成为一名更好的设计师

1、成为一名更好的设计师，那就做更多非设计的事儿吧来源:re most passWant to be a better desig ner? To come up with more creative and inno vative desig ns? And make sure that you don t deviate from the design career path that youand excited about? Well, you can be a better desig ner by doing more non-desig n thin gs.想要成为一名更好的设计师？

2、还是想出更原创性和革新性的设计？你确信不会偏离最狂热 和兴奋的设计职业之路？那好，你可以通过做更多非设计的事来成为一名更好的设计师。Huh? Be a better desig ner by actually doing more non-desig n activities? That may sound coun teri ntuitive to some. After all, whe n some on e wan ts to get better at somethi ng, they should surr ound themselves with more of that act

3、ivity, no t less, right? Well, not exactly.嘿？竟然通过做更多非设计的活动来成为一名更好的设计师？对某些人来说， 那听起来不合 常理。毕竟当某人想要更善于某事， 他们应该将自己更多的投身于那项活动当中， 至少不少 于，是吗？不完全是。See, there are 3 reas ons doing more non-desig n things rather tha n more desig n-related activities will actually ben efit you by. The idea is to not get trapped

4、 in a desig n bubble. This way, when you come back to your design work after frequent breaks, you ll be fullycreatively charged. Which just doesn t happen when you re pretty much only doing designstuff.做非设计类的事而不是设计相关的活， 这样确会使你受益。 看这里有3种理由。该思路是为 了不让人受陷于设计的幻想之中。 在经常的中断设计工作后再重新开始时， 你会充满创意的 想法。而当你非常多得只是

5、做一个设计的活时，这样的事往往不会发生。 1. Maintain a Healthy Perspective on Your Work and Direction 1.对你的工作和方向保持健康合理的视角When you do more non-desig n thin gs, you more freque ntly come back to your desig n work with an outsider perspective. Which is good: this way, you maintain a healthy perspective on your work and di

6、rect ion. You make sure that you stay on the path you want to be on and not deviate from it.当你做更多的非设计的事时，你会以一个旁观者的视角不断地回想到你的设计工作。这样做的好处是，你对设计工作和方向保持了一种健康合理的视角，并确定了在你想要而不会偏离的路上。Remember when you were just starting out with designing? Anything and everything seemed possible. You approached designs wit

7、h a naive, wide-eyed attitude. But the more you remain engrossed in a design bubble, the more you become constrained by the rules and sta ndard ways of desig ning with in your ni che. Itsometh ing likesthneis-unavoidable when you re living and breathing only one thing.记着你刚开始设计时吗？任何事似乎都有可能。 你以单纯天真的态度

8、着手设计， 但你越沉浸 于设计的幻想中， 越会受制于市场定位里的规则和标准方法。好吧， 当你活着呼吸只是这么一件事时，像这类事是不可避免的。The problem comes when you start to lose perspective on your work and direction.Perhaps you started off wanting to accomplish a certain style of design, but more and morepaid gigs that wereni t that started skewing your direction.

9、 When youi re amidst desand getting paid for it, you doni t step back and see if youthie orneeon the right trackthat i s true to yourself and your design vision. And thati s pretty dangerous.当你开始对工作和方向失去视角时， 问题就来了。 也许你开始想要完成一种特定的风格， 但 越来越多的付出努力开始偏离方向。 当你正在设计中并为之努力付出时， 你不会停下来看看 是否在对的路上 对你和你的设计观来说正确的东

10、西。那是非常危险的。The way you make sure you stay on track is to do more non-design things. You take your mind off of your current design work, jolting your brain and giving yourself a fresh surrounding to do somethi ng in. Then, when you come back to your design work, youi llhave that outsider, healthily-na

11、ive perspective again. And if you see the type of work you i ve been doing lately isni t something you want to continue doing, then you can getback on track to the direction you want to truly follow.确定是你思路的方式是做更多的非设计的事。 你把现在的设计工作抛之脑后， 晃晃脑袋， 给 你自己一个新环境来做某件事。 然后，当你重回设计工作时， 便会再有一个旁观的，合理单 纯的视角。 如果发现最近做的

12、某种工作和你要继续做的不一样， 那么可以回到你真正想要的 追求的方向上去。2. Become More Frequently Inspired2. 受更多次的鼓舞t bound byIntroducing variety will make you more frequently be at that naive state where you create more inspiring and creative designs. As previously mentioned in #1, when you were just getting into design, anything an

13、d everything seemed possible. You werenbut in stead did what was excit ing, fun, and visually appeali ng to you- regardless of if itwas “ right ” or “ wrong ”.引入视角变化会使你不断地在单纯状态下创造更多的鼓舞人心和富有创意的设计。 正如之前 第一个理由提到的那样， 当你开始设计时， 任何事都可能。 你会不管其对错， 做兴奋， 好玩， 视觉上感兴趣的设计而不是受阻于规则。To keep that healthy inspired stat

14、e going, you have to create a way to consistently come at a new design with that healthily-naive state. And the way you do that is by doing more non-design things.为保持那种受鼓舞的状态持续， 你必须创造一种方法， 不断地在新的设计里处于健康单纯的 状态。而那个方法就是做更多非设计类的事情。You take your mind off of your design work. You go create in another medi

15、um (or at thevery least, visually create in a style that s different from what you usually do), or do arecreational activity, or watch films, or listen to music, or read books and publications, or whatever. Then, when you come back to your work to start creating your next design, you ll be in that f

16、resh state, filled with inspiration that s not bound by the rules ofyou ve been creating in.你抛开设计，用另一种手段(至少在视觉上和你平时创作的风格不一样)， 或者做些娱乐活 动，看看电影，听听音乐，读读报刊书籍什么的。然后再开始设计时，你会焕然一新，充满 灵感，不受已做风格的规矩影响。Why is this? You jolt your brain outside its comfort zone. After creating in the same stylefor a while, you in

17、evitably settle into a routine where you stick to the basic rules or framework of your style. You start thinking of what you can create within those rules, rather than not seeing the rules in the first place. By doing non-design things, you snap your brain out of those rules by introducing an activi

18、ty thats completely different.这是为什么呢？因为你大脑走出了常规的思维区域。 在一种风格下创作一段时间后， 你不可 避免植入风格的框架或规则的定式。 你用那些规则来创造事物， 而不是一开始无视规则。 通 过做非设计类的事情，引入完全不同的活动，让脑袋跳脱那些规则。When you come back to designing, you ll no longer be bound by those rules and insteadsee the entire spectrum of possibilities or not see the spectrum at

19、all (The Matrix“ thereis no spoon -sty”le). Fresh inspiration can come pouring in, with grander and bolder ideas running through your mind as to what your next design can be.当你重回设计时， 不再被规则束缚， 而是看到可能的全部或者什么都没看到 (黑客帝国里说的“这里没有勺子的 ”风格） 新的灵感乍现，按着下一步设计的样子，更宏大而勇敢的想法 涌上心头。注：在 matrix 里一个穿着很象释加摩尼的小孩拿着勺子对 NEO

20、说的话，意为外面的客观 世界都是假的 , 真正真实的是你的心。 3. Constantly Try Fresh and Creative Ideas 3.不断地尝试有创意的新想法ll moreThis is like a continuation of #2. By getting more fresh inspiration, you fresh and creative ideas.这就像第二个理由的一个延续。通过得到越多的新灵感，你越可能尝试有创意的新想法。Innovation frequently happens when you re on the outside looking i

21、n. Not just with designers, but musicians, filmmakers, entrepreneurs, writers, or any other creators.There s that healthy naivety in the creator, which helps him or her to ignore the rules (since they re not known in the first place) and possibly stumble onto an innovate idea.当你从旁观者角度看时， 创新常常会发生。 不止

22、对设计师而言， 对音乐家， 电影人， 创业者， 作家或者任何其他的创作者都适用。创作者身上的健康的单纯，会帮助他或者她忽视规则， (因为他们一开始就不知道)，可能跌跌撞撞的就想出了创意的点子。When it comes to designing, you couldne kindtogfeint nthoovsate ideas from design-onlyinspiration. The reason is that when only look within the design industry for inspiration, you re looking within desig

23、n rules rather than beyond them. But many of the most innovative and inspiring visual designs have been created by looking at nature, or while playing a sport, or listening to music, or admiring a well-designed electronic piece of equipment. The sounds, the movement, the vistas, or the industrial de

24、signs all can make the designer go back and implement some of those ideas into a web or visual design.说到设计时， 你不可能只是从设计角度的灵感中获得这些创意的点子。 原因是当你在设计产 业里， 寻找灵感时， 你在用设计规则看问题而不是驾驭他们。 但许多最有创意和启发人的视 觉设计是通过自然的看问题， 或者在做运动， 听音乐， 赞美一个设计精良的的电子设备时产 生的。 声音，动作，展望或者工业设计都会使设计师将那些点子应用回到网页或视觉设计中 去。It could be buildi ng a

25、 website user in terface in a more fluid and in tuitive way-after see ingan unconventionally-arranged house.在看到一幢布局不落俗的房子后，可能就会一个用流畅直观的方式做网页用户界面。Or going with an infrequently- used color combination that s rare in the designbuwtorld you saw plenty of during coastal sunsets.或者会用设计界很少见的颜色组合，但你会在海岸边的落日中看到许多。Or trying a new and excit ing visual style - that you saw in a film. 或者尝试你在电影里看到的一个让人兴奋的新的视觉风格。The list goes on.例子有很多So while plenty other designers will essentially be tweaking existing visual designs, you can come at it with an outsider perspective an