Designers get excited at every year’s end to see what next year’s trend is going to be. What the future of design is going to look like. What they can carry forward to the next year; And Neumorphism was one among the lists which gained great attention.

設計師們在每年年底都感到興奮，看到明年的趨勢將會是什么。 設計的未來將是什么樣子。 他們可以延續到明年的東西； 神經同質性是引起廣泛關注的列表之一。

Neumorphism has become a buzz word right now and we can see plenty of dribbble shots that has pushed this trend to the extreme. It is natural that people get bored of seeing the current designs and wanted something different. And Neumorphism was fresh.

目前，神經變態已經成為流行語 ，我們可以看到大量的盤帶動作將這種趨勢推向了極致。 人們很自然地厭倦了看到當前的設計，并想要一些不同的東西。 同態性是新鮮的。

If we break down the design of Neumorphism to the core essentials it is about Shadows and Highlights — Elevation and Depth. This is what I garnered going through different articles about Neumorphism and checking dribbble designs. The immediate thing that comes to my mind is the “Bevel & Emboss” effect in photoshop which we all used to mess around and often don’t get it right.

如果我們將“神經形態”的設計分解為核心要素，那就是“陰影和高光”(高程和深度)。 這就是我獲得的有關不同態論和檢查運球設計的文章的內容。 我想到的最直接的事情是photoshop中的“斜角和浮雕”效果，我們都曾經四處亂逛，但往往做得不好。

But it looked soft, great and futuristic.

但是它看起來柔和，偉大和未來主義。

讓我們回到1970年代 (Lets go back to the 1970's)

Let’s just pause right here and go 50 years back. Every designer who follows Apple and Johnny Ive ( That’s everyone — Statistically speaking 🙂) would have known about Braun and Dieter Rams.

讓我們在這里暫停一下，回溯50年前。 每個跟隨Apple和Johnny Ive(從統計上來說，就是每個人)的設計師都會對Braun和Dieter Rams有所了解。

But there was one more significant player in the design industry back then — Olivetti. Olivetti is an Italian manufacturer of computers, tablets, smartphones, printers, calculators etc. They started as a typewriter manufacturing company in 1908. Then slowly gained popularity due to their distinctive design style.

但是，那時在設計行業中還有一個重要的參與者-Olivetti 。 Olivetti是計算機，平板電腦，智能手機，打印機，計算器等的意大利制造商。他們于1908年成立，當時是一家打字機制造公司。由于其獨特的設計風格，其后逐漸受到歡迎。

“[A] preoccupation with design developed into a comprehensive corporate philosophy, which embraced everything from the shape of a space bar to the color scheme for an advertising poster” — Jonathan Martin, International Directory of Company Histories

“ [對設計的專注發展成為一種全面的公司理念，涵蓋了從空格鍵的形狀到廣告海報的配色方案的所有內容” – Jonathan Martin，國際公司歷史名錄

Their designs were bold, colourful, cheerful and thoughtful. They had a very strong design department with 100 member team and $1 million was allocated for industrial design alone.

他們的設計大膽，色彩豐富，開朗而周到。 他們有一個非常強大的設計部門，擁有100名成員，僅工業設計就分配了100萬美元。

“The design department is not responsible to research and development or sales divisions but parallel to them, reporting directly to the company’s chairman.” — New York Times

“設計部門不負責研發或銷售部門，但與之并行，直接向公司董事長匯報。” — 紐約時報

One of their signature products is the vibrant typewriter — Olivetti Valentine. It was an iconic product and different from the typewriters of that period which were generally dull, boring and reminded people of 9–5 jobs. Valentine was the opposite — Fun and accessible.

他們的標志性產品之一是充滿活力的打字機-Olivetti Valentine 。 它是一個標志性的產品，與那個時期的打字機不同，打字機通常枯燥，無聊，使人們想起9-5個工作。 情人相反-有趣且易于訪問。

“It’s a great example of a product that delivers a powerful first read (in this case mostly driven by the color) but then as you get closer and examine it from more angles and operate it, second and third reads of surface, proportion and details reveal themselves. As you pull the typewriter from its case, you are treated to one surprise of color and shape after another.” — Adam Richardson — Massmadesoul

“這是一個產品的很好的例子，它提供了強大的一讀(在這種情況下，主要是由顏色決定的)，但是當您靠近并從更多角度進行檢查并進行操作時，可以對表面，比例和細節進行二三讀展現自己。 當您從打字機的包裝箱中取出打字機時，您會得到一種顏色和形狀的驚喜。” — 亞當·理查森(Adam Richardson)— Massmadesoul

然后出現了Divisumma 18和新趨勢 (Then came Divisumma 18 and a new trend)

Divisumma 18 is a handheld personal calculator designed by Mario Bellini for Olivetti and was released in the year 1973. If you see the design you can quickly spot the similarities in the trend.

Divisumma 18是由Mario Bellini為Olivetti設計的一款手持式個人計算器，于1973年發布。如果您看到該設計，則可以Swift發現趨勢中的相似之處。

The tangerine colored box with the rubber skin and circular buttons neatly arranged is a treat for eyes. Main aim of Bellini is to humanize the product and give it a playful and fun character and that worked really well in his favour.

橘黃色的盒子帶有橡膠皮和圓形紐扣，排列整齊，是一種視覺享受。 貝里尼(Bellini)的主要目的是使產品人性化，并賦予其有趣和有趣的特性，并且在他的支持下非常有效。

The buttons were called the “Volcano Buttons” since they blend smoothly into the surface below or look like they have extruded from the surface. It is considered to be the Most influential button design ever. It became a major trend back then and many products started implementing that kind of buttons.

這些按鈕被稱為“ 火山按鈕 ”，因為它們可以平滑地融合到下面的表面中，或者看起來像是從表面中擠出的。 它被認為是有史以來最具影響力的按鈕設計。 那時，它已成為一種主要趨勢，許多產品開始采用這種按鈕。

“Because the calculator is portable and intended to be hand-held, Bellini personalized it through an inventive use of form and materials. What is especially intriguing is the continuous, flexible, rubber-skin keyboard. The skin, which protects the machine from dust, is anthropomorphically suggestive ……. The emphasis is not on calculating and power, but on stimulating a sense of pleasure. Emotive responses are not usually associated with adding machines, yet this is an irresistible artifact. One cannot help but want to hold it, touch it, play with it.” — Cara Mccarty — MoMA

“由于該計算器是便攜式的并且打算手持，因此Bellini通過創造性地使用形式和材料來對其進行個性化設置。 尤其令人感興趣的是連續的，柔軟的，橡膠皮膚的鍵盤。 保護機器免受灰塵侵害的皮膚，是擬人化的……。 重點不在于計算和力量，而是在激發愉悅感。 情緒React通常與添加機器無關，但這是不可抗拒的人工產物。 人們忍不住想要握住它，觸摸它，玩它。” — 卡拉·麥卡蒂—現代藝術博物館

Calculators are meant for calculation and logic, nothing else. But the overall form factor and color made this boring machine irresistible. It is a physical product which need not worry much about the accessibility, affordance and other design issues that generally hampers the digital products. But the first impression which draws the consumers is very important. On the visceral level it is a winner. Even before touching and holding the product you can sense the joyfulness.

計算器用于計算和邏輯，僅此而已。 但是整體的外形和顏色使這款鏜床無法抗拒。 它是一種物理產品，無需過多擔心通常會妨礙數字產品的可訪問性，可負擔性和其他設計問題。 但是吸引消費者的第一印象非常重要。 就內臟而言，它是贏家。 甚至在觸摸和握住產品之前，您都可以感覺到歡樂。

The Neumorphism trend has close resemblances to the form factor, shape, depth, elevation, shadows and highlights with that of this Olivetti calculator. People were drawn to that design before and people are drawn to this current trend now. That trend lasted for a while and slowly after the advent of personal computers the calculators went back to their old form and their basic functionality.

Neumorphism趨勢與此Olivetti計算器的外形，形狀，深度，高程，陰影和高光非常相似。 人們以前被這種設計所吸引，現在人們被這種當前趨勢所吸引。 在個人計算機問世之后，這種趨勢持續了一段時間，并且慢慢地恢復了，計算器又恢復了原來的形式和基本功能。

And also the calculator was a simple product with basic functionalities and button was the main component. Our application now has different UI components competing against each other wanting for attention and this trend will convey proper message only when it is used sparingly.

而且計算器是具有基本功能的簡單產品，按鈕是主要組件。 我們的應用程序現在具有不同的UI組件，相互競爭，需要引起注意，并且這種趨勢只有在謹慎使用時才能傳達正確的消息。

Wait.Olivetti had developed a transistor based mainframe computer back in 1960 — Elea 9003

Wait.Olivetti早在1960年就開發了基于晶體管的大型機-Elea 9003

That had even more buttons and controls. The form factors were different than the divisumma but they looked stunning and ergonomic as well.

那有更多的按鈕和控件。 形狀因素不同于除皺，但看起來也很符合人體工程學。

Neumorphism may or may not become a trend or some parts of it may catchup but at least if it is going to exist within the realms of dribbble minimal usage of the trend may keep it going for a while.

神經同態可能會或可能不會成為趨勢，或者它的某些部分可能會趕上，但至少如果它將存在于運球領域之內，則對趨勢的最小使用可能會使它持續一段時間。

Styles come and go. Good design is a language, not a style — Massimo Vignelli, Italian designer

樣式來來去去。 好的設計是一種語言，而不是一種風格— 意大利設計師Massimo Vignelli

I am a UX designer at belong.co and I love sharing bytes of UX. I reside online here: LinkedIn and here: Instagram. Get daily dose of UX here.

我是before.co的UX設計師，我喜歡共享UX字節。 我在線居住在這里： LinkedIn和這里： Instagram 。 在此處獲取UX的每日劑量。