14 4 / 2013
26 3 / 2013
Learning to design is, first of all, learning to see. Designers see more, and more precisely. This is a blessing and a curse — once we have learned to see design, both good and bad, we cannot un-see. The downside is that the more you learn to see, the more you lose your “common” eye, the eye you design for. This can be frustrating for us designers when we work for a customer with a bad eye and strong opinions. But this is no justification for designer arrogance or eye-rolling. Part of our job is to make the invisible visible, to clearly express what we see, feel and do. You can‘t expect to sell what you can’t explain.
This is why excellent designers do not just develop a sharper eye. They try to keep their ability to see things as a customer would. You need a design eye to design, and a non-designer eye to feel what you designed."
06 3 / 2013
04 3 / 2013
I agree with Brockmann’s view that “Every visual creative work is a manifestation of the character of the designer.” Using a grid creates a clean ordered form of design. I think the grid is most useful in design but not necessarily all art needs to be so orderly and systematic. Brockmann’s excessive attention to detail is evident and is a very useful attribute in the world of design. Throughout his philosophy he comes off as a little close minded to any other alternatives. The grid is a valuable tool but I don’t believe it’s the only solution.