In line with what I wrote in my previous column, I\u2019d like to talk in this column about the \u201cmove and volume,\u201d one of the traditional means of expression used in design.<\/p>\n
There are various methods for designing regarding what forms to make, how to present lines and surfaces, and how to make use of colors and feels of materials.<\/p>\n
But most importantly, before delving into such individual aspects, we need to deal with holistic and abstract subjects like \u201chow to express overall movements\u201d and \u201chow to present silhouettes and appearances.\u201d Concentrating on handling lines and surfaces often results in a mess of design elements, which ends up with a product that can hardly leave good impressions.<\/p>\n
Previously, when I joined a design project, I happened to find a clue how to design the movement. In the American custom-car world called Hot Rod, designers maintain the elements of original design while coordinating every aspect of expressing the movement to redesign the original product. There are various methods for carrying out this process.<\/p>\n
Isn\u2019t it amazing to go to such lengths without adding extra lines and surfaces? If we understand this approach, we no longer need to waste time fiddling with lines and surfaces more than necessary. With that in mind, we can deliver simple yet strong messages. In fact, designers have used this approach to make breakthroughs in designing not only naked motorcycles but also sports and touring motorbikes. Design becomes more interesting if you see products from a perspective like this.<\/p>\n
<\/p>\n
Yoshiro Shimizu<\/p>\n
Product Design Dept.<\/p>\n
Operating Officer<\/p>\n
<\/p>\n","protected":false},"excerpt":{"rendered":"
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