Design Thinking - Some Questions that Designers Shouldn't Ignore

There are two types of design. When it is associated with existing works, it becomes a design for improvement. When it relates to fantasy and the future, it becomes a creative design. Regardless of the former or the latter, the design is always inseparable from the accumulation of life. It is a blend of reason and sensibility. It can't be denied that the excellent design work stems from the designer's "good attitude + superior life + calm thinking + absolute confidence + profound culture".
Promoters and salesmen sell products to customers, and designers sell themselves. Its own selling point - inspiration, wisdom, thinking, it is a kind of treasure, and is the standard of design and design. It is tragic to leave a good attitude, at least for designers. This makes it difficult for him to balance himself all day long, it is difficult to experience life, integrate into his life, it is difficult to refine his life and improve his life. Life is in a mess, how can there be a good mood in the design, and the spark of inspiration will never burst in the haystack. The superior life may be a bit absolute, but imagine, in the bright and spacious cafe, you feel the rich aroma of Italian latte coffee; while graffiti on the draft paper, sometimes stopping for a coffee, through the floor-to-ceiling windows , Lazy to sweep the busy crowd; sometimes reclining on a soft sofa, no one will interrupt your thinking, affect you, interfere with you, but inspiration will quietly approach you. Just think again, if you are squeezed into a 45-square-meter office, the staff of one house, the information of one house, the smell of smoke in one house and the noise of one house, I am afraid it will be difficult to exude fresh inspiration! In my opinion, a good attitude and a superior life are like twin sisters. I am not advocating the Petty Bourgeoisie sentiment, emphasizing the restrictive nature of objective conditions, and refusing to believe that ordinary people's lives must have no outstanding design work. What I want to say is "The influence of superior life on designing outstanding works is not to be underestimated."
In fact, we are on an equal footing with world-class designers when it comes to simply using design elements. The same point, line, face, body, the same color, the same design rule, then why do we not reach their height? Apart from "opportunity" and "culture", "cool and independent thinking" is the key. Urban life is helpless and confusing. If a truly outstanding designer is not overwhelmed by a "busy" word, he will sneak around, let the mind calm down, keep one's own sky, and think independently. Occasionally self-closed once, do a "bottom of the frog" is not a bad idea.
The current design is not worth the money. The printing fee includes a design fee, but it is not a mall promotion - buy one get one free! The design is not as important as it once was. Why? No devaluation of the design, the designer has devalued. There are too many too many irresponsible designers to fill in. It was a big joke to get a picture of a picture and line up a few fonts to complete the design. A picture plus a few lines of text is a collage, not a typeset. Do not speak in typography, do not talk about contrasts, do not talk about visual processes... only take shots of fast guns, and it is important to make money. It is not important whether there is creativity or not. Just make the work hype, and it will be in the form of “jumping”. Paying a bit of attention to the flyers, DMs, and brochures we got... A considerable amount is this "masterpiece." Naturally, design is not worth a dollar. Having such a designer exists is a trick for design and a waste for design elements. When designers are eager for quick success, greed for desire, and desire to expand, the design itself is not pure and has been deviated.
Really good designers tend to be "squeaky," and they are very cautious when using one element. Because it is reasonable to use them, "waste is crime," "less is more," they will tell you.
The "imitation" in the design can also be understood, because worship and yearning are normal psychological. Affected by certain masters and certain styles, their traces remain in the works, which is not equivalent to plagiarism. Plagiarism is tantamount to plunder. It is a shameless act because it steals other people's treasures. Since we have the same design elements as world-class designers, why not use them to boldly express yourself and sell yourself. How important is the originality of the designer, it can make the design works have vitality, not be assimilated, not duplicated, not arty, originality. Designers must be confident, convinced of their own personal beliefs, experience, vision and taste, respected personality, personality and personality. Of course, persistence must be justified. If it is purely for the sake of sensationalism and unconventionalism, then it will be wrong. The designer is not a knock and will attract all the juggling people.
The emergence of digital technology has epoch-making significance. Traditional paper, pens and compasses have been replaced by keyboards and mice. Complicated calculations and precise drawings can be completed by computers. At the same time, the digital age is disastrous for inspiration. Meaning, any stupid idea can be handled professionally and fancy. On the one hand, assisting designers to complete wonderful ideas, on the one hand, swallow their thoughts and make them indulge in thinking. Excellent designers cannot rely entirely on digital technology. Technically re-skilled, at best, only a producer, skilled workers. I must always remind myself that “I am a good designer, and improvement of ideas is more important than updating.” Understand the advantages of throttling, about 80% of the things other people do better than you, do not make too much The technical problems plagued us and blocked design thinking.
The world today is a blended and open world.
The only constant in the 21st century is "change."
As such, the designer's thinking should not be conservative and rigid. The biggest advantage of first-line designers is that they enjoy the same information resources as the world’s top designers in the first time. Various media, magazines, the Internet, forums, lectures, exhibitions, etc. provide instant information every second. In the face of such a dazzling world, designers must distinguish between good and bad, distinguish between good and bad. There are tutors in the school who will correct you and ask you what is good and what is bad. But people cannot rely on others for a lifetime. Designers in particular must have their own brilliant, unique and keen eyes. Otherwise, they may lose themselves and may deviate from the correct track at any time; or they may be replaced by rising stars and disappear from it. How is this insightful, unique, and keen vision established? It is formally based on profound cultural knowledge and cultivation. The continuous supply of culture and wisdom can make such eyes more sharp and become a magic weapon for evergreens in the design community.
Comparing culture and design to the relationship between "root and plant" is analogy to the relationship between "foundation and high-rise". In short, it is to explain its closeness. Usually excellent design works have a simple external form and deep cultural connotation. The layman may judge the merits and demerits of a piece of work with “beautiful or unsightful”, and the layman will fade all the beautiful coats and explore the essence. The coat can be changed, but can the composition be replaced? The relationship between elements and culture? Why do designers use these elements instead of those? For me to design this topic, how would I consider it? How to use elements? These seemingly simple thoughts that are stunned by the form of the designer can be easily overlooked.
I stress that designers should understand the history of design and art.
People are used to asking why, when you start watching serials halfway through, you naturally ask: “What did the previous episodes broadcast?” Designers learn more about “source culture” is very important, because we accepted too much in the design.” Source Branches." When you understand the source culture, you can open it up and create another branch. Moreover, discovery is not out of thin air. Knowing more about the source culture can help you to avoid detours, reduce dead ends, step on the shoulders of your predecessors, and climb high. What's wrong? Some people say that I absolutely do not accept the certain style and style of my predecessors and go their own way. As everyone knows, you are now throwing away all the way you have gone. The predecessors may have passed as early as a century ago, and this road has been recognized by history as unworkable. It is not worth the effort to waste energy and waste time. "Understanding Datong can only take the edge."
Of course, the merits of multi-sourced culture are not only paradoxical, it is communicating with the ideology of the masters and using the minds of the masters to think about the problems. Instead of thinking of them as they think, they learn how to think.
I refer to information and source culture as "existing materials". The relationship between the designer and these "existing materials" is rather subtle - if you are away from it, you will be clear. We must always pay attention to its dynamics, pay attention to it, and learn from it. At the same time, we must completely abandon it, forget about it, and never cut it off. At this moment, when a designer is engaged in the design of a certain topic and completes a certain program, he must put aside all "existing material", as mentioned in the previous article, "Keep one's own sky and think independently. Occasionally Closed up and done as a 'bottom of the frog', this time reading, inspiration, can only lead to inspiration. Because the usual concern in the brain has already been decomposed, integrated, and reorganized, it has become a kind of subconscious, and it is a rare treasure. Once they are designed, they will continue to be inspired and accumulate, becoming valuable assets for the designers themselves.
It's hard to say if it's difficult to design. It's easy to say that it's easy. Maybe this is where it's good. (Ma Qing)