Throughout 2020, I’ve committed to designing 52 designs for a series of Inspired Design Decisions. This is week ten and my design this week was inspired by Czechoslovakian born graphic designer and typographer Ladislav Sutnar.
Throughout 2020, I’ve committed to designing 52 designs for a series of Inspired Design Decisions. My design this week was again inspired by graphic designer and typographer Herb Lubalin.
Throughout 2020, I’ve committed to designing 52 designs for a series of Inspired Design Decisions. My design this week was inspired by American modernist graphic designer, Lester Beall.
Throughout 2020, I’ve committed to designing 52 designs for a series of Inspired Design Decisions. My design this week was inspired by Max Huber. Huber taught graphic design in the Swiss town of Lugano, which coincidentally is where I stay when I go to work in Switzerland. He died in Mendrisio—where my Swiss office is—in 1992.
Throughout 2020, I’ve committed to designing 52 designs for a series of Inspired Design Decisions. My design this week was inspired by Alvin Lustig. Lustig’s work as a book, graphic, and typeface designer has been influential long after his death in 1955.
Throughout 2020, I’ve committed to designing 52 designs for a series of Inspired Design Decisions. My design this week was inspired by Bradbury Thompson. Although less well-known than many of his contemporaries, Bradbury Thompson has been called “one of the giants of 20th-century graphic design.”
Throughout 2020, I’ve committed to designing 52 designs for a series of Inspired Design Decisions. My design this week was inspired by Alexey Brodovitch. You can read more about him and his work in my article for Smashing Magazine.
Throughout 2020, I’ve committed to designing 52 designs for a series of Inspired Design Decisions. My design this week was inspired by “the pioneering female art director you’ve never heard of,” Bea Feitler.
Throughout 2020, I’ve committed to designing 52 designs for a series of Inspired Design Decisions. My design this week was inspired by graphic designer and typographer Herb Lubalin.
For the past six months, I’ve been designing, writing, and presenting a series of Inspired Design Decisions articles and webinars for Smashing Magazine. These have been brilliantly well received and I wanted a regular project to experiment with new designs.
With modern CSS properties including Grid, Flexbox, Multi-column, and Shapes, designers have countless opportunities to make diverse, and engaging designs. Sadly, many of us haven’t had the memo which gives us permission to make more interesting work, so I decided to write that memo. Feel free to modify the message for your company or organisation and of course, circulate it to the designers on your team.
If, on the off chance:
You’ll have noticed that I’ve implemented a brand new dark mode version of my website.
For the past few weeks, I’ve been working with Equfund, refreshing their visual identity, redesigning their website, and developing a consistent brand experience for customers across different channels and touch-points.
One of my earliest blog entries, all the way back in May 2004, was about a favourite technique for creating colour palettes. It was a technique which I’d used for years, even then. Now I have a new take on creating colour palettes, it’s time to revisit that topic.
Looking back, I’ve redesigned this website roughly every three years. Today I’m proud to show you the new Stuff & Nonsense.
Back in January I wrote about why I believe that style guides and component/pattern libraries should be beautiful as well as functional. That to be effective, they must cater for the different needs of creative and technical people by inspiring as well as informing.
While I’m finalising the table of contents for my ‘shot,’ I’ve been thinking about the things that I regularly do when I’m ‘Designing with a Browser’, one of which is using the contenteditable attribute in the templates that I share with clients.
Our friends at Code Enigma relaunched their website at DrupalCon in Amsterdam. The launch included the branding we designed for them.
Over the last few months, we’ve been working with a client on the design of a mobile analytics ‘web app.’ I’ll show more of it when we add it to our portfolio, but because lately one or two people have asked me about how we choose colour palettes, I thought I’d share how we came up with the colours for the Elemez app.
I’m a Fireworks man.
Spoiler alert: I’m discussing a theme from the first half of the latest series of Mad Men, season 7, but I don’t mention what happens to major characters.
Towards the end of the 1960s, technology had begun to creep into advertising and in ’68, Mad Men’s Sterling Cooper and Partners agency (SC&P) install their first computer, a room-filling, low-humming IBM System/360.
Last week, Cennydd Bowles wrote his Letter to a Junior Designer. It was widely shared and commented on, but while I enjoyed Cennydd sharing his experience—he is, after-all, an experienced product designer—I felt that his message and tone were profoundly negative.
Jeffrey Zeldman on Evolving Responsive Web Design:
Some commenters want to use initial-capped Responsive Web Design to mean responsive design as Ethan first defined it, and lowercase responsive design to mean an amorphous matrix of exciting and evolving design thinking. Lyza says soon we’ll stop saying Responsive altogether, a conclusion Andy Clarke reached three years ago.
Hello. I’m Andy Clarke, an internationally recognised product and website designer and writer on art direction for products the web. I help product and website owners captivate customers by delivering distinctive digital designs.
I’m available to work on new design projects.