I am Ken Kenetic
A designer who wants to achieve good design must not regard himself as an artist who,
according to taste and aesthetics, is merely dressing-up products with a lastminute garment.
The designer must be the gestaltingenieur or creative engineer.
They synthesise the completed product from the various elements that make up its design.
Their work is largely rational, meaning that aesthetic decisions are justified by an understanding of the product’s purpose.
I love design. It’s m y hobby, my work and my life. Working with like minded people and creating epic designs, features or applications is what drives me.
I’m inspired by Anime, Literature, History, Movies, Animations, Documentaries Photography, Poetry, Culture, Traditions, Analog Art, Industrial Design,and Architecture.
In my spare time I B-boy, love to eat, read books, do calisthenics or some projects with friends.
I live my life trying not to be concerned with restrictions. I always try to take the next step in improving myself on every level. Logo’s posters, animation, video, photography and anything I can think up is intertwined with a conceptual sense of viewing the world.
Always trying new styles and creating new concepts is what I do.
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By following Dieter Rams’s ten principles of GOOD design, even though Dieter Rams was a industrial designer the principles he layed down can by used as ground rules for every form of creation.
It does not copy existing product forms, nor does it produce any kind of novelty for the sake of it. The essence of innovation must be clearly seen in all functions of a product. The possibilities in this respect are by no means exhausted. Technological development keeps offering new chances for innovative solutions.
A product is bought in order to be used. It must serve a defined purpose – in both primary and additional functions. The most important task of design is to optimise the utility of a product.
The aesthetic quality of a product – and the fascination it inspires – is an integral part of the its utility. Without doubt, it is uncomfortable and tiring to have to put up with products that are confusing, that get on your nerves, that you are unable to relate to. However, it has always been a hard task to argue about aesthetic quality, for two reasons.
Firstly, it is difficult to talk about anything visual, since words have a different meaning for different people.
Secondly, aesthetic quality deals with details, subtle shades, harmony and the equilibrium of a whole variety of visual elements. A good eye is required, schooled by years and years of experience, in order to be able to draw the right conclusion.
It clarifies the structure of the product. Better still, it can make the product talk. At best, it is self-explanatory and saves you the long, tedious perusal of the operating manual.
Products that satisfy this criterion are tools. They are neither decorative objects nor works of art. Their design should therefore be both neutral and restrained leaving room for the user’s self-expression.
An honestly-designed product must not claim features it does not have – being more innovative, more efficient, of higher value. It must not influence or manipulate buyers and users.
It is nothing trendy that might be out-of-date tomorrow. This is one of the major differences between well-designed products and trivial objects for a waste-producing society. Waste must no longer be tolerated.
Thoroughness and accuracy of design are synonymous with the product and its functions, as seen through the eyes of the user
Design must contribute towards a stable environment and a sensible use of raw materials. This means considering not only actual pollution, but also the visual pollution and destruction of our environment.
Back to purity, back to simplicity.