1. ⁘  ⁘  ⁘
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  38. breakups 0
  39. brevity 1
  40. bridges 0
  41. Brooks, Frederick P. 22
  42. building 16
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  44. Cage, John 2
  45. Camus, Albert 13
  46. capitalism 3
  47. Caro, Renan Le 1
  48. Centers, Josh 1
  49. chance 11
  50. Chang, David 1
  51. chaos 4
  52. Chapman, David 1
  53. childhood 6
  54. Choi, Roy 3
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  56. Ciechanowski, Bartosz 1
  57. clarity 3
  58. class 3
  59. Cleary, J.C. 8
  60. Clegg, Gordon 2
  61. cliché 4
  62. collaboration 18
  63. color 23
  64. commonplace 11
  65. competition 3
  66. Compton, Michael 1
  67. consciousness 5
  68. conservation 3
  69. consistency 2
  70. constraints 25
  71. consumption 5
  72. content 9
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  74. Cooper, Muriel 1
  75. Copland, Aaron 1
  76. Corum, Jonathan 2
  77. craft 66
  78. Crichton, Michael 1
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Style

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  • The superficial aspects of what someone else is doing

    What keeps me busy in my classes is trying to help my students learn how to think. They say, "Rob holds his hands like this...," and they don't know that the reason I hold my hands like this is not to make myself look that way. The end result is not to hold the gun that way; holding the gun that way is the end result of doing something else.

    …The more general issue is that a person who doesn't understand the thing they're trying to copy will end up copying unimportant superficial aspects of what somebody else is doing and miss the fundamentals that drive the superficial aspects. This even happens when there are very detailed instructions. Although watching what other people do can accelerate learning, especially for beginners who have no idea what to do, there isn't a shortcut to understanding something deeply enough to facilitate doing it well that can be summed up in simple rules, like "omit needless words".

    Dan Luu, Some thoughts on writing
    1. ​​The Elements of Style​​
    • style
  • Something akin to style

    My own attitude toward the microstructure of metals is not unlike that of an art historian regarding a painting or sculpture. There is something akin to style even in a photomicrograph. There are aspects of structure that are not immediately apparent to the untrained eye, and quite minor features may be clues to a deep meaning.

    The Interpretation of Microstructures of Metallic Artifacts
    • style
  • A particular deficiency of which they all partake

    There is something about the aesthetics of NFTs — not a sameness, exactly, but a particular deficiency of which they all partake, such that even though they look different, they all manage to suck in the same way. It’s tempting to say they suck the way everything sucks now, but it’s more like how one particular strain of American aesthetics has sucked for the last 20 years. NFTs are the human capacity for visual expression as understood by the guy at the vape store.

    Dan Brooks, The Future Is Not Only Useless, It’s Expensive
    • aesthetics
    • style
    • graphics
  • Illa de la Discòrdia

    Screenshot of en.wikipedia.org on 2021-10-14 at 12.16.07 PM.png

    A city block on Passeig de Gràcia in the Eixample district of Barcelona, Catalonia, Spain. The block is noted for having buildings by four of Barcelona's most important Modernista architects, Lluís Domènech i Montaner, Antoni Gaudí, Josep Puig i Cadafalch and Enric Sagnier, in close proximity. As the four architects' styles were very different, the buildings clash with each other and the neighboring buildings.

    Wikipedia
    en.wikipedia.org
    • style
    • architecture
    • cities
  • The discoveries you make in the making

    Style is an expression of the interest you take in the making of every sentence.
    It emerges, almost without intent, from your engagement with each sentence.
    It's the discoveries you make in the making of the prose itself.

    Where ambiguity rules, there is no "style"—or anything else worth having.

    Pursue clarity instead.
    In the pursuit of clarity, style reveals itself.

    Verlyn Klinkenborg, Several Short Sentences About Writing
    1. ​​The idea grows as they work​​
    2. ​​Four principles​​
    3. ​​Expressing ideas helps to form them​​
    • style
    • clarity
    • making
  • Substance over style

    By the 1930s, the teardrop shape, known since the turn of the century to be the form of least resistance, was incorporated into Boeing and Douglas aircraft, and, being the contemporary artifact that best symbolized the future, the airplane set the style for things generally. The most static of mundane objects were streamlined for no functional purpose, and chromed and rounded staplers, pencil sharpeners, and toasters were hailed as the epitome of design.

    ...Though all design is necessarily forward-looking, all design or design changes are not necessarily motivated by fickle style trends. The best in design always prefers substance over style, and the lasting concept over the ephemeral gimmick.

    Henry Petroski, The Evolution of Useful Things
    • design
    • style
    • fashion
  • Style consists in distinction of form

    Writing about style in architecture, the nineteenth-century theorist Viollet-le-Duc asserted that "style consists in distinction of form," and complained that animals expressed this better than the human species. He felt that his contemporaries had "become strangers to those elemental and simple ideas of truth which lead architects to give style to their designs," and he found it "necessary to define the constituent elements of style, and, in doing so, to carefully avoid those equivocations, those high-sounding but senseless phrases, which have been repeated with all that profound respect which most people profess for that which they do not understand."

    Eugène Viollet-le-Duc, The Evolution of Useful Things
    1. ​​Having quite lost sight of the principle​​
    • style
  • The signature

    It has long been understood that striving for originality as an end in itself is the mark of an inferior artist. The personal style of a good artist is never something that has been deliberately cultivated and forced but something that has appeared unsought as inevitably as the personal style of a man's handwriting.

    But since artists of note are seen to have a distinct personal style, no artist can hope to make a reputation in a competitive society unless he too can show a distinctive style which easily differentiates his work from that of other artists and draws attention to it. Therefore artists of little capability or uncertain vocation will take great care to make their work look 'different', whereas those with any certainty in them will know that their work cannot help but look different from that of other people any more than signatures can.

    It is worth reflecting that the fact of the unmistakable individuality of each man's signature is one foundation of modern commerce everywhere. To establish the individuality of it one need not write it vertically up the page in letters two inches high. And yet there are only twenty six letters, and everyone else uses them too.

    David Pye, The Nature and Aesthetics of Design
    1. ​​Over-imagination​​
    2. ​​A fresh focus of power​​
    • style
  • An engine of technological difference

    Whether at the level of national "technological styles" that shape and differentiate the nature of "same" technologies in different national contexts, or the simple but consequential variations by which industrial commodities are brought into, enlivened, and sustained within the circumstances of individual homes and lives, repair may constitute an important engine by which technological difference is produced and fit is accomplished.

    Steven J. Jackson, Rethinking Repair
    • style
  • A concept of style

    It is a concept based not on the classification of various physical features of architecture and urban design but on the problem-solving process itself. We have seen that the final outcome of a design process is strongly determined by at least three aspects of that process:

    1. the subject matter of the organizing principles which are adopted,
    2. the manner in which these principles are interpreted and reinterpreted in the context of the problem at hand, and
    3. the sequent of applying such organizing principles.

    Consistency in style among the output of designers can thus be understood as a habitual way of doing things, of solving problems.

    Peter G. Rowe, Design Thinking
    1. ​​It was all change until the very last second​​
    • style
  • Style is not separate from substance

    Young writers often suppose that style is a garnish for the meat of prose, a sauce by which a dull dish is made palatable. Style has no such separate entity; it is nondetachable, unfilterable. The beginner should approach style warily, realizing that it is an expression of self, and should turn resolutely away from all devices that are popularly believed to indicate style - all mannerisms, tricks, adornments. The approach to style is by way of plainness, simplicity, orderliness, sincerity.

    The young writer should learn to spot them - words that at first glance seem freighted with delicious meaning but that soon burst in air, leaving nothing but a memory of bright sound.

    William Strunk Jr. & E.B. White, The Elements of Style
    • style
  • Eyes which do not see

    Our epoch is fixing its own style day by day. It is there under our eyes—Eyes which do not see.

    Le Corbusier, Towards a New Architecture
    • seeing
    • style
  • All the work of an epoch

    Style is a unity of principle animating all the work of an epoch, the result of a state of mind which has its own special character.
    Our own epoch is determining, day by day, its own style.
    Our eyes, unhappily, are unable yet to discern it.

    Le Corbusier, Towards a New Architecture
    • style
  • Shoes

    It was perhaps a pedantic matter over which to come to such a decision, but shoes are supreme symbols of aesthetic, and hence by extension psychological, compatibility. Certain areas and coverings of the body say more about a person than others: shoes suggest more than pullovers, thumbs more than elbows, underwear more than overcoats, ankles more than shoulders.

    Alain de Botton, On Love
    • aesthetics
    • style
  • Controlled!

    Braun design is greatly reduced - stripped of all that is unnecessary. Nevertheless, there is a strong aesthetic characterized by balance, order and harmony.

    Self-control is very important. Although my own taste is involved it always has to be under control. Not suppressed though! Controlled!

    Sophie Lovell & Dieter Rams, Dieter Rams: As Little Design as Possible
    1. ​​No reason for being​​
    • style
  • When design gets too easy

    Design has invariably exhibited styles because some clear limitations on freedom of choice are psychologically necessary to nearly all designers. When design gets too easy it becomes difficult.

    David Pye, The Nature and Aesthetics of Design
    • constraints
    • style
  • Who did the teaching, then?

    It has been contended sometimes that our response to works of art is entirely learnt and in no way innate; but the questions 'Who did the teaching, then? and how?' have not, I fancy, been much investigated. This contention is very true of our responses to styles and fashions, but it is not true of our response to beauty.

    David Pye, The Nature and Aesthetics of Design
    • style
    • beauty
    • fashion

    Environment teaches fashion.
    Culture teaches style.
    Nature teaches beauty.

  • Typography exists to honor content

    In a world rife with unsolicited messages, typography must often draw attention to itself before it will be read. Yet in order to be read, it must relinquish the attention it has drawn. Typography with anything to say therefore aspired to a kind of statuesque transparency. Its other traditional goal is durability: not immunity to change, but a clear superiority to fashion. Typography at its best is a visual form of language linking timelessness and time.

    Robert Bringhurst, The Elements of Typographic Style
    • time
    • style
    • typography
  • Typographic style

    Literary style, says Walter Benjamin, “is the power to move freely in the length and breadth of linguistic thinking without slipping into banality.” Typographic style, in this large and intelligence sense of the word, does not mean any particular style – my style or your style, or Neoclassical or Baroque style – but the power to move freely through the whole domain of typography, and to function at every step in a way that is graceful and vital instead of banal.

    Robert Bringhurst, The Elements of Typographic Style
    • style
  • No-nonsense

    Admittedly, though, however alert and aware I felt, I was probably more aware of the effects the lecture seemed to be having on me than of the lecture itself, much of which was over my head, and yet was almost impossible to look away from or not feel stirred by. This was partly due to the substitute's presentation, which was rapid, organized, undramatic, and dry in the way of people who know that what they are saying is too valuable in its own right to cheapen with concern about delivery or 'connecting' with the students. In other words, the presentation had a kind of zealous integrity that manifested not as style but as the lack of it. I felt that I suddenly, for the first time, understood the meaning of my father's term 'no-nonsense', and why it was a term of approval.

    David Foster Wallace, The Pale King
    • style
    • teaching
  • A Search for Structure

    A Book by Cyril Stanley Smith
    mitpress.mit.edu
    1. ​​Apologia​​
    2. ​​Grain Shapes and Other Metallurgical Applications of Topology​​
    3. ​​Structure, Substructure, and Superstructure​​
    4. ​​The Interpretation of Microstructures of Metallic Artifacts​​
    5. ​​Matter versus Materials: A Historical View​​
    1. ​​Results of a search​​
    • making
    • material
    • craft
    • style
  • The Art of Looking Sideways

    A Book by Alan Fletcher
    www.alanfletcherarchive.com
    The Art of Looking Sideways.jpg

    Cover art for Alan Fletcher's wonderfully expansive commonplace book.

    1. ​​Thinking is drawing in your head​​
    2. ​​The picket fence​​
    3. ​​The chicken was the egg's idea for getting more eggs​​
    1. ​​The brain is wider than the sky​​
    2. ​​What this site is​​
    • graphics
    • design
    • communication
    • commonplace
    • style
    • collections
  • Dieter Rams: As Little Design as Possible

    A Book by Sophie Lovell & Dieter Rams
    www.phaidon.com
    1. ​​Beyond improvement​​
    2. ​​Cardinal sin​​
    3. ​​On display​​
    4. ​​Long-term​​
    5. ​​Humble servants​​
    1. ​​Good design is practical design​​
    • design
    • objects
    • style
    • minimalism
  • The Design of Design

    A Book by Frederick P. Brooks, Jr.
    www.goodreads.com
    1. ​​Design process models: A summary argument​​
    2. ​​The spiral model​​
    3. ​​A grossly obese set of requirements​​
    4. ​​Requirements proliferation​​
    5. ​​The architectural contracting model​​
    1. ​​Design System as Style Manual With Web Characteristics​​
    • design
    • software
    • architecture
    • making
    • style
  • The Nature and Art of Workmanship

    A Book by David Pye
    www.bloomsbury.com
    1. ​​That which requires caring​​
    2. ​​Mass production of variable products​​
    3. ​​From hands to machines​​
    4. ​​Employs nothing at all​​
    5. ​​What is Folk Craft?​​
    • design
    • making
    • craft
    • style
  • The Craftsman

    A Book by Richard Sennett
    yalebooks.yale.edu
    1. ​​The great teacher​​
    2. ​​The categories of good​​
    3. ​​For its own sake​​
    4. ​​The details of construction​​
    5. ​​The technology shelf​​
    • craft
    • making
    • material
    • style

    The intimate relations between problem solving and problem finding, technique and expression, play and work.

  • The Nature and Aesthetics of Design

    A Book by David Pye
    books.google.com
    1. ​​Any imaginable shape​​
    2. ​​Useless work on useful things​​
    3. ​​Presentable​​
    4. ​​The principle of arrangement​​
    5. ​​The minimum condition​​
    1. ​​More real than living man​​
    2. ​​That which requires caring​​
    3. ​​The informing idea of functionalism​​
    • design
    • aesthetics
    • making
    • style
    • craft
    • beauty
  • UI and Capability

    An Article by Ryan Singer
    rjs.medium.com
    Screenshot of rjs.medium.com on 2021-09-05 at 1.39.21 PM.png

    I’m very conscious of whether I am affording a feature or styling it. It’s important to distinguish because they look the same from a distance.

    ...Affording a capability and styling it are both important. But it’s essential to know which one you are doing at a given time. Style is a matter of taste. Capability and clarity are not. They are more objective. That person standing at the edge of the chasm cares more about accomplishing their task than the details of the decor.

    • function
    • style
    • design
  • Whomst styles?

    An Article by Robin Sloan
    www.robinsloan.com
    Screenshot of www.robinsloan.com on 2021-08-22 at 12.36.39 PM.png

    This is a “whostyle”: an attempt to carry the ~timbre~ of an author’s voice, in the form of their design sensibility, through into a quotation. It’s the author who defines their whostyle; the quoting site just honors it, a frame around their words.

    I think the whostyle makes a few arguments. Among them:

    • Text is more than a string of character codes. Its design matters, typography and layout alike; these things support (or subvert!) its affect, argument, and more.
    • The web should be more colorful and chaotic, along nearly every dimension. The past five years have brought a flood of new capabilities, hugely expressive — let’s use them!
    • Quoting is touchy, and anything you can do to cushion it with respect and hospitality is a plus.
    1. ​​Whostyles​​
    • hypermedia
    • typography
    • style
    • blogging
  • Design System as Style Manual With Web Characteristics

    An Article by Dorian Taylor
    doriantaylor.com

    In my opinion, what makes a designer competent is precisely their ability to credibly justify their conclusions. If you can’t do this as a designer—no matter how successful your results are—then neither I nor anybody else can tell if you aren’t just picking things at random.

    What I am proposing, then, is no less than to make a designer’s entire line of reasoning a matter of permanent record. On the surface is the familiar set of prescriptions, components, examples and tutorials, like you would expect out of any such artifact. Attached to every element, though, is a little button that says You click it, and it tells you. The proximate explanation will probably not be very satisfying, so you click on the next until you get to the end, at which point you are either satisfied with the explanation, or you aren’t.

    1. ​​The Design of Design​​
    • decisions
    • design
    • systems
    • style

See also:
  1. design
  2. making
  3. craft
  4. aesthetics
  5. typography
  6. beauty
  7. fashion
  8. material
  9. graphics
  10. architecture
  11. time
  12. constraints
  13. teaching
  14. objects
  15. minimalism
  16. communication
  17. commonplace
  18. collections
  19. software
  20. decisions
  21. systems
  22. seeing
  23. clarity
  24. hypermedia
  25. blogging
  26. function
  27. cities
  1. David Pye
  2. Sophie Lovell
  3. Dieter Rams
  4. Robert Bringhurst
  5. Le Corbusier
  6. Alain de Botton
  7. David Foster Wallace
  8. Cyril Stanley Smith
  9. Alan Fletcher
  10. Richard Sennett
  11. Frederick P. Brooks
  12. Jr.
  13. Dorian Taylor
  14. Peter G. Rowe
  15. William Strunk Jr.
  16. E.B. White
  17. Verlyn Klinkenborg
  18. Steven J. Jackson
  19. Robin Sloan
  20. Ryan Singer
  21. Eugène Viollet-le-Duc
  22. Henry Petroski
  23. Dan Brooks
  24. Dan Luu