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Check out all of the posts in ‘Inspiration’ below. If you still can't find what you are looking for, try searching using the form at the top of the page.
Apple launched the Macintosh personal computer in 1984. It was more user-friendly than other PCs at that time — and, with its desktop publishing software, graphical user interface and mouse (all novel at the time), the Mac was uniquely geared to designers. Compared to what we can create on the computer today, the original Macintosh, with only 128 KB of memory, had limited capabilities. At the time, though, it opened up so many new possibilities.
Of course, using a computer didn’t automatically make designers better at their craft. Instead, the new technology gave them more control and sped up their exploration process. As with anything unfamiliar, the Mac sparked debate among designers during this time: While some saw the computer as simply another tool for creating work, like a drawing pen, others saw its potential as a medium in itself.
Take any new interface design or display technology, and chances are that someone somewhere has already compared it to Minority Report. The 2002 dystopian film, with its see-through screens and gesture-driven interfaces, is remembered more for its futuristic tech than for the insidiousness of the technology — pre-crime prediction — that was its actual focus. It continues to be the standard by which we judge new interfaces.
But inspiration doesn’t only come in the form of flashy, futuristic interfaces. At Typeform, we were inspired to simplify online forms by a movie that’s decidedly a blast from the past: the 1983 film WarGames, which centers around a student who remotely logs into a research computer and, through its terminal interface, nearly sparks a nuclear war. Its computers are hardly state of the art, yet the computers’ question-driven interface inspired us to reinvent forms. Instead of a list of questions, how much better would it be if forms presented one easy-to-answer question at a time?
Our industry is a great one. It’s filled with a lot of awesome people building a lot of inspiring things and constantly seeking out ways to express just how much they love doing so. We’ve had blogs and podcasts, and right now hosting conferences is the big thing. Ever more people are organizing conferences, arranging meetups and creating memorable experiences. It’s fantastic to see.
Nothing compares to a good conference: the atmosphere of being immersed in a crowd of people who share the same passion as you, the lessons you learn and advice you take in, and the friends you get to meet and the new ones you make. You leave a good conference re-energized — full of zeal for your job and bursting with fresh ideas.
As Web designers and developers, we invest a lot of time and effort in nurturing professional relationships, including those with clients, prospective clients, coworkers, peers and others in the industry.
Unfortunately, while many Web professionals work hard to make these work-related relationships as strong as possible, they often neglect their non-professional relationships, including those with family and friends and even with themselves and their own health and well-being.
Globalization, low-cost technologies and saturated markets are making products and services interchangeable and barely distinguishable. As a result, today’s brands must go beyond face value and tap into consumers’ deepest subconscious emotions to win the marketplace.
In recent decades, the economic base has shifted from production to consumption, from needs to wants, from objective to subjective. We’re moving away from the functional and technical characteristics of the industrial era, into a time when consumers are making buying decisions based on how they feel about a company and its offer.
Having started his career studying under some of the best typographic minds in the world, Khajag Apelian not only is a talented type and graphic designer, unsurprisingly, but also counts Disney as a client, as well as a number of local and not-for-profit organizations throughout the Middle East.
Even more impressive is Khajag’s willingness to take on work that most people would find too challenging. Designing a quality typeface is a daunting task when it’s only in the Latin alphabet. Khajag goes deeper still, having designed a Latin-Armenian dual-script typeface in four weights, named "Arek", as well as an Arabic adaptation of Typotheque’s Fedra Display.
When I gave this talk a title, I called it “A Modern Designer’s Canvas,” because originally I was going to talk about the tools and processes that I use when I’m designing. But being a good designer or developer is about so much more than knowing how to use tools. It’s also about the way we approach what we do and our attitude towards it.
I’m going to talk about four lessons that can help us do what we do better. These have been important to me, especially over the last challenging few years, when how we make websites has changed so much. They’re lessons that I learned a long time ago, at art school:
Arabic calligraphy was originally a tool for communication, but with time, it began to be used in architecture, decoration and coin design. Its evolution into these major roles was a reflection of the early Muslims’ need to avoid, as their beliefs required, figures and pictorials that were used as idols before Islam was established in the Arabian Peninsula.
While the Arabic tribes preferred to memorize texts and poetry, the first Muslims tried to document their holy book (Qur’an Kareem) using the scripts that we’ll look at in this article. In order to understand how these scripts developed into the beautiful and complex shapes we know today, we have to understand the history of Arabic calligraphy.
Type design is equal parts suffering and euphoria. It is a walk along a winding road that goes on for many weeks and months before it’s done. A type design brief is like a charter path: It asks you questions, and the answers will guide you to where you want to be.
It will not make the walk much shorter, but the chances of getting lost will be much lower. Below are six questions that will shape the typeface through its first moments of creation and serve as guiding principles through the various stages of the design.