seek bar 放手_这些设计趋势决定了2010年代放手的时间

By Lilly Smith

礼来·史密斯(Lilly Smith)

The end of a decade is a time for reflection. Ten years is enough time for culture to truly shift, for better and for worse — and for design to follow suit.

十年的结束是反思的时候。 十年时间足以使文化真正发生改变，变得越来越好，也越来越糟，而且设计也紧随其后。

Looking back at the 2010s, I’ve compiled a list of the reigning design trends that — while perhaps right for the time — are no longer right for where the world is going. Keep in mind that this list doesn’t cover all design disciplines, such as architecture, urbanism, product, etc., but it will take a particular look at graphic and digital design. And if I’ve missed anything, you can email your suggestions to CoDTips@fastcompany.com. These are the trends it’s time to put to bed on the cusp of a new decade.

回顾2010年代，我整理了一份流行的设计趋势清单，尽管当时也许是对的，但对世界的发展方向不再合适。 请记住，该列表并未涵盖所有设计学科，例如建筑，城市化，产品等，但将特别关注图形和数字设计。 如果我有任何遗漏，您可以将您的建议通过电子邮件发送至CoDTips@fastcompany.com。 这些正是新十年即将来临的趋势。

好人的“坏”设计 (“Bad” Design by Good People)

The internet exploded over the past decade. Some even claim to have broken it. And what with anxiety about twitter trolls and misinformation, the proliferation of cat memes, and the infiltration of slick personal site builders (“everyone has a personal website now,” say people like myself in loathing, hushed tones), a certain nostalgia has developed among designers for a simpler time. A less web-optimized time. A time when the internet was still the wild west of weird. The 1990s.

过去十年间，互联网迅猛发展。 一些人甚至声称已经破坏了它。 伴随着对推特巨魔和错误信息的焦虑，猫模因的泛滥以及光滑的个人网站建设者的渗透(“现在每个人都拥有个人网站”，像我这样的人都讨厌，安静的色调)，某种怀旧情绪已经发展起来。设计师之间进行比较简单的工作。 较少的网络优化时间。 互联网仍然是荒诞的西部的时代。 1990年代。

The web design style of that period, created in part by its technological restraints, has in this decade become an artistic choice; use of the (for some reason) universally detested Comic Sans, Word Art, clip art, or simple HTML, and the sometimes antagonistically annoying UX they create, have become a rebuttal to the expectation of a “well-designed,” corporate-looking web. Take that, Squarespace!

那个时期的网页设计风格，部分是由于其技术限制，在过去的十年中已成为一种艺术选择。 使用(出于某种原因)普遍不满意的Comic Sans，艺术字，剪贴画或简单HTML，以及它们创建的有时令人反感的UX，已经反驳了对“精心设计的”企业外观的期望网络。 接受，Squarespace！

Don’t get me wrong, antidesign as aesthetic has been done well — but like anything designed, that only happens when it is contextually purposeful. Dare I say it, but a corporation has done this trend well — Marvel created a retro ’90s site to promote the movie Captain Marvel, which was set in that decade. And dammit, Bloomberg Businessweek, nice job. The magazine’s redesign effectively contrasted the business news it covers with sparse, less-polished visuals that enlighten by poking fun at itself. But otherwise, “bad” design reads as a kind of hipster antiestablishmentism, the design equivalent of saying “~I was just being ironic~”. I get it. You are cool and different. But don’t the kids say it’s not cool if everyone’s doing it?

不要误会我的意思，因为美学已经很好地完成了反设计，但是就像任何设计一样，只有当设计具有上下文目的时才会发生。 我敢说，但一家公司已经很好地做到了这一趋势-漫威创建了一个90年代的复古网站来宣传那十年的电影《漫威上尉》 。 该死， 彭博商业周刊 ，干得好。 该杂志的重新设计有效地将其报道的商业新闻与稀疏，不太粗糙的视觉效果进行了对比，这些视觉效果通过取笑自己而得到启发。 但是否则，“不良”设计被视为一种时髦的反传统主义，该设计相当于说“〜我只是在讽刺〜”。 我知道了。 你很酷，与众不同。 但是，孩子们不是说如果每个人都在做就不酷吗？

渐变色 (Gradients)

I was going to originally include gradients as part of the “bad” design trend. But because it is used outside of that antidesign trend, it seemed deserving of its own spot in the list. This decade, gradients have been used on everything from antidesign projects to corporate conference identities, and for giant tech brands including Facebook and Instagram, too. They’ve shown up on streaming services such as HBO Max and millennial brands such as the CBD-infused seltzer Recess. Yes, gradients can add depth to a composition, but simpler, flat designs are more transferable, and that universality creates a sense of brand cohesion across devices of any size, making it more user-friendly, and generally more in sync with where the design industry is going.

我本来打算将渐变作为“不良”设计趋势的一部分。 但是由于它是在这种反设计趋势之外使用的，因此它似乎值得在清单中占据自己的位置。 十年来，从反设计项目到公司会议身份 ，以及包括Facebook和Instagram在内的大型科技品牌，梯度都用于所有事物。 他们出现在HBO Max等流媒体服务以及CBD注入的Seltzer Recess等千禧品牌中。 是的，渐变可以增加构图的深度，但是更简单，更扁平的设计更易于移植，并且通用性可以在各种尺寸的设备上营造品牌凝聚力，使其更加人性化，并且通常与设计位置保持同步工业正在发展。

无限死亡卷轴 (Infinite Scroll of Death)

Continuous scroll has become a ubiquitous and second-nature part of the 2010s web experience. When I reach the bottom of the “fold,” that is, the edge of the screen, I know to scroll down to keep reading. The top three major social media platforms — Twitter, Facebook, and Instagram — all use it. It’s commonplace on corporate sites and in web design in general today. Even Fast Company’s site uses it. But the design also promotes prolonged use, encouraging users to stay longer and read more, passively refreshing content and daylight away. Aza Raskin, who is credited with designing the infinite scroll, even says the feature was made to be “maximally addictive.” Isn’t it time to be more intentional with tech, and put our mental health first?

连续滚动已成为2010年网络体验中无处不在的第二部分。 当我到达“折页”的底部(即屏幕边缘)时，我知道向下滚动以继续阅读。 前三大主要社交媒体平台(Twitter，Facebook和Instagram)都使用它。 如今，它在公司网站和网页设计中很普遍。 甚至Fast Company的站点都使用它。 但是该设计还可以延长使用时间，鼓励用户停留更长的时间并阅读更多内容，从而被动地刷新内容并远离日光。 以设计无限滚动而闻名的阿扎·拉斯金(Aza Raskin)甚至说该功能被设计为“具有最大的吸引力”。 是不是该更专注于技术，并且将我们的心理健康放在首位了？

手刻字美学 (Hand-Lettering Aesthetic)

If typography is a form of graphic design, you might say hand-lettering is its illustrative equivalent. Of course the craft of hand-lettering can lead to beautiful results, found across mediums, from liquor and food labels and restaurant identities to book covers and a lot of applications in between. Renowned graphic designer Louise Fili’s decades-long portfolio is chock-full of such examples, and the imprint of her work is felt across New York’s restaurant scene. Illustrators Jessica Hische and Gemma O’Brien found huge success in the past decade too, building portfolios of expert hand-lettering work (hint: Hische worked for Fili early in her career) with both smaller brands and large corporations.

如果印刷术是图形设计的一种形式，您可能会说手工刻字就是它的说明性等同物。 当然，手刻字技术可以带来精美的结果，可以在各种媒介中找到，从酒和食品标签，餐厅身份到书籍封面以及介于两者之间的许多应用程序。 著名的平面设计师路易丝·菲利(Louise Fili)数十年的作品集充斥着这样的例子，她的作品在纽约的餐厅界中留下了深刻的印象。 插画家杰西卡·希切(Jessica Hische)和杰玛·奥布赖恩(Gemma O'Brien)在过去十年中也取得了巨大的成功，他们与小型品牌和大公司建立了专家手刻字工作的投资组合(提示：希切在她的职业生涯早期就曾为Fili工作)。

Over the past decade, plenty of big brands have adopted the hand-lettered trend — using it for large, consumer facing installations featuring cliches like “One of a Kind,” or “You are Here” scrawled in handwriting, perhaps across a large, Instagram-ready wall. While this may convey a vague sense of authenticity, using this strategy as a way to convey brand value feels out of touch. These days, consumers are drawn to branding that communicates actual values (think of marketing campaigns like Colin Kaepernick’s Nike ad), rather than vague stylistic gestures towards personality and authenticity. That ad, by the way, won Nike a Creative Arts Emmy Award.

在过去的十年中，许多大品牌都采用了手写的趋势-将其用于大型的，面向消费者的装置，这些装置的笔迹sc草成“一种”或“ You Here Here”之类的字迹，也许横跨了大型，支持Instagram墙。 虽然这可能会传达出模糊的真实感，但使用此策略来传达品牌价值的方式却与时俱进。 如今，消费者开始迷恋能够传达实际价值的品牌(想想营销活动，例如科林·卡佩尼克(Colin Kaepernick)的耐克广告)，而不是模糊地对待个性和真实性的风格。 顺便说一句，该广告获得了耐克(Nike)的创意艺术艾美奖 。

通用创业美学 (Generic Startup Aesthetic)

With social media becoming our one true lord over the past decade, brands have found new opportunities to advertise products straight to consumers. A proliferation of small, digitally native startups emerged in the 2010s. Most have no brick-and-mortar stores. They may not have an immediately recognizable logo, either. But they do have one thing in common: a peculiarly similar art direction for ad campaigns. Do you have a hand manicured in a bright color? Do you have a background available in a coordinating, equally bright color? Do you have a product? Congratulations, you can now advertise for a hip direct-to-consumer brand, in the ever-popular “generic startup aesthetic.”

在过去十年中，随着社交媒体成为我们真正的主人，品牌已经找到了直接向消费​​者宣传产品的新机会。 在2010年代，涌现了许多小型的数字原生创业公司。 大多数没有实体商店。 他们也可能没有立即可识别的徽标。 但是它们确实有一个共同点：广告活动的艺术指导特别相似。 您的手被修剪成鲜艳的颜色吗？ 您是否有可协调使用的，同样明亮的颜色的背景？ 你有产品吗？ 恭喜，您现在可以通过广受欢迎的“通用初创美学”来为时髦的直接面向消费者的品牌做广告。

I started noticing the similarity on subway ads over the past year or so: a disembodied manicured hand holding up a millennial startup product. (Bright background and contrasting drop shadow encouraged.) As it turns out, we may have one company to blame for starting this trend. The Brooklyn-based branding agency Red Antler, known for helping many a startup differentiate itself by building its brand from the ground up, is prominent in the space. Red Antler used the look with clients such as Embroker, Movado, and Otherland. But it seems the studio opened Pandora’s box, and what was once a differentiating visual look isn’t so different anymore.

我开始注意到在过去一年左右的时间里，地铁广告的相似之处：一只剪短的修剪整齐的手拿着一个千禧一代的启动产品。 (鼓励使用明亮的背景和对比鲜明的阴影。)事实证明，开始这种趋势可能归咎于一家公司。 总部位于布鲁克林的品牌代理机构Red Antler以在许多领域崭露头角而闻名，从而帮助许多初创企业脱颖而出，在这一领域中举足轻重。 Red Antler与Embroker ， Movado和Otherland等客户一起使用了这种外观 。 但是似乎工作室打开了潘多拉盒子，而曾经与众不同的视觉外观不再那么不同了。

Here’s just a sample of companies that have adopted the aesthetic: period product brand Superior, healthcare brand Hers, dental hygiene brand Quip, vitamin and supplement company Care Of, Nurx birth control, Sir Kensington’s condiments, Daily Harvest quick meals, women’s razor company Billie, men’s razor company Harry’s, and deodorant brand Myro. There are a lot, lot more. Whew, I’m exhausted. Art directors, isn’t there another way? PLEASE. MAKE IT STOP.

以下是采用美学的公司的示例：时代产品品牌Superior ，保健品牌Hers ，牙齿卫生品牌Quip ，维生素和营养品公司Care Of ， Nurx计划生育， 肯辛顿爵士的调味品， Daily Harvest快餐，女性剃须刀公司Billie ，男士剃须刀公司Harry's和除臭剂品牌Myro 。 还有很多很多。 哇，我很累。 艺术总监，还有别的办法吗？ 请。 停止吧。

默认极简主义 (Default Minimalism)

I’m not dissing all minimalism here. I’m talking “default” minimalism that came into prominence in the early part of the last decade (and maybe even earlier) — lacking perspective, and applied in a way that’s lazy, bland, and boring; with thin, sans serif letterforms and enough clinical white space to remind you of a doctor’s office waiting room. Sure, I understand why typefaces like Helvetica, Futura, and Gotham are everywhere. They’re extremely versatile. Heck, documentaries have been made and books written about them. But that’s part of the problem, isn’t it?

我不是在这里散布所有极简主义。 我说的是“默认”极简主义，这种极简主义在上个十年的早期(甚至更早)开始盛行-缺乏洞察力，并且以懒惰，平淡和无聊的方式应用； 薄而无衬线的字母形状，以及足够的临床空白区域，使您想起医生的办公室候诊室。 当然，我知道为什么到处都有像Helvetica，Futura和Gotham这样的字体。 它们用途广泛。 哎呀， 已经制作了纪录片并写了关于它们的书 。 但这是问题的一部分，不是吗？

The writing is on the wall, and times are changing. A great example of this is Chobani’s rebrand in 2018. Its previous brand identity, with sleek, angular, all-cap black sans serifs against a white background, is a pretty stark way to motivate yogurt sales. And it looked like all of its competitors in the refrigerator section. Its redesign couldn’t have been more opposite. It reintroduced bold, retro Cooper Black-inspired serifs, applied a friendly and approachable color palette, and brought a homespun reaction to minimalism that played into a sense of nostalgia on the part of consumers. In this day and age, we’d all like an escape. Even if it’s only for the time it takes to eat a cup of yogurt.

文字在墙上，时代在变化。 一个很好的例子是Chobani在2018年的品牌重塑 。它以前的品牌标识(在白色背景上带有圆滑，有角，全盖黑色无衬线)是刺激酸奶销售的一种鲜明方法。 而且看起来像冰箱领域的所有竞争对手。 它的重新设计再恰恰相反。 它重新引入了大胆，复古的Cooper Black风格的衬线，应用了友好且平易近人的调色板，并对极简主义进行了朴素的React，从而使消费者产生了怀旧感。 在这个时代，我们都想逃脱。 即使只是时间吃一杯酸奶。

That brings this farewell note to an end. In no way is this list exhaustive; there are probably many more we could do without. But attention spans are short, so think of this as a starter list to which you can add your own. These trends have had a good run. But as we start a new decade, perhaps we can agree that it’s time, finally, to put them to rest.

这样就结束了告别笔记。 这份清单绝不是详尽无遗的。 没有我们，我们可能还有更多的事情要做。 但是关注范围很短，因此可以将其视为可以添加自己的入门列表。 这些趋势运行良好。 但是，随着我们开始一个新的十年，也许我们可以同意，现在是时候让他们休息了。