Posts Tagged ‘design’

Awesome Fontstacks

Friday, November 12th, 2010

Continuing the discussion of new web typography options from our earlier posts Web Fonts and Cufon vs CSS3 vs Google Font API, I ran across this the other day: Awesome Fontstacks. And it is pretty awesome. Kurtis will back me on this.

This site allows you to “automatically match fonts based on typographical metrics, optimize the font bundles for their intended purpose, and deliver rock solid CSS for those fonts and their fallbacks to copy & paste”. Basically, you can go to this site and choose from 45 fonts (that are free and licensed for online use) to use for your headlines, body copy, decorative and monospaced needs. As you choose your font for each category, sample text in a window to the right updates to show you how it will look as copy. It only displays fonts that would be appropriate to use together so you don’t end up with, say, two similar sans serifs like Droid Sans as your headline font and Fontin Sans as your body copy font. This makes it really nice for me as a designer.

What makes it nice for web developers is that after you have chosen all your fonts, or your “fontstack”, you can conveniently download the font files and put them into a directory in your website then copy the CSS code to your stylesheets folder and link it from your website. Awesome, eh?

AND, each font stack has a back-up stack for those using browsers that don’t support @font-face.

P.S. Iron Maiden rules


Designing a Sticky Site

Tuesday, November 9th, 2010

As a graphic designer, our job and overall goal is to communicate clear and succinct ideas and messages to a specific audience. When designing for the web, we want strong ideas to get the attention of the user, so that they return regularly and consistently spend more time on the site. We do this in hopes of creating a “Sticky” site, where ideas are absorbed and then spread outward, in hopes of making the site successful. One of the key elements in making a site “Sticky,” is to keep ideas simple and compact. A clear idea focuses on the core of your message, removes any superfluous information, making the message memorable and allowing it to stick with your audience.

In the post How To Design A Sticky Site: Stickiness Part I by Steven Bradley, he shares how to convey simple ideas in web design in order to achieve stickiness:

… The first thing is to understand the core idea or goal of the site. Why does the site exist? What’s its purpose? What is it trying to do? These are questions you should be asking before beginning any design.

We can carry the idea of finding the core to each page of the site as well. What goal does any given page have? How can we design the page to push people toward that goal.

Generally a site and even a page will have more than a singular goal. Your site might exist to make a sale, generate a lead, convert a visitor to subscriber and so on. Still it should have a primary idea or message to communicate.

Think of a tagline? Isn’t your tagline meant to simply and succinctly sum up what your site and business is about? Isn’t a tagline the core idea behind your site.

When someone lands on any page of your site they should be able to understand what the site is about instantly. This is usually done through a combination of the site name, the company logo, the tagline. On the single page it would also include the main heading. Consider the idea of simplicity in all of these.

We might also add in the idea of across a site. A unified design is one where everything is working together to communicate the same central message. When all your design elements agree they create a whole that is greater than the sum of its parts. They help to place the focus on what’s most important.

Stripping away the unessential might also lead us toward minimalism. I don’t think the idea of simplicity means we should only create minimalist designs, but it does imply that any design we create should be effective when we strip away the eye candy and it does imply that no matter what style, your design should only include what’s necessary to communicate your message.

“A designer knows he has achieved perfection not when there is nothing left to add, but when there is nothing left to take away.” -Antoine de Saint-Exupery

When there’s nothing left to take away you’re left with the core.


Color Trends: The Economic Effect

Tuesday, November 2nd, 2010

Earlier this year, Pantone named Turquoise as the color of the year and it can now be found all throughout the fashion, interior, and graphic industries. The color was chosen because it “evokes thoughts of soothing, tropical waters and an escape from the everyday troubles of the world, while at the same time restoring our sense of well being.” Color trends for all areas of design are most often chosen based on our current economic and social trends. We have been living in a world economic crisis and it’s no wonder a color was picked to represent an escape from our everyday lives.

The current economy continues to haunt us and that translates into a desire for the better days of the past. We are saving money, and trying to go green by repurposing, recycling, and reusing the materials available around us. For 2011, with money on the back-burner, there will be a foreseen focus on family and preserving and exploring the past. What does this mean for design? Picture old, heirloom colors, distressed finished and earthy hues of brown, green and blue. We’ll seek styles that bring us comfort, reminiscent of our heritage and roots. Trend analysts are forseeing a large interest in patterns, textures and colors that have a global influence. Renewed Aboriginal, Tribal and bold geometric patterns will be set off with amber tones, tomato reds, and sea blues, balanced by earthy neutrals like putty and sand.

To keep money in our wallets, we will also crave to keep things simple. Tones of gray and white will be the hottest neutrals and will be popped with warm butter yellows and taupes. To keep things sophisticated, understated washes of gold and champagne metallics will make their way into this upcoming 2011 season’s pallet. We should find all of these trends reflected in paint and fabric, and we will probably find overlapping in graphic design, by the use of simple and warm-colored hues, printed textures, and a mixture of patterns throughout collateral. Curious about how this might look? Check out these examples below of how this may effect design in the upcoming year:

Reference:
Pantone Unveils Color of the Year for 2010:PANTONE 15-5519 Turquoise
Pantone Must-Have Colors for 2011

Interior Design Trends for 2011

Interior design trends for 2011 will reflect on ancestry


Spring Color 2011

Thursday, October 14th, 2010

Fashion is only a hop skip and a jump from graphic design, so checking on upcoming trends in color and pattern is always a good idea. Today I started looking into color trends for Spring 2011 to help stay a bit ahead of the game. According to Pantone Color Institute executive director Leatrice Eiseman, new spring hues will keep harmony, proportion and balance in mind. In the article by WSAToday, she offered up three color pallets that will be very important in the upcoming season:

Focus

Complementary

Branching

“Focus”
A color pallet that works off of neutrals (which include graphite blues and grays) that are infused with hotter hues like yellow, orange and red. The pallets focus is to combine practability with something a little more exciting.

“Complementry”
This pallet uses complementary colors, taken from nature, to create vibration for the eye (think blues and reds).

“Branching”
A sophisticated and quiet pallet that uses both warm and cool shades together, almost mimicking the seasons changing weather.

Color has a unique ability to capture the attention of the audience, bring on emotion, and enhance the look of a product or design. So, if you’re just shopping for the next trend or starting early on those spring designs, it’s smart to keep these tips in mind to make sure we are continually tempting the consumer, making a sale or giving off the appropriate message.


What is good design?

Monday, September 27th, 2010

Its a tough question to answer succinctly. Dieter Ram summed it up very nicely here. Although his post speaks more to product design than to graphic design, the same principles apply.

Good design:
- Is innovative
- Is useful and considerate of the user
- Is aesthetically pleasing
- Creates clarity
- Is unobtrusive
- Is honest
- Is accurate and thorough
- Is eco-concious
- Is as little design as possible

I also collected a few quotes that speak to what design is and what makes it “good” or “great” or more importantly, effective. Enjoy!

“To design is much more than simply to assemble, to order, or even to edit; it is to add value and meaning, to illuminate, to simplify, to clarify, to modify, to dignify, to dramatize, to persuade, and perhaps even to amuse.”
— Paul Rand

“Truly elegant design incorporates top-notch functionality into a simple, uncluttered form.”
— David Lewis

“People ignore design that ignores people.”
— Frank Chimero

“Design is the application of intent – the opposite of happenstance, and an antidote to accident.”
— Robert L. Peters

“Good design is a lot like clear thinking made visual.”
— Edward Tufte

“I think design covers so much more than the aesthetic. Design is fundamentally more. Design is usability. It is Information Architecture. It is Accessibility. This is all design.”
— Mark Boulton

“Design is easy. All you do is stare at the screen until drops of blood form on your forehead.”
— Marty Neumeier

And finally, just a little advice:

“Practice safe design: Use a concept.”
— Petrula Vrontikis


Cooking with Legos

Thursday, September 16th, 2010

In my search for a topic for today’s blog post, I came across this great kitchen island created from one of my favorite childhood toys, Legos. I’ve built tiny Lego kitchens in my past, but can’t imagine the time put into creating this huge masterpiece. Designed by Munchausen, a duo formed by Parisian designers Simon Pillard and Philippe Rosetti, the island was built around a standard Ikea kitchen cabinet . The project took over a week to assemble the more than 20,000 individual Logo pieces. The design is smart, because it functions as a beautiful art piece for the room, but also serves the functionality of a standard island. My favorite part is the Lego head cookie jar on the counter, which is just the icing on the cake. I just hope they were able to get the Lego blocks on wholesale, because each 2×6 block is about $.26, making the island a whopping $5,200 dollars just in Legos. At that price, I don’t think I’ll be building any Lego furniture in the near future.


Papercuts – The Good Kind

Wednesday, September 1st, 2010

While perusing Design*Sponge, one of my favorite blog sites, I came across another blog called PAPERCUTS by “MrYen” that posts about design finds and his own papercut artwork that he sells on Etsy (I am loving the whale papercuts shown). Paper cutting is as simple as it sounds, the art of cutting designs out of paper, but the process, however, is extremely meticulous, time consuming and involves an exacto and a steady hand.

I’ve done some simple papercuts of my own, and it’s always more difficult than it seems, especially when your goal is to get a perfect edge, while avoiding a ripped mess. Did I forget to mention that it is time consuming? I think the precision and detail of papercut art is so beautiful. Designs are delicately filled simple silhouettes, amazing textures and depth that you wouldn’t be able to achieve from plain printing. Below is just a sampling of what papercutting has to offer.

To learn how to create your own papercuts check out The Heart of Papercuts, who offer an introduction on how to start paper cutting. And for more inspiration and variations on the style you should also check out these amazing artists, Yulia Brodskaya, and Julene Harrison.






Christopher Doyle™ Identity Guidelines

Wednesday, August 18th, 2010

While reading an article on Smashing Magazine about Designing Style Guidelines For Brands And Websites I came across a personal identity guideline by Christopher Doyle that makes fun of branding guidelines in a smart and humorous fashion. It’s definitely worth a look whether your a designerd or not! Download the full .pdf here.


The Champagne of Packaging Redesign

Friday, August 13th, 2010

A few months ago, I noticed that something was different about the packaging of the Champagne of Beers which is Miller High Life. It was much simpler, bolder and graphic with an emphasis on the logo and Lucy, the girl in the moon. After a little research, I found out that this redesign was done by the San Francisco office of Landor, with illustration assistance by Chris Mitchell.

The old logo on the left has been simplified by eliminating the bevels, gradients and hi-lights and the curves are a little more graceful. The letters in HIGH LIFE are cleaned up, thinner and more readable. It is also just a one color logo now.

Old Lucy on the left is also more simplified and now wears hearts instead of diamonds.

One nice detail of the packaging occurs when you set multiple sized cans sitting next to each other.

Overall, the updated look is definitely a breath of fresh air with many great details and graphics working together.

Cheers.


Work of Art

Monday, August 9th, 2010

Has anyone checked out the new reality series “Work of Art” on Bravo? Set in New York, fourteen contestants compete against each other to become the “next great artist,” win some cash, and receive a solo gallery showing. Judged by art enthusiasts, gallery owners, and art critics, the artists complete in challenges testing their skills in a variety of media from oil painting to silk screening, all based around the week’s chosen theme. Themes are all over the place — in one episode artists used trashed electronics to create a sculpture that would reflect their personality. In another the artists had to create a work that was symbolic of the moment their artistic expression began, using only materials found at the children’s art museum (crayons, colored pencils, pipe cleaners, etc.).

I love checking out what the artists come up with and getting a glimpse into their creative process. It seems like some people can just hit the ground running, while others hit a road block and just can’t get their head around a project till the last minute, much like working in any design field. Sometimes projects just click, and others you need to take a minute (or hours) to have that light of inspiration. The hard part for me is watching this with my artsy boyfriend; he thinks that the art really can’t/shouldn’t be judged, because it is so subjective, and I always get an earful of this throughout each episode. I can’t say that I don’t agree with him, because some of the things the judges are loving, in my opinion, look like piles of waste or feel completely off-theme. How can you really tell what is the best? I try to look past what may be considered this show’s obvious flaw and just enjoy the clashing egos, back stabbing, and of course creative ideas and designs. Check out all the action on Wednesday nights at 11 on Bravo.