Design-articles

  Furniture. Clothing. Software. Posters. Maps. Experience. Buildings. Websites. These are all things that can be  designed . Heck,  design  has so many different meanings and application you wonder if the term can be defined at all. Answer: It can. Design has a variety of definitions, but in its simplest form, it can be defined as both a verb and a noun: It can refer to the act of creating a composition or or to the composition itself. Design is about creating feasible, functional solutions to a variety of problems, and always happens with a particular goal in mind. — Amanda Chong, HubSpot designer As ambiguous as it seems, design can be defined … particularly when it comes to how it applies to marketing. That’s why we compiled this guide — to help you better understand design and it’s principles and types. Bookmark this guide for future reference, and use the chapter links to jump ahead to any section that interests you. The Principles of Design Types of Design in Marketing Marketing

  For many of us, the thought of high school conjures memories of ample notebook doodles. Hand-drawn bubble letters, pictograms, and stick-figures would decorate homework, tests, and papers -- and teachers, of course, were constantly asking us to knock it off. And so, most of us did, perhaps because we figured out that we just weren't that good at drawing on paper. But when some of us were in high school, we didn't yet have the numerous digital options for "drawing" our ideas. But now, machines can help us bring them to life -- and it's become a career path for many people. Graphic design is something that marketers can always benefit from learning, even without a formal education. In those cases, we enter a world of do-it-yourself education, with repeated recommendations like, "learn Photoshop, Illustrator, and InDesign," or, "read a book about basic design principles." And as much as those help, learning fundamentals, navigating new tools, an

  In early 2020, the world as we knew it was flipped upside down. Businesses were forced to pivot in the face of the pandemic, and as a result many companies adopted a remote work culture. Remote work changed the way organizations and teams worked — and even how companies communicated to prospective customers and acquired new business. Employees leaned into virtual designs, presentations, and events to communicate both internally and externally. The graphic design landscape, as a result, has changed dramatically over the past year. Now, presentations need to work harder than ever to connect, engage, and inspire audiences into action. In fact, over 35 million PowerPoint presentations are given each day to over 500 million audiences — but 79% of those audiences believe most presentations they see are boring. To help you crush your next presentation deck, we've rounded up the top presentation design trends of 2021, as predicted by creative industry experts and presentation power-users

  مهر یکی از شهرستان های استان فارس محسوب می شود که دارای قدمت زیادی است. این شهر در زمره شهرستان های تاریخی ایران قرار می گیرد، به همین خاطر اگر دوست دارید گردشی در تاریخی داشته باشید می توانید به این شهرستان سفر کنید. با سفر به این شهرستان می توانید طیف وسیعی از آثار تاریخی که مربوط به دوره های تاریخی متعددی هستند را بیابید و از نزدیک تماشا کنید. از آثار تاریخی که در این شهر وجود دارد می توان به تمب بت، استودانهای خوزی، مسجد جامع اسیر، قبرستان قدیمی زیغان، چاه شرف، استودان سنگ چله گاه و بسیاری دیگر را نام برد. این شهرستان از اطراف با شهر های شهرستان لامرد، شهرستان فراشبند، خنج، پارسیان، عسلویه و شهرستان جم همسایه است. از آنجایی که این منطقه آب و هوایی خشک و بیابانی دارد بهتر است فصول خنک سال را برای سفر به این منطقه برگزنید. اگر دوست دارید به این منطقه سفری داشته باشید بهتر است در مورد آثار تاریخی آن بیشتر بدانید، بنابراین در این بخش از مجله مستر بلیط در مورد یکی از آثار تاریخی این شهرستان یعنی استودان سنگ چله گاه اطلاعاتی را در اختیارتان قرار می دهیم. درباره استودان سنگ چله گاه یکی

 scari   is an Italian   restaurant  which two locations, one on Queens Street East and another newly opened establishment on King St West. Toronto,   Canada . It is named after the proprietor’s hero, Formula 1 legend, Alberto Ascari, (who was also known for his love of food). To reflect both the passion for good simple food and racing, design studio  Blok   developed an identity that brings together the visual cues and photography of 1950’s motor sport with a modern use of colour–the striking blue of Alberto Ascari’s helmet–and the outlines and solid fill logotype. These link   coasters ,   business cards ,   signage   and   menus . The intersection of racing and food is unusual and unexpected, but one that neatly draws together the passion and skill present in both worlds. This gives the restaurant a distinctive and immediate character. There are a number of discernable racing visual signatures at play throughout the visual identity. This comes through subtly in the thin outline of t

 readman White   is a Melbourne-based   architectural   practice, led by Ilana Freadman and Michael White, that seeks to embed a curiosity-driven and experientially charged tension into their architectural work, reveal beauty in simple and overlooked settings, and design contextually informed structures with a disciplined whimsy. Further, rather than responding literally to physical surroundings, the practice develops spaces that are visually intriguing, emotionally resonant, sensorial and textural “informed by memories of place and the achievements of modern architecture”. These notions emerge from a mandate that intends to make positive contributions to individual lives and the wider urban project. To express the nuances and enquiries embedded in the practice and a personality that is whimsical, curious, warm, thoughtful and uncompromising   Studio Hi Ho —commissioned by Freadman White to develop a new brand identity—worked with typographer   Dennis Grauel   to create ‘Frisky Freadma

 agotto  is a new all-day café, wine bar and food store situated inside Nth Fitzroy, a residential   property development  project from   Milieu   located at the heart of   Melbourne’s , inner north. Named after the truffle-hunting Italian dog breed, the café offers a relaxed European surrounding in which to enjoy an Italian menu with a “joyful vibrancy that avoids kitschiness or pastiche”.   Studio Hi Ho , also responsible for the visual identity of the   Nth Fitzroy   development, was commissioned to put forward a proposal for Lagotto that would resonate with the distinctive interior design scheme, the local community’s tastes and Mediterranean migrant history. This was achieved through type pairing, materiality and playful illustration by   Ted Parker . Studio Hi Ho worked with the interior design company Flack Studio to develop brand assets that seamlessly aligned and integrated with Lagotto’s interior space and vision, coming up with naming and visual identity which was applied ac

 Lookbooks   is an online   bookstore   that specialises in fun and quirky publications of the past. Recent acquisitions include Old Bohemian and Moravian Jewish Cemeteries by Petr Ehl, Arno Parik & Jiri Fiedler, 1991 and 101 Cake Design by Mary Ford, 1987. There is a cultural value to many of these, reflecting a time and particular niche interest, and how these niche interests were shared pre-internet. The bookstore’s brand identity, however, clearly positions this as a cheerful tongue-in-cheek activity with a cheerful lightness of tone in the logo, which doubles down on the double O pairings within the name to create expressionful graphic gestures. But, it is the bookmarks that really stand out. I simple little die-cut trick, in conjunction with book pages, gives a nose to the eyes. A smart idea by London-based   Studio Lowrie . While there is a playfulness to the visual identity, the approach to illustrating the eyes, conveying some of the perplexing, fun, curious and droll natu

  The   MoMA   logotype, set in Franklin Gothic No. 2 and designed by Ivan Chermayeff, is an icon, and has been part of the New York urban landscape and international   museum   graphic vernacular since its creation in 1964. With evolving communicative needs and channels, the MoMA logotype was made a central graphic device as part of a new visual identity launched in 2009. Created by  Pentagram   and MoMA’s Creative Director for Graphics and Advertising Julia Hoffmann, this flexible visual identity was developed to bring a systematised and cohesive programme to print, web and environmental applications. In 2019, MoMA expanded its 53rd Street location, adding 40,000 sq. ft. of new gallery space. This will showcase more of its collection with the intention of better representing and balancing a diversity of backgrounds, periods, media, and geographies, with a performative quality at the heart of its galleries. Just as in 2009, new approaches to communication; moving from exhibition-focus