Today the Dribbble community grew into desiring complete aesthetic Porn, with “function” going out the window and only caring about “form”. Designers are sitting there for hours trying to make a “shot” beautiful (…) Last time I checked design was about solving problems, and that’s why I was excited about becoming a designer. I think we should start penalizing and neglecting designs like the above examples and reward with more “likes” the designers that post different work that has a fresh approach on different problems.
I think Dribbble solves a different problem: it allows designers to showcase their visual skills, to experiment, act like cool etc. It is also big and thus full of mediocre, me-too designs, overdone animations, shadows and blurs. If you can accept this, then you can also deduct the fact that solving design problems might just happen somewhere else, and Dribbble is just fine the way it is and people can give likes any way they want. (Ironically on his homepage Abehsera is not solving any design problems, but showcases screenshots one after the other.)
I’m not the first to say that in Yosemite this entry field looks like a button, but since in El Cap made the buttons more like buttons, it’s even worse. Mind you, I was fine with Yosemite, but I feel the next iteration is a step backward. In El Cap there is a subtle gradient, and the visuals had been changed also – to be even more like buttons. I don’t understand why. Why fix something that wasn’t broken?
Netflix needed a brand through-line: a conceptual and visual thread to connect everything. Our challenge was to create something broad enough for a global brand but still unique and identifiable. To create something variable yet systematic and bulletproof. It had to be visually striking, adapt to any format, and hold up to interpretation by agencies and vendors around the globe.
Our solution: The Stack, a visual metaphor and an identity system in one.
Coming in with a staggering 90 different weights and styles, the Acumin family is the latest typeface from Robert Slimbach, the principal designer at Adobe Type. It’s our pleasure to add this to our library for use on the web and for syncing. (…) Type historian John Berry wrote an extraordinary background on the history of neo-grotesques and the design process that Robert went through to shape Acumin. Take a look at the Acumin site for more details, as well as suggestions from Robert about usage and an interactive type specimen.
She is not kidding, the Acumin site is amazing, I’ll set some time aside to enjoy it from A to Z. It’s so great that with my Creative Cloud subscription I’m able to use this font right away.
I once tried to build a meaningful Quake level, it didn’t work out. I wasn’t planning the level structure, I got lost in the details, it was a mess, I gave up. With Super Mario Maker, the challenge, although it’s just 2D instead of 3D, still stands. You tought sprite drawing is hard? Level designing is hard. Here is a portion of the World 1-3 from the original NES Mario:
They did this on paper in 1985. Every level has a consistent theme, fits to the gameplay progression, scale to the characters attributes, and more importantly, is fun to play. The goombas drop to the lower platform just about the time you reach that part, there are coins scattered around, but not too many, often there are multiple paths you can take. Sometimes the power-up is not hidden in the harder path, but is in plain sight. The level occasionally contains a simple bonus room to collect items.
Looking at it from the outside, everything feels natural. That’s what I find the hardest to do: designing something that feels natural to the user. Whenever it’s the use of keyboard shortcuts, onboarding a software or presenting options, taking away the frustration until it feels natural is incredibly hard.
The other day I watched a recorded video of Roger Federer practicing. You know, where he’s not hitting power shots but, just sparring. It seems effortless. It feels simple. He doesn’t seem to move his legs, a couple of steps here and there, he doesn’t seem to put much effort into the shots, but they do go to the baseline with a huge kick. It looks like this is the most trivial way to play tennis: you go out there and hit some balls, then they’ll end up at the other baseline with a fat topspin.
A couple of days ago NASA decided to release the iconic 1974 guide by designers Richard Danne and Bruce Blackburn. The iconic “Worm” logo and the graphic system was rescinded by NASA in 1992.
Why release the PDF now? It may have a connection to designers Jesse Reed and Hamish Smyth who are reproducing this wonderful piece of graphic design manual in 2015. They bootstrapped it over on Kickstarter with an enourmous success. This is what they have to say:
As design nerds, we think the Worm is almost perfect, and the system behind it is a wonderful example of modernist design and thinking.
But for everyone, we think the Worm and its design system represent an agency whose goal is to explore space and push the boundaries of science. Where the Meatball feels cartoon-like and old fashioned; the worm feels sleek, futuristic, forward-thinking. All good things for a space agency at the bleeding-edge of science and exploration.
I suggest you watch their pitch video as well, it’s beyond awesome.
This new one is simply garbage. Just right for a company with no taste.
It’s easy to spit out two offhanded sentences, it’s hard to pull off a brand redesign like this in a corporate environment which is an organization of people. Don’t miss the canonical blogpost with its amazingly produced example videos.
You might have been the greatest design student at your school, and you still have no idea how to be a designer. At best, you’ve picked up a very strong set of formal and aesthetic skills which will serve as a foundation to become a designer. But you’ve never dealt with a client or a boss, you’ve never had to sell an idea. You’ve never dealt with having to convince your engineering team of why something was important, you’ve never learned to say no to a bad request, you’ve never had to gather requirements, and you’ve most likely never interviewed a user.
It’d be interesting to work with Monteiro. I have a fear that working with him and the perception of his public persona isn’t the same. Interesting post nonetheless, I like his polarizing, hard ass world where the designers are KING and they can demand money at will.
Mi lenne, ha a jobb oldalán szerkeszteni lehetne a CSS-t és azonnal változna a Sketch is hozzá? Nos, Matej Hrescak Facebook Product Designer elkezdett csinálni egy repót Sketch Flex Layout néven pontosan erre a problémára. Még csak most kezdte, viszont ígéretes kezdeményezés amivel sok-sok időt spórolhatunk meg és nem kell mindent újrarakni. A fenti kép egyébként a felvezető Medium posztból származik, ott érdemes nézni folyamatában a dolgot.
Egyrészt nagyon szép és kulturált lett az új site-juk, másrészt gyakorlatilag tényleg mindent elkövetnek, hogy az ember minél kényelmesebben és minél nagyobb örömmel érezze azt, hogy náluk kell elkölteni a pénzt. Öröm az ilyen.