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Design To Communicate

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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 …

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.

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  • 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
  • 6. BALANCE COMPOSITION SYMMETRY MOVEMENT RHYTHM REPETITION PATTERNS
  • 7. MENTAL MODELS
  • 8. The models people have of themselves, others, the environment, and the things with which they interact. MENTAL MODELS
  • 9. Me Experience Interaction Others Environment Instruction
  • 10. MAPPING
  • 11. The relationship between two things. Natural mapping leads to immediate understanding. MAPPING
  • 12. Control Outcome
  • 13. Control Understanding Outcome
  • 14. SYSTEMS
  • 15. We don’t design web pages. We design systems. ANDY CLARKE
  • 16. MOTIVE
  • 17. What are our motives, and why do we go in one particular direction? MOTIVE
  • 18. NOSTALGIA
  • 19. A longing for the past, or the ephemera of the olden days, and the sense that everything was better than it is today. NOSTALGIA
  • 20. RHETORIC
  • 21. The art of using language effectively in order to persuade. RHETORIC
  • 22. VERNACULAR
  • 23. The everyday language through which a group, community or regional area communicates. VERNACULAR
  • 24. HUMOUR
  • 25. The opportunity to present and exploit wit in order to communicate meaning. HUMOUR
  • 26. SEMIOTICS
  • 27. The study of signs offering an explanation of how people extract meaning from words, sounds and images. SEMIOTICS
  • 28. Symbol Icon Index
  • 29. TYPOGRAPHY
  • 30. By using typography we give a written idea a visual form. TYPOGRAPHY
  • 31. COLOUR
  • 32. Colour can bring designs to life, inform hierarchies, create bonds between elements, add pace or emotion. COLOUR
  • 33. 100% yellow 100% yellow 100% yellow 100% yellow 20% black 50% black 80% black 80% yellow 70% yellow 50% yellow
  • 34. RESTRAINT & REDUCTION
  • 35. Constructing immediate meaning through economy of use. RESTRAINT & REDUCTION
  • 36. PLAY PERSONALITY SELF-EXPRESSION
  • 37. COURAGE & CONVICTION
  • 38. THANKS Simon Collison @simoncollison colly.com