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As the time that people spend in virtual environments increases, it becomes more and more important to design healthy “visual” spaces where people can still find some connection with nature. The need to humanize space has always been deeply felt by architects,
for example, because they often experience what soulless urban design does to people. Spirit-crashing cityscapes, in fact, can cause “inactivity, depression, and loss of community[…].” Architects have propelled a movement to humanize design and are reclaiming
their important role in shaping the environment to focus on construction that benefits the health of residents. This approach is known as salutogenic, which enhances health.
Aaron Antonovsky, an Israeli American sociologist, coined the term “salutogenic” by combining the Latin
salus, which means health, with the Greek genesis, which means origin. He focused on those qualities that make some people more resilient as they face stress in their daily lives. Space is a key part of the health equation because it deeply affects
people. In her article “Beyond Drive-By Design,” Sharon VanderKaay, a Toronto-based architect, identifies those “vital, health-causing qualities” that characterize salutogenic design and help create human-centric environments.
While meaningless urban design is legislated and often imposed on people (this helps understand architects’ quest), with graphic and web design, designers still have the power to educate clients and help them create a space that “enhances health and prosperity.”
Health and prosperity, simply put, are the cause and effect of good design because a healthy “visual” space is conducive to reading, which is the way people consume content.
Good design considers space as a vital element that enhances the user’s state of mind and, therefore, his or her ability to interact with content and act on it. White space, in particular, is the most important element of design because it anchors a message in a
space that is not cluttered by blinking ads and too much information; it considers users’ needs to find a restful place for their eyes as they’re consuming content. It doesn’t occupy every inch or pixel.
There is too much useless complex design around that pollutes our environments and complicates our lives. Such design defeats its intent of communicating with people and instead becomes an obscure code to decipher. Therefore, simplify, simplify and, once again, simplify
to create a beautiful environment that is conducive to communication and is of service to your client.
Visual clutter is increasing furiously. How content is presented to users, how users interact with content and how design mediates these interactions will become more important than just how well designers know the latest technologies and what sorts of techniques
and tools they have at their disposal.
Sara Nicoletti Altimari Suttle is a graphic designer, illustrator, and editor from Naples, Italy. She has studied Foreign Languages and Literatures at the University of Naples, Italy and Graphic Design at The Art Institute of Pittsburgh, U.S.
She has a passion for creating engaging content and bringing a lot of inspiration and experience from the editorial field into graphic design. In a very rewarding career through editorial design roles in diverse industries, she has had a measurable impact
on advancing her clients’ agenda.
Primarily focused on completely new ways of doing editorials, she excels at creating designs that generate interest while capturing the heart of the storyline. Specifically her expertise includes conceptualizing and integrating design solutions across
digital, direct and print from creative brief to final delivery.
She thrives on challenge and challenging people and always has an upbeat and collaborative attitude, which makes a good combo on Mondays.
Alexey Brodovitch, art director of Harper’s Bazaar for nearly a quarter of a century and recipient of a 1987 AIGA Medal, played a crucial role in introducing into the United States a radically simplified graphic design style forged in Europe in the 1920s. He also defined the modern magazine director as one who takes an active role in conceiving and commissioning all forms of graphic art, and he specialized in discovering and showcasing young and unknown talent, particularly photographers.
Section: Inspiration -
AIGA Medal, photography, editorial design
“Why is graphic design 93% white? Removing barriers to increase opportunities in graphic design” (PDF) was originally published in the AIGA Journal in 1991 in response to the Design Conference that year.
Section: Inspiration -
Diversity and Inclusion, graphic design, culture, diversity, social issues, social responsibility
Because in-house designers regularly collaborate with different departments, they can develop a well-rounded view of needs and opportunities within their organization. By applying their unique design thinking skills to non-design problems, in-house designers have the ability to effect positive change from within.
Section: Tools and Resources
We ask some established creatives what they wish they'd learned at art school
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Common Interest: Documents available @indexbook & hopefully in New Orleans @AIGAdesign Conference in Oct #AIGAdesign https://t.co/HqotBN9T1A
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Paris & 3 Glasses