Having gone through various Graphic Design blogs i
realized there are ways and method that designer need to stay true at and follow
as a tradition of Graphic Design. This are basic strategies of becoming a good
designer.
Peter Vucovic says this are the 12 ways of becoming a better designer.
Peter Vucovic says this are the 12 ways of becoming a better designer.
1. Learn to
use the grid
2. Use technology to make better font choices
3. Explore different palettes with free color generators
4. Design to tell a story
5. Use pen and paper while brainstorming
6. Never settle for one idea
7. Use RIS approach to drive your design decisions
8. Make a cover version of a popular design
9. Decorate your office – intelligently
10. Research more
11. Learn to draw
12. Learn to (copy) write
2. Use technology to make better font choices
3. Explore different palettes with free color generators
4. Design to tell a story
5. Use pen and paper while brainstorming
6. Never settle for one idea
7. Use RIS approach to drive your design decisions
8. Make a cover version of a popular design
9. Decorate your office – intelligently
10. Research more
11. Learn to draw
12. Learn to (copy) write
This is site were
he explains all the 12 methods http://99designs.com/designer-blog/2012/01/09/12-ways-to-become-a-better-designer-in-2012/
What
makes for good graphic design? You’ve probably formed your own opinions on the
subject as you’ve looked through countless books, magazines, posters, and
signage. And chances are you’ve also begun to recognize certain patterns:
diagonal lines lend a certain dynamism to a page, typography can be readable or
illegible, a layout can honor or obliterate white space. But how did graphic
design develop into what it is today? Fortunately, there are people like Steven
Heller to pinpoint the big-bang ideas that led to the standards we take for
granted. In 100 Ideas That Changed Graphic Design (Laurence
King), he and Véronique Vienne identify, define, and illustrate the
breakthrough moments that continue to inform contemporary visual conventions.
When
the authors began to compile their list, they made sure to focus on the
big-bang ideas rather than “tropes or conceits--as in stylistic manifestations
rather than substantive design foundations.” They also avoided the urge to
catalog overarching movements: “Under the ‘great historical isms, there can be
numerous big ideas, such as asymmetric or discordant typography or vibrating
color . . . Rather than skim the surface using the shorthand of isms, this book
unpacks those art historical categories and pulls out the individual big ideas
within them.”
Nor
do Heller and Vienne claim to have covered every important notion, good or bad,
of graphic design: “We determined more ‘aha’ moments exist than these. Yet 100
is a nice round number.” Here are nine of our favorites, excerpted and adapted
from the book. BELINDA LANKS
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