restraint... in design
DESCRIPTION
When brainstorming possible design manifesto topics, I kept coming back to the idea of restraint in design. So many of the objects that we encounter in our daily lives are over-designed and hard to navigate. I believe that in many cases, less is more, and thus that more restraint should be practiced in design. This would lead to establishing a solution in the simplest way possible, allowing for simplicity, elegance, and clarity. To communicate this message, I created a deck of inspirational cards, each complimenting one of eight restrained-design guidelines. The beautiful objects on the cards exemplify the referenced guideline and can help us begin to better appreciate the well-designed objects around us and to integrate these restrained practices into our daily lives. A book containing the manifesto was also created to compliment the cards.TRANSCRIPT
Restraintin Design. Designers often undervalue restraint. Restraint is establishing a solution in the simplest way possible. It adds meaning to each mark, making each element an integral part of your communication. This solution allows for simplicity, elegance, and clarity.
Eliminate the Arbitrary.
less
is m
ore.
WALL CLOCKby howard miller clock company, 1969–1970
KITCHEN SCOOPby vollrath company, pre–1956
EAMES MOLDED PLASTICDOWEL LEG ARMCHAIRby charles & ray eames, 1950
FLATWAREby arne jacobsen, 1957
BLIP SPOON RESTby paolo gerosa, 2010
CREATE A
CLEAR
HIERARCHY of
INFORMATION.
Consider size, weight, tracking, placement and leading of type.
EAMES WIRE CHAIRWITH VILCINI—DKR2by charles & ray eames, 1950
HAYDN + HAUER POSTERby bohatsch visual communication
MINIMAL CUTLERYby david mellor, 2002
GLASSESby hans theo baumann, 1966
67 DESIGN/CONSTRUCTION, INC. by sametez blackstone association, 1982
useonlywhat you needinformation / composition / typography / color / material.
MINIATURE CHAIR, TULIPby eero saarinen, 2006
ABC LOGOby paul rand, 1961
WESTINGHOUSE ANNUAL REPORTby paul rand, 1974
THE GUGGENHEIM MUSEUM PROMOTIONby malcolm grear designers
CASSEROLE POTby bjorn dahistrom, 1996
communicate with
economy.
SALT AND PEPPER SHAKERSby william lescaze, 1935
BIG DRAWINGSby mit design services, 1982
FUTURIST EVENINGby two twelve associates, 1982
ITALICUS POULTRY SHEARSby antonia campi, 1960
GARBO WASTE BINby karim rashid, 1990
cho
se your color palettep
urp
osely.
COMPACT SOFAby charles & ray eames, 1954
CONVEYING A MOODby kelley mcintyre & kim bentley
O—SERIES SCISSORSby olaf backstrom, 1967
AIGA POSTERby paul rand, 1968
QUAKE MUGSby gustaf nordensklold, 2011
THINK
SUSTAINABLY SELECTING
MATERIALS
when
your
LOW LOUNGE CHAIRby jens risom, 1941
FJORD CUTLERYby jens h. quintgaard, 1953
WOOD CHAIRby marc newson, 1998
STRAWBOWLSby kristiina lassus, 2000
TEA KETTLEby harold l. van doren & gordon rideout, 1936
not EXCESSIVE
be
CREATIVE,
DESIGN 63by paul rand, 1963
TABLE LAMPby bauhaus metal workshop, 1928
COCKTAIL GOBLETSby desney, 1930
iPHONE 4Sby steve jobs, 2011
SIDE CHAIRby peer bucking, 1928
USE ONLY THREE TYPEFACES
unless the context dictates
otherwise.
WINTER AID POSTER1960
NEW YORK CITY BALLET IDENTITYby paula scher, 2008
DESIGN AND CHAOSby paul rand, 1987
WUJU TV47 SPANISH TELEVISIONby the handler group, 1982
