Less is More - Steven Heller & Annie Fink (1999)

Key Notes & Quotes:

• Tendency to use "more is more" in graphic design - rebellion by one generation - don't want to conform - p.8
• Technology - 'giving designers the tools to make both elegant and convoluted complexity, depending on their respective levels of taste and talent.' - p.8
• Alphas began seeking out alternatives -
• 'Simplicity, economy and reduction is one such alternative, not only as a rejection of fashion, but to enhance effective communication.' - p.8
• 'Simplicity offers at least as many variations as complexity.' - p.8
• 'The presumption that simplicity is pure functionalism is erroneous.' - p.8
• '"Less is more" may be the absence of unnecessary complexity, while retaining design elements that further effective communication.' - p.8
• 'What this work reveals is that "less is more" is not an overriding style but the sum of many points of view.' - p.8
• 'Simplicity means a return to basics but not at the expense of excitement.' - p.8
• The maxim "less is more" - was coined by architect Ludwig Mies van der Rohe - p.11
• 'Simplicity is usually synonymous with legibility in graphic design, and yet legibility is not always the most effective (or eye-catching) way to communicate.' - p.12
• 'Sometimes messages are made more enjoyable, and are better remembered.' - p.12
• 'The merits simplicity or complexity really depend on specifics, like the nature of the message and the audience.' - p.12

The Simple Truth

• 'Graphic design originated as complexity and over time was reduced down to fundamental' - p.12
• An exhibition of reductive commercial design organised by the Circle of New Advertising Design revealed new form more exciting and also that it's functionalism made promotion and publicity more accessible.' - p.13
• 'A page without a iota of irregularity was not as inviting as one with quirks.' - p.14
• 'Yet some of the changes in attitude espoused by Bauhaus teachers- form follows function, for example- were assimilated into much broader realms of design thinking and philosophy.' - p.14
• Paul Rand - 'He reasoned that just because a visual message has multiple levels of meaning, it need not be weighed down by visual detritus.' - p.14
• Armin Hoffman - '"In the realm visual communication, excess of expense and pomp do not necessarily lead to gains in clarity".' - p.18
• ''Rational, objective and reductive design not only allows for clear communication but signifies social responsibility.' - p.18 
• 'In the corporate realm, reduction was essential for clear internal and external communications.' - p.19
• Helvetica - 'Simplicity was the panacea for visual confusion, but it was also a recipe for dull design.' - p.19
• 'Whereas "less is more" was the modern credo, the post-modernist literally exposed design as being more than meets the eye. Complexity was not merely a knee-jerk reaction to the past, but part of a critical discourse of the nature of visual communications.' - p.21
• 'Making complex design is no longer as effective as it was when everything was more or less simple; in fact, it is not as much fun to make things relatively complex.' - p.25

The New Simplicity - Identity

• 'A logo must be simple. As the symbol of a corporation, business or organisation, it embodies complex ideas and of the same is iconic- a veritable brand for those ideas.' - p.85
• 'While the reductive logo has not disappeared, more complex marks have reemerged- and some work very well. But, ultimately, complexity offers diminishing return when the memorability is the goal. Simplicity continues to be the root of a logo's mnemonic power.' -p.85