design to communicate
DESCRIPTION
As designers, we manipulate all that is available to us, aiming to present ideas in a visually engaging form. But what are our motives, and why do we go in a particular direction? Why do great designers have the courage to do things a certain way, and succeed? Simon will explore how web designers can improve their thought processes by stepping away from the browser, and in turn bring clearer, well-reasoned thinking back into their work. He’ll introduce established and new ways of thinking, and key points of influence that can assist with any web design process.TRANSCRIPT
DESIGN TO COMMUNICATE
Simon CollisonDIBI, Gateshead, April 2010
@simoncollison colly.com
This presentation is about starting points...
DESIGNSQUARE ONE
This presentation is not about...
HTML & CSSJQUERYPHOTOSHOP because these are just enablers
The screen brings with it different kinds of challenges for visual design, some of which occur exclusively in interactive media.
It’s unrealistic to think our old methods can fill in all the gaps, but new interaction patterns and visual languages emerge everyday.
These are the building blocks for our new design principles.
JASON SANTA MARIA
VISUALGRAMMAR
BALANCECOMPOSITIONSYMMETRYMOVEMENTRHYTHMREPETITIONPATTERNS
MENTAL MODELS
The models people have of themselves, others, the environment, and the things with which they interact.
MENTAL MODELS
Environment
Experience
Environment
Others
Me
Instruction
Interaction
MAPPING
The relationship between two things.
Natural mapping leads to immediate understanding.
MAPPING
Control Outcome
UnderstandingControl Outcome
SYSTEMS
We don’t design web pages. We design systems.
ANDY CLARKE
MOTIVE
What are our motives, and why do we go in one particular direction?
MOTIVE
NOSTALGIA
A longing for the past, or the ephemera of the olden days, and the sense that everything was better than it is today.
NOSTALGIA
RHETORIC
The art of using language effectively in order to persuade.
RHETORIC
VERNACULAR
The everyday language through which a group, community or regional area communicates.
VERNACULAR
HUMOUR
The opportunity to present and exploit wit in order to communicate meaning.
HUMOUR
SEMIOTICS
The study of signs offering an explanation of how people extract meaning from words, sounds and images.
SEMIOTICS
Symbol Icon Index
TYPOGRAPHY
By using typographywe give a written idea a visual form.
TYPOGRAPHY
COLOUR
Colour can bring designs to life, inform hierarchies, create bonds between elements, add pace or emotion.
COLOUR
100% yellow
100% yellow20% black
100% yellow50% black
100% yellow80% black
80% yellow 70% yellow 50% yellow
RESTRAINT &REDUCTION
Constructing immediate meaning through economy of use.
RESTRAINT & REDUCTION
PLAYPERSONALITYSELF-EXPRESSION
COURAGE &CONVICTION