I’ll go a step further and say that there are many resemblances between the design of a photograph and all those other design experiences. Design is iterative; almost never does a complete fully-fleshed out design pop into the designer’s head. Instead, design is a series of inspirations, tests, failures, analyses, recombinations, reinventions, retries, more failures, and finally success. In software design, all that is usually explicit. In the design of a photograph, it may take place entirely in the mind of the photographer, be highly nonlinear and rapid, and not be consciously comprehended by the photographer herself. But, at least for me, it is exceedingly pleasurable for its own sake. That’s one of the reasons I like the iteration and continuous refinement of working in series.
Frutiger described Avenir as his finest work: “The quality of the draftsmanship – rather than the intellectual idea behind it – is my masterpiece. It was the hardest typeface I have worked on in my life. Working on it, I always had human nature in mind. And what’s crucial is that I developed the typeface alone, in peace and quiet – no drafting assistants, no-one was there. My personality is stamped upon it. I’m proud that I was able to create Avenir.”
Although the Lorem Ipsum is useful to look at a font’s, basic characteristics without word meaning, in practice, the meaning of the words are effected by the font they are displayed in. Because of this fact, great care should be taken to match the font’s personality with the sentiment and purposes of your document (especially when using the more decorative options).
Sports teams sometimes paint the opposing team’s locker room pink to keep the players passive and less energetic.
It is the core idea behind the designers motives in creating these cars that make them so uninspiring and uninfluential, people would shame you for making anything that inspires from the past trends and would call you Old-fashioned, old timer, fossil & etc… but in the old days the core essence of creating a futuristic design was “Ambition and Perfection”, breaking through boundaries of what was thought to be possible, not breaking through boundaries of logic and order!
There was principle, there was passion, there was order in things, cars were designed with solid and rich ideas, created with passion and effort and time put into it.
In todays modern cars, the idea of a “Futuristic” design is simply to create the most weird and abnormal and freakish looking thing possible, Just breaking the rules traditions and principles that are what actually make these designs make sense and connect with one’s mind and soul.
Elegant things often exhibit refined grace and suggest maturity, and in the case of mathematics, a deep understanding into the subject matter.
Essential components of the concept include simplicity and consistency of design, focusing on the essential features of an object. In art of any kind one might also required dignified grace, or restrained beauty of style.
The role of the graphic designer in the communication process is that of encoder or interpreter of the message. They work on the interpretation, ordering, and presentation of visual messages. The design work always starts from a client’s demand, a demand that ends up being established linguistically, either orally or in writing, that is, that graphic design transforms a linguistic message into a graphic manifestation.
Start with the work. A great way to find the right designer is to find something that speaks to you and then figure out who designed it. Don’t just look at work — see it. If you email someone and say “I’m reaching out because I admire your work,” you’re more likely to get a response as opposed to “I’m looking to hire.” Designers are busy. They don’t like email. And the nature of their work is rarely appreciated. The best way to hire is to make them feel truly seen.
We strive, with varying degrees of success, to define objects that appear effortless. Objects that appear so simple, coherent, and inevitable that there could be no rational alternative.
Although we have been doing this for many years, creating something simple never seems to get any easier. Simplicity is not the absence of complexity. Just removing clutter would result in an uncomplicated but meaningless product. I think a product that is truly simple somehow communicates, with striking clarity, what it is and what it can do.
Above all, I have come to feel sure that human beings sense care in the same way we sense carelessness. I do think we respond, maybe not consciously, to something much bigger than the object. We sense the group of people behind the products, people who do more than make something work, people who sincerely care about the smallest unseen details, as well as the big idea and primary function.
When choosing typefaces, there are 2 key considerations: How does this type make us feel and how does this type work? The emotional response to the shape of letterforms is a very personal experience, and when readers first see type, they react to it in an emotional way before anything else.
There’s a huge temptation to focus on how letterforms make us feel, but it’s important to consider how the text feels as a whole — as a collection of words — rather than looking at just individual characters, or even individual words.
Don’t mistake legibility for communication. In other words, legible letterforms don’t convey meaning by themselves, their arrangement contributes to the message being conveyed. It’s important to remember that typography is not technically about choosing typefaces — it is, in fact, their arrangement.
Similarly, typography informs and expresses. It is both invisible and seen, the levels of which are determined by typeface designers (makers) and graphic designers (users). Like fashion, type surrounds us, and it is inextricable from everyday life.