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Design To Communicate

C9b18d9dff88a9dd2393364c2b3b21bd?s=47 Simon Collison
September 28, 2011

Design To Communicate

Presented at DIBI, Gateshead, April 2010

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.

C9b18d9dff88a9dd2393364c2b3b21bd?s=128

Simon Collison

September 28, 2011
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Transcript

  1. DESIGN TO COMMUNICATE Simon Collison DIBI, Gateshead, April 2010 @simoncollison

    colly.com
  2. This presentation is about starting points... DESIGN SQUARE ONE

  3. This presentation is not about... HTML & CSS JQUERY PHOTOSHOP

    because these are just enablers
  4. 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
  5. VISUAL GRAMMAR

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  15. BALANCE COMPOSITION SYMMETRY MOVEMENT RHYTHM REPETITION PATTERNS

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  22. MENTAL MODELS

  23. The models people have of themselves, others, the environment, and

    the things with which they interact. MENTAL MODELS
  24. Environment Experience Others Me Instruction Interaction

  25. MAPPING

  26. The relationship between two things. Natural mapping leads to immediate

    understanding. MAPPING
  27. Control Outcome

  28. Understanding Control Outcome

  29. SYSTEMS

  30. We don’t design web pages. We design systems. ANDY CLARKE

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  32. MOTIVE

  33. What are our motives, and why do we go in

    one particular direction? MOTIVE
  34. NOSTALGIA

  35. A longing for the past, or the ephemera of the

    olden days, and the sense that everything was better than it is today. NOSTALGIA
  36. RHETORIC

  37. The art of using language effectively in order to persuade.

    RHETORIC
  38. VERNACULAR

  39. The everyday language through which a group, community or regional

    area communicates. VERNACULAR
  40. HUMOUR

  41. The opportunity to present and exploit wit in order to

    communicate meaning. HUMOUR
  42. SEMIOTICS

  43. The study of signs offering an explanation of how people

    extract meaning from words, sounds and images. SEMIOTICS
  44. Symbol Icon Index

  45. TYPOGRAPHY

  46. By using typography we give a written idea a visual

    form. TYPOGRAPHY
  47. COLOUR

  48. Colour can bring designs to life, inform hierarchies, create bonds

    between elements, add pace or emotion. COLOUR
  49. 100% yellow 100% yellow 20% black 100% yellow 50% black

    100% yellow 80% black 80% yellow 70% yellow 50% yellow
  50. RESTRAINT & REDUCTION

  51. Constructing immediate meaning through economy of use. RESTRAINT & REDUCTION

  52. PLAY PERSONALITY SELF-EXPRESSION

  53. COURAGE & CONVICTION

  54. THANKS Simon Collison @simoncollison colly.com