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About @tw1tt3rart

tw1tt3rart @tw1tt3rart TwitterArt Twitter Art Avatar@tw1tt3rart is a Twitter-based art project by American artist Matthew Haggett.

@tw1tt3rart is an “all art” account: unicode illustrations made for Twitter environments. Original art and some retweets from other artists. Tagged #TwitterArt. Drawings and block-writing crafted with unicode objects in under 140 characters. Established in 2009 as an account exclusively for his unicode art, Haggett’s @tw1tt3rart pioneered the emerging #TwitterArt style. @tw1tt3rart popularized the genre, which is pervasive on Twitter today, with a methodical / analytic approach to communication, an embrace of “Pop” topics, and a knack for creating uniquely potent viral content.

[notable retweets & commissions]



This site is here to support the @tw1tt3rart project, #TwitterArt artists, and community. #TwitterArt: how it works [link], history [link], do it yourself [link], and more. The site is run by @tw1tt3rart’s creator, #TwitterArt vanguard, and leading authority on Unicode art for Twitter surfaces, Matthew Haggett. [link]

“I make unicode art on Twitter (I’m on FB [link] & G+ [link], too). I like the 140-or-less medium of Twitter because it is so dynamic, immediate, and interactive. Without the social aspect, the illustrations wouldn’t mean much. And I like it because Twitter has a 140-character limit and no <return> key. Making Tweet art is like a puzzle. It requires a fun kind of problem solving. On the surface, my art is pure pop—based in Twitter’s currents of popular sentiment—trending topics, cultural references, and Twitter-standards like #FollowFriday and #MusicMonday.”

@tw1tt3rart’s work has been retweeted well over a million times, appearing in notable Twitter feeds, including a RT by the main @Twitter account, Ashton Kutcher (twice), Neil Gaiman, and an incredible group of Tweeps: top celebrities, brands, and power-users—with fans including Twitter’s programmers (and founders) since 2009.

“Sometimes called ASCII art, #TwitterArt uses the ASCII palette and much more—pulling from the full range of unicode’s thousands of objects: letters in dozens of languages, symbols, math, geometric shapes, strange “glitch” characters, even a bunch of invisible objects. I use a limited range of these and optimize my work to view in as many contexts as possible. But unicode is ‘fragile’ and viewer experience varies by browser, operating system, font version, application, device, etc. etc. That is the nature of the beast, and part of what makes it fun.”