Category: Design Thinking

Excerpts from

A long time ago, I decided to get closer to the sources, opinions, voices and curators that I thought were right for me. Being exposed to Krista Tippett interviews have changed my point of view in some cases, in others have enriched my own findings and thoughts. This post serves as a way to point out some resonance of this interview, that in any case, may find another listener who can be benefited by them and the voices within each podcast.

Guy Consolmagno and George Coyne -Asteroids, Stars, and the love of God

Excerpts from the Krista Tippett interview Podcast at On Being

-It’s only human beings that have this curiosity to understand: What’s that up in the sky? How do we fit into that? Who are we? Where do we come from? And this is a hunger that is as deep and as important as a hunger for food, because if you starve a person in that sense, you’re depriving them of their humanity. And being able to feed this, being able to make a person more human…

-Whoever’s responsible for this universe has a great sense of humor, because whenever you’re expecting something, you get what you expect, but from a very, very different angle than the way you were expecting it.

-And so earthquakes and hurricanes are all part of the of science that I’ve studied that explain how “the world,” planet Earth, actually works. And yes, it’s destructive. And yes, it causes this terrible human tragedy. And at the same time, I can marvel at volcanoes, even as I know volcanoes kill people. I can marvel at space images of hurricanes and then also remember that, yeah, that’s destroying cities underneath those hurricanes.


-…my personal life is built upon the following: I’m a scientist. I try and understand the universe. My understanding of the universe does not need God.

-I think to drag God in when we find that our science is inadequate to understanding certain events that we observe in the universe, we tend to want to bring in God as a god of explanation, a god of the gaps. And we constantly do that. Newton did it, you know? If we’re religious believers we’re constantly tempted to do that. And every time we do it, we’re diminishing God and we’re diminishing science.

-…if God created this universe — “if,” a big-I “If” — why don’t I use my scientific knowledge to reflect upon what kind of god would make a universe like this that I know as a scientist? And when I do — I marvel at this magnificent god. He made a universe that I know as a scientist that has a dynamism to it. It has a future that’s not completely determined. We know that as scientists. The evolutionary process — if you want to take evolution in a very broad sense of cosmological, physical, chemical, biological evolution, this is a magnificent feature of the universe.

-So there is a unity in our scientific knowledge if we search for it. I mean, human life is so rich with life and death, with suffering, with music, and art, and love, and hatred. To limit our human experience to our scientific knowledge is to really impoverish all of us and I’m afraid many scientists do that. Science is the only way to true and certain knowledge; a kind of scientist. And I think that really impoverishes all of human culture.



  1. Taken from the transcript for Guy Consolmagno and George Coyne -Asteroids, Stars, and the love of God. September 24, 2015

#Science #god #faith #Onbeing #KristaTippett #fedehndz #idocare4

Design’s contribution to the UK ᔥDesign Council

Great design can change lives, communities and organisations for the better. It can create better places to live, bring communities together, and can transform business and public services. Design is a way of thinking that helps large organisations, small and medium-sized enterprises, social enterprises and charities change the way they work.

Design’s contribution to the UK economy is £71.7bn in gross value added (GVA), equivalent to 7.2% of UK total GVA

Workers with a design element to their work were 41% more productive than the average

The design economy is mostly male (78% of designers) – compared to 53% of the wider UK workforce

In 2013, the total value of exports where design had made a key contribution was £34bn

Visit the complete publication at:

@designcouncil #designeconomy #fedehndz #idocare4

“It is surprising how contented one can be with nothing definite” ― Henry David Thoreau

“I am grateful for what I am and have. My thanksgiving is perpetual. It is surprising how contented one can be with nothing definite – only a sense of existence. Well, anything for variety. I am ready to try this for the next ten thousand years, and exhaust it. How sweet to think of! my extremities well charred, and my intellectual part too, so that there is no danger of worm or rot for a long while. My breath is sweet to me. O how I laugh when I think of my vague indefinite riches. No run on my bank can drain it, for my wealth is not possession but enjoyment.”
― Henry David Thoreau

#fedehndz #idocare4

Percepción -Bertrand Russell


“La <percepción> parece a primera vista algo perfectamente claro. <Percibimos> el sol y la luna, las palabras que oímos hablar, la dureza o blandura de las cosas que tocamos, el olor de los huevos podridos, o el sabor de la mostaza. No hay duda acerca de los hechos que describimos de esta manera, pero lo que es discutible es nuestra descripción. Cuando <percibimos> el sol, ha habido un largo proceso causal, primero en los noventa y tres millones de millas de espacio intermedio, luego en el ojo, el nervio óptico y el cerebro, no podemos suponer que el acaecer <psíquico> final que llamamos ver el sol tenga mucha semejanza con el sol mismo. El sol, como la cosa en sí de Kant, permanece fuera de nuestra experiencia y sólo es conocido, si acaso lo es, por una inferencia difícil a partir de una experiencia que llamamos <ver el sol>. Suponemos que el sol tiene una existencia fuera de nuestra experiencia porque mucha gente lo ve así de inmediato y porque muchas cosas, tales como la luz de la luna, se explican muy sencillamente suponiendo que el sol ejerce efectos en lugares donde no hay observadores. Pero ciertamente no <percibimos> el sol en el sentido directo y simple en que <parece> que lo hacemos antes de que nos hayamos dado cuenta de la elaborada causación física de las sensaciones. pp 88-89.

“Podemos decir, en un sentido libre, que <percibimos> un objeto, cuando nos sucede algo cuya causa principal es ese objeto, y cuando es de tal naturaleza que nos permite hacer inferencias respecto al objeto. Cuando oímos hablar a una persona, las diferencias en lo que oímos corresponden a las diferencias en lo que ella dice; el efecto del medio interpuesto es, poco más o menos constante y puede ser, por consiguiente, más o menos ignorado. De manera semejante, cuando vemos  una mancha de rojo y una mancha de azul lado a lado, tenemos derecho a afirmar alguna diferencia entre los lugares de donde viene la luz roja y azul. De esta manera podemos intentar salvar el concepto de <percepción>, pero nunca lograremos darle exactitud. El medio interpuesto tiene siempre <algún> efecto deformante; el lugar rojo puede parecer rojo a causa de una niebla intermedia, o el lugar azul porque llevamos anteojos de color. Para hacer inferencias respecto al objeto, partiendo de la experiencia que, naturalmente, llamamos una <percepción>, debemos conocer la física y la fisiología de los órganos de los sentidos y tener una información exhaustiva sobre lo que hay en el espacio intermedio entre nosotros y el objeto. Pero todo el calor y la inmediatez implícitas en la palabra <percepción> se habrán desvanecido en este proceso de inferencia por medio de fórmulas matemáticas difíciles, En el caso de objetos distantes, como el sol, esto no es difícil de comprender, pero es igualmente cierto de lo que tocamos, o leemos y gustamos, puesto que nuestra <percepción> de tales cosas se debe a elaborados que marchan a lo largo de los nervios hasta el cerebro. pp 89-90.

“La ciencia depende de la percepción y la inferencia; su credibilidad se debe al hecho de que las percepciones son las que a cualquier observador le es posible verificar”pp 122-123.

¹ Russel Bertrand, Religión y Ciencia, Fondo de Cultura Económica, tr.Samuel Ramos,1951,México, D.F.

#fedehndz #idocare4 3perception #bertrandrussel #fondodeculturaeconómica #religionyciencia

Our deepest fear

When I read the writing of Marianne Williamson “Our deepest fear” I couldn’t scape the temptation to re-write it as if I were telling this to my son, but then I would be lecturing him, something that does not work. I know him free to choose. Nevertheless, here it is for him. Because this though, one way or another will find him.

Our Deepest Fear

By Marianne Williamson from A Return To Love: Reflections on the Principles of A Course in Miracles.

Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness that most frightens us. We ask ourselves, Who am I to be brilliant, gorgeous, talented, fabulous? Actually, who are you not to be? You are a child of God. Your playing small does not serve the world. There is nothing enlightened about shrinking so that other people won’t feel insecure around you. We are all meant to shine, as children do. We were born to make manifest the glory of God that is within us. It’s not just in some of us; it’s in everyone. And as we let our own light shine, we unconsciously give other people permission to do the same. As we are liberated from our own fear, our presence automatically liberates others.

#ourdeepestfear #careerpath #careerfuture #fedehndz #idocare4 #helpingteenagersfindtheirdreams

Helping Teenagers Find Their Dreams. ᔥThe New York Times

As I’m in to browsing the worlds intelligence, I found this article from 2009 at the New York times” written 



Helping Teenagers Find Their Dreams


Q. What, if anything, can parents of high-school-age children do to guide them toward their true professional calling? 

A. Some parents are apt to put pressure on their children about choosing a first career, thinking that it will determine the course of their lives. Yet as adults, we often reinvent ourselves more than once, moving among professions. So whatever your children choose now won’t necessarily define their future.

“I see many teens who jump on the first career track that someone recommends just to avoid being directionless, only to find themselves miserable a few years later,” said Tamar E. Chansky, a child-and-adolescent psychologist in Plymouth Meeting, Pa., and author of “Freeing Your Child From Anxiety.”

Ms. Chansky says it’s best to have conversations with teenagers about their strengths and interests, rather than a specific career, and then to listen to what they have to say. “If the parent is putting out all the ideas, you wind up with the parent’s dream, not the kid’s,” she said.


You may feel compelled to give career advice because you see particular talents in your child, but parents are more limited by their own experience than they think, said Steve Langerud, director of career services at DePauw University in Greencastle, Ind. As well-meaning as the advice might be, it “doesn’t take into account what’s going to be available to your child in the future,” he said.

“The market is changing so fast there may be careers that exist when a student gets out of college that simply didn’t exist when they started,” he added.

It can be more effective to have children look at themselves functionally. Rather than asking, “What do you want to be?,” pose these questions: “What skills do you have? What kinds of people do you like to work with? In what kind of environment?” This is a way to think about a career without necessarily naming it, Mr. Langerud said. “You describe yourself in a functional way and then figure out what that’s called and if people get paid to do it,” he said.

Q. Discussing the future and potential careers can be overwhelming for a teenager. How do you break down the process so it’s less daunting?

A. Robert Hellmann, a career consultant in private practice in Manhattan who teaches career development courses at the School of Continuing and Professional Studies at New York University, suggested an exercise called the Seven Stories. In it, young people offer 20 examples of times in their lives when they enjoyed doing something and felt they did it well.

“Pick the top seven stories, the ones most meaningful, and you both look for patterns across them,” Mr. Hellmann said. “As a parent, you can help by asking things like: ‘What is it that you enjoyed about this? What do you feel you did best? Why did you do it? What was your relationship in those activities with other people?’ Write down those answers. This gives your child an opportunity to discover for themselves what they are good at and what they want to do.”

Q. How do you steer your children toward meaningful work experiences, internships or mentors?

A. You can certainly help make connections and introduce them to those with advice and information, but your teenager needs to be the one who takes action, said Joan E. McLean, associate dean for academic advising at Ohio Wesleyan University in Delaware, Ohio.

“Part of guiding high school juniors and seniors toward their calling,” she said, “is allowing them to find that calling, to see what best suits their still-developing values and interests.”

If your child wants to be a professional singer, he or she might shadow a singer or a voice coach to see what that person’s life is like, read biographies of singers and talk to those in the profession about the needed education and what they did to build careers.

“That’s the research,” Ms. McLean said. “Then your child experiments, maybe joining a community singing group or participating in summer musical theater. At any step they can change direction. I think finding what you don’t want to do is as important as finding out what you do want to do.”

If you fear that your child is choosing a profession at which success seems highly unlikely — either because of a lack of talent or because it’s unrealistic — bite your tongue, Mr. Hellmann said. “Don’t say, ‘that will never happen’ because you really don’t know that,” he said. “Your child will discover soon enough if they aren’t cut out for what they are choosing.”

Q. What if your teenager has no idea what career to pursue and no desire to discuss it? 

A. That’s the time to back off, Ms. McLean said, because some students just aren’t yet ready to explore questions about their future. “They will figure it out eventually, as long as you bring it up periodically and leave open the possibility of a dialogue,” she said.

Remember that it’s rare for 17-year-olds to know exactly what they want to do in life, Ms. Chansky said. “Help them identify the things they do know about their likes and dislikes, strengths and weaknesses,” she said. “This will show them they have some information, even if they don’t have it all,” and they can eventually translate that data into potential career pathways.

#careerpath #careerfuture #fedehndz #idocare4 #helpingteenagersfindtheirdreams

What Is The Golden Ratio? What You Need to Know and How To Use It . ᔥ

The golden ratio, always an amazing base to create. This article by Rebeca Gross make the point.

What do the Pyramids of Giza and Da Vinci’s Mona Lisa have in common with Twitter and Pepsi?

Quick answer? They are all designed using the Golden Ratio.

The Golden Ratio is a mathematical ratio. It is commonly found in nature, and when used in design, it fosters organic and natural looking compositions that are aesthetically pleasing to the eye. But what exactly is the Golden Ratio and how can you use it to improve your own designs?

What is the Golden Ratio?

Putting it as simply as we can (eek!), the Golden Ratio (also known as the Golden Section, Golden Mean, Divine Proportion or Greek letter Phi) exists when a line is divided into two parts and the longer part (a) divided by the smaller part (b) is equal to the sum of (a) + (b) divided by (a), which both equal 1.618.


But don’t let all the math get you down. In design, the Golden Ratio boils down to aesthetics— creating and appreciating a sense of beauty through harmony and proportion. When applied to design, the Golden Ratio provides a sense of artistry; an X-factor; a certain je ne sais quoi. 

This harmony and proportion has been recognized for thousands of centuries: from the Pyramids in Giza to the Parthenon in Athens; from Michelangelo’s The Creation of Adam on the ceiling of the Sistine Chapel to Van Gogh’s Mona Lisa; and from the Pepsi logo to the Twitter logo. Our bodies and faces even follow the mathematical ratio:

The Science Forum 

In fact, our brains are seemingly hard-wired to prefer objects and images that use the Golden Ratio. It’s almost a subconscious attraction and even tiny tweaks that make an image truer to the Golden Ratio have a large impact on our brains.

The Golden Ratio can be applied to shapes too. Take a square and multiply one side of by 1.618 and you get a rectangle of harmonious proportions:


Now, if you lay the square over the rectangle the two shapes will give you the Golden Ratio:

1.618... (3)

If you keep applying the Golden Ratio formula to the new rectangle on the far right of the image above, you will eventually get this diagram with progressively smaller squares:


Whoa! Need a break? Hold on, just a few mindbogglers to go.

If you take our Golden Ratio diagram, above, and draw an arch in each square, from one corner to the opposite corner, you will draw the first curve of the Golden Spiral (or Fibonacci Sequence) – a series in which the pattern of each number is the sum of the previous two numbers. Starting at zero, the sequence is: 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144… and so on.

By adding the arch in each square, you’ll end up with the diagram of the Golden Spiral:


You’ll find this beautiful creature throughout nature’s forms – ferns, flowers, sea shells, even hurricanes – which perhaps why we find it so visually appealing. Because it is, indeed, nature at its finest.


Now, go one step further and trace a circle within each square – then you’ll have circles that follow the 1:1.618 ratio and are in balanced proportion to each other.


So now we’ve got squares, rectangles and circles that all follow the Golden Ratio and sprinkle the magic (number) on your design.

Done with the explanations?

5 Ways to Apply the Golden Ratio to your Designs

Now that you’ve been beaten over the head with the theory behind the Golden Ratio, let’s get down to figuring out how it can be used to improve your designs.

You can apply the Golden Ratio to many compositional elements of your design, including layout, spacing, content, images and forms.

01. Layout – Set Your Dimensions With The Golden Ratio

Consider the Golden Ratio a useful guideline for determining dimensions of layout. One very simple way to apply the Golden Ratio is to set your dimensions to 1:1.618.

For example, take your typical 960-pixel width layout and divide it by 1.618. You’ll get 594, which will be the height of the layout.

Now, break that layout into two columns using the Golden Ratio and voila! Working within these two shapes your layout will abide by the harmonious proportions of the Golden Ratio.


The two column layout is well suited to web design and you’ll see much online content in this format. National Geographichas certainly adopted the layout and uses it for a clean, easy-to-read, well organized website. It provides readers with a website that has a natural sense of order, balance and hierarchy.

National Geographic website

02. Spacing – Layout with the Golden Ratio Diagram

Spacing is an all-important element of any design, be it the use of negative or positive space, and it can often make or break the final result. Determining the spacing of elements can be a rather time-consuming affair; instead, start with the Golden Ratio diagram and let the squares guide where you place each element. This will ensure your spacing and proportions are calculated, rather than ‘instinctual’, as any minor tweaks towards achieving the Golden Ratio can make all the difference.

Plus, if you’re dealing with several elements, you can layer several Golden Ratio diagrams in order to continue consistent proportions throughout your design.


Design studio Moodley developed a brand identity for the performing arts festival Bregenzer Festspiele that included a logo, logotype and collage design applied to programs, playbills and outdoor campaigns. The playbill features photographic and illustrative collages and a rippled logo with plenty of unprinted space. The Golden Ratio is used to determine the size of and placement of each element to ensure a well-proportioned cover.

Bregenzer Festspiele by Moody

Singapore-based design agency Lemon Graphic created a visual identity for Terkaya Wealth Management. Here, the three design elements of the business card – the small eagle, the text and the large eagle – all fit into a different section of the Golden Ratio.

Plus, lay a Golden Ratio over the small eagle and it also fits within the proportions.

Terkaya by Lemon Graphic

03. Content – Trace the Golden Spiral

The Golden Spiral can be used as a guide to determine the placement of content. Our eye is naturally drawn to the center of the spiral, which is where it will look for details, so focus your design on the center of the spiral and place areas of visual interest within the spiral.


Take another look at the National Geographic website and you’ll notice there is a second, smaller logo towards the center of the spiral. It’s a great place to double-up on brand images because our eye is naturally drawn here. Subliminal? Perhaps. The Golden Ratio can do that.

National Geographic website

This website by and for graphic designer Tim Roussilhe looks quite content-dense but is very well organized according to the Golden Ratio and Golden Spiral, which focuses on the text in the upper left section of the website. Your eye begins in the top-center with “Bonjour My Name is Tim.” It then travels past the description of what Tim does, on to the menu buttons, hits the logo in the top-left corner, before coming to rest in negative space, having absorbed all the details it needs.

Bonjour My Name is Tim

Content most obviously becomes denser as the spiral progresses in this visual identity for Saastamoisen säätiö. The size of each letter is reduced as is the spacing between each letter as the eye gets closer to the spiral. The letters don’t necessarily read in order but there is enough repetition that it will become familiar.

Saastamoisen säätiö

Helms Workshop designed this branding for Fullsteam Brewery and used the Golden Ratio and Golden Spiral for layout and content. Various elements of the design fit within separate squares and the eye is drawn past the main character, to the stamp, the ABV, and place of manufacture. Helms Workshop’s intention for Fullsteam was create a “brand narrative around a semi-fictitious steampunk plantation-owner from a distant name…” The Golden Spiral helps tell the narrative on the label as we pick up detail about both him and the brand.

Fullsteam Brewery by Helms Workshop

04. Images – Golden Ratio (or Rule of Thirds)

Composition is important for any image, whether it’s to convey important information or to create an aesthetically pleasing photograph. The Golden Ratio can help create a composition that will draw the eyes to the important elements of the photo. Using the Golden Ratio, you split the picture into three unequal sections then use the lines and intersections to compose the picture.

The ratio is 1: 0.618: 1 – so the width of the first and third vertical columns will be 1, and the width of the center vertical column will be 0.618. Likewise, with the horizontal rows: the height of the first and third horizontal rows will be 1, and the width of the center row will be 0.618. Now use those lines and intersections to draw the viewer’s eye and focus attention. It also creates tension and adds interest and energy to composition.


Another (and slightly simplified) way to crop images via the Golden Ratio is to use the Rule of Thirds. It is not as precise as the Golden Ratio but it will get you pretty close. For the Rule of Thirds, set up all vertical and horizontal lines to 1:1:1 so that all spaces are equal and even.  Align important elements of the image around the central rectangle ideally at its four corners.

This cover for Complex magazine, featuring Solange Knowles, uses the Golden Ratio to determine the proportion of positive and negative space. The top of Solange’s nose and (almost) her forehead reach the top horizontal line; while her nose and eye fall on the two vertical lines around the center rectangle.

Complex Magazine

Jason Mildren designed this cover for Pilot magazine and it works with the Rule of Thirds. There is interest at the corners of the center rectangle, while that center, for the most part is empty. The model’s eye falls exactly on one corner and is piercing at the audience.

Pilot Magazine by Jason Mildren

This cover of Feld magazine uses the Golden Ratio cropping to center the eye of the model on the cover. It works well because he is off center and the side of his face almost aligned with the left vertical guide.

Feld Magazine

And overall, the layout of the cover follows the Golden Ration and Golden Spiral. Content is concentrated within the spiral and it becomes more detailed towards the center of the spiral.

Feld Magazine

05. Forms – Golden Circles

Just like the Golden Ratio can be harnessed to create squares and rectangles that are in harmonious proportion to each other, it can also be applied to create circles. A perfect circle in each square of the diagram will follow the 1:1.618 ratio with the circle in the adjacent square.


Using the Golden Circles will create not only harmony and proportion, but also consistency throughout form. Let’s go back to Pepsi and Twitter here.

The Pepsi logo is based on two intersecting circles that follow the Golden Ratio. While the smaller circle is not readily evident in the final iteration is does form the basis of the white slice through the center of the logo.


The Twitter logo uses geometry and is heavily based on perfect circles. There is a minor lack of precision when aligning it with the Golden Ratio but for the most part the Twitter logo seemingly uses Golden Circles for balance, order and harmony.


Your turn

You can use various elements of the Golden Ratio to design better. The tweaks may be subtle, but that might be all it takes to go from good design to great design, especially in the eyes of the beholder.

As György Dóczi writes in The Power of Limits, “The power of the golden section to create harmony arises from its unique capacity to unite different parts of a whole so that each preserves its own identity and yet blends into the greater pattern of a single whole.”

Link to the original article:

The psychology of logo shapes: a designer’s guide. ᔥ

I found, received this article on design how to by Martin Christie about logo design and found it as a good source to remember some why’s and how’s. Hope you found it useful as well.

Enjoy: Federico

The logo shapes used by big brands aren’t chosen by chance. Martin Christie of Logo Design London offers a primer in the psychology involved.

When it comes to developing a brand, logo design is king. Their power to elicit an emotional response can have a resounding effect on the way customers and potential customers view a particular product, service or company. A powerful logo may look simple but there’s nothing simple about creating effective logo shapes.

Be aware that the logo shapes used to portray the most visible brands in our culture have not been chosen by chance – there are some powerful psychological forces at work. In this article we’ll take a look at how the informed use of shapes can be used to give your logo the desired resonance.

  • Read all our logo design articles here

How humans view logo shapes

 Nike Swoosh
There are few more recognisable logo shapes than Nike’s Swoosh, but what does it do?

Our subconscious minds respond in different ways to different logo shapes. Straight lines, circles, curves and jagged edges all imply different meanings and so a skilled logo designer can use shape to infer particular qualities about the brand. Think, for example, of the Nike Swoosh: the combination of curves ending in a sharp point offers a strong suggestion of movement.

Particular logo shapes send out particular messages:

  • Circles, ovals and ellipses tend to project a positive emotional message. Using a circle in a logo can suggest community, friendship, love, relationships and unity. Rings have an implication of marriage and partnership, suggesting stability and endurance.  Curves on any sort tend to be viewed as feminine in nature.
  • Straight edged logo shapes such as squares and trianglessuggest stability in more practical terms and can also be used to imply balance. Straight lines and precise logo shapes also impart strength, professionalism and efficiency. However, and particularly if they are combined with colours like blue and grey, they may also appear cold and uninviting. Subverting them with off-kilter positioning or more dynamic colours can counter this problem and conjure up something more interesting.
  • It has also been suggested that triangles have a good association with power, science, religion and law. These tend to be viewed as masculine attributes, so it’s no coincidence that triangles feature more prominently in the logos of companies whose products have a masculine bias.
  • Our subconscious minds associate vertical lines with masculinity, strength and aggression, while horizontal linessuggest community, tranquillity and calm.
  • The implications of shape also extend to the typeface chosen. Jagged, angular typefaces may appear as aggressive or dynamic; on the other hand, soft, rounded letters give a youthful appeal. Curved typefaces and cursive scripts tend to appeal more to women, while strong, bold lettering has a more masculine edge.

How to apply logo shape psychology

 three examples
Three examples of simple logo shapes

Before you start designing a logo for your client, write down a list of values and attributes that the logo should convey. (This is one of the reasons you need to get to know your client and their business as well as you possibly can.) Ask your client to compile a list of corporate values or take a close look at their mission statement.

Once you have a feel for the message the logo needs to disseminate, you will be able to look at how to match this up with not only logo shapes, but also colours and typefaces as well. Use these three elements in combination to your advantage: for example, if you pick a strong shape but find it too masculine, then introduce a colour or colours that will tone down the male aspect.

Gestalt theory

To extend your use of psychology to a deeper level, brush up on the Gestalt theories of German psychologists from the 1920s. They hold that the human brain unifies the visual elements it sees to form a whole that carries significantly more meaning. People form patterns out of similarly shaped objects, while objects that differ from the group become a focal point of the image.

Another Gestalt principle, closure, is often used in logo design; this is when an object is incomplete but there is enough detail for the human eye to make the whole picture. A good example of this is the panda logo used by the WWF, shown above.

The logo shapes you incorporate into your designs become an intrinsic element in the message they will convey to the company’s customers and the wider public. Once you understand the psychology behind logo shapes you will be able to use this knowledge to create powerful brands for your clients.

Words: Martin Christie

Martin Christie is a creative director at graphic design agency Logo Design London. With many years of experience in branding and design, Martin often shares his experience with clients and graphic designers. For more insights visit the company’s blog.

Original article at:

#fedehndz #idocare4design #idocare

Bauhaus has always blown my mind, now 9 of their main books are available to download. ᔥ

Oh god! That is the only expression that came to my mind when I read the news about this collection being available. I followed the link and could download them. What a gem, the quality is amazing and having them at hand, wow. This set of books (Screen at hand) has definitely expanded my design library, but on top, has given me the opportunity to re-study this amazing designer. A must for some of us that breathe design.

Visit the original link at:

The following nine PDFs are linked from the Bibliothèque Kandinsky which published them online on an unknown date (follow this link to explore the respective entries on its website). This is an important milestone in the digitalization of essential buthard-to-get art publications for the public use and we would like to express our gratitude and appreciation. ❤ ! The whole set of these high-quality digital facsimiles is about 1 GB large, if anyone feels like starting a torrent to relieve bandwidth of the library let us know and we’ll include your link here. (17 Aug 2014). Update: you can now download the whole set in a single ZIP file  from here. Thanks to Gabriel Benderski. (29 Aug 2014)

Wish you the best.

#idocare #fedehndz



The vast majority of marketers aren’t psychologists. But many successful marketers regularly employ psychology in appealing to consumers.

Smart, skillful, honest marketers use psychology legally, ethically, and respectfully to attract and engage consumers, and compel them to buy.

Here are a few tips and tricks for using psychology to your own marketing campaign’s advantage:

Studies have shown emotional and psychological appeals resonate more with consumers than feature and function appeals. In advertising copy, benefits—which often have a psychological component—generally outsell features. Demonstrating how that new computer will improve a potential customer’s life tends to have more influence rather than explaining how it works.

Salespeople have long understood the power of emotional appeals. In the 18th century, when the contents of the Anchor Brewery were being auctioned off, the auctioneer said: “We are not here to sell boilers and vats, but the potentiality of growing rich beyond the dreams of avarice.”

It’s no secret that consumers tend to doubt marketing claims—for good reasons. Many simply aren’t credible. One way to raise credibility is to point out your product’s shortcomings.

Among the most famous examples was an ad for Volkswagen, which contained a one-word headline: “Lemon.” Opening body copy below a VW photo read: “This Volkswagen missed the boat. The chrome strip on the glove compartment is blemished and must be replaced. Chances are you wouldn’t have noticed it; Inspector Kurt Kroner did.” The ad went on to discuss a “preoccupation with detail.” The Lemon ad became a textbook example of how to optimize credibility.

In Positioning: The Battle for Your Mind, Al Ries and Jack Trout delve into the limited slots consumers have in their brain for products and services, and the importance of positioning one’s business in the ideal slot.

They also write about repositioning—changing the position a business occupies in consumers’ minds. A prominent example of repositioning the competition is when the Jif brand launched the “Choosy moms choose Jif” campaign, competitors were suddenly repositioned as products for mothers who didn’t give a damn about the food their kids consumed. What mother didn’t want to think of herself as a choosy mom?

Near the top of Maslow’s hierarchy of needs pyramid sits self-esteem. People want to feel important; like they’re part of an exclusive group. That’s why advertising copy sometimes says: “We’re not for everyone.”

The U.S. Marines ran a very successful campaign for years with the tagline: “The Few. The Proud.” Perhaps the most famous modern example of exclusivity in advertising is the American Express tagline: “Membership has its privileges.” But to make an exclusivity appeal work in the long run, marketers must mean what they say. Empty claims tend to be counterproductive.

Fear, uncertainty, and doubt, or FUD, is often used legitimately by businesses and organizations to make consumers stop, think, and change their behavior. FUD is so powerful that it’s capable of nuking the competition.

In at least one case it did just that. When Lyndon Johnson ran against Barry Goldwater in 1964, he wanted to stoke public fear that a President Goldwater would raise the risk of nuclear war. The “Daisy” ad, which ran only once, showed a little girl, followed by a nuclear explosion with a voiceover of LBJ ominously stating, “These are the stakes. To make a world in which all of God’s children can live, or to go into the dark.” Johnson carried 44 states, and took 61% of the vote in a landslide win.

—Robert Rosenthal is the founder of Contenteurs and author of Optimarketing: Marketing Optimization to Electrify Your Business.

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Conversion Optimization ᔥ

Conversion Rate Optimization (CRO) or conversion optimization is the method that focus on improving conversion rates. In the context of website optimization, it is focusing on improving on the actions of visitors to proceed to the next stage of the goal funnel.

Conversion optimization can, for example, use heat maps, user testing, analytics, and surveys to build hypothesis on what might be the reasons visitors are not from moving forward to attain website goals. A/B testing software is used to validate these hypotheses.

What is a conversion rate?

Conversion rate is the percentage of people taking the preferred action. An example is: an e-commerce site has 100,000 unique visitors and 2,000 purchase on the website. This is a conversion rate of 2,000/100,000 or 2%. The e-commerce websites primary goal is not to convert visitors to buyers, the goal is to increase revenue per visitor (RPV). Most e-commerce-focused tools like Convert Experiments offer RPV as key performance indicator (KPI) in their reporting.

Although the primary goal of conversion optimization is to increase the main KPI (goal), it attempts this through optimizing the entire funnel, step-by-step. Each page has one KPI or one key objective to achieve.

On what KPI’s do you focus conversion optimization?

Conversion optimization experts know that each web page has a goal and typically when visitors move to the next page the conversion rate increases. For example a list of key goals for commonly used web pages are:

  • Homepage of e-commerce – goal: move visitors to category pages
  • Category page of e-commerce – goal: move visitors to product pages
  • Product pages of e-commerce – goal: move visitor to “add to cart” page
  • E-commerce cart – move visitor to payment page

Each of these pages has a particular goal and increasing the volume and quality of visitors moving to the next phase in the funnel is called conversion optimization. Want to try the best conversion optimization tool?

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Design Websites With Marketing Psychology ᔥ

April 29, 2015

In recent years, the Internet activity has moved more and more towards social media sites. We have Facebook, Twitter, LinkedIn, and many more as social tools which marketers can use to drive conversion. With these in mind, understanding marketing psychology and social proofing becomes even more important, as it really helps turn your website to become a reliable and trustworthy source in the eyes of the customer.

In a podcast hosted by Creative Thirst‘s CEO – Bobby Hewitt, we at Convertlearned how important social proof and social influence is, and how you can improve your website design and conversion through effective marketing psychology. Marketing has always been about how to reach out to people and tell them about your product/service. The more effective your marketing campaign is, the more people will know about your product, regardless if it is offline or online.

Website Design Marketing Psychology

Employing Psychology in Web Design

According to Robert Rosenthal’s article – 5 Psychological Tactics Marketers Use to Influence Consumer Behavior,

The vast majority of marketers aren’t psychologists. But many successful marketers regularly employ psychology in appealing to consumers. Smart, skillful, honest marketers use psychology legally, ethically, and respectfully to attract and engage consumers, and compel them to buy.

Following the marketing psychology in web design can have a positive effect in conversion. This means knowing and understanding the needs of your website visitors and how these needs be implemented on your brand page. Designers, marketers and website owners of any niche make use of marketing psychology to bring forth their and their customers’ expectations.

But a positive customer’s response doesn’t come easy and customers usually look for something such as proof, feedback, reviews, etc. Before they trust you. That said, the purpose of marketing psychology is to make your website become more trustworthy, and that has an extreme importance. Always remember these key points in web design and marketing psychology when you are creating a page;

  • Quality
  • Page design and elements
  • Less is more
  • Color scheme
  • Visual flow
  • Social Proof

Having all of these in mind, your website will likely end up with satisfied and returning visitors, whether they want to purchase your products, acquire your services, recommend your business to others, or set up a partnership with you.

The Role of Social Proof In Marketing Psychology

Social proof has an excellent role in website marketing psychology and is a powerful strategy in improving conversion rates. Social proof is a psychological occurrence from social situations when people are unable to determine the appropriate mode of behavior and they just believe and follow the behavior of other people for making an instant decision.

For instance, each visitor is unique, has their exclusive needs, and have different points of view. Social proof is just one part of persuasive design that designers can use to make their business become trustworthy. Designers can use social proof to make prospects feel more comfortable. This does not ensure customer engagement, but it increases the chances of hooking those casual visitors.

The key to implement an effective social proof marketing psychology in web design are as follows;

  • Every page really needs to be designed persuasively.
  • Your content has to be good, relevant, and worthy.
  • Visits can be influenced online, but showing clearly what other people have done before them is the key.
  • Combine social proof with the action that you want your prospect to take.
  • Combine that action to what others had taken before your prospect. In this way, your previous online visitors are influencing new visitors and new prospects to take more action.
  • Let your visitors influence future visitors for you. A simple ‘tweet this’ button can go a long way.

Always keep these points in mind as its importance in conversion and website design. Moreover, don’t forget to conduct A/B testing to find out which page elements gets better or bad results as well as the best emotional triggers for your site. This simple test can affect almost all the aspects of your marketing campaign. Visit us at A/B testing software” href=”” target=”_blank”>Convert to learn more about conversion optimization.

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