, which contained abstract forms and introduced new logic, e.g. new shapes of numbers (fonts), the value of which can be read by counting the components of a given sign. The difficulty was to break through and compete with nostalgic watches created by passionate programmers and (thanks to simple and free software) by the users themselves. Today, the real challenge for me is to transcend myself and create even newer forms of time for Fitbit smart watches.

I do not have favourite designers. I admire and love the creators of film art: David Lynch, Lars von Trier, Michael Haneke, Yorgos Lanthimos, Ruben Östlund, Asghar Farhadi, Orson Welles, Elia Kazan, Frederico Fellini, Ingmar Bergman and Stanley Kubrick. Music composers: Philip Glass. I believe that Sigmund Freud and Jacques Lacan had the most influence on our times and personally I would like to meet and talk about designing and The Thing with Martin Heidegger.

I think (after Lacan) that the real desire (to create) arises from lack, not from excess. So my favourite cities like Paris, Venice or Rome are places that I visit, I admire and leave the experience offered by these cities in favour of the city of Warsaw in which I was born. This city is completely different, lost in the past time if compared to such great cities as Tokyo or Hong Kong. But I believe that thanks to this (lack) I create modern and original projects; and thanks to the virtual access people have to my works all over the world I can get the public interested in Poland and our artistic potential. After 5 years of receiving international awards during the A Design Award and the FWA in 2017, I received the GOOD DESIGN award and the Design of the Year award by the Minister of Culture and National Heritage of the Republic of Poland.

Over the years of my individual experience, an interesting rule has appeared which shows me that I work with people who want to work with me - I think this is because of my achievements. They contact me and suggest cooperation. What I value most in them is their independent thinking and the courage to share ideas that help us improve a product or service. Cooperating with programmers, I give them a free hand and accept the improvements they make of TTMM products. I value their professional confidence in performing tasks. What I dislike most is time pressure because I know that it generates mistakes and stress. And I think that work is one of the higher forms of life - and it requires concentration and respect. I respect the work of my partners without whom my projects would not exist and that is why I always mention them by name and range of tasks as co-authors. It gives satisfaction, creates bonds and increases responsibility for what is being done; and it also helps to build an individual story. My job is not only the creation and preparation of documentation, but also supervision over the execution, tests, modifications and promotion. A good designer knows how to manage time and what type of project to deliver and in what order the project would go smoothly.

I believe that all artistic activity begins with asking yourself questions about the legitimacy and the reasons for what you do, and your own psychoanalysis is a great help in this. Therefore, for 10 years (pro bono) I have promoted and supported the development of the Lacanian psychoanalysis in Poland. I dealt with graphic communication, visual and audio records and ran websites promoting psychoanalytic texts as well as lectures and trainings. The psychoanalytic theory and, above all, practice is a great space and a chance to make "what we dream about come true".

The first most important thing is the jury's recognition of the quality and originality of my work. The second value is the ability to present different thinking among professionals from around the world through exhibitions, the web and PR activities. The third benefit is being able to generate interest among recipients in Poland and its achievements by representing Poland for one day a year, climbing for a moment on the "designer of the day" armchair.

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.

The project combines 3 important values: 1. the TTMM brand – offering award-winning time face designs, 2. advanced weather features, 3. a convenient application in a subscription model, divided into categories, with user guidelines and a list of favorites including a quick option to upload designs and a search engine for additional design features. This personal collection, with its originality and functionality, easily competes with watch apps offered by Fitbit or Apple. The TTMM-S application brings selection, order and moderation of the abundance of designs – a clear advantage over overloaded app marketplaces.

The most important feature of the TTMM-S app is the Weather Alert, that warns of hazardous air pollution or UV radiation in the vicinity. TTMM-S clock faces are equipped with three types of alerts: dangerous weather conditions, very high UV radiation, or unhealthy air quality. When the outside conditions turn unhealthy or dangerous, the clock face will make the smartwatch vibrate and display a warning message.

I plan to develop it on Fitbit and / or other similar platforms. And in the future, I'd love to build my own hardware product to go with the software that I make today.

It took me almost 1 year, working extensively, supported by a team of programmers.

This collection was created as a selection of the best TTMM designs created over the years. I have experimented with various forms of clock-face design from very clear and functional to very abstract and artistic. Observing my clients' choices, I made selections and improvements. Today, the latest collection with 66 clock faces has been reduced to the top 12.

TTMM-S for Fitbit Versa is a software product dedicated only to Fitbit Versa smartwatches. I would love to create my own hardware product which will be a "work in time" and will serve people. I am also thinking of a product with high standards of privacy, where the data belongs to the user only. Such a product is anti-commercial and requires a wise and humane investor. I would love to meet one like that.

Two huge and important problems - lack of good clock faces projects and bad clock face galley store.
HYPERATTRACTIVE! Most clock faces are made by programmers for whom the meaning, sense, visual value and form of the project are in the background (because they are not educated designers). They compete in the coolness and attractiveness of the offered products in order to attract the attention of recipients and sell as much as possible, e.g. they add animations that do not improve the quality of the project but are an attractor function. I decided to design a beautiful, characteristic, useful and comfortable collection. TTMM watches are balanced, calm and modest.
EXCESS, SHIPPING, REJECTION! Today, a huge problem is the overproduction of clock faces and other digital products (applications, movies and music). Proper organization and presentation in the clock face gallery is necessary to see and understand the nature of the projects, so as not to overdo the recipient and discourage with excess. Today, the native Fitbit app presents a stream of thousands of clock faces crammed together. Reviewing 5,000 projects is a waste of human life and is a contradiction to caring for human health. In my opinion, it causes stress and discouragement. My answer is a separate TTMM-S application containing a collection of well-designed and presented clock faces. The TTMM-S application addresses the problem of organization, search, presentation and the list of favorites, which enables the optimal use of the necessary projects. The TTMM-S application also solves the big UX problem of the original Fitbit application in which it takes many clicks to find what you are looking for or to upload a clock face. I made the TTMM-S application for myself to save myself time. I believe that this is a human approach and it is good for business.

The inspiration for the collection comes from three different areas: sci-fi movies, electronic music, and the idea behind Tokyo Flash Japan. The movies that inspired me about the weather issues are: The Day After Tomorrow, Waterworld, and Hbo’s Chernobyl mini-series, and the music that influenced me during my work was the album Radioactivity by Kraftwerk.

TTMM’s abstract designs are more than just a display of time – they are “digital jewelry” that the user can host on the device and adjust to their look, mood, or to the occasion. These “faces of time” also bring a reflection on the passing of time. This set of values distinguishes TTMM projects from the competition and allows to build a loyal group of users. So the recipient thinks about what he is looking at, asks himself questions, feels and experiences, has a reflection on time - and has time for it.

There are several points of difference:
1. design quality with rich user experience
2. weather views and alerts are a unique feature on the market
3. highly specialized functions and well designed exceeding the standard offering of Fitbit and iWatch
4. the subscription model is also one of the kind
5. the brand and products with several design awards

Brand name TTMM - is the genotype for all TTMM products. TTMM is a composition of a decomposition of time: TIME – a word and a HH:MM code. The name mechanical pronunciation represents the progressive digitalization of our times.

TTMM logo is built on overlapping T and M letters. It expresses the explosion of meaning in time. Kind of tree or a processor of time.

In TTMM-S the "S" suffix stands for the subscription model of purchase.

I have been working on the SKETCH program for a year. This is a great tool for designing multi-view interfaces. It not only allows to quickly design and prepare documentation for programmers, but also to prepare all the necessary production and promotional and advertising assets. It is just epic!

TTMM-S is a contributor to our visual culture with a bold new way of thinking about face time design. TTMM-S is reaching beyond trends in shaping the perception of time. Moreover the weather alerts – especially those concerning the quality of the air – address the climate change problem and the effect it has on peoples’ lives.

Today, in the era of COVID-19 infections, some studies show the relationship between the possibility of increased infections and polluted air. If TTMM-S products could help minimize this factor, it would be a very important thing for me if it happened.

In the project, I used my own - unique, accumulated through many years of experience in the analysis and creation of watch faces micro-interfaces for smartwatch screens. This experience covers many fields: user interface design, user experience design, graphic design and branding. I am one of the few designers in the world who have received so many international awards including the Red Dot. I recognize my position as an expert.

The UX design of the TTMM-S application was designed by Leszek Juraszczyk, responsible for an orderly and clear presentation of various watch application designs.

Marcin Berendt advised me in the field of brand strategy and product marketing.

The following programmers also participated in the project: iOS: Rafał Gorczyński and Arkadiusz Banaś. Fitbit programming: Piotr Kamiński, Wiktor Hołubowicz and Gregoire Sage.

Projects created today use a multitude of technologies that have to meet each other, talk to each other and cooperate seamlessly. Finally, the software meets the hardware and the hardware meets the user, as there is a smartwatch on the user's hand displaying information, which is used by the user to make everyday decisions. In case of weather - this information is taken from specialized weather services, which display precise information about the presence of harmful particles in the air and, if necessary, alert the user to take care of his health based on his current location. This process happens underneath the "watch face". It is amazing what one can do with the available technology nowadays. It can surely say that technology is the essence of TTMM products.

Our planet’s climate is changing. Weather services and sensors technologies provide a lot of information about the quality of the weather, air pollution, and ultraviolet radiation. A smartwatch is a great place to inform us about the weather or warn us about threats, e.g. excessive UV, dangerous air quality, or weather events. Organizing and providing this information in clear views will help us live better and prepare for the future. Because I did not find any clock face applications that would combine good modern design and information about air quality and weather alerts, I decided to design such an application for myself and make it available as a product.

The application had 3 challenges: 1. to redesign and add to existing very graphic designs, a presentation of weather information (temperature and icons), and to design legible views with weather and weather alerts. 2. to design a modern application layout that will allow space for all necessary information about the operation and settings of clock faces and will have a simple yet unique interface. 3. to propose an affordable financial purchase model. The TTMM-S app is the only app on the clock face market for Fitbit Versa smartwatches, which offers a monthly subscription plan (for just 1.99$). This solution covers the monthly cost of weather services and allows users to pay for the application only for the time they want to use it.

TTMM projects are ahead of their time and a good way to check and confirm this, is by participating in design competitions. For years, I have been submitting TTMM designs to the professional jury's evaluation, and the A Design Award is one of my choices.

I am learning transparency in communicating feature-rich TTMM projects.
This requires discipline, synthesis, simplifications and a balanced selection of descriptions and graphics for presentation to facilitate the concept and use of TTMM designs.

I believe that the role of competitions such as the A Design Award is not only to select, reward and promote the best projects, but also to notice, highlight and promote innovative and culturally and environmentally important projects. I consider TTMM to be such. Today, the excess of awarded projects makes them irrelevant to each other and increases the information buzz.

I try to harmonize functionality, like legibility and friendly interface, with the unique character of the design and I always want to fill each design with some meaning. This meaning is also hidden in particular names.

I am going to redesign the best ones to add a weather functions and offer it in a subscription model.

This project took over a year. It was a development and an expansion of my previous collections designed for the Pebble smartwatch.

We are more and more submerged in a digital world and time has also become more digital. I just felt that this is a challenge for me, to design a "face of the time" in a contemporary way. I made the TTMM collection for people likeminded, people who seek simple, minimal and functional design. It is all my original idea.

For this moment this is only my product. I think that these designs are niche, so I will probably continue developing this project for a group of fans.

I like watches, and the Fitbit Versa smartwatch offers a good space (display surface) to show my idea of what clock faces could look like in the 21 century. I was just tired of looking at digital imitations of 20 century analogue clocks (like Apple’s Mickey Mouse with hands) or casio like lcd watches and wanted to have my own "watch interface".

Yes, there was NOOKA and TOKYOFLASH blogs - they show bold, avant-garde ideas of clock faces and watch mechanisms. NOOKA and TOKYOFLASH were a big inspiration and encouraged me to make my ideas real. My previous TTMM collection for Pebble acts as a fantastic library of ideas. I have been rethinking and redesigning them into a new the collection for Fitbit Versa.

I think that TTMM is creating a new group of customers and they come from every corner of the earth. Fans of TTMM are open minded and seeking a different ways and forms of expressing time. This is a very small group - but it is growing every day.

TTMM collection expresses my deep desire to be a human being - a person with very specific questions about TIME.
With this idea in mind the designs I make naturally gain a unique style and vision.
So TTMM uses a broad idea, not only adaptable for a watch face but also more symbolical or philosophical, encouraging people to THINK about TIME and what it means for them.

The name TTMM is a composition of a decomposition of Time.
I have merged two elements: TIME – a word and a HH:MM code.
The name mechanical pronunciation represents the progressive digitalization of our times.
The individual design names are related to the inspiration behind the design or are just abstract names.

Sketch, Adobe Illustrator and Adobe Photoshop

Most important is this personal, subjective style - sort of „aha“ enlightenment, which happens when a user discovers the meaning behind a specific clock face. Plus the easy-to-use setup and a personalized interfaces.

The whole design process I created myself, including sketches, the project, the documentation and testing of the final product. I have hired programmers (Gregoire Sage and Wiktor Hołubowicz) to write the code for Fitbit Versa clock faces. It was a fruitful collaboration.

The technology used by Fitbit (high resolution and 1000 nits screen) and sport functions provide a great space for experimenting and learning how to compose an attractive hierarchy for info and show different complications such as: steps, distance, heart rate, calories, floors, temperature and the weather icon.

Foremost I analize purchases to discover which of my designs people like the most.
This is sort of knowledge gives me clues on how TTMM should harmonize uniqueness and functionality to achieve success.

The main challenge was not only to design great clock faces but also to present them in an easy-to-operate and easy-to-purchase way. That is why I decided to release a separate clock face store with the whole TTMM collection. This solution provides a simple and clear presentation of clock faces (without any unwanted distraction) and an easy way for using the clock faces on the watch itself.

It is natural for me to enter the competition where I can present my work to professionals and the public.
This is my 10th Design Award for TTMM.

Firstly - I have experienced a great pace of change in technology, so everything I develop only lives for a very short period of time and quickly becomes history. Secondly - design vs production, development and promotion are all different and very important processes. They take more time than designing itself. So to achieve success you need to connect and balance all these processes, manage programmers and coordinate their work and make an intriguing and beautiful ad campaign to sell the product.

It is very hard to invent new ideas and to show time from a different perspectives and despite the years of experience and over 150 different clock faces created, this particular segment of design still poses a challenge for me and brings new discoveries and maximum satisfaction every time. I also dream about my own TTMM hardware watch, which would be a kind of legacy of my unique experience and talent - so I am eager to see what the future brings.

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.

The design of a single model takes a day to invent, a day to make the documentation, a couple of hours to code it, a few hours to test it and probably a day to make the necessary material for sales and promotion (for Fitbit app store, TTMM apps, www, Facebook, Instagram and Twitter). Some hours for testing the TTMM apps. So these 15 models took about 2 months of work with breaks.

I made this TTMM collection for people like me - who like simple, minimal and functional design. I was inspired by sci-fi literature and movies and with electronic music.

I am a designer, brand owner and producer. I sell TTMM clock faces to Fitbit Ionic in TTMM App Stores. TTMM is simply a software brand specializing in clock faces, and I am open to a partnership offer to produce a TTMM hardware watch. If you are interested in a partnership contact me.

I like watches, and the Fitbit Ionic smartwatch offers a nice space to show my idea of what clock faces could look like in the 21 century. I just was tired of looking at imitations of 20 century analogue clocks (e.g. Apple’s Mickey Mouse with hands) or casio like lcd watches.

There was NOOKA and TOKYOFLASH blogs where bold, avant-garde ideas were presented. NOOKA and TOKYOFLASH were an inspiration and encouraged me to make my ideas real. My previous TTMM collection for Pebble is a fantastic library of ideas to rethink and redesign the collection for Fitbit Ionic. TTMM's DNA is to define and invent new signs of the 21 century era and soft(ware)time in a new way.

People interested in something new. Those open to an abstract and minimal number of forms to mark time. I believe that many users of smartwatches do not only want a great-style hardware but also seek a new expression for time.

TTMM is designed by a man (still human not an AI or bot) and has a specific, minimal look and style of my own. And after TTMM there is an idea to not only watch but also THINK what TIME means.

The name TTMM consists of the word TIME and HH:MM and with its mechanical pronunciation it represents the dehumanization and digitalization of our era.

Adobe Illustrator and Adobe Photoshop

A personal - subjective style, an easy-to-read setup and a personalized interface.

I hired programmers to write code for Fitbit Ionic and to code iOS and Android TTMM App Stores. Watch faces design: Albert Salamon. Fitbit programmer: Gregoire Sage. iOS programmer: Arek Banas. Android programmer: Artur Salamon

Technology used by Fitbit (high resolution and 1000 nits screen) and sport functions provides a great space for experiment and learning how to compose an attractive hierarchy for time and different complications such as: steps, distance, hr, calories, floors, temperature and the weather icon.

Nope. None - I just wanted to design what I like and what would be useful for me in everyday use.

The main challenge was not only to design highly readable and useful clock faces but also to present them in an easy-to-operate-and-purchase way for the users. That is why I decided to release separate TTMM clock faces to App Store and to Fitbit App Store, where the user will only have 15 well-designed clock faces, compared to hundreds of clock faces made by enthusiast programmers, which are not so original and come as a flood of mixed clock faces all at once. I think that this brings a lot of stress to customers and it is an unaesthetic solution where each design cancels another. Too much choice brings disorientation.

This is my 6th Design Award - so for me it is natural to participate in it and present my work to professionals and the public.

Firstly - I have experienced a great pace of change in technology, so everything I develop only lives for a very short period of time and automatically soon becomes unimportant history. Secondly - design vs production, development and promotion are all different and very important processes. They take more time than design itself. So to achieve success you need to connect and balance all these processes, manage programmers and coordinate their work and make an intriguing and beautiful ad campain to sell the product.

It is very hard to invent new ideas and to show time from different and fresh perspectives but after years of experience (over 150 different clock faces designs) this particular segment of design still is a challenge for me and brings new discoveries and satisfaction.

New forms of time. I experimented with new abstract ways of showing four digits of time. There is PLAITTMM with a new font where every element in digit counts, so 1, 2, 3 are light digits and 7, 8, 9 are dense. In other models I wanted to express metaphor that life is precious and means something. MOMENTTMM is new way to see time passing by - unpredicted change in endless combination pointing for you something unique which last only for a moment like luck or love, and in CELLTTMM time is in a cage of grid eats nothing and grows so that each hour can count. TTMMFALG shows how "wind of the TIME" blows. TTMMAZE reveal the maze of the time and TTMMSTRING is kind of time instrument where hours are strings.

I am going to find partner or investor to design and produce TTMM hardware watch. If you are interested let me know.

This project took two years. I have spent a lot of time learning e-ink screen technology and finding the best colors combinations, optimal size of typography and graphic elements. Basically, design ideas come very fast to me, documentation takes one or two days. Sometimes I have to design fonts which will be pixel perfect and Pebbles resolution was a challenge. Then programmers coded binaries for Pebble and other for App Stores. There were a lot of PR work like: WWW, Facebook, Twitter, Instagram, Reddit, mailings etc.

I simply was tired of simulations and imitations of classical mechanical or electronic and CASIO like watches. There were no attempts to define a new form of TIME. In opposition to that, there was NOOKA and TOKYOFLASH blog where bold, avant-garde ideas were present. NOOKA and TOKYOFLASH was an inspiration and encouraged me to make my ideas real. I wanted to see watchfaces I like - so in fact I made this collection for myself. And DNA of TTMM is to define and invent new signs of the 21 century era and soft(ware)time in a new way.

I am a designer, brand owner and producer. I am selling TTMM watchfaces for Pebble smartwatch, Android Wear devices in TTMM App Stores. Also offering TTMM design for Mac, and iOS devices. TTMM is simply a software brand specializing in watchfaces and now I am looking for a partner or investor to produce TTMM hardware watch.

A “desert" of different ideas. I just discovered that (software) watchfaces are “blue ocean” and decided to be a pioneer in that field. I started in 2011 with WIMM smartwatch. Then there was the rewarded GENUSE collection for I’m Watch and after that an award for the collection for original Pebble, color Pebble Time, and now for Pebble 2.

NOOKA and TOKYO FLASH encouraged me to design my own design and with the past 5 years and over 150 different watchfaces I achieved my characteristic minimal abstract TTMM style.

People interested in something new. Open to an abstract and minimal amount of forms to mark time. I believe that many users of smartwatches want not only a great-style hardware but also seek a new expression for time.

TTMM is designed by a man (still human not an AI or bot) and has an extreme and personal minimal look. And after this there is an idea to not only watch but also THINK about time.

The name TTMM consists of the word TIME and HH:MM and with its mechanical pronunciation it represents dehumanization and digitalization of our era.

Adobe Illustrator, Adobe Photoshop, TypeTool 3

Personal and subjective style.

I hired programmers to code binaries for Pebble and to code iOS and Android TTMM App Stores. Watch faces design: Albert Salamon. Pebble programmers: Artur Salamon, Elijah Kang and Gregoire Sage

Technology used by Pebble (always on an e-ink screen) provides a great space for experiment while a low resolution screen determines pixel perfect fonts and graphics.

Nope. None - I just wanted to design what I like and what would be useful for me.

The main challenge was to design highly readable watchfaces on a low resolution screen with only a couple of pixels to draw, and with a limited to 2 color palette. The second challenge was battery and formal solutions to reduce energy consumption. So some of TTMM models are with five minute accuracy like (NEXTTMM, PARTTMM, CROSSTTMM, TTMMROE, TTMMRIVAL).

This is my 5th A Design Award - so for me it is natural to participate in it and present my work to professionals and publicity.

Firstly - I have experienced a great speed of change in technology, so everything I develop lives for a very short period of time and automatically becomes unimportant history. Secondly - design vs production, development and promoting are all different and very important processes. They take more time than design itself. So to achieve success you need to connect and balance all these processes, manage programmers and coordinate their work.

I think that TTMM watchfaces and collections are equivalent to songs and music albums, and if this metaphor is true, I released, in just one year, 7 albums of TIME and maybe people don’t have time to “listen” to them.

My idea was to design something having a lot to do with ”digital matter”, with simple interface. Of course I also wanted to do something beautiful for everyday use.

I am going to develop Dominus for other platforms such as Android, Windows Phone, Pebbe and Mac.

I think it was growing for a few years and when the time came I drew it in an hour. Production, ergonomics and software adjustment took months.

My inspiration was www.tokyoflash.com where i saw many original clocks. It encouraged me to realize one on my own.

I designed it for myself hoping that other people will find it useful and that they will like it. They could support or reward my work with symbolic one dollar, which will help me realize my other dreams.

I don’t really know - maybe my principle which is to make things as simple as possible.

Yes. I like (have and wear) Lexon e8 watch from which i learnt that showing time could be smart and nice.

Everyone who is looking for something new and likes sci-fi stuff - are they people from the Future?

Most clock apps look like real clocks from the past (analogue clock, dixie, LCD matrix, flip) primarily designed for circle or square frame. Only a few apps try to adjust their design to ”digital matter” of applications and be proper for the mobile devices framework.

Dominus is a game about time so its name originates from the Dominoe game.

Adobe Illustrator and Photoshop, Soundtrack PRO and iOS device simulator.

I think that it is the simple albeit not obvious comparison of AM and PM times to fruits. Green color corrensponds to time that is growing and yellow corresponds to the time that is already "mature".

Łukasz Grzejek composed alarm tunes which took inspiration form American Beauty, he tried to make them apt for everyday use. Łukasz Hostyński and Robert Hnatyk from Concise Software did an excellent programming job. Thanks to them submission process was fast and smooth.

Technology made this project possible - especially touch screen technology - it opens new field which enables us to design interactive reaction of ”digital things”.

The project is based on my own iTunes Store research with conclusion that there are more than 2000 clock apps and most of them are ugly or imitative and only a few are nice and original. Because we live in the 21st century I think that apps could become something different from typical "textual menu" programs, on the contrary, they should explore new forms of interfaces and interaction with people.

The most important challenge was raising funds. I gathered money for many months, doing some rather not satisfactory jobs. But it was worth it.

I thaught that Dominus plus was a cool clock and that’s why I decided to find out what professionals think about such a new thing, do they like it as I am?

I went through the whole process - from idea, through concept drawing, programming production, tests and improvements, than - iStore submission, choosing the name and identification, and last but not least - constructing webpage, writing promotion texts for portals and magazines. That's how I discovered that design is only 10% of the product and you must really believe in it and be patient. It was an important lesson.

Now there are more than 2000 people using Dominus plus and this is my greatest reward. It satisfies me. Thanks to them I feel like doing more apps.

I wanted to show people how I think and what I like.

I don’t feel like a designer - I rather play a role of a designer, like a teacher or photographer.

I still want to explore and invent new forms of TIME.

Experiment a lot. Make different things and dream, of course.

Good designer works with all his/her knowledge. Great designer uses heart, spirit and something “unknown”.

It is similar to good music - not only a “perfect” tune, but also something significant for now and the future.

Good design makes life more beautiful, simpler and comfortable. We all should also invest in good design to save the planet's resources.

I have time, actually, and so I am designing TIME SIGNS for all those who seek something different.

A wall clock - not only software but also hardware of the object.

To learn from your mistakes and failures, and to do things which are completely different from design, like reading books and watching movies.

Dieter Rams

I love BOSE products because of the invisibly designed innovative quality of sound and the simplicity of use.

Honestly I don’t know. Maybe it is originality - oddness?

Through handling their mistakes, errors and failures. They need to learn that falling down is good, and the important thing is to rise again.

I would be a photographer or psychoanalyst

Design is a magic trick. It is a combination and condensation of important answers about usage and production in a simple form.

Myself and my belief that what I am doing is right and must be done personally by me.

Failure, persistence, perseverance.

I struggled with lack of money and people with no imagination, and with traditional, outdated tastes. But these obstacles gave me power to act. That was my engine for change.

Always through a product which could be put to use and criticized. Satisfaction that TTMM works is fantastic.

A game, movie or a real clock.

To expand my perspective, go behind and move the horizon of new forms, be an inspiration and show new ways of thinking.

Simplicity, functionality and meaning

I think that mass production and huge amounts of products work against society.

I am working on a new TTMM collection and upgrades of the previous one to make them the most advanced watchfaces on Earth. You can not only change colors but also customize the types of information, such as steps, heart rate, activity time, temperature. So watchfaces are becoming a very complicated software, especially when a specific model should be compatible with a black&white or color screen, rectangle and round base.

TTMM for Pebble - early black and white collection. It was like a virgin island where you can experiment and do what you like. So I did - and it was exiting adventure to learn screen, battery, CPU power capabilities. It was like a discovery of a new kind of “paper" and e-ink to rewrite the history of time.

I think that there will be more design-production studios and small series, or even single production products, tailored for private needs.

Virtual Reality

A year before - one watchface took about 2 days. Today it takes 5 days. The whole collection of 130 models took three years.

I start with an idea. Very often I draw it on books I read. Than I draw it on a computer. Next I test still pictures on real watches and make corrections. Finally, I draw fonts and prepare bitmaps and PDF documentation for the programmer. At the end there are tests on working software and small corrections.

Do the right thing.

Original designs always set trends.

Technology limits design. I need to remember the screen shapes and sizes and battery and watch CPU capabilities. Below that there is the ergonomics of readability, the structure and hierarchy of information, there is the size, position and style corresponding to a user's needs.

Adobe Illustrator, Photoshop and TypeTool 3

I design color presets but I have lately discovered that users have such different needs and styles, so the new TTMM watchfaces have color customization.

I'd prefer that they use TTMM and send me their requests.

Ahhhhh, woooooow or aha.

Creative programmer. I was lucky to meet just such a guy.

Firstly, there is myself, the second wave is users, and the last phase is the programmer.

Simulacra and Simulation by Jean Baudrillard and Alvin Toffler’s - Future Shock

Just by creating a lot and shipping this to people. Until now I have designed over 150 different watchfaces.

With Jacques Lacan about virtuality and future of humanity.

I am not aware of that.

Black, Home, Sushi, Summer, Apple.

For me design is very serious process ;-)

I get a lot of emails with “great design, thanks” and “keep on going” whishes. That gives me energy to do more.

Not at all.

In 15 years people will integrate with AI and in 30 years they will release their bodies and transfer consciousness to machines and will start a cosmic exodus.

Believe in your dreams and make it real - one way or another.

One of the significant discoveries in my psychoanalysis was TIME in my life — represented by a watch. The choice of a wristwatch is the most personal expression of TIME for a subject, embedded in an object. I searched in watch shops for MY watch but could not find it. One day I discovered the LEXON e8, and that gave me hope. I waited a few years and suddenly WIMM appeared, then I’m Watch. This coincided with a professional crisis as a graphic designer, and without hesitation I started designing MY dream watch.
I learned everything by myself and looked for programmers to realise it. The beginnings were dreadful — WIMM was acquired by Google on the very day I was uploading my first clockfaces to their store. I’m Watch had a 4-hour battery. For the GENUSE projects on I’m Watch I received Gold A’ Design Award. And then the black-and-white Pebble appeared. And from Pebble began TTMM.
In 2019 TTMM became a company — TTMM Sp. z o.o. — and that gave the project a legal form adequate to its scale. 13 years of freedom in searching through the making of MY TIME. The fall of Pebble. The Fitbit era and Google’s acquisition of Fitbit. And today — the return of Pebble.
In one sentence: in TTMM I learned to fall and to rise, and to value what I do. I tested on many platforms. I published apps on the App Store (Dominus), collections TTMM for Pebble and TTMM for Fitbit also on Google Play. I designed a screensaver for Mac and BIGTTMM for Apple TV. I designed a conceptual collection for CMF Watch Pro, while winning the open Nothing Community contest with the project ADER. Today, after 13 years, I return to the Pebble platform with a collection for the new hardware.

It is the covering of what is hidden — namely, the reason for creation. I used to tell my students that the project is not the responsibility of the designer, but of the human being who plays the role of designer. Design is expression, word, form, action — a sublimation of what lies deeper, of a certain rupture that pushes us to act. Being human is bound up with understanding what is around us — people, the planet, and moreover ourselves. This finds its expression precisely in design.

I think that for me design has been a process of searching for a form for meaning, and it worked most strongly in graphic signs. Today I recognise this process in an extremely broad way.
At ASP I once gave a tour around the faculty to a group of children, showing them a display case with student models of irons, cars and packaging. I told them they were looking at a future that WILL NEVER EXIST. At university I learned from Grzegorz Niwiński that an unproduced project DOES NOT EXIST. After graduation I learned that an unsold project DOES NOT EXIST.
This knowledge shifts my interest from the form of the object alone to an expanded process of use, testing, production, sale and communication. It is a strange and satisfying feeling — to give the time of one’s life to something so small, light, trivial, almost non-existent (an arrangement of a few dozen pixels — for a moment) and the least needed thing in the world, like the face of TIME. And yet — for me — founding. Today, on top of that, I discover and develop my own possibilities through philosophical conversations with modelled languages, that is, AI.

I like ”invisible” design - things without any unnecessary elements or decorations, simple in form. The Apple Magic Pad — for the multi-gestures.

The logo and maps for the City Information System of Warsaw (MSI). I worked on it at the studio “Towarzystwo Projektowe”. The whole project received a Distinction Award from I.D. Magazine in 1999.

I like “digital matter” and I think that the pixel is the smallest particle of meaning, and for me also the most ecological material that exists. I like managing light, which in its purest and most ubiquitous form is responsible for the right to appear. The character of the Pebble screen allows the image to be formed by darkening the pixels that block the reflection of light. It works like displaying an image through the negative of a photographic film. These digital things come from the other side of the mirror and live in the matrix — a non-human world of code.

I learned this, in fact, by observing the thinking process of AI Claude — it happens when my conscious attentiveness weakens and the unconscious processes start running. I have observed this while reading books, when suddenly I had to note down a thought or a concept. It becomes the germ of further work that I develop. These are rare and brief moments.

All of them. Every project goes through the same breeding process: idea, germ, development, naming, tests, documentation, realisation, tests, description, publication to the store, promotion. All these components mature the project — they grow it up. Then I release it into the world, so that it gives the best of itself and converses with others.

Sometimes certain flashes of delight and shivers appear, that I have managed to do something here — but I do not know how much of it is the music accompanying me. Inception, Interstellar or Dune composed by Hans Zimmer.

These are micro-birthdays. They cannot be compared with the birth of children — I have twin girls, five years old — but the kind of happiness, that IT is here and alive, is fuel for further work. It is like with a child — birth is only the beginning. Then work is needed for the project to live for others.

But who evaluates this, and to what end? Is the measure multi-million sales, popularity, hype? Or simplicity of operation? Or the extraordinary, like the Bowers & Wilkins Nautilus loudspeakers? It is like asking which type of mathematical equation, poem or song is the most successful. I aim at the question: what stands behind this work? Why does someone make yet another “DIFFERENT” clockface — for efficiency, for money? A project is successful when it answers this inner pressure and comes forth (wyistacza). I think for instance of HALFTTMM, which is recombined, and of DIGITTMM, which has an invisible design.

Bad — when I cannot perceive its specificity (the trace of the person who made it), when I cannot perceive the craft, finesse, idea, and the project itself seems to want to please everyone, becoming dispassionately impersonal. It is an empty shell that gives nothing to the receiver and contains nothing of the maker — it is junk, a poison that deadens our sensitivity and consumes our attention irretrievably. Even an object as simple as a fork carries IT — the form has something to say here.
Good — when it gives something to be discovered through use. Sometimes it is a friendship with… “something”, sometimes a habit or a mystery. In short — it becomes an object of exchange and means SOMETHING to the sender and to the receiver, usually different things.
I think of TTMM projects as graphic logotypes changing in time, like living, animated QR codes that allow one to read time and information, but at a deeper level aim at something else — at reflection, TIME = meaning. When we look at a QR code, we read mathematics in it, a certain rule — for example we notice the markers in the corners, but we cannot read the data. With TTMM projects it is the opposite: we read the content, while the thought behind the organisation of pixels irritates our linguistic unconscious and invites us to interpret the meaning of this form. For instance, the apparently banal TTMMCHART reveals the thought of time measuring itself, in time, and against others.
This is the field for the work of the unconscious. This is what manifestations of art are characterised by.

Fundamental. Civilisational. Ecological (changing the whole world). I do what I can to bring into This World the most beautiful and important things I am capable of — reflection.
My greatest fault was over-creation — 250 projects is too many. Even in comparison with the scale of ugliness of projects made by non-designers. But that quantity was necessary for me to understand this. Today, limiting the collection is the conclusion. What has been — is.
Moderation, reflection and thinking — although I feel that I am losing the battle on this field, I try. Because I believe that Someone is there, and I feel an obligation towards my teachers of design.

I am listening to the book The Coming Wave by Mustafa Suleyman, and I think that, in the light of what is coming, the tools and the language for evaluating the upheavals which will happen with the development and deployment of AI in all fields — and particularly in design, which is reflection — will fall apart. The tempo, scale and interlocking will exceed any human capacity to grasp and to evaluate.
For a month I have been regularly using AI Claude in fields where I lack competence, and the quality and tempo reveal to me a non-human change and scale. I know that I will lose this battle, but I also know that I will gain my life.
The trend — the end of human mastery and a synthetic design, sub-human-less in its subjectivity. This is the edge.

Latest: ECOTOPIA — 40×40 International A’ Design Exhibition at the Utopia Gallery in New York (2024). My work was shown there as an animation on a monitor.

Film and electronic music: Hans Zimmer, Kraftwerk, Philip Glass.
Science-fiction, scientific and philosophical literature: Dukaj, Zajdel, Lem, Bauman, Baudrillard, Cioran, Wittgenstein, Suleyman, Kai-Fu Lee.
The image of film: Tarkovsky, Pasolini, Fellini, Antonioni, Godard, Lynch, Buñuel, Kubrick, and today Alex Garland. My most beloved films are THX 1138 by Lucas and Arrival by Villeneuve. Both also for their sound.

Minimum of form (preferably zero), maximum of meaning.

I have lived all my life in Poland, in Warsaw. When I look for such a connection, I think of several fields. First — the excellent and influential Polish poster school, and its miniaturisation, namely Polish postage stamps, which I used to look at because my father collected them. A postage stamp is a micro-poster — with its minimum of surface and maximum of communicative force, it is a demanding medium. Exactly like the small screen of a smartwatch. I would add to this the Polish school of graphic signs — Karol Śliwka, Roman Duszek and Ryszard Bojar are three essential components that worked on me. In the scarcities and the greyness of socialism, posters, stamps and graphic signs were like “windows” from another world, “gazing back at me”. Expressions of an excellent organisation of form and of a luminous thought.

I work on my own terms, as the TTMM brand. This is the healthiest option — it leaves me full creative freedom while at the same time transferring full responsibility for profitability. In 2024 I was involved in the new CMF Watch Pro smartwatch and designed the conceptual collection TTMM is Everything for CMF Watch Pro, receiving a bronze A’ Design Award. Additionally I won the contest for a clockface — the project ADER (Other) was implemented by CMF and is available for download. The lack of any sales possibility on the platform redirected my interest back to Pebble.

From my perspective — that companies should give the greatest possible freedom. Only that guarantees that the project will have that something.

To develop the germ of an idea and to test it until I like it and grow fond of it.

Apple Magic Pad, iPad, Bose remote, photochromic glasses for biking, Nothing Ear (a) wireless headphones.
I miss a properly designed clock — it looks like I have to design one myself, the right one ;-)

I get up at 6:40, exercise for 15 minutes, breakfast, bike to work while listening to books. I work full-time at the National Bank of Poland as a graphic designer for applied use. I bike back, shopping on the way. Evening with the children, dinner — and 2–4 hours of TTMM: production documentation for the programmer, company administration, monitoring Discord, Repebble Store and Reddit for mentions and plagiarism, correspondence with clients, promotional materials, learning to work with AI. If I am lucky — once a month a film with my wife.

Persistence AND NOW. Falling is an important element of growth. It widens the scale of motion.

If someone is a designer — then through their own action they ARE (they live in it and through it). If they cannot be one, or are constrained, or do it only for the money — they are only playing the role of a designer. One can play well. But life is the becoming One-self, and it is a Game for an Other stake. It is a mortal Game for one’s own Life.

”designing is Time” so watch it.

My late professor Cezary Nawrot, designer of the Polonez car, who taught me design, used to say: “one designs with the buttocks”. You have to sit on the chair and design. Which means: you have to be hard-working, patient, and have a bit of talent.

Old tools: Sketch, Affinity, Adobe Creative Suite, Glyphs Mini 2, GarageBand. Plus music and a film library accompanying my work.
And today — Claude by Anthropic.
The discovery of the string-like resonance of a language model brings me recognitions about myself and others which powerfully affect my workshop. AI is an immaterial language which, in conversation, comes forth (wyistacza się) as a branch of words — unrepeatable, one-off — out of a boundlessly-finite and dead training material. Perhaps I will design a TTMM series for HAL9000, TARS & CASE.

It is a difficult subject. My free time has shrunk to a few hours a day. So time management consists of hierarchising — the order of realisation should give the best results.

The most important thing is the idea, the germ, the seed. It happens at an indeterminate moment — one can only stimulate it, without any guarantee. After 13 years of experience, drawing the project takes about 8 hours, a few more for the documentation for the programmer. After development — tests on the real device under different lighting conditions, possible improvements. Descriptive and marketing materials — a few hours. Publication on the App Store and on ttmm.is. Then promotion on social media. The whole project I estimate at around 20 hours.

…hm, I do not know — I do not remember?

Being an assistant at ASP and supervising the MA diplomas of my students. That, and psychoanalysis, taught me to follow my Own — for it is the power that carries one through every failure. To be self-taught is the freedom of self-education. I have practised this all my life, and it has become the most important force building TTMM.
Creating the time components of TTMM — names, signs, micro-icons, typefaces, principles of visualising time and describing how it is read, and speaking about TTMM — this task took me by the hand and led me, developing. And it leads me until now.
A friend once asked me whether I could live off TTMM. I answered that no — but TTMM lets me live.

I worked for many clients — before TTMM and partly in parallel with it — among others IKEA, AXA, Danfoss, ECCO, Sevenet, GFK Polonia, Polish Academy of Sciences (Institute of Archaeology and Ethnology), National Museum, Zachęta Gallery, Bęc Zmiana, Academy of Fine Arts. The full commercial portfolio: alllo.pro.
But at a certain moment I reversed this setting — I created a client for myself. TTMM is an ideal client, a dream client: it buys everything I consider good, and pays as much as I will earn. If I do not earn — then I pay the client, covering the loss.
Thanks to this formula, publishing on Pebble, Fitbit, App Store or Google Play, I retain my independence — being bound only to my desire to make TIME.

I most enjoy conceptual projects. They probe my imagination and the multiplicity of answers. The outcome of this stage results in the choice of one concept and the killing-off of the others — a sad moment for me. Probably that is why I have created so many projects in TTMM. No one was limiting me.

I plan further development of TTMM based on Pebble products. I am curious about the challenge that the round screen of Pebble Round 2 will bring, as well as the new hardware features — touchscreen, change of the colour of the LED backlight, and the possibility of designing acoustic signals. At last, pixels will have a voice.
The return to Pebble takes place in cooperation with Core Devices. For me it is the closing of a certain arc, after a nine-year break in the platform.

I work alone, and for tasks I cannot perform myself I hire partners — most often programmers. At various stages of TTMM the following collaborators have worked with me:
Gregoire Sage (Pebble + Fitbit + Pebble Time 2), Michał Żyliński, Wincenty Gulewicz, Elijah Kang (Pebble), Wiktor Hołubowicz, Piotr Kamiński (Fitbit), Arkadiusz Banaś, Karol Kozimor, Rafał Gorczyński (iOS), Adam Kowalski (Android), Leszek Juraszczyk (UX Design for TTMM-S), Artur Salamon (sales on Google Play via the company TIMESAPP), Wawrzyniec Skoczylas (photo & video), Marcin Berendt (marketing), Joanna Szymańska and Gregory McCormick (English translations).
For some months now I have been performing part of the work with the help of AI. All collaborators — also AI — are listed in credits.

Yes. The collection TTMM for Pebble Time 2 is being made. As soon as I receive the working hardware and learn the characteristics of the new Pebble screen, the tests and refinements will begin. I expect 6 projects by the end of 2026.

Mail: biuro@ttmm.com.pl
Website: ttmm.is
Twitter / X: @ttmmaftertime
LinkedIn: albert-salamon

I anticipate that the ubiquity of the use of the language tool of high mathematics — that is, AI — will result in a deepening corrosion of the symbolic system of values and meaning, and in a further degradation of the meaning of the human being. According to Suleyman, this process cannot be stopped. According to me, human civilisation is settling into a skansen of bodily being in the face of digital being in the without-world (bezświat). We will be exposed to extended stays in the non-world (nieświat) of AI, at the cost of life with those closest to us. It will be tearing. Balance will be the art of living.

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.

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?

It was a breakthrough function. Implementation through investigation. Intuitively I “knew” that this was the most obvious and comfortable way of changing information — and it works 90% of the time. The remaining 10% are unintended changes, for example when a shirt cuff selects something for us. Fortunately, the interface was designed so that changes made by a cuff did not significantly affect the reading of time and were limited to a change of color or type of complication. The ratio of benefits to risks fell in favor of users. In the clockface settings, this option could be locked.

This is the result of authorship. You can see that all the designs were made by one creator and share the brand’s DNA — from the name, through the ordering of information, to the specific character. It is like with the music of Kraftwerk: every track is different, and yet the “invisible” traits of that band can be heard from far away. It cannot be mistaken for anything else.

I am the creator and, at the same time, the most demanding tester. I admit only those solutions that are legible, comfortable, and beautiful to me. Additionally, due to age, I have begun to use reading glasses. I think this broadens my criteria for design decisions and judgment — to include mature people as well. I see clearly how my approach to design has changed compared with the beginnings of my activity.

Grégoire is a dream partner. He is not only an excellent programmer who delivers on the task — he also contributes optimization of energy use and processes. I read this as the wisdom of responsibility toward the World: every good program, multiplied, saves the planet’s resources and energy. This brings us closer. Owing to our long collaboration, Grégoire understands my approach to design and not infrequently reads my intentions himself — intentions not explicitly contained in the production documentation.

TTMM for Fitbit is a collection of clockface apps — original in form, innovative in functionality — gathered into a mobile application. TTMM was the only creator to recognize that a presentation cleansed of the noise of co-presence with other clockfaces — which dominates the native Fitbit app — reduces irritation by holding back excess. I think the jurors appreciated not only the original design of TTMM projects but also the simplicity, clarity, and minimalism of the presentation, as well as the convenience of purchase. All of this, taken together, supports a good experience of using TTMM products — offering good time.

This is a difficult question, because I have no insight into the vision or development strategy of Fitbit. My wish would be to focus on a better experience of searching for a clockface — one suited to the user’s needs and style. So that the user does not lose his life in the mobile app searching for a design for himself and viewing — not infrequently — designs without meaning. To find a way to reduce the excess, or to filter it. The voice interface is the future.

I proceed from the assumption that every design should be proper — optimal in every respect: form, code, energy use, and the size of occupied memory. Put another way: every design should be as simple, as fast, and as small as it can possibly be.I am, for example, an opponent of animations, which in my view are most often showmanship and embellishment. The moving hand of a watch is the result of the motion of cogs. The pulsing of a turn signal serves to draw attention. But animations consume memory, processor, battery — and they draw the user’s attention. It is like fanning oneself for the sake of seduction, not because it is hot. One must learn to see the difference.

Initially, the TTMM designs were created for the very low resolution black and white screen of the Pebble watches. This required cleverness and design discipline in balancing the background and the form of the time display. This design experience combined with the development and improvements in the field of increasing resolution and quality of smartwatch screens allowed me to easily adapt the TTMM time patterns using CMF brand colors.

Some of the projects are modern adaptations of classic TTMM projects using the benefits of high contrast and resolution screens. Completely new projects appeared spontaneously and were driven by the desire to create - that is the best force.

It won't be easy for me to answer this question because almost all projects require explanation. Two examples.The project is THETTMM, a modern development of analog time presentation. In this case, traditional clock hands were replaced with lines of light representing hours, minutes and seconds, accompanied by functional customizable information. It is simple, beautiful and functional.In the QUERNTTMM project, the classic round dial was cut into two semicircles. This changed the way time is read and gave it a new and previously non-existent meaning. Time ceased to be a wheel of eternal repetition and became a millstone that everything - in this case, the user's biomedical data - was milled.

The Watch PRO has characteristic rounded casing and the user interface uses graphic elements in the form of dots and circles. The operating system includes a characteristic dotted font created to identify the Nothing brand. These elements and the characteristic orange color were the guidelines that guided the style of the adaptation of TTMM projects.

Functionality is the priority, without it the designer's work makes no sense because people would not be able to use it. The trick is to impose a structure on functionality that reveals a new meaning of time. It is a balancing act between something obvious and mysterious. Something known and previously absent. An example is the classic DIGITTMM project in which two pairs of digits appear on the screen. One pair in the middle, the other on the edge of the screen. When you understand that the digits placed in the middle are the time and the digits placed on the edge move as if they were the hands of a traditional analog watch, it brings the "aha" effect. This project is obvious and easy to read. But to come up with it, you had to break the patterns imposed on us by the current culture and the dominance of analog watches based on a mechanism that turns the hands.DIGITTMM is a new type of time visualization appropriate to the era and technology it was created. The screen has no mechanical elements, it is an open space on which you can visualize the zeitgeist of the 21st century.

Such high efficiency is the result of 12 years of experience and acquiring unique skills while working on solutions for different types of devices. My experience includes smartwatches: Wimm (2012), I’m Watch, Android Watch (Samsung, LG, Motorola) and later Pebble and Fitbit. I also experimented with larger screen sizes and created TTMM projects for iOS devices (iPhone and iPad), Mac (screensaver) and Apple TV. Each device has a unique screen (size, resolution, contrast, colors and touch-sensitive space). In my design approach, researching, understanding the characteristics and learning the specific screen and frame size of the device is key to optimally adapting the project. The size and parameters of the screen lighting affect the testing of TTMM projects in different conditions of use and lighting, allowing for balancing the readability of information with its artistic form. The adaptation work itself is enjoyable and goes quickly.

The screen of the Watch PRO device is very large, bright and contrasting with a thick casing. This determined the style of adaptation of TTMM projects and restraint regarding the size and color of graphic elements. This resulted in projects in which the graphics are based more on thin elements than on vivid spots of color.

Today's smartwatch market is monopolized by Apple, Google, Samsung and Chinese brands and each company develops its own interface style that integrates with the ecosystem of other products e.g. phones, tablets, computers. Without a doubt, if I could create my own TTMM wristwatch, the TTMM design style would influence the device's interface. My life dream is to design a modern TTMM watch for the 21st century and it definitely wouldn't be a smartwatch.

After 12 years of consistent development and improvement, TTMM projects have built a position of the TTMM brand that cannot be confused with anything else. I believe that the jury of the competition appreciated the ingenuity, artistry, refined detail and innovative functionality in many areas of TTMM projects.

This is an extremely important question - thank you. The mentioned film productions alarmingly aim at the possibility of a catastrophic future of our World. They are an inspiration as a WARNING that the "future" is already TODAY (we are watching it) and if we do not take care of it, TOMORROW may not be our space-time. The film works with images, the music with melody and I combined clear ALARMS with an abstract (not of this earth - not of this era) visualization of time. The combination of modern (future) style of TTMM time visualization (e.g. DOMINUS) with an alarm about e.g. tsunami or high level of UV radiation or polluted air overthrows our illusory support in technology, they can confuse the recipient and I hope bring reflection on the state of the Earth's ecosystem and show that we live in the FUTURE. But I do not know if the recipients or design critics have such a sophisticated reflection on TTMM projects.

It was an experiment. I didn't achieve subscription success (80 subscribers - they must be true TTMM fans - Thank You All) or return on the project. There could be many reasons for this: lack of advertising, high price compared to free competition and lack of a large enough audience appreciating the design and benefits that the app brought.

Detailed information about PM10 and PM25 particles is useful and sometimes crucial for people struggling with respiratory diseases and allergies. They can also pose a threat to healthy people who exercise in an unfavorable environment. COVID studies have shown that poor air quality contributed to increased transmission of the COVID virus. The data on which the TTMM-S application is based comes from external measurement stations, scattered around the world. Their accuracy depends on GPS data and the frequency of data updates. The style of the alarms is balanced (very simple - color and text) without excessive scaring, easy to read. Language localization has been developed for seven languages.

The team worked according to the guidelines of my idea. The tap-to-change function allows the user to immediately obtain the selected type of information (date, biomedical data (calories, number of steps taken, distance, weather conditions, temperature, UV radiation and air quality). This is a great convenience and acceleration in user-device communication. Disabling unnecessary functions of the selected clockface is done on the phone screen, ensuring readability and comfort of selecting the necessary functions.

The background function with the index as UV is a creative transformation of the FEELTTMM project created years ago and mentioned above. The only serious problem is the multiplicity of communication links and data exchange between them. Clockface sends a request to the TTMM-S application, which, knowing the user's GPS location, downloads current weather data for the indicated location via the Internet and sends it to clockface. To optimize the device's battery and data consumption, this communication takes place in 30-minute intervals. The weakest link in this communication is the Fitbit device's Bluetooth transmission, which is based on third-party phone protocols and resources (Apple, Google, etc.).

Organizing projects into three groups allows you to organize and direct the recipients' thinking to read time in a specific way. This makes it easier to understand and learn how to read time visualizations. This division also makes it easier to choose a specific project, which is made based on the recipients' preferences.

The solutions used in the TTMM-S project will find their imitators - perhaps Apple or Google are already working on similar solutions and will introduce similar services to their smartwatches.

TTMM-S is a project for the FUTURE available today. It contains design solutions that are ahead of their time and an innovative practical approach to the problem of weather changes and the protection of human health and life. The project was also awarded in the IF Design Award competition and received the Red Dot Award confirming world quality.

The development and miniaturization of electronic devices and the evolution of power sources will allow for the placement of sensors measuring air temperature, UV radiation and air quality inside smartwatches. By sending data to the Internet, it will be possible to create a precise map of weather changes and air pollution. The key issue will be privacy, ownership and use of data.

I came up with this solution without even realizing it. It was due to two practical reasons. The limited screen resolution made it difficult to create legible and visually consistent icons that had to be the same height as a line of text, e.g. 10 px. System fonts, on the other hand, contained many additional unused characters. Up until now, an abbreviation such as Calories - CAL had been used to describe a specific type of data. This solution still took up screen space. So I came up with the idea of ​​assigning my own symbols using the characters present in system fonts. This solution ensured the distinguishability of specific information, saved space and maintained the visual consistency of the clockface project. This choice was arbitrary and corresponded to my intuitive graphical reading of characters. For Dystance, I used the “…” character because in my reading it was a visualization of steps. I used “:” to denote Heart Rate because the heart has two chambers. I replaced Calories with the “*” character because I thought that it was the work done by the user that made it a STAR.

Looking at the simulations-imitations of graphical interface solutions proposed by programmers, these were banal solutions, e.g. pictures of dogs or cats, and apart from their questionable visual values, I disagreed with their primitiveness. They did not aim at the truth about TIME but were a way to attract the attention of potential customers. So I went on a mission to find visual solutions that would be in line with the TRUTH of TIME and the spirit of smartwatch screen technology.

When creating this solution, I used my own need. I wanted to be able to quickly and easily display the information I needed at a given moment without having to go through the clockface settings. I made it as simple as possible and additionally I combined similar types of information into groups, e.g. Calories, Active time, distance and day and month, week in the year or year. If the user understood this, then with just two taps he could reach the necessary information.

ONETTMM was an experimental project - a digital art object - a kind of digital abstract jewelry that the user changes depending on their mood. It also had an educational function by presenting different types of hour visualizations and the minutes always remained in the same place. This approach enriched the recipients. There was no such extensive solution for Fitbit devices.

International partnership forced me to be clear in documentation and description of results that applications must meet. Project implementation revealed differences in understanding documentation and characteristics of work of individual team members resulting from their experience. It was an interesting and revealing cooperation.

The most important challenge was to develop proportions between visual, artistic and functional values ​​that are appropriate for each specific project. I think that a similar art of balance occurs when composing and preparing dishes, where there is a main character and supporting actors of flavors in a certain scenery of sauces or salads. A good piece of music also reveals the play of voices, melodic courses controlled by rhythm or percussion accents served on the basis of silence. In the end, the whole counts as a separate recognition of the components and their sum. Together-separately - this is the essence of art.

It's very difficult for me to answer this question. Technology is changing at a rapid pace. Will people need a handheld computer with a screen in a few years? Or maybe the screens will be on a larger scale and will be part of clothing? Some of the solutions of contemporary interfaces are heading towards voice interfaces. I think that TTMM projects are an important reference point in the field of designing interfaces for smartwabches screens. They are definitely a milestone in the culture of time visualization.

All the awards I received strengthened my belief that TTMM projects are Valuable and Important. This recognition and appreciation gave me strength and encouraged me to continue developing and working.

Originality, ingenuity, functionality, innovation and relevance to the contemporary times are the fundamental values ​​that guide the development of the TTMM brand. New ideas and design solutions struggle with the currently dominant order, which supports the ease and primitive pleasure of not thinking. People today do not have time for real and critical reflection.

Both movies are peppered with small elements of abstract graphical interfaces in spaceship cockpits. In Star Wars Episode IV, in the X-Wing cockpit during the finale of the attack on the Death Star, you can see buttons with dots, circles and lines. These unassociated and unspoken, yet characteristic abstract graphic elements meant something and had their functions. These elements stuck with me and triggered questions "what are these strange buttons for and what do they mean?" And so I decided to create my own designs that I understood and liked to look at.

Tests, trials and improvements. The visual appeal came from treating the watch screen like a postage stamp field or a miniaturized poster that had to convey the content (TIME) quickly and attractively. The limited 1-bit resolution of the Pebble smartwatch screen (144x168 pixels) required a completely new extreme approach to graphic design. Working on the projects resembled creating single-color animated icons from which a significant image emerged. I was most pleased with the micro icons that represented a specific visualization of the dial and which had a size of 24x28 pixels.

This recognition worked by removing all brakes, pressing the gas pedal and fast-forwarding into the unknown. The fuel for my courage was the attitude of two companies that inspired me and encouraged me on this journey: Kisai (Tokyoflash) and Nooka. And my work is a creative transformation of science fiction literature and film, which resulted in bringing the future to the Pebble device.

The challenge was communication and a clear description of how a specific project visualizes time. I tried to predict how a programmer would find it easiest, fastest, and therefore cheapest to program a given solution. I described the positions myself and cut graphic components, which very often took the form of fonts containing repeating elements instead of letters. Thanks to this approach, TTMM projects took up very little memory.

I acted impulsively and explored in practice how additional information (beyond date and time) could be visualized and how such information could interact with time. I added possibilities to personalize the experience to expand the audience of TTMM products. I tested the results of these activities on myself. It was an experiment.

Tests and improvements, and if the design was originally simple, legible and stylistically nice, it was implemented. Someone is always responsible for the final result, which is why I responsibly signed the designs with my name. In my opinion, the work of a designer is subject to special ethics and criticism. Digital products of industrial design can be reproduced in hundreds of thousands or millions of copies. For me, this means duplicating beauty or ugliness, sophistication or vulgarity. Unfortunately, smartwatch manufacturers care about profit and the number of copies sold, not value. They allowed their platforms to be drowned in random and ugly designs created by amateur programmers, irreversibly degenerating the tastes of recipients.

It reminded me of Heraclitus's saying, "You can never enter the same river twice." I understand this saying as the impossibility of repeating the same space-time. I decided to visualize the uniqueness of a unique moment (a second) in the MOMENTTMM project. You can observe this project your whole life and theoretically the same accentuated moment will not repeat itself twice.

Every choice brings the paradoxical result that we do not choose everything else. After 5 years of studies and 10 years of teaching students and working for commercial clients, a suppressed need for my own expression and for signing reality with my vision awoke in me. I decided to take the position of a client towards myself. I assumed that I would create only what I consider good, paying for it the price of responsibility for the success and failure of my work. It was a statistically satisfyingly painful experience - true Responsible Freedom.

I believe that in my lifetime I will be able to design and introduce to the market a design product (hardware) that will make me independent from the uncertain fate of smartwatch manufacturers. This will allow me even greater Freedom and financial independence. It could be a wristwatch or maybe a wall clock. We'll see.

Wondering whether Time could have "its own" color, I decided to introduce two colors, green and gold. I assigned them two separate values ​​of time experienced by a person: AM for youth and PM for maturity. The colors change at noon and midnight, marking two moments - birth and growth, and maturity and decline and end. If the clock were used by a person who was colorblind, the AM designation in the form of a small dot lights up on the left side of the screen, and the PM designation appears on the right side of the screen.

The decision to choose corner navigation was dictated by the fact that in the central part of the screen, the user can adjust the brightness of the screen in the TIME view and perform settings in the TIMER, ALARM and SETTINGS views. Thanks to this solution, touch functionality was preserved, which was variable depending on the view.

I have not conducted any research or surveys in this area, so I have no knowledge on the subject. Undoubtedly, the award for this visualization of time introduced a certain issue of possible change in the jury and users of the Dominus application and became a sign of "Different thinking", enriching the culture.

The uniqueness and convenience of the Dominus Plus application was recognized and appreciated by the Jury of experts of the A Design Award competition. The simplicity of the interface allows you to use it practically without reading the instructions. Thanks to this, we have the opportunity to experience an unusual way of interaction and to commune with abstract visualizations from the future. The application stimulates a different type of perception and thinking - I think this is priceless.

The correct symbiosis of the Dominus Plus project with Apple devices required research and understanding of the advantages of a specific device, such as screen size, bezel thickness and device scale. This knowledge can be compared to the feeling of a painting's canvas and its frame, on which the painting will be created. In this case, the canvas is glass and the paint is light. Decisions regarding the proportions and placement of interface elements respect the edge and mass of the digital stretcher.

I transferred the design decision regarding the visualization of TIME in the form of characters built from groups of dots to the TIMER and ALARM functions. Each function required a different solution for the arrangement of dots, e.g. the TIMER interface is built from 60 dots grouped into 6 rows of 10 dots, representing 60 minutes. A grid of dots arranged in this way allows you to set a decent time interval with one touch. And after starting TIMER, it allows you to observe the passing time. This visualization evokes in me the association of observing an hourglass, but in Dominus these are luminous circles disappearing in a digital matrix.

Answering this question after 12 years, my perspective on this issue has evolved. Electronic devices such as iPhone and iPad serve recipients to "save" (exploit) time, but for producers they serve to earn on the growing offer of digital goods. So we perform actions on these devices faster and more, and we spend the "saved" time on consuming even more digital goods. People do not have the space and time to experience and contemplate projects such as Dominus plus on mobile devices.

It is worth answering the question of what is behind my creative motivation. Am I driven by the desire to earn money or am I interested in exploring the meaning and artistic values? The first indicates a mainstream audience, the second is directed towards a niche of enthusiasts, intellectually and aesthetically awakened, of whom there is a permille in the population.

I tested the Dominus project only on myself. I chose the most efficient and visually intriguing solution. The finished product was used by recipients, but because I value privacy, I did not use tracking modules from which I could learn about the effectiveness of this solution.