Différences entre versions de « Design-fr »

De Mi caja de notas
Ligne 1 : Ligne 1 :
 +
{{:wikipedia:design}}
 +
 +
 +
== web design ==
 
<cite class="h-cite">Cette page a démarré sur [[iwc:design]]</cite>
 
<cite class="h-cite">Cette page a démarré sur [[iwc:design]]</cite>
  

Version du 21 février 2022 à 11:32

"Designed" and "Designing" redirect here. For other uses, see Design (disambiguation).

Braun ABW30 wall clock designed by Dieter Rams and Dietrich Lubs [de] (early 1980s)
Victorinox Swiss Army knife
An image of cutlery designed by Zaha Hadid
Cutlery designed by architect and designer Zaha Hadid (2007). The slightly oblique end part of the fork and the spoons, as well as the knife handle, are examples of designing for both aesthetic form and practical function
Early concept design sketches by the architect Erling Viksjø, exploring the relationships between existing and proposed new buildings
Béla Barényi holding car model
Barényi Béla, considered to be the father of safe driving and safety tests, preparing for safety development, which is a core part of the designing process

A design is the concept of or proposal for an object, process, or system. The word design refers to something that is or has been intentionally created by a thinking agent, and is sometimes used to refer to the inherent nature of something – its design. The verb to design expresses the process of developing a design. In some cases, the direct construction of an object without an explicit prior plan may also be considered to be a design (such as in arts and crafts). A design is expected to have a purpose within a certain context, usually having to satisfy certain goals and constraints and to take into account aesthetic, functional, economic, environmental, or socio-political considerations. Traditional examples of designs include architectural and engineering drawings, circuit diagrams, sewing patterns, and less tangible artefacts such as business process models.[1][2]

Designing

People who produce designs are called designers. The term 'designer' usually refers to someone who works professionally in one of the various design areas. Within the professions, the word 'designer' is generally qualified by the area of practice (for example: a fashion designer, a product designer, a web designer, or an interior designer), but it can also designate other practitioners such as architects and engineers (see below: Types of designing). A designer's sequence of activities to produce a design is called a design process, with some employing designated processes such as design thinking and design methods. The process of creating a design can be brief (a quick sketch) or lengthy and complicated, involving considerable research, negotiation, reflection, modeling, interactive adjustment, and re-design.

Designing is also a widespread activity outside of the professions of those formally recognized as designers. In his influential book The Sciences of the Artificial, the interdisciplinary scientist Herbert A. Simon proposed that, "Everyone designs who devises courses of action aimed at changing existing situations into preferred ones."[3] According to the design researcher Nigel Cross, "Everyone can – and does – design," and "Design ability is something that everyone has, to some extent, because it is embedded in our brains as a natural cognitive function."[4]

History of design

Main article: Design history

The study of design history is complicated by varying interpretations of what constitutes 'designing'. Many design historians, such as John Heskett, look to the Industrial Revolution and the development of mass production.[5] Others subscribe to conceptions of design that include pre-industrial objects and artefacts, beginning their narratives of design in prehistoric times.[6] Originally situated within art history, the historical development of the discipline of design history coalesced in the 1970s, as interested academics worked to recognize design as a separate and legitimate target for historical research.[7] Early influential design historians include German-British art historian Nikolaus Pevsner and Swiss historian and architecture critic Sigfried Giedion.

Design education

In Western Europe, institutions for design education date back to the nineteenth century. The Norwegian National Academy of Craft and Art Industry was founded in 1818, followed by the United Kingdom's Government School of Design (1837), and Konstfack in Sweden (1844). The Rhode Island School of Design was founded in the United States in 1877. The German art and design school Bauhaus, founded in 1919, greatly influenced modern design education.[8]

Design education covers the teaching of theory, knowledge and values in the design of products, services, and environments, with a focus on the development of both particular and general skills for designing. Traditionally, its primary orientation has been to prepare students for professional design practice, based on project work and studio, or atelier, teaching methods.

There are also broader forms of higher education in design studies and design thinking. Design is also a part of general education, for example within the curriculum topic, Design and Technology. The development of design in general education in the 1970s created a need to identify fundamental aspects of 'designerly' ways of knowing, thinking, and acting, which resulted in establishing design as a distinct discipline of study.[9]

Design process

Substantial disagreement exists concerning how designers in many fields, whether amateur or professional, alone or in teams, produce designs.[10] Design researchers Dorst and Dijkhuis acknowledged that "there are many ways of describing design processes," and compare and contrast two dominant but different views of the design process: as a rational problem-solving process and as a process of reflection-in-action. They suggested that these two paradigms "represent two fundamentally different ways of looking at the world – positivism and constructionism."[11] The paradigms may reflect differing views of how designing should be done and how it actually is done, and both have a variety of names. The problem-solving view has been called "the rational model,"[12] "technical rationality"[13] and "the reason-centric perspective."[14] The alternative view has been called "reflection-in-action,"[13] "coevolution"[15] and "the action-centric perspective."[14]

Rational model

The rational model was independently developed by Herbert A. Simon,[16][17] an American scientist, and two German engineering design theorists, Gerhard Pahl and Wolfgang Beitz.[18] It posits that:

  1. Designers attempt to optimize a design candidate for known constraints and objectives.
  2. The design process is plan-driven.
  3. The design process is understood in terms of a discrete sequence of stages.

The rational model is based on a rationalist philosophy[12] and underlies the waterfall model,[19] systems development life cycle,[20] and much of the engineering design literature.[21] According to the rationalist philosophy, design is informed by research and knowledge in a predictable and controlled manner.[22]

Typical stages consistent with the rational model include the following:[23]

Each stage has many associated best practices.[25]

Criticism of the rational model

The rational model has been widely criticized on two primary grounds:

  1. Designers do not work this way – extensive empirical evidence has demonstrated that designers do not act as the rational model suggests.[13][14][26]
  2. Unrealistic assumptions – goals are often unknown when a design project begins, and the requirements and constraints continue to change.[12][27]

Action-centric model

The action-centric perspective is a label given to a collection of interrelated concepts, which are antithetical to the rational model.[14] It posits that:

  1. Designers use creativity and emotion to generate design candidates.
  2. The design process is improvised.
  3. No universal sequence of stages is apparent – analysis, design, and implementation are contemporary and inextricably linked.[14]

The action-centric perspective is based on an empiricist philosophy and broadly consistent with the agile approach[28] and methodical development.[29] Substantial empirical evidence supports the veracity of this perspective in describing the actions of real designers.[26] Like the rational model, the action-centric model sees design as informed by research and knowledge.[30]

At least two views of design activity are consistent with the action-centric perspective. Both involve these three basic activities:

  • In the reflection-in-action paradigm, designers alternate between "framing", "making moves", and "evaluating moves". "Framing" refers to conceptualizing the problem, i.e., defining goals and objectives. A "move" is a tentative design decision. The evaluation process may lead to further moves in the design.[13]
  • In the sensemaking–coevolution–implementation framework, designers alternate between its three titular activities. Sensemaking includes both framing and evaluating moves. Implementation is the process of constructing the design object. Coevolution is "the process where the design agent simultaneously refines its mental picture of the design object based on its mental picture of the context, and vice versa".[14]

The concept of the design cycle is understood as a circular time structure,[31] which may start with the thinking of an idea, then expressing it by the use of visual or verbal means of communication (design tools), the sharing and perceiving of the expressed idea, and finally starting a new cycle with the critical rethinking of the perceived idea. Anderson points out that this concept emphasizes the importance of the means of expression, which at the same time are means of perception of any design ideas.[32]

Philosophies

Philosophy of design is the study of definitions, assumptions, foundations, and implications of design. There are also many informal 'philosophies' for guiding design such as personal values or preferred approaches.

Approaches to design

Some of these values and approaches include:

  • Critical design uses designed artefacts as an embodied critique or commentary on existing values, morals, and practices in a culture. Critical design can make aspects of the future physically present to provoke a reaction.[33][34][35]
  • Ecological design is a design approach that prioritizes the consideration of the environmental impacts of a product or service, over its whole lifecycle.[36][37] Ecodesign research focuses primarily on barriers to implementation, ecodesign tools and methods, and the intersection of ecodesign with other research disciplines.[38][39]
  • Participatory design (originally co-operative design, now often co-design) is the practice of collective creativity to design, attempting to actively involve all stakeholders (e.g. employees, partners, customers, citizens, end-users) in the design process to help ensure the result meets their needs and is usable.[40] Recent research suggests that designers create more innovative concepts and ideas when working within a co-design environment with others than they do when creating ideas on their own.[41][42]
  • Scientific design refers to industrialised design based on scientific knowledge.[43] Science can be used to study the effects and need for a potential or existing product in general and to design products that are based on scientific knowledge. For instance, a scientific design of face masks for COVID-19 mitigation may be based on investigations of filtration performance, mitigation performance,[44][45] thermal comfort, biodegradability and flow resistance.[46][47]
  • Service design is a term that is used for designing or organizing the experience around a product and the service associated with a product's use. The purpose of service design methodologies is to establish the most effective practices for designing services, according to both the needs of users and the competencies and capabilities of service providers.[48][49][50][51]
  • Sociotechnical system design, a philosophy and tools for participative designing of work arrangements and supporting processes – for organizational purpose, quality, safety, economics, and customer requirements in core work processes, the quality of peoples experience at work, and the needs of society.
  • Transgenerational design, the practice of making products and environments compatible with those physical and sensory impairments associated with human aging and which limit major activities of daily living.
  • User-centered design, which focuses on the needs, wants, and limitations of the end-user of the designed artefact. One aspect of user-centered design is ergonomics.

Relationship with the arts

Brionvega RR 126 [it] radiogram designed by Achille and Pier Giacomo Castiglioni

The boundaries between art and design are blurry, largely due to a range of applications both for the term 'art' and the term 'design'. Applied arts can include industrial design, graphic design, fashion design, and the decorative arts which traditionally includes craft objects. In graphic arts (2D image making that ranges from photography to illustration), the distinction is often made between fine art and commercial art, based on the context within which the work is produced and how it is traded.

Types of designing

See also

References

  1. ^ Dictionary meanings in the Cambridge Dictionary of American English, at Dictionary.com (esp. meanings 1–5 and 7–8) and at AskOxford (especially verbs).
  2. ^ "The greatest designs of modern times". Fortune. Retrieved 2024-03-16.
  3. ^ Simon, Herbert A. (1969). The Sciences of the Artificial (first ed.). Cambridge, Massachusetts: M.I.T. Press. p. 54.
  4. ^ Cross, Nigel (2011). Design Thinking: Understanding How Designers Think and Work. Berg. pp. 3 & 140. ISBN 978-1-84788-846-4.
  5. ^ Heskett, John (1963) Industrial Design. Thames & Hudson.
  6. ^ Huppatz, D. J. (2015). "Globalizing Design History and Global Design History". Journal of Design History. 28 (2): 182–202. doi:10.1093/jdh/epv002. ISSN 0952-4649. JSTOR 43831904.
  7. ^ Margolin, Victor (April 1, 2009). "Design in History". Design Issues. 25 (2): 94–105. doi:10.1162/desi.2009.25.2.94. eISSN 1531-4790. ISSN 0747-9360. S2CID 57562456.
  8. ^ Naylor, Gillian (1985). The Bauhaus Reassessed. Herbert Press. ISBN 0906969301.
  9. ^ Cross, Nigel (1982). "Design as a Discipline: Designerly Ways of Knowing". Design Studies. 3 (4): 221–227. doi:10.1016/0142-694X(82)90040-0.
  10. ^ Coyne, Richard (1990). "Logic of design actions". Knowledge-Based Systems. 3 (4): 242–257. doi:10.1016/0950-7051(90)90103-o. ISSN 0950-7051. Archived from the original on 2022-08-27. Retrieved 2020-10-01.
  11. ^ Dorst, Kees; Dijkhuis, Judith (1995). "Comparing paradigms for describing design activity". Design Studies. 16 (2): 261–274. doi:10.1016/0142-694X(94)00012-3.
  12. ^ a b c Brooks, F. P (2010). The Design of Design: Essays from a Computer Scientist. Pearson Education. ISBN 9780321702067.
  13. ^ a b c d Schön, D.A. (1983) The reflective practitioner: How professionals think in action, Basic Books, USA. ISBN 978-0465068784
  14. ^ a b c d e f Ralph, P. (2010) "Comparing two software design process theories". International Conference on Design Science Research in Information Systems and Technology (DESRIST 2010), Springer, St. Gallen, Switzerland, pp. 139–153. doi:10.1007/978-3-642-13335-0_10.
  15. ^ Dorst, Kees; Cross, Nigel (2001). "Creativity in the design process: Co-evolution of problem–solution" (PDF). Design Studies. 22 (5): 425–437. doi:10.1016/S0142-694X(01)00009-6. Archived (PDF) from the original on 2019-10-29. Retrieved 2019-11-02.
  16. ^ Newell, A., and Simon, H. (1972) Human problem solving, Prentice-Hall, Inc.
  17. ^ Simon, H.A. (1996) The sciences of the artificial Archived 2013-12-17 at the Wayback Machine, MIT Press, Cambridge, MA, USA. p. 111. ISBN 0-262-69191-4.
  18. ^ Pahl, G., and Beitz, W. (1996) Engineering design: A systematic approach Archived 2013-12-17 at the Wayback Machine, Springer-Verlag, London. ISBN 3-540-19917-9.
  19. ^ Royce, W.W. (1970) "Managing the development of large software systems: Concepts and techniques," Archived 2020-10-02 at the Wayback Machine Proceedings of Wescon.
  20. ^ Bourque, P., and Dupuis, R. (eds.) (2004) Guide to the software engineering body of knowledge Archived 2012-01-24 at the Wayback Machine (SWEBOK). IEEE Computer Society Press, ISBN 0-7695-2330-7.
  21. ^ Pahl, G., Beitz, W., Feldhusen, J., and Grote, K.-H. (2007 ) Engineering design: A systematic approach Archived 2013-12-17 at the Wayback Machine, (3rd ed.), Springer-Verlag, ISBN 1-84628-318-3.
  22. ^ Mielnik, Anna. Under the power of reason. Krakow University of Technology. Archived from the original on 2022-08-27. Retrieved 2022-08-27.
  23. ^ Condrea, Ionut; Botezatu, C.; Slătineanu, L.; Oroian, B. (February 2021). "Elaboration of the initial requirements in the design activities". IOP Conference Series: Materials Science and Engineering. 1037 (1): 012002. Bibcode:2021MS&E.1037a2002S. doi:10.1088/1757-899X/1037/1/012002. S2CID 234019940.
  24. ^ Cross, N., (2006). T211 Design and Designing: Block 2, p. 99. Milton Keynes: The Open University.
  25. ^ Ullman, David G. (2009) The Mechanical Design Process, Mc Graw Hill, 4th edition ISBN 0-07-297574-1
  26. ^ a b Cross, N., Dorst, K., and Roozenburg, N. (1992) Research in design thinking, Delft University Press, Delft. ISBN 90-6275-796-0.
  27. ^ McCracken, D.D.; Jackson, M.A. (1982). "Life cycle concept considered harmful". ACM SIGSOFT Software Engineering Notes. 7 (2): 29–32. doi:10.1145/1005937.1005943. S2CID 9323694. Archived from the original on 2012-08-12. Retrieved 2012-03-25.
  28. ^ Beck, K., Beedle, M., van Bennekum, A., Cockburn, A., Cunningham, W., Fowler, M., Grenning, J., Highsmith, J., Hunt, A., Jeffries, R., Kern, J., Marick, B., Martin, R.C., Mellor, S., Schwaber, K., Sutherland, J., and Thomas, D. (2001) Manifesto for agile software development Archived 2021-03-27 at the Wayback Machine.
  29. ^ Truex, D.; Baskerville, R.; and Travis, J. (2000). "Amethodical systems development: The deferred meaning of systems development methods". Accounting, Management and Information Technologies. 10 (1): 53–79. doi:10.1016/S0959-8022(99)00009-0.
  30. ^ Faste, Trygve; Faste, Haakon (2012-08-15). "Demystifying "design research": design is not research, research is design" (PDF). Industrial Designers Society of America. Archived (PDF) from the original on 2022-08-19. Retrieved 2022-08-19.
  31. ^ Fischer, Thomas "Design Enigma. A typographical metaphor for enigmatic processes, including designing", in: T. Fischer, K. De Biswas, J.J. Ham, R. Naka, W.X. Huang, Beyond Codes and Pixels: Proceedings of the 17th International Conference on Computer-Aided Architectural Design Research in Asia, p. 686
  32. ^ Anderson, Jane (2011) Architectural Design, Basics Architecture 03, Lausanne, AVA academia, p. 40. ISBN 978-2-940411-26-9.
  33. ^ Lab, MIT Media (16 July 2015). "Introducing the Media Lab Award".
  34. ^ Dunne, Anthony; Raby, Fiona (6 December 2013). Speculative Everything: Design, Fiction, and Social Dreaming. MIT Press. ISBN 978-0-262-01984-2. Retrieved 12 December 2021.
  35. ^ Malpass, Matt (Spring 2015). "Criticism and Function in Critical Design Practice" (PDF). Design Issues. 31 (2): 59–71. doi:10.1162/DESI_a_00322. S2CID 57571804.
  36. ^ Kanaani, Mitra (2023). The Routledge companion to ecological design thinking : healthful ecotopian visions for architecture and urbanism. New York, NY. ISBN 978-1-003-18318-1. OCLC 1332789897. Archived from the original on 2022-08-27. Retrieved 2022-08-19.{{cite book}}: CS1 maint: location missing publisher (link)
  37. ^ van der Ryn, Sim; Cowan, Stuart (1996). An Introduction to Ecological Design. Washington, D.C.: Island Press. ISBN 978-1-59726-140-1.
  38. ^ Schäfer M, Löwer M. Ecodesign—A Review of Reviews. Sustainability. 2021; 13(1):315. doi.org/10.3390/su13010315
  39. ^ Lewis, Tania (April 2008). "Transforming citizens? Green politics and ethical consumption on lifestyle television". Continuum: Journal of Media & Cultural Studies. 22 (2): 227–240. doi:10.1080/10304310701864394. S2CID 144299069.
  40. ^ Sanders, Elizabeth B.-N.; Stappers, Pieter Jan (2008). "Co-creation and the new landscape of design". CoDesign. 4 (1): 5–18. doi:10.1080/15710880701875068.
  41. ^ Mitchell, Val; Ross, Tracy; Sims, Ruth; Parker, Christopher J. (2015). "Empirical investigation of the impact of using co-design methods when generating proposals for sustainable travel solutions". CoDesign. 12 (4): 205–220. doi:10.1080/15710882.2015.1091894.
  42. ^ Trischler, Jakob; Pervan, Simon J.; Kelly, Stephen J.; Scott, Don R. (2018). "The Value of Codesign". Journal of Service Research. 21: 75–100. doi:10.1177/1094670517714060.
  43. ^ Cross, Nigel (1 June 1993). "Science and design methodology: A review". Research in Engineering Design. 5 (2): 63–69. doi:10.1007/BF02032575. ISSN 1435-6066. S2CID 110223861. Archived from the original on 19 April 2021. Retrieved 16 April 2021.
  44. ^ "Face shields, masks with valves ineffective against COVID-19 spread: study". phys.org. Archived from the original on 17 November 2021. Retrieved 8 October 2020.
  45. ^ Verma, Siddhartha; Dhanak, Manhar; Frankenfield, John (1 September 2020). "Visualizing droplet dispersal for face shields and masks with exhalation valves". Physics of Fluids. 32 (9): 091701. arXiv:2008.00125. Bibcode:2020PhFl...32i1701V. doi:10.1063/5.0022968. ISSN 1070-6631. PMC 7497716. PMID 32952381.
  46. ^ "Face masks slow spread of COVID-19; types of masks, length of use matter". phys.org. Archived from the original on 23 October 2021. Retrieved 9 December 2020.
  47. ^ Kumar, Sanjay; Lee, Heow Pueh (李孝培) (1 November 2020). "The perspective of fluid flow behavior of respiratory droplets and aerosols through the facemasks in context of SARS-CoV-2". Physics of Fluids. 32 (11): 111301. arXiv:2010.06385. Bibcode:2020PhFl...32k1301K. doi:10.1063/5.0029767. ISSN 1070-6631. PMC 7713871. PMID 33281434.
  48. ^ Segelström, Fabian; Raijmakers, Bas; Holmlid, Stefan (January 2009). "Thinking and Doing Ethnography in Service Design" (PDF). Linköping University, Department of Computer and Information Science. Retrieved 2018-02-27.
  49. ^ Buur, Jacob; Binder, Thomas; Brandt, Eva (2000-01-01). "Taking Video beyond 'Hard Data' in User Centred Design". Participatory Design Conference.
  50. ^ Holmlid, Stefan (2007-05-27). "Creative Arts". Nordes. Nordes 2007: Design Inquiries. 1 (2). doi:10.21606/nordes.2007.031. ISBN 9781912294466. ISSN 1604-9705. S2CID 109110352 – via nordes.org in proceedings from Nordic Design Research Conference, Design Inquiries.
  51. ^ Sophia, Parker; Heapy, Joe (2006-07-01). "The Journey to the Interface, how public service design can connect users to reform" (PDF). Demos.

Further reading

Library resources about
Design


web design

Cette page a démarré sur iwc:design


✂

Cet article est une débauche. Vous pouvez m’aider à l'améliorer.


Design est un terme fourre-tout pour faire référence à tout ce qui concerne les utilisateurs concernant une page/un site comprenant :

Réflexions

Quelques réflexions sur le design.

Minimalisme

Quelle est l’UI minimum viable (MVUI) que vous pourriez implémenter et commencer à utiliser via votre site web ? - Tantek 11:25, 15 mai 2013 (PDT)

Article en rapport : https://petermolnar.eu/minimalism-is-not-asceticism/

Définir les Priorités par l'Usage

Une fois que vous avez designé/implémenté cette MVUI et que vous l’avez utilisé, par une véritable utilisation dans la jungle, vous parviendrez à un ensemble plus avisé des fonctionnalités à-suivre-les-plus-importantes-pour-vous à mettre en oeuvre. - Tantek 11:25, 15 mai 2013 (PDT)

Incrémental

Il est bien (et même souvent bon !) de produire des améliorations incrémentales au design, même si elles sont petites ou conditionnelles.

Par exemple, chaque fois que vous réduisez le nombre de situations où l'utilisateur voit une erreur et/ou doit déposer un ticket de support, la probabilité d'une meilleure expérience utilisateur globale est augmentée.

Et au contraire, éviter de faire que de telles améliorations progressives dépendent d'autres améliorations progressives qui peuvent être produites de façon indépendante ou plus tard. Ces dépendances sont une forme atténuée du piège de l'exhaustivité.

UX Avant l'Infrastructure

Il existe une priorité/un désir mal orienté (souvent parmi les développeurs / ingénieurs) pour des choses comme :

  • "un message général producteur/consommateur afin que je puisse le mettre en oeuvre en une seule fois" [1] ou équivalent
  • un analyseur général afin que je puisse le mettre en œuvre en une fois

"... et ensuite passer le reste de mon temps à me concentrer sur l'UX» (ibid)

C'est le type de raisonnement qui a conduit les gens à pousser XML sur tout le reste.

Ce fut une orientation mal placée pour résoudre l'infrastructure *avant* l'UX.

Il se trouve que cela ne vous aide pas à résoudre l'UX, qui demeure le véritable défi.

Au contraire, si vous avez bonne UX, l'infrastructure/la plomberie peut n'être presque rien, et changé aussi par la suite.

Ceci est peut-être une caractéristique distinctive de l'indieweb et des efforts IndieWeb.


UX Avant les Protocoles

Commencez par la MVUI/l'UX que vous voulez sur votre site et mettez la en œuvre en conséquence.

Lorsque vous atteignez une limite de site à site, à savoir une frontière IndieWeb-vers-IndieWeb, dans quelque fonctionnalité que vous concevez, créez, itérez, utilisez l'UX souhaitée pour conduire la conception d'un protocole minimal.

Ne forcez jamais au chausse-pied, du protocole jusqu'à l'UX - car c'est la queue qui remue le chien.

En fin de journée, l'UX est ce qui importe, indépendamment des attributs, protocoles, etc.

Et sans UX, si tant est que vous ne savez pas quelle UX vous voulez, vous irez sur de l'overdesign/ overengineer de vos protocoles & amp; formats, comme le sont presque tous les protocoles et formats.

Sur l'IndieWeb, nous nous concentrons d'abord sur l'UX, et ensuite une fois compris ça, nous construisons/ développons /découpons les protocoles les plus minimaux et suffisants pour soutenir cette UX, et rien de plus. [2]

Screenshots

Voir les caractéristiques spécifiques (par ex. à partir d'IndieMark) et les blocs de construction pour des screenshots et pour en ajouter d'autres, par ex.

Expérimentations

Il existe différentes expériences de design qui peuvent être utiles comme sources d'inspiration, ou peuvent indiquer des modes ou tendances de design éphémères :

  • parallax scrolling - utilisation du scrolling pour changer la perspective / le layout de ce qui est sur la page, par exemple :

Articles

Articles concernant le design orienté utilisateur et UX dans le contexte de l'IndieWeb (social fédéré).

Voir aussi

Récupérée de « https://ducamp.me/index.php?title=Design-fr&oldid=29173 »