Posts Tagged ‘designs’
排版的傳承:柵格設計
轉載自: http://ka-yue.com/blog/web-composing
我曾提及過，一個網頁設計好看與否，排版至關重要。排版是為了以最合適的方法放置和呈現各種資訊。排版由來已久，並一直用於印刷品上。但對於網頁這一新媒體，很多人都忽略了排版對其的重要，所以很多網頁看起來多少有點亂的感覺，究其原因，大都是因為沒注意「柵格」所致。
柵格是協助設計師排版的一種技法，能夠確保頁面整整齊齊，井井有條。所有印刷品之中，報紙的版式設計尤其著重排版，因為每頁都要處理大量文字，排版直接影 響報紙的可讀性。為此我特地找來 The News York Times 的截圖，你可以清楚看到由左至右四條縱向主軸，這些就是柵格。即使左上方的標題橫跨兩欄，依然沒有打破柵格。再看看其網站的柵格:
你會發現網站跟報紙的版式有點異曲同工之妙。因為附合柵格的設計，使網站看上去整齊得很。縱使資訊很多，仍沒造成混亂之感。究竟柵格是怎樣起了整齊版面的作用呢?
其實，只要避免讓元素打破柵格，網站就會整齊得多。你會發現，整個頁面沒有任何元素打破縱線，所以頁面一整都井井有條。縱使底部有些冒出縱線的圖 片，但其依然和其他部份隱約有點聯繫。而且底部其實可以看作一個橫向的整體，所以不會做成混亂的感覺。甚麼? 我偏心? 沒有啦，看看下面這幅圖你就會明白了:
認得出這是個圓吧。為甚麼不是一條條間線? 因為你的大腦會自動補完缺失的部份，幫你組成一個圓。同理，我們在設計網頁的時候，要保證相關的內容要看上去像一組，頁面才不會支離破碎。注意喔，不是你在一堆內容外面畫個 Box 它們就會變成一組的。雖然有幫助，但更好的方法是留意細節，例如元素之間的間距、背景色等等。
是不是這樣我們就要死守這些柵格呢? 不，太整齊的網頁反而會顯得沉悶。一些「破壞性創新」可以成為網頁的特點，但一不可再。過份強調的結果不是失去重點就是令文章難以閱讀。例如我就很反感下面這些充滿特式的排版:
當然，我不是說 NY Times 的網頁無械可擊。你應該也發現網頁右上方其實頗凌亂的。我只能說，都是廣告的錯。如果 NY Times 能規範一下廣告的尺寸，頁面將會更加美好。值得一提的是，就是從來沒有網站會花人力去像校正報紙般校正網頁。 (報紙一般在完成排版後會校正多次才印刷。) 相信 NY Times 是少數會校正網頁的公司之一。
再貼個反面例字給大家參照一下:
Tvb.com 首頁的內容比 NY Times 少一半不止，柵格線卻不見得少。最主要是色塊又多又濃… 原本標題應該跟內容融為一體的，但是顏色這麼濃，還融個鬼啊。標題沒必要無需過份強調，讓人看著就覺得辛苦。
參考資料:
The world’s best logo designers?
轉載自: http://www.davidairey.com/the-worlds-best-logo-designers/
It must be noted that these people are known for many disciplines other than simply logo design.
Herb Lubalin
Born 1918. Died 1981.
Herb’s Families logo was designed in 1980 and the Marriage logo in 1965 (both above).
Read more about Herb Lubalin here.
Paul Rand
Born 1914, New York, USA. Died 1996.
Rand is responsible for the ABC logo (American Broadcasting Company) from 1962 and the IBM logo (both above).
Read more about Paul Rand here.
Milton Glaser
Born 1929, New York, USA.
Since founding Milton Glaser, Inc. in 1974, the work produced at his manhattan studio has encompassed a wide range of design disciplines, including identity programs for corporate and institutional marketing purposes and logos (among them the ‘I love New York’ logo for the New York state department of commerce, that became the most frequently imitated logo design in human history).
View more of Milton Glaser’s identity projects here.
Read more about Milton Glaser here.
Saul Bass
Born 1920, New York, USA. Died 1996.
Saul Bass’s long and prolific career has influenced legions of designers. Bass studied at the Art Students League with Howard Trafton and at Brooklyn College with Gyorgy Kepes. After working in New York for a number of years, he moved to Los Angeles and founded Saul Bass & Associates in 1946.
Bass was a design innovator, in the corporate world with logos for AT&T and United Airlines (both above) and working with directors such as Alfred Hitchcock, Martin Scorsese and Otto Preminger.
Read more about Saul Bass here.
Walter Landor
Born 1913, Munich, Germany. Died 1995.
What is probably Landor’s most famous logo is that of Fedex (shown above). The negative space ‘arrow’ has been well documented. The peoplepc logo (also above) is another that I enjoy. However, today Landor Associates don’t always get it right, such as their awful attempt at Italy’s national logo.
Visit the Landor website here.
Ivan Chermayeff and Tom Geismar
Chermayeff born Chechen Republic, 1990. Died 1996. Geismar born New Jersey, date TBA.
Design is directed toward human beings. To design is to solve human problems by identifying them and executing the best solution.
Ivan Chermayeff
Chermayeff and Geismar designed the famous Mobil logo (shown above) and developed a complete corporate identification program with continuing consultation for 35 years. The program was built around the logo, a specially designed alphabet, a clear policy for colour, and a comprehensive design approach that integrated new graphics with new architecture. It included design of product packaging, vehicle markings, print material, posters and all design, packaging and sign standards for facilities throughout the world.
Read more about Ivan Chermayeff and Tom Geismar here.
Bob Gill
Born 1931, New York, USA.
In 1962, Gill, Alan Fletcher and Colin Forbes established Fletcher / Forbes / Gill design studio, the forerunner of Pentagram (design studio).
LogoMania, his latest book, sets out to prove that there are unlimited good solutions to any problem. Gill designed thirty two logos for the same client.
Graphic Design as a Second Language is a superb book that details Gill’s design process. Highly recommended.
Read more about Bob Gill here.
Wally Olins
Born in London, England.
According to Wikipedia, Wally Olins is generally recognised as the world’s most experienced practitioner of corporate identity and branding.
Wally was awarded a CBE in 1999. He was nominated for the Prince Philip Designers Prize in 1999 and received the Royal Society of Arts’ Bicentenary Medal for his contribution to the design and marketing industry.
Read more about Wally Olins here.
Minale Tattersfield
Founded 1964 by Italian, Marcello Minale and Yorkshireman, Brian Tattersfield. Today there are many partners.
Minale and Tattersfield met while working at the advertising agency Young & Rubicam. Here they gained invaluable experience in broad-based commercialism, marketing and research which, combined with the deeper culture of their training as designers, gave them a tremendous advantage over others in their field when they set up their own practice.
You can view some of the Minale Tattersfield agency’s work by clicking on the client names below:
Harrods corporate identity
Eurostar corporate identity
Sydney Olympic Bid campaign
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Of course this list is by no means exclusive. There are other great logo designers such as Joe Finocchiaro, Alan Fletcher and Michael Wolff that aren’t detailed.
The 7 deadly sins of résumé design
轉載自:http://www.lifeclever.com/the-7-deadly-sins-of-resume-design/
So you’ve labored with sweat and tears writing your résumé, and now you’re all set to turn it into a magnificently designed creation. Unfortunately, with the freedom of modern computers and fancy software, comes huge opportunities for abuse. When it comes to résumés, both non-designers and professional designers commit some almost unforgivable sins. Here are the 7 deadly sins of résumé design and how to repent:
- Fancy “résumé” paper
- Times New Roman
- Teeny tiny font size
- Grey text
- Excessive decoration
- Weird paper size
- Horizontal format
1. Fancy “résumé” paper
Take a tour of any office supply store and you’ll see shelves of extravagant “résumé” papers featuring special “linen” and “parchment” finishes. Avoid these like dog poop on a New York summer sidewalk. They’re too expensive and don’t make you look extra special.
To repent: Save your money and get paper with a plain smooth finish. It can be slightly heavier than regular copy paper, but not stiff as a board. An ever so slight hint of cream is fine. It’ll make your resume easier on the eyes than the super-ultra-pure-snow-driven white paper many designers are fond of. I prefer Neenah Classic Crest in Natural White with a Super Smooth finish. Never ever use pink paper with strawberry scent.
2. Times New Roman
The default typeface in Microsoft Word is Times New Roman, and thus it’s the default for most résumés. It’s a tragedy, because Times’s letterspacing and wordspacing is wretched in Word. The result is an unharmonious mess.
To repent: Choose a different typeface. I won’t go into explaining x-heights or the difference between Humanist Sans and Geometric Sans. If you’ve got money to spare, pick any of the typefaces in FontShop’s professional collection, and you’ll be a step above Times New Roman. If you’re cheap, use Matthew Carter’s Georgia. It’s free and already installed on your computer. If you send your résumé electronically as a PDF, it also looks quite good on-screen. If you need more guidance, check out Before & After’s tutorial on picking typefaces.
3. Teeny tiny font size
Designers fresh out of school love teeny tiny type. The belief is that it looks elegant, refined, and allows for more white space on the résumé. It’s a shame. For all that elegance, no one can read it, because most people in hiring positions won’t have fresh baby eyes with 20/20 vision.
To repent: Set your résumé no smaller than 9 points for sans-serifed type and 10 points for serifed type. Anything smaller, and your résumé is at risk of being shredded.
4. Grey text
Designers also love grey type. On an inkjet printer, grey text looks better because it reduces the appearance of noise. If you go too light, though, it becomes illegible and unfaxable. But wait, should you really be using inkjet to print your résumé?
To repent: Use a laser printer and print in 100% black for ultimate clarity. If you do go grey, don’t go lighter than 75% black.
5. Excessive decoration
You may be tempted to add decoration like floral borders, rainbow colors, and hearts. Perhaps, you want to use an illustration of a swan, tiger or unicorn to represent you. This is great if you want to look like a box of crayons melted on your résumé. Otherwise, don’t try to be cute.
To repent: Add some character by setting your name slightly larger, or in a different weight as the same typeface as the rest of your résumé. Use color, but very sparingly, if at all. No more than one color in addition to black.
6. Weird paper size
If you live in the United States, the standard paper size is 8.5 x 11in. In Europe, it’s 210 x 297mm. Anything else will fit awkwardly in a binder or file. When it doesn’t fit, it gets thrown out.
To repent: Keep to the standard paper size of your geographic location. It’s easier to print and package.
7. Horizontal format
In an attempt to stand out, some designers format their résumés in a landscape format. This is more annoying than innovative.
To repent: Keep to a portrait format. The first person who sees your résumé is usually a Human Resources person who sees hundreds of resumes daily. Too much variation from the norm makes it harder for them to make a quick assessment of you. If you want to stand out, write a good cover letter instead.
