Our bookmarks on this topic are also at pinboard.in/u:unison/t:design/
From Fast Company: Long dominant in online search, advertising and maps, Google has shifted gears from utility to beauty and is now more fearsome than ever. “In all of these efforts, Google’s aesthetic aim is clear: To disappear. The most beautiful Google experience is the one you never notice.”
From Typographica: This year marks another step in the typographic diversification we observed in our previous annual. The global spread of independent font makers and the variety of new ideas in type design continues unabated. As evidence of that diversity, the 53 typefaces selected from 2013 were created by designers from at least 20 countries
AIGA, the American Institute of Graphic Arts, is celebrating its centennial year in 2014. 100 Years of Design, a microsite made by interactive studio Second Story (part of SapientNitro) launched on January 21st, AIGA’s 100th birthday. The site highlights the intersections of design and society through exemplary works from the AIGA Design Archives, interviews with living masters, quotes from leading designers and significant moments from the organization’s history. Together, these elements form a narrative about the impact of design; how it connects, delights, influences and assists us.
NY Times designers have streamlined online article pages and created a more responsive interface with faster load times. So navigating between stories is easier and finding more content that appeals to you is just a click, swipe or tap away.
From NY Times: Like many designers, Eric Rodenbeck has had a long relationship with bar graphs and pie charts. He just thinks they are a little old school for today’s data-filled world.
Mr. Rodenbeck has experimented with animation, three-dimensional maps that show the height of buildings by color changes and a representation of how photos spread on Facebook that looks like ice crystals forming on a car window. He’s even tried to characterize in a graphic how people were communicating in back channels at business conferences, with the biggest talkers at the center of a series of circles. He is, in short, trying to rethink how data is presented.
From John McWade: Normally we think that we are better at solving problems when they are presented clearly and simply. But at Princeton the opposite happened, according to Malcolm Gladwell. A 10 percent gray, 10-point italics Myriad Pro font makes reading really frustrating. You have to squint a little bit and maybe read the sentence twice, and you probably wonder halfway through who on earth thought it was a good idea to print out the test this way. Suddenly you have to work to read the question. Yet all that extra effort pays off. As Alter says, making the questions ‘disfluent’ causes people to ‘think more deeply about whatever they come across. They’ll use more resources on it. They’ll process more deeply or think more carefully about what’s going on. If they have to overcome a hurdle, they’ll overcome it better when you force them to think a little harder.’ Alter and Oppenheimer made the CRT more difficult. But that difficulty turned out to be desirable.
From Fast Company: 2004: “The holy of holies.” The third-generation iPod, released in April 2003, was thinner and featured a new navigation wheel. At the same time, Jobs unveiled the iTunes Store. Apple would sell 2 million iPods in 2003, more than twice as many as it had from its debut in September 2001 through 2002. With 2004’s release of the iPod Mini, the figure would increase fivefold. The division was split from the rest of Apple, with Rubinstein at the helm. Ive, who had reported to Rubinstein, would now report directly to Jobs, concentrating power in the hands of his elite group of industrial designers.
From PBS Off Book: With segments on book cover design, architecture, and packaging, the video highlights the ubiquitous nature of graphic design and how everything around us is designed to make us feel, think, or do something. Graphic design is about much more than color theory, typography, and grids; it’s about using those tools to influence human behavior. As one speaker says, “graphic design is essentially a language for living.”