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How Print Design is the Future of Interaction

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A presentation about how the history of Print Design is becoming an important influence in the evolution of Interaction Design.

Originally presented on March 12th 2011 at the SXSW Interactive festival.

Visit http://mkruzeniski.posterous.com/how-print-design-is-the-future-of-interaction for a full description of the talk.

Published in: Design

How Print Design is the Future of Interaction

  1. 1. how print designis the future of interaction<br />
  2. 2. @mkruzeniski#inspiredbyprint<br />
  3. 3. i’m not a graphic designer<br />
  4. 4. i’m not a graphic designeri’m an interaction designer <br />
  5. 5. i’m not a graphic designeri’m an interaction designer i work at microsoft on windows phone, with a team of talented designers<br />
  6. 6. three things:how the visual language of interfaces have been shapedwhy interfaces need a new approach to visual designwhat we can learn from print design<br />
  7. 7. by “print” I don’t mean<br />
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  10. 10. by “future” I mean now<br />
  11. 11. a brief history of interaction<br />
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  36. 36. artifact as UI<br />Real worlds objects used as metaphors to describe the technology.Hyper-realism is the dominant aesthetic.Ergonomics, Usability, Cognition are primary concerns.Translation of content from analog to digital are the driving activities.Interfaces focus on techniques for manipulating and organizing content. Re-creating our digital things.<br />
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  43. 43. information as UI<br />Content is represented as it exists.Content is assumed to be interactive.Speed, usability and bounce rate are primary concerns.Augmentation of objects, people, places, and data with relevant information is the driving activity.Creating our digital selves.<br />
  44. 44. information<br />artifact<br />
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  46. 46. “Paul Rand famously wrote: The public is more familiar with bad design than good design. It is, in effect, conditioned to prefer bad design, because that is what it lives with. The new becomes threatening, the old reassuring.In the context of web and high-technology product design, this observation from Mr. Rand takes on special import.” -Andrei Michael Herasimchuk<br />
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  48. 48. “Leather buttons…feels very much like real leather buttons would feel: Tacky. it feels wrong and it is wrong. It’s kitsch. If you use favor style over function to make something look like something it is not, you are not a product designer, you are an illusion artist.”-Oliver Reichenstein<br />
  49. 49. “Chrome arises from a chronic case of object-envy. We like interacting with physical objects in the real world, goes the reasoning, so it will presumably be more pleasant to interact with computer software if it pretends to be a physical object too. But why?-Steven Poole<br />
  50. 50. cecin’est pas un poubelle.<br />
  51. 51. information and artifact converge here<br />
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  53. 53. “…a networked, digital, interactive copy of, say, the Tao TeChing is simultaneously more and less than the one I keep on my shelf. You give up the tangible, phenomenological’isnessof the book, and in return you’re afforded an extraordinary new range of capabilities. Shouldn’t the interface, y’know, reflect this?”-Adam Greenfield<br />
  54. 54. a change in value deserves a change in expression<br />
  55. 55. a change in value deserves a change in expressionthe value is the information on the surface, not the object it once resided<br />
  56. 56. We owe more to the existing look and feel of digital devices to the engineers at SRI and Xerox Parc, than to any of the early leaders of information communication like Paul Rand, or Massimo Vignelli. <br />
  57. 57. inspired by print<br />
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  72. 72. “Anything that is a great print design is likely to be a lousy web design. There are so many differences between the two media that it is necessary to take different design approaches to utilize the strengths of each medium and minimize its weaknesses.”-Jakob Nielsen<br />
  73. 73. what is true for print design is true for interaction<br />
  74. 74. hierarchy and structure with grids“Well designed grid systems can make your designs not only more beautiful and legible, but more usable.”-Mark Boulton<br />
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  76. 76. confident use of negative space<br />
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  78. 78. reduction of elements“Perfection is achieved, not when there is nothing left to add, but when there is nothing left to take away”-Antoine de Saint-Exupery<br />
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  80. 80. objectivity through imagery<br />
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  82. 82. uncompromising focus on typography<br />“Font-size is a tool for readability, impact and rhythm. (It creates) a very efficient way of guiding the reader’s eyes through the page, thus working as an interface to the content.”<br />-Diogo Terror<br />
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  84. 84. proportion and pacing<br />
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  86. 86. universal iconography<br />
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  88. 88. inspired by print<br />
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  99. 99. the undesigning<br />
  100. 100. “…in the 21st century, Internet standards have successfully separated design and content….readers are in control of how the content they are reading looks. And, as it turns out, many of those readers like their designs to be as minimal as possible.Call this wave The Undesigned Web.”-Dylan Tweney<br />
  101. 101. “Bad design begets more bad design. Especially when the decision is left to a public conditioned to prefer whatever it is that they are currently living with. The problem then exists when bad design becomes accepted by designers as business as usual.”-Paul Rand<br />
  102. 102. “I say that flat is the new black; that 2D is the new avant-garde; that a surface doesn't have to be ashamed of being a surface.”-Steven Poole<br />
  103. 103. regardless the debate whether print is dead, print design is not<br />
  104. 104. what we need:<br />
  105. 105. what we need:the want<br />
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  107. 107. what we need:the wantthe designers<br />
  108. 108. what we need:the wantthe designersthe process<br />
  109. 109. what we get:<br />
  110. 110. what we get:beautiful products<br />
  111. 111. what we get:beautiful productsbeautiful brands<br />
  112. 112. thanks@mkruzeniski#inspiredbyprint@WPdesignteam<br />

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