1984 A Novel by George Orwell Into the dampness of a graveReality exists in the mindPerhaps one did not want to be loved so much as to be understood.We shall meet in the place where there is no darknessNothing was your own
Politics and the English Language An Essay by George Orwell jarango.com Never use a metaphor, simile or other figure of speech which you are used to seeing in print. Never use a long word where a short one will do. If it is possible to cut a word out, always cut it out. Never use the passive where you can use the active. Never use a foreign phrase, a scientific word or a jargon word if you can think of an everyday English equivalent. Break any of these rules sooner than say anything outright barbarous. ruleswriting
Learning to See An Article by Oliver Reichenstein ia.net Seeing and feeling Your only language is vision
Seeing and feeling Learning to design is, first of all, learning to see. Designers see more, and more precisely. This is a blessing and a curse—once we have learned to see design, both good and bad, we cannot un-see. The downside is that the more you learn to see, the more you lose your “common” eye, the eye you design for. This can be frustrating for us designers when we work for a customer with a bad eye and strong opinions. But this is no justification for designer arrogance or eye-rolling. Part of our job is to make the invisible visible, to clearly express what we see, feel and do. You can’t expect to sell what you can’t explain. This is why excellent designers do not just develop a sharper eye. They try to keep their ability to see things as a customer would. You need a design eye to design, and a non-designer eye to feel what you designed. For one who can see seeingdesignux