How much time do you spend on Dribbble? It’s one of those tools – and even addictions – that can be a great source of inspiration for projects.
But here’s the thing about Dribbble: You need to make sure you use the tool for good, and not evil. While new spins on designs are fun to create, there’s a distinct border between making suggestions for someone else and adopting a design as your own.
Here, we’re going to look at ways to use Dribbble for design inspiration without falling into any of those traps.
Use Dribbble for Design Inspiration
Start with Dribbble as a place to find inspiration for your next design project. From new takes on familiar interfaces to fun gifs, this is the place where creativity is allowed to go wild.
The best way to find inspiration is to look at the work of creatives you admire. What are they working on? How does their style influence yours?
You’ll find that you peruse many of the same circles because of the type of designs or techniques used by those designers. But make a point to break out of that comfort level as well. Make sure to look through the most popular design or shots so that you can expand your thinking. ?Look at the most recently uploaded items as well. (This is where some of the best community interaction happens.)
Use Dribbble to Connect with Other Designers
It’s easy to find a favorites designer on Dribbble and get a little star struck. (It happens to the best of us.)
Why not strike up an actual conversation and see what you and that favorite designer have in common. It can start with something as simple as a comment on a design, but Dribbble has been the springboard for some designer partnership and collaborations. Many designers also list other information, such as social media profiles or websites, so you can connect in other forums.
It might not be something you do with everyone you meet, but there is potential to work with others thanks to this platform.
Don’t just lurk in the shadows. Converse freely and join the community. You never know when you might find – or become – a design mentor.
Use Dribbble for Critiques
There’s a lot you can learn from actively uploading projects, engaging with the Dribbble community and even encouraging shots from your designs. The informal process is a critique of sorts, allowing you to see different ideas and ways of thinking about your work.
Seeing offshoots of projects is valuable as well. That part of the design that wasn’t working for you? Someone else might create a shot that solves the problem.
While Dribbble isn’t a critiquing platform per se, there’s plenty of potential for those experiences. And it never hurts to ask for honest opinions about your work.
Just remember to play fair and don’t get defensive when you see comments that you might not agree with. Take in the information and learn from it. That’s how you use Dribbble for good.
Use Dribbble for a Portfolio or Promotion
Dribbble provides a clean, organized place to keep small design projects, making it an excellent choice for a portfolio or self-promotion avenue.
The simple grid format and ability to showcase still and animated images make Dribbble an easy to use alternative to creating a portfolio website from scratch. You can also add relevant skills, a bio and links to other places on your Dribbble page. Each element also has room for descriptive text that can make it easy to search and find within the Dribbble community or through search networks.
When it comes to self-promotion, the more exposure and interaction you have the better. That’s more chances to make connections with future employers or clients.
Use Dribbble to Evaluate Trends
One of the most fun ways to use Dribbble can be to look at emerging trends. By taking inventory of new shots, you can also see some trends as they develop.
From color choices that are gaining popularity to techniques that fall out of fashion, some of the first wave of trends starts here. As Google’s Material Design started to take off, Dribbble was the Launchpad for many of these ideas. Designers were posting projects packed with tactile layers, bright colors and interfaces that weren’t quite as flat as those we had been seeing.
Now, you don’t want to get stuck browsing for hours just to spot the next big thing. (You could drive yourself crazy.) But you can spot similarities pretty quickly. Color is often one of the easiest trends to spot because your eye goes right to it. But other things emerge as well. Just look at the user icons, for example, to get a feel for what’s trending in icon or logo styles.
Look for changes in typography or animation as well. There are plenty of small changes that can be indicators of bigger trends that you can see by browsing portfolio sites for a few minutes at a time.
How Not to Use Dribble
And then there’s the evil that happens on Dribbble. To be a good user, you need to play fair in the community. Don’t do any of these things:
Pass off a shot as your own work. (The original idea wasn’t yours.)
Use Dribbble as a place to copy designs. (That’s downright plagiarism.)
Troll or negatively comment on shots all the time. (Criticism should be constructive.)
Get hung up on likes. (It’s an unhealthy habit; a lack of likes doesn’t mean your design is bad.)
Fall short on your end of being a good user. (Make sure to post only quality work, not every single project you have cooking.)
Conclusion
The Dribbble community is unlike anything else out there for designers. The format and fluidity of information and ideas makes it a great place for designers to engage and interact.
Just remember to use Dribbble for good. The design community thanks you.
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That again was no use: he but got another smile and a friendly look of the sort he no longer wanted. I said I thought I could gallop if Harry could, and in a few minutes we were up with the ambulance. It had stopped. There were several men about it, including Sergeant Jim and Kendall, which two had come from Quinn, and having just been in the ambulance, at Ferry's side, were now remounting, both of them openly in tears. "Hello, Kendall." We have this great advantage in dealing with Plato—that his philosophical writings have come down to us entire, while the thinkers who preceded him are known only through fragments and second-hand reports. Nor is the difference merely accidental. Plato was the creator of speculative literature, properly so called: he was the first and also the greatest artist that ever clothed abstract thought in language of appropriate majesty and splendour; and it is probably to their beauty of form that we owe the preservation of his writings. Rather unfortunately, however, along with the genuine works of the master, a certain number of pieces have been handed down to us under his name, of which some are almost universally admitted to be spurious, while the authenticity of others is a question on which the best scholars are still divided. In the absence of any very cogent external evidence, an immense amount of industry and learning has been expended on this subject, and the arguments employed on both sides sometimes make us doubt whether the reasoning powers of philologists are better developed than, according to Plato, were those of mathematicians in his time. The176 two extreme positions are occupied by Grote, who accepts the whole Alexandrian canon, and Krohn, who admits nothing but the Republic;115 while much more serious critics, such as Schaarschmidt, reject along with a mass of worthless compositions several Dialogues almost equal in interest and importance to those whose authenticity has never been doubted. The great historian of Greece seems to have been rather undiscriminating both in his scepticism and in his belief; and the exclusive importance which he attributed to contemporary testimony, or to what passed for such with him, may have unduly biassed his judgment in both directions. As it happens, the authority of the canon is much weaker than Grote imagined; but even granting his extreme contention, our view of Plato’s philosophy would not be seriously affected by it, for the pieces which are rejected by all other critics have no speculative importance whatever. The case would be far different were we to agree with those who impugn the genuineness of the Parmenides, the Sophist, the Statesman, the Philêbus, and the Laws; for these compositions mark a new departure in Platonism amounting to a complete transformation of its fundamental principles, which indeed is one of the reasons why their authenticity has been denied. Apart, however, from the numerous evidences of Platonic authorship furnished by the Dialogues themselves, as well as by the indirect references to them in Aristotle’s writings, it seems utterly incredible that a thinker scarcely, if at all, inferior to the master himself—as the supposed imitator must assuredly have been—should have consented to let his reasonings pass current under a false name, and that, too, the name of one whose teaching he in some respects controverted; while there is a further difficulty in assuming that his existence could pass unnoticed at a period marked by intense literary and philosophical activity. Readers who177 wish for fuller information on the subject will find in Zeller’s pages a careful and lucid digest of the whole controversy leading to a moderately conservative conclusion. Others will doubtless be content to accept Prof. Jowett’s verdict, that ‘on the whole not a sixteenth part of the writings which pass under the name of Plato, if we exclude the works rejected by the ancients themselves, can be fairly doubted by those who are willing to allow that a considerable change and growth may have taken place in his philosophy.’116 To which we may add that the Platonic dialogues, whether the work of one or more hands, and however widely differing among themselves, together represent a single phase of thought, and are appropriately studied as a connected series. Before entering on our task, one more difficulty remains to be noticed. Plato, although the greatest master of prose composition that ever lived, and for his time a remarkably voluminous author, cherished a strong dislike for books, and even affected to regret that the art of writing had ever been invented. A man, he said, might amuse himself by putting down his ideas on paper, and might even find written178 memoranda useful for private reference, but the only instruction worth speaking of was conveyed by oral communication, which made it possible for objections unforeseen by the teacher to be freely urged and answered.117 Such had been the method of Socrates, and such was doubtless the practice of Plato himself whenever it was possible for him to set forth his philosophy by word of mouth. It has been supposed, for this reason, that the great writer did not take his own books in earnest, and wished them to be regarded as no more than the elegant recreations of a leisure hour, while his deeper and more serious thoughts were reserved for lectures and conversations, of which, beyond a few allusions in Aristotle, every record has perished. That such, however, was not the case, may be easily shown. In the first place it is evident, from the extreme pains taken by Plato to throw his philosophical expositions into conversational form, that he did not despair of providing a literary substitute for spoken dialogue. Secondly, it is a strong confirmation of this theory that Aristotle, a personal friend and pupil of Plato during many years, should so frequently refer to the Dialogues as authoritative evidences of his master’s opinions on the most important topics. And, lastly, if it can be shown that the documents in question do actually embody a comprehensive and connected view of life and of the world, we shall feel satisfied that the oral teaching of Plato, had it been preserved, would not modify in any material degree the impression conveyed by his written compositions. breakfast in the kitchen by candle-light, and then drove the five The bargaining was interminable, something in this manner:— Then follows a long discussion in Hindi with the bystanders, who always escort a foreigner in a mob, ending in the question— There was a bright I. D. blanket spread on the ground a little way back from the fire, and she threw herself down upon it. All that was picturesque in his memories of history flashed back to Cairness, as he took his place beside Landor on the log and looked at her. Boadicea might have sat so in the depths of the Icenean forests, in the light of the torches of the Druids. So the Babylonian queen might have rested in the midst of her victorious armies, or she of Palmyra, after the lion hunt in the deserts of Syria. Her eyes, red lighted beneath the shadowing lashes, met his. Then she glanced away into the blackness of the pine forest, and calling her dog to lie down beside her, stroked its silky red head. The retreat was made, and the men found themselves again in the morning on the bleak, black heath of Drummossie, hungry and worn out, yet in expectation of a battle. There was yet time to do the only wise thing—retreat into the mountains, and depend upon a guerilla warfare, in which they would have the decided advantage. Lord George Murray now earnestly proposed this, but in vain. Sir Thomas Sheridan and other officers from France grew outrageous at that proposal, contending that they could easily beat the English, as they had done at Prestonpans and Falkirk—forgetting that the Highlanders then were full of vigour and spirit. Unfortunately, Charles listened to this foolish reasoning, and the fatal die was cast. "They said they were going for our breakfast," said Harry. "And I hope it's true, for I'm hungrier'n a rip-saw. But I could put off breakfast for awhile, if they'd only bring us our guns. I hope they'll be nice Springfield rifles that'll kill a man at a mile." "Dod durn it," blubbered Pete, "I ain't cryin' bekase Pm skeered. I'm cryin' bekase I'm afeared you'll lose me. I know durned well you'll lose me yit, with all this foolin' around." He came nearly every night. If she was not at the gate he would whistle a few bars of "Rio Bay," and she would steal out as soon as she could do so without rousing suspicion. Boarzell became theirs, their accomplice in some subtle, beautiful way. There was a little hollow on the western slope where they would crouch together and sniff the apricot scent of the gorse, which was ever afterwards to be the remembrancer of their love, and watch the farmhouse lights at Castweasel gleam and gutter beside Ramstile woods. "Yes, De Boteler," continued the lady, "I will write to him, and try to soothe his humour. You think it a humiliation—I would humble myself to the meanest serf that tills your land, could I learn the fate of my child. The abbot may have power to draw from this monk what he would conceal from us; I will at least make the experiment." The lady then, though much against De Boteler's wish, penned an epistle to the abbot, in which concession and apologies were made, and a strong invitation conveyed, that he would honour Sudley castle by his presence. The parchment was then folded, and dispatched to the abbot. "A very pretty method, truly! You know not the miners and forgers of Dean Forest!—why I would stake a noble to a silver-penny, that if you had discovered he was hidden there, and legally demanded him, he would be popped down in a bucket, to the bottom of some mine, where, even the art of Master Calverley could not have dragged him to the light of day until the Forest was clear of the pack:—but, however, to speak to the point," perceiving that the steward's patience was well nigh exhausted—"I saw Stephen Holgrave yesterday, in the Forest." HoME欧美一级 片a高清
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