Design by Nature: Using Universal Forms and Principles in Design (Voices That Matter)
Format: PDF / Kindle (mobi) / ePub
In Design by Nature: Using Universal Forms and Principles in Design, author Maggie Macnab takes you on an intimate and eclectic journey examining the unending versatility of nature, showing how to uncover nature’s ingenuity and use it to create beautiful and compelling designed communications.
Written for designers and creative thinkers of all types, this book will guide you through a series of unexpected a-ha! moments that describe relationships among nature, art, science, technology, and design. Through explanation and example, you will learn about natural processes, consisting of everyday patterns and shapes that are often taken for granted, but that can be used effectively in visual messaging. Explore the principles all human beings intuitively use to understand the world and learn to incorporate nature’s patterns and shapes into your work for more meaningful design.
By recognizing and appreciating a broad range of relationships, you can create more aesthetic and effective design, building communications that encompass the universal experience of being part of nature, and that are relevant to a worldwide audience.
- Teaches how to understand and integrate the essential processes of nature’s patterns and shapes in design
- Includes key concepts, learning objectives, definitions, and exercises to help you put what you learn into practice
- Features a foreword by Debbie Millman and reviews and discussions of practice and process by some of the world’s leading designers, including Milton Glaser, Stefan Sagmeister, and Ellen Lupton
- Includes profiles of street artist Banksy, creative director and author Kenya Hara, and typographical designer Erik Spiekermann
“Some customers buy Muji products because they like the ecological sensitivity of the company, the low cost, the urban aesthetic and simple design, or just because the products do the job described.” Muji’s philosophy includes them all. It is a philosophy that has risen out of necessity: The Japanese have long practiced a conscientious and open-design aesthetic in all they create to accommodate limited resources and space, which is reflected in Muji’s advertising design. It’s minimal,
offspring, but only humans can create for the sole purpose of self-expression, no matter how shortterm that expression may be. With the ability to emote creatively comes a knack for problem solving. Individual perspectives create all sorts of styles with all the quirks, dead ends, brilliant new ideas, and duds that result from the process of trial and error. one fact is certain about good design: It must be connected in a real and vital way that inspires the viewer to take action (action can be
principles should be taught as essential components in useful designed communications, and that design thinking can be applied to a larger playing field of world issues. The purpose of design is to make things better on every level, not to make a bad or useless idea temporarily desirable. Consumer-based advertising has directed much of how and what has been designed in the last several decades, but many schools have been broadening their focus to using design as a way to think about larger
relationship. In a later section in this chapter, “‘In Form’ Yourself by Understanding Shapes,” you will learn how the fundamental shapes relate to your viewers’ emotional responses of aspiration, stability, independence, creativity, and connection with others. You will personally interact with these shapes in “Putting It into Practice” at the end of the chapter to directly use the intuitive language of geometric shapes to create a personal symbol. It can’t be said enough: Design is relationship
more elegant typefaces using grids of similar simplicity a few years later, the committee finished its DIN typefaces. Economical and political problems delayed its official release as DIN 1451 until 1936. Although the DIN 1451 typefaces have seldom been used for representative lettering, or in advertising or propaganda, they were used for general purposes, such as signposts, traffic signs, and wayfinding signage. They continue to influence the unofficial typographical identity of Germany today.