Design thinking

Our feelings and experiences about environmental things are all derived from the accumulation of past contacts. Even without body contact, it can judge its hardness, thickness, weight, cold and heat... Although learning experience varies due to the background of life, but after unconscious induction, the instinct for ordering, most people's innermost feelings are precipitated. The sensory experience is completely similar.
In terms of physical functions, lines or colors themselves have no emotion. However, due to the accumulation of experience, people can feel the firmness of the thick line, the softness of the thin lines, the smoothness of the fast lines, the sensation of stagnation in the lines that have broken down, and the different colors have different emotional symbolic meanings. It is like Chinese calligraphy art. The rhythm and melody can be expressed without sound, and it is not necessary to simulate the appearance of a real object, and can accurately express the structural forms such as softness, hardness, density, indefiniteness and truthfulness. The use of points, lines, and surfaces for planning, reconciliation, balance, size, and movement will produce a setback and urgency of rhythm, which will lead to a beautiful melody.
Therefore, each person can judge the difference between beauty and ugliness, harmony and conflict. This ability is different from the intellectual thinking and can be called “image thinking”.
A successful designer is to use “image thinking” to think about the composition of points, lines, and faces, and to design performances that effectively evoke aesthetic experiences. This is especially true of typographic design.
Limited visual symbols, words, and a few illustrations (sometimes no). Sometimes these materials do not have the ability to describe clear events or present emotions. Even if they can freely use lines and color aids, they are still constrained. Therefore, they are directly captured through “image thinking”. The origin of the heart is the only way of typographic design.
The most important aspect of typographic design is how the designer conveys those conservations and ideas to the viewers so that the ideas on the layout can enter the hearts of the viewers.
The meaning of Dayi, the use of elemental diagrams, the ingenious use of words and phrases, and the moving arrangements of photos and layouts make the relationship between words, photos, and spaces of meaningful design a kind of communication, not just decoration.