Today, Brian Casel is proud to own and operate a business that does not revolve around billing for time. Instead of writing proposals and taking on client work to pay the bills, he’s building an asset that grows in value year after year. In this article, Brian will share five key lessons he learned from making this transition. He’ll share the story of how he iterated and improved the business because of them. His goal here is to show you that you can still find success by doing a lot of things wrong. That’s how you level up from freelancing to owning a thriving, growing business.
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Creative thinkers tend to be balls of energy and productivity machines. Creativity is generally perceived to be something external, out of our control, or an inherent talent for a chosen few. But consider that creativity is fundamentally about ideas. Ideas are generated by thinking, and skills for thinking can be learned. Therefore, creativity, thinking and idea generation are skills that can be learned. Learning a variety of thinking skills will have a dramatic impact on your productivity and output. In this article, Shelley Walsh introduces five books that are bound to stimulate your thinking and reflection on creativity, as well as provide valuable, practical exercises that will improve your thinking and problem-solving skills.
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Throughout his 70-year career, Frank Lloyd Wright developed a number of principles and ideals that can inspire us to design digital experiences that better stand the test of time. His views on materials, form, function, space and environment define his iconic works. These ideals and principles are still used in architecture today, and his buildings have stood the test of time, remaining relevant even in today’s digital age. In this article, Kent Eisenhuth will cover six main aspects of Wright’s approach that you can apply to digital design. His effort to create a “new” architecture can inspire us to rethink the way we approach our digital design work and even push the medium into new and exciting territories.
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Visual direction is the perceived direction of forces acting on and exerted by elements. A visually heavy element will attract the eye to it. The direction is a cue to the viewer’s eye to move elsewhere. We refer to this force as visual weight and to the perceived direction of visual forces as visual direction. Both are important concepts to understand if you want to create hierarchy, flow, rhythm and balance in your composition. Many intrinsic characteristics can be modified to make an element visually weightier or lighter.
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As a designer, you might start looking for a new job when you feel you have hit a wall with your current employer or when greater opportunities are present at other companies. When you’re honest with who you are and what you want in a job, you will be able to determine whether the position meets your criteria. Planning for job requirements, salary and perhaps location before applying is obvious, but many people forget to set criteria for one major thing: corporate culture. Corporate culture shapes every aspect of an organization, from operations and business policies to “extra-curricular” activities and day-to-day staff interactions.
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People make all sorts of visual notes. An army of sketchnoters is out there, and everyone has their own style. Some do amazing sketches and lavish letters. Some translate complicated concepts into easy-to-grasp diagrams. But for the sake of this article, let’s keep it simple. Making your notes more interesting doesn’t have to be a huge undertaking. It’s not like learning to play the piano or taking up diving. If you think sketchnoting looks fun, Elisabeth Irgens has some tips to get you started.
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In this industry, there’s so much to learn, that falling behind is easy. So, you tell yourselves you’ll come back to it later. But later never shows up. What if you did just one small thing a day to expand your knowledge and skill set, every day, for 30 days straight? This challenge of stacking knowledge daily will enable you not only to learn 30 things, but to learn 30 things that will increase in complexity and fit together as a whole new branch of working knowledge for you.
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Cat Noone is the co-founder of Liberio. She is a young and talented designer and entrepreneur from Brooklyn, New York, now living and working in Berlin. Cat worked in the field of special education before jumping into a career that she really loves and makes her happy. In this interview, Cat shares insights about her personal life and Berlin, talks about her latest project (the startup Liberio) and gives advice to young designers and developers in the industry.
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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. Emerging digital technology also changed typography. Some digital typefaces were updated versions of classics, while others were brand new, and there was a refreshing jolt of youthful experimentation as people moved past the limits of the rational and functional. Each of the following designers broke from tradition and changed the world of design in some way. Those who designed not only on the screen, but for the screen, ushered in a new era of digital design, mixing media and incorporating motion, sound and interactivity. Below are a few of those pioneers.
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At Typeform, David Okuniev was 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. Stripping forms down to their basics and building them back up into something better took four years of work, but that core idea guided the team all along: questions are better than lists. In this article you will find David Okuniev’s story of how he turned that idea into a product that’s helped companies of all sizes get a 55% completion rate on their forms.
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