轉(zhuǎn)載藍(lán)藍(lán)設(shè)計(jì)(
m.ocunn.cn
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原文：http://article.yeeyan.org/view/231170/200810
相對主義的概念是指一個(gè)觀點(diǎn)不會是絕對的真理或正確。對于網(wǎng)頁設(shè)計(jì)師來說，這有非常重要的含義。什么是美觀？哪個(gè)字體最適合這個(gè)設(shè)計(jì)？紅色還是藍(lán)色？為了在變得瘋狂之前完成一個(gè)項(xiàng)目，我們在日常接觸到的問題往往會讓我們自覺不自覺的回歸到了相對主義觀念。對于我們中間的完美主義者來說（我們大都是完美主義者，不是嗎？！），這只是一個(gè)小小的安慰。今天我們會討論適用的相對主義理論...請看年輕的愛因斯坦！
My grandfather told me this story once: He was buying some cloth and when looking at one of the cloth designs… and he thought to himself “that is so ugly!” He barely finished the thought when another customer came running in with her fiancé and mother-in-law and went directly to that same design he was thinking about shouting, “Here it is, the design we were looking for!” and bought the whole lot!
我的祖父曾給我講過一個(gè)故事：有一次他去買布。在瀏覽一塊布的式樣時(shí)，他對自己說“這塊布真難看！”他還沒有想完的時(shí)候，另外一個(gè)客人帶著他的未婚妻和丈母娘沖進(jìn)來直接走到同一款布前喊了起來，“就是這塊，這就是我們一直在找的！”然后他們買走整整一卷布！
What if I showed you this drawing and asked your opinion about it?
如果我給你看這幅圖，然后問你的看法是怎么樣的？
Most probably you would say it’s very poor – however if I told you it was done by a 3yr old child, you would probably change you r mind and say “WOW, that’s very nice!”
很有可能你會說它畫的很差勁，但是如果我告訴你這是一個(gè)三歲小孩畫的，你可能會改變你的看法而改口說“哇，這真棒！”
Relativism is the concept that points of view have no absolute truth or validity, having only relative, subjective value according to differences in perception and consideration, Clearly what some people may think of as “ugly” others see as “beautiful” – so how does this “Relativism” apply to the design world?
相對主義的概念是指一個(gè)觀點(diǎn)不會是絕對的真理或正確，根據(jù)不同的感覺和想法具有相對的，主觀的的價(jià)值觀。明顯的某些人看來是“丑陋的”的東西其他人會認(rèn)為是“美麗的”；因此這個(gè)“相對主義論”在設(shè)計(jì)行業(yè)中是如何應(yīng)用的呢？
How then, can you ensure you’re creating a beautiful design? Understand your target audience through 4 main points before implementing your design: Goal, Culture, Demographics, and Technology.
那么你怎么能夠保證你作出了一個(gè)美觀的設(shè)計(jì)呢？在開始設(shè)計(jì)之前你要從四個(gè)方面了解你的目標(biāo)群體：目標(biāo)，文化，人口統(tǒng)計(jì)學(xué)背景，和技術(shù)。
1. Establish a Goal
1. 確立一個(gè)目標(biāo)
Imagine that you were asked to design a tall tower building, and you came up with a few great designs – yet all were refused, and you had to go back to the drawing board only to keep on failing! Then you find another maybe not-so-beautiful design winning, why?
假設(shè)你被要求設(shè)計(jì)一個(gè)高層塔樓，而且你作出了幾個(gè)設(shè)計(jì)，但是都被否決了。你不得不在畫板上一次一次的設(shè)計(jì)，但是都失敗了！然后你發(fā)現(xiàn)有一個(gè)不是太美觀的設(shè)計(jì)通過了，為什么？
The main goal of that competition was not beauty, but it was length – so the main approval criteria was being the highest, then beauty comes second, without high length all other features of your design don’t matter.
競賽的目的不是美觀，而是高度，所以獲得通過的最高標(biāo)準(zhǔn)是要先設(shè)計(jì)出最高的樓，然后才是美觀。沒有高度，你的設(shè)計(jì)里所有的特點(diǎn)都不重要。
Sometimes as designers, we focus on different aspects of our designs, yet our client and audience really want a specific goal, and if it’s not met, then whatever else we do in the design will never count until we first meet that goal – so in this case a successful design relative to the client’s point of view, is the design that will meet their goal.
有時(shí)候作為一個(gè)設(shè)計(jì)師，我們專注于設(shè)計(jì)的各個(gè)方面，而我們的客戶和觀眾則只考慮一個(gè)特定的目標(biāo)。如果他們的目標(biāo)沒有被滿足，那么無論我們怎樣設(shè)計(jì)都不會成功，直到我們達(dá)到那個(gè)要求。因此在這種情況下，相對于客戶的觀點(diǎn)，一個(gè)成功的設(shè)計(jì)就是能夠符合他們要求的設(shè)計(jì)。
2. Consider The Culture
2. 考慮文化因素
Symbols, Body Language and Gestures have different meanings across different cultures.
標(biāo)志，肢體語言和手勢在不同的文化背景里有不同的含義。
Take a look at the example above, for most people the gesture means “2″ but for a German it would mean Victory, a Frenchman it would mean Peace and for Brits and Australians… well you’d better just not do it – the same principle applies to design and color, and if you’re working on an international design or for another part of the world – then you must be familiar with such cultural differences.
看看上面的例圖，對于大部分人來說這個(gè)手勢表示“2”。但是對德國人來說，這意味著“勝利”；對法國人來說，這表示“和平”；而對英國佬和澳大利亞人來說...，你最好不要做這個(gè)動作。同樣的原則也適用于設(shè)計(jì)和顏色。如果你參與一個(gè)國際合作的設(shè)計(jì)項(xiàng)目，或者為世界的另外一部分設(shè)計(jì)項(xiàng)目，那么你必須熟悉這些文化差異。
Such differences are apparent in the design of Airport signage for example, millions of different ethnic groups and culture backgrounds pass through airports daily – signs must be easily and globally understood and have the same meaning across the world. (See ISO 7001)
這些差異在機(jī)場的指示標(biāo)牌的設(shè)計(jì)上很明顯。每天都有成百萬的來自不同民族和文化背景的人們通過機(jī)場。標(biāo)牌必須讓全世界人民容易辨認(rèn)理解，而且仍然保持同一個(gè)含義。（參考ISO 7001)
In order to achieve this designers have to conduct several field tests with random passengers and specific methods of testing the comprehensibility of graphical symbols are available on the ISO.org site (ISO 9186).
為了達(dá)到這個(gè)目的，設(shè)計(jì)師需要向隨機(jī)遇到的旅客做實(shí)地調(diào)查。在ISO.org的網(wǎng)站上提供了用于測試如何理解圖形標(biāo)志的專門方法。
If we apply this to the world of design and color, studies done by Medical News Today in 2007 confirm that East Asians and Westerners process visual information in different ways. For example, East Asians are more likely to pay attention to the context and relationships in a design than Westerners, who more often notice physical features or groupings of similar objects. Westerners are more attentive to central, or dominant, objects, while East Asians pay more attention to the background.
如果我們把這些應(yīng)用到設(shè)計(jì)和顏色行業(yè)，2007年《今日醫(yī)學(xué)新聞》發(fā)表的研究證實(shí)了東亞人和西方人處理視覺信息的方式是不同的。例如，東亞人比西方人更關(guān)注一項(xiàng)設(shè)計(jì)中的內(nèi)容和相互之間的聯(lián)系，而西方人則更關(guān)注具體的外觀特征或者類似物體的集合。西方人更注意中心或主要的物體，而東亞人則更注意背景。
Colors also have different meanings across cultures, for example while White is usually associated with the following in most of the world: spirituality, peace, purity, cleanliness, innocence, youth, goodness, light, fairness, Marriage, …etc. , in Eastern cultures such as in China, India or Japan, the color white is a symbol for Mourning, Death, Unhappiness, and Funerals.
在不同的文化背景中，顏色也有不同的含義。例如，大多數(shù)地方的人通常都把“白色”和“靈性，和平，純潔，干凈，無辜，年輕，善良，光，公平，婚姻等”相聯(lián)系；而在中國，印度或者日本等東方文化中，“白色”則表示“悲哀，死亡，不幸，和葬禮”。
The Chart below encompasses 10 different cultures, and 62 emotions. The cultures are represented by concentric rings, and the emotions are represented by slices of the circle. Thus, if you want to understand about Japanese color sensibilities, you read around the graph. And if you want to learn what colors mean “danger” across cultures for example, you just read vertically.
下面的圖表里包含了十種不同的文化，和62種情緒。同心圓代表不同的文化，而小方片代表了不同的情緒。因此，如果你想了解熱日本人對顏色的感覺，你就要看看這幅圖。如果你想知道在不同文化中什么顏色表示“危險(xiǎn)”的話，你就要縱向的看這幅圖。
3. Understand The Demographics
3. 理解人口統(tǒng)計(jì)學(xué)背景
In my article How to Get the Right Creative Requirements From Your Client I talked about knowing and understanding your target audience and gave a sample on how designing for Adults is different than designing for Kids who generally prefer large icons, bright colors funny fonts…etc. , the same applies to Gender, and Education level.
在我寫的《如何從你的客戶獲得正確的創(chuàng)造力要求》的文章里，我討論了如何認(rèn)識理解你的目標(biāo)人群，并提供了一個(gè)例子說明為成年人設(shè)計(jì)和為兒童設(shè)計(jì)是不同的。兒童喜歡更大的圖標(biāo)，明亮的色彩，有趣的字體，等等；同樣的原則也適用于不同的性別和教育水平的人群。
Less educated audiences for example may find it hard to understand simpler and cleaner designs, they tend to judge the design by the amount of “bells and whistles” and tend to like strong colors – I used to tell some of my clients “it’s not how many liters of paint you put in a design, it’s the amount of thought that matters” – usually a highly educated audience would appreciate clean and simple design concepts and want more thought done rather than just a colorful painting.
比如受教育不多的人群會覺得理解簡潔設(shè)計(jì)很困難，他們喜歡那些“花里胡哨”的設(shè)計(jì)和濃重的色彩；我以前跟我的一些客戶說過“重要的不是你在設(shè)計(jì)圖里倒了多少升的顏料，而是你花費(fèi)了多少心思”。通常受過高等教育的人群比較喜歡欣賞簡潔明快的設(shè)計(jì)理念，希望能看到更多的思想而不僅僅是一幅花哨的圖片。
The example below shows how gender could have an effect on color perception and choice
下面這個(gè)例子說明了性別差異是如何影響對顏色的感覺和選擇。
4. Adapt to The Technology
4. 適應(yīng)技術(shù)進(jìn)步
As a designer, you might think what has “technology” got to do with my designs? I would answer “everything”.
作為一個(gè)設(shè)計(jì)師，你可能會想“技術(shù)”和我的設(shè)計(jì)有什么關(guān)系？我會說“一切都有關(guān)系”。
Imagine you were the designer of this very cool car in the image above, yet you were not aware that it will be used off-road on rugged terrain – this beautiful car just does not have the “technology” to handle such roads – however what do you think about these “ugly” cars?
假設(shè)你是上面圖片里那款酷車的設(shè)計(jì)師，盡管你還不知道這輛車也可以在崎嶇路面上越野；只是因?yàn)檫@款美麗的汽車沒有具備適應(yīng)這種路面的“技術(shù)”。但是你是如何看待下面這些“丑陋”的車型呢？
The same concept applies to your web designs, if they don’t work on all platforms and devices, then no matter how “beautiful” your designs are, they will simply just not work!
同樣的觀念也適用于你的網(wǎng)頁設(shè)計(jì)，如果它們不能在所有的平臺和設(shè)備上正常顯示，那么不管你的設(shè)計(jì)有多么“美觀”，它們就是沒有用！
Don’t preview your designs on a 24″ 1920x1080px screen while they are intended for use on average 1024x768px screens, don’t use a desktop or laptop if your designs are intended for a mobile or tablet device.
如果你設(shè)計(jì)的網(wǎng)頁主要是在1024X768像素顯示器上瀏覽，就不要在一臺24寸的1920X1080像素的顯示器上測試瀏覽效果。如果你的設(shè)計(jì)是針對移動或平板用戶，就不要用臺式機(jī)或筆記本電腦測試瀏覽效果。
I have a friend of mine who just recently did an application design for a 1024px tablet, however he was working on a laptop and previewing the work in 1024px screen resolution on his 15″ screen, they application was initially rejected because while both the tablet and the laptop were 1024px in size, the tablet had only a 7″ screen while the laptop had a 15″ screen, so the objects turned out too tiny for the application to be functional.
我有一個(gè)朋友最近為1024像素的平板電腦做了一個(gè)應(yīng)用程序界面設(shè)計(jì)。然而他是在一臺帶有1024像素的15寸屏幕的筆記本電腦上設(shè)計(jì)的原圖。這個(gè)設(shè)計(jì)一開始就被否決了，因?yàn)殡m然平板電腦和筆記本電腦的像素都是1028，但是平板只有7寸的屏幕而筆記本的則是15寸。因此設(shè)計(jì)里的物體因?yàn)樘《沟眠@個(gè)應(yīng)用不可用。
It is very critical that you understand and test on your target devices – there are several platforms and form factors out there, so you need to be sure that your design functions the same on all platforms and sizes.
你要非常明白在目標(biāo)設(shè)備上測試的重要性；因?yàn)楝F(xiàn)在的平臺和式樣各種各樣，你要確保你的設(shè)計(jì)在所有的平臺和尺寸下都能達(dá)到同樣的功能。
Conclusion: Context is Everything!
結(jié)論：內(nèi)容是關(guān)鍵！
Designs are not absolute. Our job is not to become Picasso’s or Salvador Dali’s, we are not creating paintings or artwork, we can’t design without taking into consideration our limitations and our client’s goals – design differs from art in that designers create something that should be functional, usable and suites the culture and environment of the people who will use your design.
設(shè)計(jì)不是絕對的。我們的作品不是畢加索或達(dá)利的作品，我們不是在創(chuàng)作繪畫或藝術(shù)作品。如果不考慮我們的能力限制和我們的客戶需求，我們就設(shè)計(jì)不出好作品；設(shè)計(jì)與藝術(shù)是如此不同，設(shè)計(jì)師需要?jiǎng)?chuàng)作出可行的可用的設(shè)計(jì)，而且這些設(shè)計(jì)適合將要使用我們設(shè)計(jì)的人群的文化背景。
A successful design is one that meets the expected goals and functions flawlessly as expected – a beautiful design that does not work is a failure. As with all things in life, context is everything: taking the time to understand the contextual filters that stand between you and your audience will help prevent you from creating “beautiful flops”.
一項(xiàng)成功的設(shè)計(jì)能完美無缺的符合預(yù)期的目標(biāo)和功能要求；一個(gè)美觀但不實(shí)用的設(shè)計(jì)是一個(gè)失敗。考慮到所有因素，內(nèi)容是關(guān)鍵因素：花些時(shí)間去了解一些你和你的目標(biāo)人群的文化差異可以防止你設(shè)計(jì)出一些“美麗的失敗”。
