Footwear Design &Nbsp; "Understand The Great Harmony, Can Only Go To The Edge".

Salesmen and salesmen sell products to customers while designers sell themselves.

Their selling points - inspiration, wisdom and thinking - is a treasure and a distinction between design and design.

It is a sad thing to leave a good attitude, at least for the designer.

This makes it difficult for him to balance himself all day, to experience life, to integrate into life, to refine life and then to improve life.

Life is already in a mess. How can we be in a good mood for design? The spark of inspiration will never burst in the hay.

The superior life may be a bit absolute, but imagine that in a spacious and bright cafe, you feel the strong smell of Italy latte, scribble graffiti on the manuscript paper, stop pending a cup of coffee, and slam the busy people through the French windows. Sometimes you lean on the soft sofa, no one will interrupt your thoughts, interfere with you, and disturb you, but your inspiration will come close to you.

Think again, if you are squeezed into a four or five square meter office, the staff of one room, the information of one house, the smoke of a house and the noise of a house, I am afraid it is very difficult to squeeze out fresh inspiration. In my opinion, a good attitude and superior life are like twin sisters.

I am not advocating petty bourgeois sentiment, emphasizing the conditionality of objective conditions, and denying that there is no excellent design work in civilian life.

What I want to say is that "the influence of superior life on the design of outstanding works is not to be overlooked."

In fact, in the simple use of

The present design is not worth a lot of money.

The printing fee includes the design fee, not the sales promotion of the mall - buy one get one free! The design is much less valued than before. Why?

There are too many irresponsible designers.

It is a great joke to have a picture in hand and a few typefaces to complete the design.

A picture plus a few lines is a collage, not a typesetting.

No layout, no comparison, no visual process.

It's important to make money with fast guns and fast guns.

It is not important to have creativity, so long as the work is full of hype, it will be done in the form of "jumping out".

Pay attention to the leaflets, DM and brochures we receive.

Quite a number is this masterpiece.

Naturally, design is not worth a penniless.

The existence of such designers is a blasphemy for design and a waste of design elements.

When the designer is eager for quick success, instant benefit, desire to lose heart and selfish desire to expand, the design itself is not pure and has been out of shape.

Truly outstanding

The imitation in design is also understandable, because worship and aspiration are normal psychology.

Influenced by the style of a certain master and so and so, there are traces in his works, which is not equivalent to plagiarism.

Plagiarism is robbed, and it is shameless because it has stolen other people's treasures.

Since we have the same design elements as world-class designers, why not use them to express themselves and sell themselves?

Originality is of great importance to designers. It can make design works with vitality, not assimilated, not duplicated, and without originality.

Designers must be confident and believe in their personal beliefs, experience, vision and taste, and respect individuality and individuality.

Of course, insisting on reason must be justified. If it is purely for the sake of popularity, it is wrong to make a difference. The designer is not a gong but attracts all the juggling people.

The emergence of digital technology has epoch-making significance. The traditional paper, pen and compasses have been replaced by keyboard and mouse. The complex operation and precise mapping can be done by computers. But at the same time, the digital age has a disastrous significance for inspiring inspiration. Any stupid idea can be handled professionally and very loud.

On the one hand, assisting designers to accomplish brilliant ideas, on the one hand, engulfing their thoughts and making them lazy in thinking.

Good designers can't rely entirely on digital technology.

At best, it is only a producer and skilled worker.

I must always remind myself that "I am an excellent designer, and improving ideas is far more important than updating them."

With the advantage of saving money, about eighty or ninety percent of things are better than others. Don't let too many technical problems bother us and block design thinking.

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Today's world is a blend and open world.

The only thing that remained unchanged in twenty-first Century was "change".

In this case, the designer's thinking should not be conservative and conservative.

The biggest advantage of the first line designer is that he enjoys the same information resources with the world's top designers in the first time.

All kinds of media, magazines, Internet, forums, lectures, exhibitions...

Every minute provides instant information.

In the face of such a dazzling world, designers must distinguish good from bad and distinguish good from bad.

A tutor in the school will correct you and tell you what is good and what is bad.

But people can't depend on others all their lives. Designers should have their own brilliant, original and keen eyes.

Otherwise, if you lose yourself, you may always deviate from the correct track, or be replaced by a rising star, and then disappear.

How can this brilliant, unique and keen vision be established? It is based on profound cultural knowledge and accomplishment.

The continuous supply of culture and wisdom can make this kind of vision sharper and become the magic weapon of the evergreen tree in the design field.

The relationship between culture and design is compared to the relationship between roots and plants, and the analogy between "foundation and tall buildings" is, in short, the degree of its close connection.

Usually, excellent design works have simple external forms and deep cultural connotations.

A layman may judge the good and bad with a piece of "good-looking and not good-looking" work, and his professional conduct will fade away all the beautiful cloak and explore the essence.

The coat can be changed, but can the constituent elements replace the relationship between elements and culture? Why do designers use these elements instead of those? In other words, how do I think about how to choose elements when I design this topic? These seemingly simple thoughts are easily overlooked by designers who are in a dazzling way.

I emphasize that designers should understand the history of design and art.

People are used to asking why. When you start watching a soap opera halfway, you will naturally ask, "what did you broadcast in the first few episodes?" it is very important for designers to learn more about "source culture", because we have accepted too many "source branches" in the design.

When you are familiar with the source culture, you can set aside another and create another branch.

Moreover, creation and discovery are not empty.

A lot of solutions to the source culture can help you to take fewer detours, walk into the dead alleys, step on the shoulders of predecessors, and climb up. Why not? Some people say that I totally refuse to accept their predecessors' so and so style and go their own way.

It is not known that you have thrown away all the way you may have gone through. The predecessors probably passed a century ago, and this road is recognized by history as impracticable.

Wasting energy and wasting time is not worth the candle.

"To understand the great harmony, we can only go to the edge."