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ajit's review against another edition
5.0
A must-read for absolutely anyone, doing anything.
> "Our questioning, and the imagination it inspires, allows us to perform the most important magic: to make the world grow by revealing what was right before our eyes."
> "Our questioning, and the imagination it inspires, allows us to perform the most important magic: to make the world grow by revealing what was right before our eyes."
ericfheiman's review against another edition
2.0
I was intrigued by this book due to its Cinderella Kickstarter funding story and seeing the author on a number of conference lineups in the last few years. It's a short read (125 pages) and has a nicely understated, well-considered design that implies a gravitas rare in the world of design writing. The Shape of Design doesn't live up to the packaging or the surrounding hype, but it's an admirable failure. To paraphrase a notion in the book, how Chimero presents his ideas has some appeal. Why he chose to present them at all is the bigger (and even troubling) question.
Chimero is an eloquent writer. You can sense every syllable of the manuscript has been scrupulously considered in the best detail-attentive way, and it rarely gets bogged down in designer jargon. But I kept getting sidetracked by the endless analogies (some clever, some forced) and highbrow references. (To use a poor analogy—I'm not as pro as Chimero) It's akin to the annoying person who is always unnecessarily flaunting their highbrow intellectual and cultural knowledge, not to contribute to a discussion, but to simply establish their superior airs. The ideas and observations in this book are sound and, on occasion, freshly insightful. But strip away all the posturing and you have about 15-20 pages that really matter. Chimero is constantly pushing the importance of storytelling in design (which is old news), yet the narrative here suffers mainly from using too many other authors to tell the tale and not enough confidence in his own voice. His connections and insights are usually interesting, but bereft of any soul or humanity. (A classic designer trope, no?) Chimero's single stab at humor had me longing for more, because I felt as if I was finally hearing his true voice.
The bigger question is who is this book for? For seasoned designers, Chimero's observations will be familiar, even if they are presented more eloquently than usual. Non-designers will be scratching their heads. Chimero is very lucid about the "shape" of design, but frustratingly abstract when talking about it in manifest form. The best audience for this might be students, but the odd combination of the instructional and the reflective might be confounding, since undergraduate students won't have developed enough of a process or body of work to really reflect on as Chimero has. The first reading assignment upon entering grad school, maybe?
If anything, The Shape of Design illustrates the paradox inherent in such an endeavor. In an age where designers are being asked to define their process as concretely as possible, creativity still stubbornly resists to be codified. (Jonah Lehrer faced a similar hurdle in his recent book, Imagine.) Artists and designers are special because alchemy is part of the process. It's why most biographies and biopics of artists fail to illuminate creative genius—most of the subjects themselves can't explain where the unique spark in the work comes from. Truly grappling with this challenge might have resulted in a better book. Instead, The Shape of Design comes off as a young design writer's attempt to establish himself as an authoritative voice yet with surprisingly very little new to say.
Chimero is an eloquent writer. You can sense every syllable of the manuscript has been scrupulously considered in the best detail-attentive way, and it rarely gets bogged down in designer jargon. But I kept getting sidetracked by the endless analogies (some clever, some forced) and highbrow references. (To use a poor analogy—I'm not as pro as Chimero) It's akin to the annoying person who is always unnecessarily flaunting their highbrow intellectual and cultural knowledge, not to contribute to a discussion, but to simply establish their superior airs. The ideas and observations in this book are sound and, on occasion, freshly insightful. But strip away all the posturing and you have about 15-20 pages that really matter. Chimero is constantly pushing the importance of storytelling in design (which is old news), yet the narrative here suffers mainly from using too many other authors to tell the tale and not enough confidence in his own voice. His connections and insights are usually interesting, but bereft of any soul or humanity. (A classic designer trope, no?) Chimero's single stab at humor had me longing for more, because I felt as if I was finally hearing his true voice.
The bigger question is who is this book for? For seasoned designers, Chimero's observations will be familiar, even if they are presented more eloquently than usual. Non-designers will be scratching their heads. Chimero is very lucid about the "shape" of design, but frustratingly abstract when talking about it in manifest form. The best audience for this might be students, but the odd combination of the instructional and the reflective might be confounding, since undergraduate students won't have developed enough of a process or body of work to really reflect on as Chimero has. The first reading assignment upon entering grad school, maybe?
If anything, The Shape of Design illustrates the paradox inherent in such an endeavor. In an age where designers are being asked to define their process as concretely as possible, creativity still stubbornly resists to be codified. (Jonah Lehrer faced a similar hurdle in his recent book, Imagine.) Artists and designers are special because alchemy is part of the process. It's why most biographies and biopics of artists fail to illuminate creative genius—most of the subjects themselves can't explain where the unique spark in the work comes from. Truly grappling with this challenge might have resulted in a better book. Instead, The Shape of Design comes off as a young design writer's attempt to establish himself as an authoritative voice yet with surprisingly very little new to say.
lizella's review against another edition
3.0
I found this slim volume to be a good touch point for inspiration on the process of design in all its forms. The chapters are organized in a way that is easy to reference and are filled with relatable metaphors to explain aspects of design that would be helpful to to designers and non-designers alike. As I was reading this, I thought it would be a nice book to share with clients at the beginning of a working relationship to set the tone of what is possible.
While no book is perfect, The Shape of Design is well-executed and is a good conversation starter about design.
While no book is perfect, The Shape of Design is well-executed and is a good conversation starter about design.
_b_a_l_'s review against another edition
3.0
In the beginning I found this book frustrating because I'm looking for books that will improve my design work and this felt like a book of philosophy (and a slightly cliched one at that).
But:
1. It does get better and actually makes some excellent points.
2. I think that philosophy is probably more central to the practice than I really believe.*
Some things that I've learned (or at least read about and that is the first step):
Design = a verb. It is a process and a practice. This means that the ultimate artifact is really just a means to the end.
Design = a vocabulary to define terms of engagement within a complex social ecosystem.
Design = message + tone + format
Design = a field of outcomes and consequences more than one of artifacts.
Design = management of contributions
Design = balance of authority and surrendered control
Delightful** design = memorable because of superior fit
Delightful** design = engaged in consequential human way.
Start with the objectives, the why of the project. Then come up with the worst idea possible and work backwards from there. You have guaranteed momentum towards improvement.
Limitations mean you don't have to wait for the muse to show up. (This is really the heart of a mobile first approach.)
A story = change over time. Even moving through a website is a time based narrative.
The adjacent possible is how much genes and ideas can change. Some people can push through this.
Designers are inside/are part of the ecosystem in which they live.
Design's target is defined by end users. These change constantly. Design is temporary.
Social platforms should design to optimize thankfulness for interactions and relationships over consumption of information.
Surprise counters entitlement and predictability.
Serendipity = unexpected relevancy
Cold or excessivled composed projects are more indicative of a lack of understanding than professionalism.
And my personal favourites:
Use the scent of fish to make your life/design/practice better, and...
Always do things "the long, hard, stupid way." (Audiences can sense this).
And this is quite beautiful:
"And if you look closely, and ignore the things that do not matter, what comes into focus is simply this: there is the world we live in and one that we imagine. It is by our movement and invention that we inch closer to the latter. The world shapes us, and we get to shape the world."
* This review is part of B's reading books for work series. This is why is focuses more on content and less on the writing.
** This made me hate this word less.
davemmett's review against another edition
4.0
Excellent. I'll be keeping it on my desk to flip through whenever I'm stuck.
fargestift's review against another edition
2.0
I first came across Frank Chimero on the social media platform Letterboxd, which can be described a bit like goodreads for film - "goodwatches" - and stalked my way to his homepage after being impressed by his taste in cinema.
The past year, I've become more and more interested in designing for the virtual world, and read Chimero's brilliant essay on 'What Screens Want'. Since then I've been a fan of his design-philosophy, and eventually delved into his short and free ebook, 'The Shape of Design'. While by no means a terrible book, I can't help but feel that my time could have been better spent by re-reading his essays, as most of the ideas contained in the book comes across better in the essays, which incorporates design and examples much more illustratively and appropriately than in the book. Where I think the book has most to give, is when Frank writes about _his own_ influences, like how he keeps a copy of Edward Hopper's iconic 'Nighthawks' in his drawer and makes up little narratives from the still painting. Among the good tips for designing, I think examples like how limitations – self-imposed or not – can be helpful in getting the mind racing. But that advice isn't new to me. That is no fault of Frank's, and it's always good to have helpful thing reiterated, but it greatly reduces my take away from the book.
If you are unfamiliar with Frank Chimero and interested in design, I would say you should look up his visual essays first, they can be found on his homepage (frankchimero.com). If they leave you hungry for more, maybe give his ebook a shot, it's free, and maybe you'll get more out of it than me.
The past year, I've become more and more interested in designing for the virtual world, and read Chimero's brilliant essay on 'What Screens Want'. Since then I've been a fan of his design-philosophy, and eventually delved into his short and free ebook, 'The Shape of Design'. While by no means a terrible book, I can't help but feel that my time could have been better spent by re-reading his essays, as most of the ideas contained in the book comes across better in the essays, which incorporates design and examples much more illustratively and appropriately than in the book. Where I think the book has most to give, is when Frank writes about _his own_ influences, like how he keeps a copy of Edward Hopper's iconic 'Nighthawks' in his drawer and makes up little narratives from the still painting. Among the good tips for designing, I think examples like how limitations – self-imposed or not – can be helpful in getting the mind racing. But that advice isn't new to me. That is no fault of Frank's, and it's always good to have helpful thing reiterated, but it greatly reduces my take away from the book.
If you are unfamiliar with Frank Chimero and interested in design, I would say you should look up his visual essays first, they can be found on his homepage (frankchimero.com). If they leave you hungry for more, maybe give his ebook a shot, it's free, and maybe you'll get more out of it than me.
merqri's review against another edition
4.0
To understand something, we must understand two aspects. The how and the Why.
Although the how will tell you to the practical skills to master anything and will be very useful in the efficiency and productivity measures, it is the why that is essential for truly understanding the subject.
Frank attempts to answer and expand upon the why of design. That makes this book worthy of reading. If you come here to have some concrete pointers about the design process, you might be disappointed. Frank attempts to think openly about the essence of design and how an aspiring designer should look at the world.
He has split the book into ten chapters. In the first, he jumps right into the why of things and then follows it up with the thought process in subsequent chapters which talk about the craftiness, beauty of design. He also touches the practical aspects of limitations while designing. He talks about keeping the user at the center of your design and understand the context and requirements.
This is a fairly small book and should be a quick read for most. It is definitely worth a read for beginners and experienced people alike.
Although the how will tell you to the practical skills to master anything and will be very useful in the efficiency and productivity measures, it is the why that is essential for truly understanding the subject.
Frank attempts to answer and expand upon the why of design. That makes this book worthy of reading. If you come here to have some concrete pointers about the design process, you might be disappointed. Frank attempts to think openly about the essence of design and how an aspiring designer should look at the world.
He has split the book into ten chapters. In the first, he jumps right into the why of things and then follows it up with the thought process in subsequent chapters which talk about the craftiness, beauty of design. He also touches the practical aspects of limitations while designing. He talks about keeping the user at the center of your design and understand the context and requirements.
This is a fairly small book and should be a quick read for most. It is definitely worth a read for beginners and experienced people alike.
wildc's review
5.0
I don't understand why so many people give a poor rating to this book. I think it's a tremendously well-written and very insightful look at the creative process - as well as having a refreshing and calming design. Although it is written from the point of view of a designer, the concepts apply to any creative discipline.