There are only two types of design. When it is related to existing works, it becomes improved design; when it is related to fantasy and the future, it becomes creative design. Regardless of the former or the latter, design is always inseparable from the accumulation of life, it is a blend of reason and sensibility. It is undeniable that excellent design works stem from the designer's "good mentality + superior life + calm thinking + absolute confidence + deep culture".
Promoters and salesmen sell products to customers, while the designer sells himself. Its own selling points-inspiration, wisdom, thinking, it is a rare treasure, and it is also the standard that distinguishes between design and design. Leaving a good mindset is a tragic thing, at least for designers. This makes it difficult for him to balance himself all day long, to experience life, to integrate into life, to refine his life and then to improve it. Life is in chaos, how can you have a good mood to engage in design, the spark of inspiration will never burst out of the mess. A superior life may be a little absolute, but imagine that in a spacious and bright cafe, you feel the strong aroma of Italian latte coffee; while graffiti on the manuscript paper, sometimes stop writing a sip of coffee, through the floor-to-ceiling windows , Lazily sweep the busy crowd; sometimes reclining on the soft sofa, no one will interrupt your thinking, affect you, interfere with you, but inspiration will quietly approach you. Imagine again that you are squeezed in an office of four or five square meters, a house of staff, a house of information, a house of smoke and a house of noise, I am afraid it is difficult to squeeze out fresh inspiration! In my opinion, a good attitude and a superior life are like twin sisters. I am not preaching the petty bourgeois sentiment, emphasizing the restrictiveness of objective conditions, and denying that the civilian life must not have excellent design works. What I want to say is "The impact of a superior life on designing excellent works cannot be underestimated."
In fact, in terms of simply using design elements, we are equal to world-class design masters. The same points, lines, surfaces, bodies, the same colors, the same design rules, so why have we not reached their height? Leaving aside "opportunity" and "culture", "calm and independent thinking" is the key. The frustration and chaos of urban life match busy. If he is a really good designer, he will not be overwhelmed by the word "busy", he will take the time to calm down, calm his heart, keep his own sky and think independently. Occasional self-occlusion once in a while, to be a "frog at the bottom of the well" is a must.
The current design is not valuable. The printing fee includes the design fee, but it is not a store promotion—buy one get one free! Design is not as important as it once was, why? The design has not depreciated, but the designer has depreciated. There are too many irresponsible designers indiscriminately. It was a big joke that the letter came to me, and I arranged a few fonts to complete the design. A picture with a few lines of text is a collage, not a typeset. No formatting, no comparison, no visual process ... just pay attention to quick guns and quick guns, making money is important. It does n’t matter if you are creative or not, as long as you make your work small and colorful, you can just use the form of “jumping outâ€. Pay attention to the leaflets, DM, brochures we got ... A considerable amount is this "masterpiece". Design is naturally worthless. The existence of such designers is a blasphemy for design and a waste of design elements. When the designer is eager to achieve quick results, the desires are filled with desire, and the desires are expanded, the design itself is no longer pure.
Really good designers tend to be "stingy", and they will be very cautious every time they use an element. Because the use of them is reasonable, "waste is crime" and "less is more", they will warn you in this way.
The "imitation" in the design is also understandable, because worship and longing are normal psychology. Influenced by Master XX and Style XX, the traces left in his works are not equivalent to plagiarism. Plagiarism is tantamount to plunder, and it is a shameless act, because it steals other people's precious treasures. Since we have the same design elements as world-class designers, why not use them to express ourselves boldly and promote ourselves. How important originality is for designers, it can make the design works have vitality, not be assimilated, not repeated similarities, not artsy, and originality.
Designers must be self-confident, firmly believe in their personal beliefs, experience, vision and taste, and promote personalization, not individuality for individuality. Of course, there must be a reason to insist. If it is purely for the sake of sensation and innovation, then it is a big mistake, and the designer is not a juggler who attracts everyone.
The emergence of digital technology has epoch-making significance. Traditional paper, pens, and compasses have been replaced by keyboards and mice. Complex calculations and precise drawings can be done by computers, but at the same time, the digital era is disastrous for inspiration Meaning, any stupid idea can be handled very professionally and fancyly. On the one hand, it assists designers to complete wonderful ideas, on the one hand, they devour their thoughts, making them lazy to think. Good designers cannot completely rely on digital technology. Technically proficient and versatile, at best only a producer, skilled worker. You must always remind yourself that "I am an excellent designer, and improving ideas is far more important than updating methods." Knowing the advantages of saving money, about eighty or ninety percent of other people do better than you, don't let too much Of technical problems bothered us and blocked design thinking.
It is better to compare culture and design to the relationship between "roots and plants" and to the relationship between "foundation and high-rise buildings". In short, it is to show how close they are. Usually excellent design works have a simple external form and deep cultural connotation. The layman may judge the merits of a work by its "good looks, not good looks", while the layman will fade away all beautiful coats and explore the essence. The outerwear can be changed, but can the constituent elements be replaced? The relationship between elements and culture? Why do designers use these elements instead of those? Changed my design for this subject, how would I consider it? How to choose elements? These seemingly simple thoughts are easily overlooked by designers who are blinded by the form.
I emphasize that designers should understand the history of design and art.
People are used to asking why, when you start watching a series in the middle, you will naturally ask: "What did the first few episodes broadcast?" It is important for designers to learn more about "source culture", because we accept too much in design Source branching ". When you are familiar with the source culture, you can set aside another and create a branch. Moreover, the discovery is not out of thin air. Knowing more about the source culture can help you avoid detours, enter dead ends, step on the shoulders of predecessors and climb high, why not? Some people say that I totally do not accept the predecessor's so-and-so doctrine, so-and-so style, and go my own way. As everyone knows, you now set aside all the roads you have taken. The predecessors may have traveled as early as a century ago, and this road has been recognized as unworkable by history. A waste of energy and time is not worth the loss. "Understanding Datong, we can walk on the edge alone."
Of course, the advantages of a multi-study culture are not limited to this, it is to communicate with the thoughts of the masters and use the masters' minds to think about problems. Not to think like them, but to learn how to think.
I call information and source culture collectively "existing material". The relationship between the designer and these "existing materials" is quite subtle-if it is separated, it is clear. It is necessary to pay attention to its dynamics at all times, to pay attention to it, to learn it, but to completely abandon it at a certain moment, forgetting it completely, and never breaking the silk. At this moment, when the designer is engaged in the design of a certain subject and completes a certain plan, he needs to put aside all "existing materials", as mentioned above, "Keep one's own sky and think independently. Occasionally treat yourself Closed up and doing a 'frog at the bottom of the well' at this time of reading and inspiration can only hinder the generation of inspiration. Because the usual attention has been decomposed, integrated, and reorganized in the brain, it has become a subconscious, and it is a rare treasure. Once designed, they will be continuously stimulated and accumulated, and become a valuable asset belonging to the designer himself.
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Features
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Maintenance tips
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