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I’m old enough to remember when you could pick up any regional graphic design annual, open it, and know exactly which area you were looking at just from the work itself. Tennessee or Texas. Southern California or the Pacific Northwest. New York or Chicago. Each had clear stylistic tells. And as an aspiring designer myself, I loved the way concert posters, packaging, and logos all possessed the spirit of their place—and reflected the particular tastes of the people who lived there.

我年紀(jì)大了，想起了什么時(shí)候可以拿起任何區(qū)域平面設(shè)計(jì)作品，打開它，并僅從作品本身中確切地知道您正在尋找哪個(gè)區(qū)域。 田納西州或德克薩斯州。 南加州或太平洋西北地區(qū)。 紐約或芝加哥。 每個(gè)人都有明確的風(fēng)格訴說。 作為我自己一個(gè)有抱負(fù)的設(shè)計(jì)師，我喜歡音樂會(huì)海報(bào)，包裝和徽標(biāo)都擁有其所處位置的精神-并反映了居住在那里的人們的特殊品味。

Recently, there’s been a wave of this sort of everything-looks-the-same lament on Medium and elsewhere. When I published an essay about limitations back in 2018, I was surprised at how much interest I received around this idea of vernacular design. Like our forebears in the 1970s and ’80s, it seems we may be reacting to the homogeneity that flows from an international style.

最近，在Medium和其他地方掀起了一股類似的熱潮。 當(dāng)我在2018年發(fā)表一篇關(guān)于限制的文章時(shí) ，我驚訝于我對(duì)這種本土設(shè)計(jì)理念的濃厚興趣。 就像1970年代和80年代的前輩一樣，似乎我們可能會(huì)對(duì)國(guó)際風(fēng)格產(chǎn)生的同質(zhì)性做出React。

Along with the designers at Journey Group, I’ve been exploring the practices that may lead—even in small ways—back toward a design aesthetic with local roots. We’ve been inspired by companies like True Hand in Philadelphia, who work to express the inspiration and influences of a unique subculture bound by place. The maestra of Manhattan Paula Scher was born in D.C. and studied in Philly, but spent the past thirty years developing a visual style that’s virtually synonymous with New York City at Pentagram’s downtown office.

我和Journey Group的設(shè)計(jì)師一起，一直在探索可能甚至導(dǎo)致小規(guī)模實(shí)踐回到具有本地根源的設(shè)計(jì)美學(xué)的實(shí)踐。 我們受到費(fèi)城True Hand公司等公司的啟發(fā)，這些公司致力于表達(dá)受地域限制的獨(dú)特亞文化的靈感和影響。 曼哈頓保拉·謝爾的藝術(shù)大師出生于華盛頓特區(qū)，就讀于費(fèi)城，但在過去的30年中，他開發(fā)了一種視覺樣式，實(shí)際上在五角星形市區(qū)辦公室代表紐約市。

But what about the small places? In our case, what would a design sensibility of and for Charlottesville, Virginia (with fewer than 50k residents) even look like? How can photographers, typographers, illustrators, architects and designers come to care less about what’s happening in Tokyo or London and more about what’s happening just a few blocks away. I’ve got a few ideas.

但是小地方呢？ 在我們的情況下，你會(huì)的 和弗吉尼亞州夏洛茨維爾設(shè)計(jì)感性(少于5萬個(gè)居民)，甚至是什么樣子？ 攝影師，排版，插圖畫家，建筑師和設(shè)計(jì)師如何來關(guān)心較少發(fā)生的事情在東京或倫敦， 更多的是發(fā)生的事情只有幾個(gè)街區(qū)之遙。 我有一些想法。

您關(guān)注的地理圍欄。 (Geofence who you follow.)

Maybe not forever, but consider limiting your influences on platforms like Instagram and Pinterest to individuals and firms within your region. By primarily consuming visual work from your neighbors, you can begin to understand their point-of-view and respond.

也許不會(huì)永遠(yuǎn)如此，但請(qǐng)考慮將您對(duì)Instagram和Pinterest等平臺(tái)的影響力限制在您所在地區(qū)的個(gè)人和公司。 通過主要從鄰居那里消費(fèi)視覺作品，您可以開始了解他們的觀點(diǎn)并做出回應(yīng)。

遠(yuǎn)離Dribbble。 (Stay off Dribbble.)

Similarly, avoid design critique from “the global design community.” Instead, set up a standing happy hour within your firm or with designers from nearby offices to review works in progress. Agree to cultivate a school of criticism that prioritizes local culture and fashion. Don’t ask, “How would they solve this?” Rather, “How would we?”

同樣，請(qǐng)避免來自“全球設(shè)計(jì)界”的設(shè)計(jì)批評(píng)。 取而代之的是，在您的公司內(nèi)或與附近辦公室的設(shè)計(jì)師一起設(shè)立常設(shè)歡樂時(shí)光，以審查進(jìn)行中的工作。 同意建立以當(dāng)?shù)匚幕蜁r(shí)尚為優(yōu)先的批評(píng)學(xué)校 。 不要問“ 他們將如何解決這個(gè)問題？” 而是，“ 我們將如何？”

避免商業(yè)類型。 (Avoid commercial type.)

The explosion of cheap and ready fonts has certainly contributed to the samification of everything. Whenever feasible, collaborate with a local type designer or hire a custom letterer. When it isn’t feasible, draw your own! Source inspiration from old signs, bookstores, print shops, and found items in your neighborhood.

廉價(jià)字體和現(xiàn)成字體的激增無疑促進(jìn)了一切事物的殺傷力 。 在可行的情況下，請(qǐng)與本地字體設(shè)計(jì)師合作或聘請(qǐng)自定義信箋。 如果不可行，請(qǐng)自己動(dòng)手！ 從舊招牌，書店，印刷店和附近發(fā)現(xiàn)的物品中汲取靈感。

別動(dòng) (Stay put.)

Speaking of neighborhoods—pick one! Don’t move! And when you do move, ditch your ego and reinvent your portfolio to better reflect your place. I love looking at an established designer’s portfolio and detecting where they lived at the time the work was produced. Far from seeming inconsistent, it reflects a posture of service by prioritizing shared life over individual acclaim.

說到社區(qū)，請(qǐng)選擇一個(gè)！ 別動(dòng)！ 當(dāng)你這樣做的舉動(dòng)，溝你的自我和重塑你的投資組合，以更好地反映你的地方。 我喜歡看一個(gè)設(shè)計(jì)師建立的投資組合并檢測(cè)他們居住在工作中產(chǎn)生的時(shí)間。 它不僅看起來很不一致，而且通過將共享生活放在個(gè)人贊譽(yù)之上來反映服務(wù)態(tài)度。

學(xué)習(xí)歷史。 (Study history.)

Designers should all aspire to be amateur local historians. Archival photos, blueprints, maps, type specimens, and other ephemera should be our bread and butter. I think immediately of our friend, collaborator, and constant source of inspiration, Aaron Draplin, who obsessively collects the little pieces of human civilization scattered across the midwest. And here’s the thing: his work is so wonderfully situated within a place.

設(shè)計(jì)師都應(yīng)該渴望成為當(dāng)?shù)氐臉I(yè)余歷史學(xué)家。 檔案照片，藍(lán)圖，地圖，類型標(biāo)本和其他臨時(shí)物品應(yīng)作為我們的面包和黃油。 我立即想到我們的朋友，合作者和不斷的靈感源泉， 亞倫·德拉普林 ( Aaron Draplin )癡迷于收集散布在中西部的人類文明的小片段。 就是這樣：他的作品如此美妙地放置在一個(gè)地方。

隨便走走。 (很多。) (Walk around. (A lot.))

And don’t always take the same routes. Bring a camera or a sketchbook or both. Find the moments and sections and flora that are only in your place. Use them. Platform them.

而且不要總是走相同的路線。 帶上相機(jī)或素描本，或同時(shí)帶上兩者。 查找僅在您自己的地方的瞬間，部分和動(dòng)植物。 使用它們。 平臺(tái)他們。

跳過獎(jiǎng)項(xiàng)。 (Skip the awards.)

Or better yet: launch a local competition with a stated bias toward your own place’s unique design vernacular. It would be amazing to see a statewide design exhibition in which D.C. Metro, The Beach, Richmond, Piedmont & Valley, Southwest, and Southside all vied for their own place within Virginia-grown design.

或更妙的是：發(fā)起一場(chǎng)本地比賽，并向您當(dāng)?shù)鬲?dú)特的設(shè)計(jì)偏見。 看到一個(gè)全州范圍的設(shè)計(jì)展覽真是太神奇了，DC地鐵，海灘，里士滿，皮埃蒙特和山谷，西南和南邊都爭(zhēng)相在弗吉尼亞州設(shè)計(jì)中占據(jù)一席之地。

What comes to mind for you? Now that we’re all working alone together, how can we use the opportunity to push back towards a vernacular design?

您想到的是什么？ 現(xiàn)在我們都在一起工作，我們?nèi)绾卫眠@個(gè)機(jī)會(huì)來推向本土設(shè)計(jì)？

翻譯自: https://uxdesign.cc/towards-a-vernacular-design-90ba4c1ac6f8

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