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Profiles the Basic Course taught by Johannes Itten at the Bauhaus in Weimar, Germany and discusses how it helped students determine their creative talents, choose a career, learn elementary design.
Forms make or break the most crucial online interactions: checkout (commerce), registration (community), data input (participation and sharing), and any task requiring information entry. In Web Form Design, Luke Wroblewski draws on original research, his considerable experience at Yahoo! and eBay, and the perspectives of many of the field's leading designers to show you everything you need to know about designing effective and engaging Web forms.
An unprecedented package that gives readers the content of three important references by one of today's most influential design writers. This is a master class in the principles and practical fundamentals of design that will appeal to a broad audience of graphic artists and designers.
Paul Rand's stature as one of the world's leading graphic designers is incontestable. For half a century his pioneering work in the field of advertising design and typography has exerted a profound influence on the design profession; he almost single-handedly transformed "commercial art" from a practice that catered to the lowest common denominator of taste to one that could assert its place among the other fine arts. Among the numerous clients for whom he has been a consultant and/or designer are the American Broadcasting Company, IBM Corporation, and Westinghouse Electric Corporation. In this witty and instructive book, Paul Rand speaks about the contemporary practice of graphic design, explaining the process and passion that foster good design and indicting faddism and trendiness. Illustrating his ideas with examples of his own stunning graphic work as well as with the work of artists he admires, Rand discusses such topics as: the values on which aesthetic judgments are based; the part played by intuition in good design; the proper relationship between management and designers; the place of market research; how and when to use computers in the production of a design; choosing a typeface; principles of book design; and the thought processes that lead to a final design. The centerpiece of the book consists of seven design portfolios - with diagrams and ultimate choices - that Rand used to present his logos to clients such as Next, IDEO, and IBM.
Why, in spite of widespread designers' obsession with amazing bicycle concepts, bicycles still essentially adhere to traditional classic form? Why, in spite of countless car makes and models, the underlying car meta-form, is basically the same? On the other hand, why does our understanding of the word "chair" allow an extreme latitude of form variety? Why do kitchen appliances such as mixers and toasters, insist on retaining a specific form for each assigned function? These are some of the questions this book answers. The Form of Design is the first all-encompassing book about the visual language of man-made products. It explains how mass produced objects evolve over time and what made them change. Form evolution behaves in a similar way to language evolution and to some extent, even to natural evolution. In the book the author materializes the governing rules of form evolution by means of 14 case studies. These case studies encompass a diversity of product families such as smart phones and bicycles, coffee machines and chairs, TV screens and cooling fans, accompanied by charts and numerous illustrations that lluminate and elucidate the evolutionary processes involved.This book is not a historical review of thousands of years of evolution of man-made tools, artifacts and objects; it specifically focuses on recent, present and future trends. The accumulated cultural, cognitive science and design research knowledge is dealt with in part 1. Part 2 lay down the authors concepts of form. Then Part 3, the mainstay of the book (occupying about two thirds of the content), is devoted to the stories of the fourteen case studies.
Forms that Work: Designing Web Forms for Usability clearly explains exactly how to design great forms for the web. The book provides proven and practical advice that will help you avoid pitfalls, and produce forms that are aesthetically pleasing, efficient and cost-effective. It features invaluable design methods, tips, and tricks to help ensure accurate data and satisfied customers. It includes dozens of examples - from nitty-gritty details (label alignment, mandatory fields) to visual designs (creating good grids, use of color). This book isn’t just about colons and choosing the right widgets. It’s about the whole process of making good forms, which has a lot more to do with making sure you’re asking the right questions in a way that your users can answer than it does with whether you use a drop-down list or radio buttons. In an easy-to-read format with lots of examples, the authors present their three-layer model - relationship, conversation, appearance. You need all three for a successful form - a form that looks good, flows well, asks the right questions in the right way, and, most important of all, gets people to fill it out. Liberally illustrated with full-color examples, this book guides readers on how to define requirements, how to write questions that users will understand and want to answer, and how to deal with instructions, progress indicators and errors. This book is essential reading for HCI professionals, web designers, software developers, user interface designers, HCI academics and students, market research professionals, and financial professionals. *Provides proven and practical advice that will help you avoid pitfalls, and produce forms that are aesthetically pleasing, efficient and cost-effective. *Features invaluable design methods, tips, and tricks to help ensure accurate data and satisfied customers. *Includes dozens of examples -- from nitty-gritty details (label alignment, mandatory fields) to visual designs (creating good grids, use of color).*Foreword by Steve Krug, author of the best selling Don't Make Me Think!
This book studies the principles of urban spatial organization of historic cities. It can be considered a guide to design, presenting qualitative criteria to satisfy practical needs. The subject is explored through interconnected chapters, each addressing an important aspect of form-space and design values, knowledge and our present problems. In this book the interpretation is artistic and socio-cultural. Discussion is not concentrated on singular urban space but on interrelated spaces and elements across the city, and complexes. Considering the comparative aspects of study, the reader will notice that despite cultural differences, there is a common understanding in artistic creativity and sensibility in the presented examples.
Text and photographs explore the art elements of shape and form through observing the qualities of design in and beauty of various shapes found in our environment and studying the effects of light on these shapes.
