Visual direction is the perceived direction of forces acting on and exerted by elements. A visually heavy element will attract the eye to it. The direction is a cue to the viewer’s eye to move elsewhere. We refer to this force as visual weight and to the perceived direction of visual forces as visual direction. Both are important concepts to understand if you want to create hierarchy, flow, rhythm and balance in your composition. Many intrinsic characteristics can be modified to make an element visually weightier or lighter.
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As a designer, you might start looking for a new job when you feel you have hit a wall with your current employer or when greater opportunities are present at other companies. When you’re honest with who you are and what you want in a job, you will be able to determine whether the position meets your criteria. Planning for job requirements, salary and perhaps location before applying is obvious, but many people forget to set criteria for one major thing: corporate culture. Corporate culture shapes every aspect of an organization, from operations and business policies to “extra-curricular” activities and day-to-day staff interactions.
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People make all sorts of visual notes. An army of sketchnoters is out there, and everyone has their own style. Some do amazing sketches and lavish letters. Some translate complicated concepts into easy-to-grasp diagrams. But for the sake of this article, let’s keep it simple. Making your notes more interesting doesn’t have to be a huge undertaking. It’s not like learning to play the piano or taking up diving. If you think sketchnoting looks fun, Elisabeth Irgens has some tips to get you started.
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In this industry, there’s so much to learn, that falling behind is easy. So, you tell yourselves you’ll come back to it later. But later never shows up. What if you did just one small thing a day to expand your knowledge and skill set, every day, for 30 days straight? This challenge of stacking knowledge daily will enable you not only to learn 30 things, but to learn 30 things that will increase in complexity and fit together as a whole new branch of working knowledge for you.
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Cat Noone is the co-founder of Liberio. She is a young and talented designer and entrepreneur from Brooklyn, New York, now living and working in Berlin. Cat worked in the field of special education before jumping into a career that she really loves and makes her happy. In this interview, Cat shares insights about her personal life and Berlin, talks about her latest project (the startup Liberio) and gives advice to young designers and developers in the industry.
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Compared to what we can create on the computer today, the original Macintosh, with only 128 KB of memory, had limited capabilities. At the time, though, it opened up so many new possibilities. Emerging digital technology also changed typography. Some digital typefaces were updated versions of classics, while others were brand new, and there was a refreshing jolt of youthful experimentation as people moved past the limits of the rational and functional. Each of the following designers broke from tradition and changed the world of design in some way. Those who designed not only on the screen, but for the screen, ushered in a new era of digital design, mixing media and incorporating motion, sound and interactivity. Below are a few of those pioneers.
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At Typeform, David Okuniev was inspired to simplify online forms by a movie that’s decidedly a blast from the past: the 1983 film WarGames, which centers around a student who remotely logs into a research computer and, through its terminal interface, nearly sparks a nuclear war. Stripping forms down to their basics and building them back up into something better took four years of work, but that core idea guided the team all along: questions are better than lists. In this article you will find David Okuniev’s story of how he turned that idea into a product that’s helped companies of all sizes get a 55% completion rate on their forms.
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Showing that some things are the same and some are different is the first step in visual communication. It’s the primary way that viewers derive meaning. Contrast and similarity have different functions. They are used in varying degree and in combination. You’ll always see some of both because neither exists without the other. Changing one means also changing the other. They are clues to design elements. The goal is to contrast similar layers. The way we structure contrasting and similar elements creates hierarchy, flow and compositional balance.
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Badges often look the same. So… is it really necessary to budge? If you have a little, different conference, you need different kinds of things. Badges included. In 2013, at the first Kerning conference, Maurizio Piacenza was asked to design the official notebook: he ended up with a really typographic design for the cover and a funny pattern on the back. And an Easter egg on the cover. It was a really funny project, so when a member of Kerning’s organizing committee, asked him to design the notebook and some printed materials for Kerning 2014 he immediately said “Yes, let’s start!”.
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Nothing compares to a good conference: the atmosphere of being immersed in a crowd of people who share the same passion as you, the lessons you learn and advice you take in, and the friends you get to meet and the new ones you make. You leave a good conference bursting with fresh ideas. That’s what Zach Inglis wanted to create with HybridConf. Since starting it he has been fortunate enough to receive invaluable pieces of advice from other conference organizers, so Zach wanted to pay it forward with this article and help more of you succeed, too.
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