You are previewing Design for Hackers: Reverse-Engineering Beauty.

Design for Hackers: Reverse-Engineering Beauty

Cover of Design for Hackers: Reverse-Engineering Beauty by David Kadavy Published by John Wiley & Sons
  1. Cover
  2. Table of Contents
  3. Title Page
  4. Introduction
  5. Chapter 1: Why Design Matters
    1. What Design Really Is
    2. What Design Is Not
    3. The Layers of Design
    4. Conclusion
  6. Chapter 2: The Purpose of Design
    1. Visual Design and Its Relation to User Experience Design
    2. Sometimes a Visual Design Is Just Good Enough
    3. Sometimes Visual Design Is Your Advantage
    4. Reverse-Engineering the Twitter User Experience
    5. Knowledge Applied
  7. Chapter 3: Medium and Form in Typography
    1. The Tragedy of Misuse: Why You Hate Comic Sans
    2. The Shackles of the Typographer: The Unalterable Word
    3. The Formation of Our Alphabet
    4. The Birth of Our Letters
    5. The Type That Has Lived On
    6. Garamond Today: Why You Don’t Use Garamond on the Web
    7. Knowledge Applied
  8. Chapter 4: Technology and Culture
    1. How Trends Are Created
    2. SEO Is Design
    3. Knowledge Applied
  9. Chapter 5: Fool's Golden Ratio: Understanding Proportions
    1. What Is Proportion?
    2. Proportion and Design
    3. The Broken Promise of the Golden Ratio
    4. Other Pleasing Proportions
    5. Proportions in Our World
    6. Proportions at Work
    7. Knowledge Applied
  10. Chapter 6: Holding the Eye: Composition and Design Principles
    1. Compositional Relationships
    2. Design Principles
    3. Why the MailChimp Logo Is Beautiful: Use of Composition and Design Principles
    4. Knowledge Applied
  11. Chapter 7: Enlivening Information: Establishing a Visual Hierarchy
    1. What I Mean by “Hierarchy”
    2. Hierarchical Factors in Isolation
    3. Hierarchy at Work
    4. Knowledge Applied
  12. Chapter 8: Color Science
    1. What Is Color?
    2. The Tricks Your Eyes Play
    3. How the Visual System Works
    4. Defining Color
    5. Color Models and Data-Driven Graphics
    6. Thinking in Hexadecimal Color: Understanding the Colors of the Web
    7. Color Models in Action: Why Your Business Card Doesn’t (and Never Will) Match Your Website
    8. Knowledge Applied
  13. Chapter 9: Color Theory
    1. Color Response throughout Human History
    2. Color Response and Human Biology
    3. The Power of Red: Why You Don’t Stand a Chance in the “Target Challenge”
    4. Research on Other Colors
    5. Color and Culture
    6. Color Schemes and the Color Wheel
    7. Color Choices and Web Conventions
    8. The Interaction of Colors: Why Monet Never Used Black
    9. Color Schemes
    10. Creating a Mood with Color
    11. Tools for Creating Color Palettes and Schemes
    12. Knowledge Applied
  14. Appendix A: Choosing and Pairing Fonts
    1. Classifying Typefaces
    2. Looking At Letter Structure: The Form of the Skeleton
    3. Pairing Fonts
    4. All the Fonts You’ll Ever Need
  15. Appendix B: Typographic Etiquette
    1. Distorting Type: What Not to Do
    2. Setting Body Copy
    3. Tending to Typographic Details
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Chapter 4: Technology and Culture

As discussed in Chapters 1 and 2, design is a product of many “layers.” The purpose of a piece of design sets the foundation upon which these layers are built. As illustrated in Chapter 3, the medium with which a particular typeface is created interacts with the alphabet to create letters that have differing qualities. And, as I’ll talk about more in Appendix A, certain philosophies and cultural factors further evoke particular moods in various type styles.

Aside from the medium in which a particular design product is created, the very world within which the designer lives has a tremendous influence on the form that she creates. The most successful designs, those that set trends and eventually stand the test of time, express – and sometimes change – the spirit of their time. The very best designers are either actively aware of this influence or surrender their process to its gentle hand.

The product of this confluence of medium, technology, and culture is what most people recognize as a “style.” It manifests itself as art movements or design trends. To the viewer, it may be all about the “look,” but this “look” is a product of many factors. If a designer were to simply try to copy a “look,” he would likely end up doing little more than creating the veneer to which the Steve Jobs quote in Chapter 1 refers. To really create a design that belongs in its time and place, a designer must yield his process to the influences of his world.

How Trends ...

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