macos黑苹果
The latest release of the macOS is coming out this fall in 2020, titled macOS 11 Big Sur, and the new design slated for the release brings in a modern, fresh take to the mac, yet somehow keeping it very familiar. There have been a range of publications that have listed out all the new features in Big Sur, so I will save you the hassle of going through yet another one. In this article, I attempt to condense the design philosophy employed in the revamp, and explain why I believe Apple has broken same very core design principles, which it needs to rectify if they do plan on bringing together their macOS and iOS architecture under one umbrella (more on this speculation later).
macOS的最新版本将于2020年秋季发布，名为macOS 11 Big Sur。该版本的新设计为Mac带来了现代感和新鲜感，但又使它非常熟悉。 有许多出版物列出了《大苏尔》的所有新功能，因此，我将省去您进行另一本书的麻烦。 在本文中，我试图凝结改造中采用的设计理念，并解释为什么我认为苹果违反了相同的非常核心的设计原则，如果苹果计划将其macOS和iOS体系结构整合到一个保护伞下，则它需要纠正。 (有关此推测的更多信息)。
Looking at the major design changes coming up in Big Sur the following consistent design principles have been employed for the revamp:
观察大苏尔即将发生的重大设计变更，以下一致的设计原则已用于改造：
- Increased use of translucency and blurring to create a sense of depth, 越来越多地使用半透明和模糊效果来营造深度感，
- Introducing the squircle for all app icons, bringing the macOS design even closer to their iOS variants, 向所有应用程序图标引入关键要素，使macOS设计更接近其iOS版本，
- And finally introducing a change in icon design perspective for the Mac. 最后引入Mac图标设计方面的改变。
增加对半透明和模糊的使用 (Increased used of Translucency & Blurring)
The most evident use of increased translucency and blurring can be seen in the new Control Center design and the changes to the Notification Center. The new Control Center looks remarkably similar to its iOS cousin, where each item appears in tiles laid on a translucent panel. The Notification Center which appears as a sidebar on the right has been integrated with the widget panel, so your widgets will appear from the side along with your notifications. The panel is no longer evident, and all your notifications appear as stacked translucent tiles.
在新的Control Center设计和对Notification Center的更改中，可以看到增加透明度和模糊性的最明显用法。 新的Control Center看起来与它的iOS表亲非常相似，其中每个项目都显示在放置在半透明面板上的图块中。 右侧的侧边栏显示的通知中心已与小部件面板集成在一起，因此您的小部件将与通知一起从侧面显示。 该面板不再可见，所有通知都显示为堆叠的半透明图块。
The translucent theme has been applied across the design, with the menu bar and the dock all recipients of the new blurred effect. Toolbars within apps are not only taller, but are now inline with the controls, without being bound by a bezel, the consequences of which are discussed below.
半透明主题已应用到整个设计中，菜单栏和停靠点是新模糊效果的所有接收者。 应用程序中的工具栏不仅更高，而且现在与控件内联，而不受边框的约束，其后果将在下面讨论。
后果 (Consequences)
The increased use of translucency may have created a fresher macOS feel, but not without its consequences. The increased translucency and removal of the dark grey bezel has removed some of the contrast that was necessary in making controls, text and icons stand out against the largely white panels as evident in the Finder toolbar below. Apple may counter this by asking users with accessibility concerns to use the Dark mode, but this fundamental design flaw is unnecessary and a cardinal sin in design principles.
半透明性的增加使用可能带来了更新鲜的macOS感觉，但并非没有后果。 半透明边框的增加和透明度的增加消除了使控件，文本和图标在大部分白色面板上脱颖而出所必需的一些对比度，如下面的“查找器”工具栏所示。 苹果可能会通过要求具有可访问性的用户使用暗模式来对此进行反击，但是这种根本的设计缺陷是不必要的，也是设计原则上的一个主要缺陷。
鞘管介绍 (Introduction of the Squircle)
The squircle shape was introduced in iOS 7 to encapsulate all app icons within a small, consistent, repeatable and most importantly realistic shape, one that resembled the iPhone form factor of the day — a rectangle with rounded edges.
squircle形状是在iOS 7中引入的，用于将所有应用程序图标封装在一个小的，一致的，可重复的且最重要的是逼真的形状中，该形状类似于当时的iPhone尺寸-具有圆角的矩形。
Up till now the squircle very much lived in the iOS domain. Icon design for the mac, which always had more real estate to play with, enjoyed greater freedom of expression. This however, resulted in inconsistent design, with icons either being circular; think Safari, Photos, App Store and Time Machine; rectangular; think Calendar, Reminders, Notes and Mail; or they would have no consistent pattern driving the design such as the iLife apps, being iMovie and GarageBand; and also Automator and Keychain.
到目前为止，大部分时间都生活在iOS域中。 Mac的图标设计始终具有更多的功能可玩，享有更大的表达自由。 但是，这导致设计不一致，图标要么是圆形的，要么是圆形的。 想想Safari，照片，App Store和Time Machine； 长方形; 考虑日历，提醒，便笺和邮件； 否则，他们将没有一致的模式来驱动设计，例如iLife应用程序(iMovie和GarageBand)； 以及Automator和Keychain。
With Big Sur, Apple has reined in that freedom, and constrained all macOS icons to the dimensions set out within the squircle. One squircle to rule them all, so to speak. The implications of this are profound. The writing is on the wall now — Apple is making a concerted effort to bring the macOS architecture more and more inline with its mobile counterpart. This is done to ensure a consistent experience across the Apple ecosystem. A play straight out of the UX playbook to ensure user experience is consistent and familiar, creating Pavlovian habits, muscle memory and most importantly, building trust with the product.
借助Big Sur，Apple限制了这种自由度，并将所有macOS图标的尺寸限制在其内部。 可以这么说，一个人统治着所有人。 这意味着深远的意义。 苹果现在正在努力写作—苹果正在共同努力，使macOS体系结构越来越多地与移动设备兼容。 这样做是为了确保在整个Apple生态系统中获得一致的体验。 直接在UX剧本中进行的剧本，以确保用户体验一致且熟悉，从而形成巴甫洛夫习惯，肌肉记忆，最重要的是， 建立对该产品的信任 。
后果 (Consequences)
The consequences for these design decisions have however resulted in design “flaws” (oh the sacrilege!). Forcing icons into the constrained dimensions of the squircle have resulted in some interesting outcomes. The icons for the Font Book, Dictionary and Stickies in particular look a lot smaller than the other icons, due to their design having depth to them. Looking at Launch Pad with all the apps lined up, these three icons stick out for their inconsistency, and that’s primarily due to them having depth, making them appear smaller than the others.
但是，这些设计决策的结果导致了设计的“缺陷”(哦，牺牲品！)。 将图标强行插入到受约束的尺寸中会产生一些有趣的结果。 字体书，字典和便利贴的图标看起来比其他图标小很多，这是因为它们的设计具有深度。 观察所有已排列的应用程序的启动板，这三个图标因其不一致而突出，这主要是由于它们的深度，使其显得比其他的更小。
Additionally, the icon designs seem to break out of the squircle dimensions inconsistently. For some reason, the little robot in the Automator, the guitar head in GarageBand and the pen in TextEdit seem to stick out of their squircles, but interestingly, the pen in Pages does not. In all these cases, the object in question is lending the icon a sense of depth, by sitting “on top” of the icon, further bolstering the point that Apple is reintroducing skeuomorphism with Big Sur (more on this here).
此外，图标设计似乎不一致地超出了鼠形尺寸。 出于某种原因，Automator中的小机器人，GarageBand中的吉他头和TextEdit中的笔似乎伸出了他们的松鼠，但有趣的是，Pages中的笔却没有。 在所有这些情况下，所讨论的对象都可以通过“位于图标的顶部”来使图标具有深度感，从而进一步凸显了Apple在Big Sur中重新引入拟人化的观点( 此处有更多介绍)。
图标设计视角的变化 (Change in Icon Design Perspective)
With the move towards bringing the Mac design closer to the iOS design, there has been a marked change in Apple’s take on icon design perspective. With macOS 10.15 and below, Apple’s Design Guidelines encouraged icon design to keep perspective in mind and encouraged tilting the icon 9°. It stated:
随着使Mac设计更接近iOS设计的发展，Apple对图标设计的看法发生了显着变化。 在macOS 10.15及更低版本中，Apple的《设计指南》鼓励图标设计牢记视角，并鼓励将图标倾斜9°。 它说：
“In general, an app icon should depict an object as if viewed through an imaginary camera that’s facing the object, positioned just below center, and tilted slightly upward.”
“一般而言，应用程序图标应描绘对象，就像通过假想的摄像头观看一样，该摄像头面向该对象，位于中心下方，并略微向上倾斜。”
The new macOS design however, had to can this approach if it wanted consistency in the two OS designs. You can’t have tilted squircles… well you can, but who wants to look at those? The Design Guidelines now proselytise a “rounded-rectangle shape, a front-facing perspective, and a consistent drop shadow to provide a unified visual experience.” So we now have free-shape icons replaced with squircles that are standing straight up with no tilt, and the visual perspective changed from a 15° below center to front on, resulting in icon design mimicking those of the iOS. However, not all macOS icons were given the fresh lick of paint they deserved. Apps that are Mac-only such as TextEdit, Xcode and Preview still depict physical objects, staying quite firmly in the skeuomorphic bucket refusing to budge. Its as though some parts of the Mac have made the transition to the fresher, flatter look, but there are still parts that want to stay where they are.
但是，如果新的macOS设计要在两个OS设计中保持一致，就必须采用这种方法。 你不能有倾斜的松鼠……你可以，但是谁想看那些呢？ 现在，《设计指南》采用了“圆角矩形，正面透视图和一致的阴影效果，以提供统一的视觉体验”。 因此，我们现在将自由形状的图标替换为不倾斜地笔直站立的松鼠，并且视觉透视从中心下方的15°更改为正面，从而使图标的设计类似于iOS的图标。 但是，并非所有的macOS图标都获得了应有的新鲜涂漆。 仅限Mac的应用程序(例如TextEdit，Xcode和Preview)仍然可以描绘物理对象，并且牢牢地停留在拒绝变样的拟形桶中。 好像Mac的某些部分已经过渡到了更新鲜，更平整的外观，但是仍有一些部分想要保留在原处。
后果： (Consequences:)
The unequal distribution of design love depending on where the app’s primary home is creates inconsistencies in user experience and creates confusion for designers creating icon designs. If I was working on an app development team and was tasked to update the icon inline with the new macOS release, should I continue with the use of physical objects to mimic real world design? Maybe I should, if its an app that works solely with the Mac. But if there is a pivot to cater for other platforms, should we change the icon knowing full well the Android and Microsoft environments don’t follow the same skeuomorphic approach? What about porting to mobile? A flatter icon is required to account for the smaller real-estate. Different applications have taken different approaches for this. Applications that are cross-platform like Evernote and Skype have created a flat icon, regardless of the environment you access them in, be it iOS, macOS, Android, or Microsoft. Whereas Ulysses the Mac and iPhone only word processor has two different icons for the different platforms. Clearly as in the case of Ulysses, the muddled design guidelines between the platforms set out by Apple have influenced their design approach and created the same inconsistencies that Apple has in their native applications.
设计爱的不平等分布取决于应用程序的主要宿主在哪里，这会导致用户体验不一致，并给设计人员创建图标设计带来困惑。 如果我正在一个应用程序开发团队中工作，并负责使用新的macOS版本内联更新图标，我是否应该继续使用物理对象来模拟现实世界的设计？ 如果它的应用程序仅与Mac兼容，也许我应该这样做。 但是，如果有一个可以满足其他平台需求的枢纽，我们是否应该充分了解Android和Microsoft环境不会采用相同的拟态化方法来更改图标？ 移植到手机怎么样？ 需要较小的图标来说明较小的房地产。 不同的应用为此采取了不同的方法。 跨平台的应用程序(如Evernote和Skype)已创建一个平面图标，无论您在iOS，macOS，Android或Microsoft所处的环境如何访问。 而Ulysses Mac和iPhone专用文字处理器针对不同平台具有两个不同的图标。 显然，就像在《尤利西斯》中一样，苹果提出的平台之间混乱的设计准则影响了他们的设计方法，并产生了苹果本机应用程序中同样的矛盾之处。
最后的话 (Final Word)
Granted some of the icon designs are downright ugly, (have you seen the Quicktime icon?), Big Sur is a step in further collating the macOS design with that of its handheld counterparts. With the Mac Catalyst bringing in iPad apps to the Mac, and the revamped Messages app in Mac, its only a matter of time when the OS design for all the products would look exactly identical. This is only a good thing as it solves some of the inconsistencies in design guidelines stated above. However, going forward the guidelines need further work to ensure a homogenous design palette.
鉴于某些图标设计非常丑陋(您看过Quicktime图标吗？)，所以Big Sur是进一步将macOS设计与其手持同类产品进行整理的一步。 随着Mac Catalyst将iPad应用程序引入Mac，以及Mac中经过改进的Messages应用程序，所有产品的操作系统设计看起来完全相同只是时间问题。 这只是一件好事，因为它可以解决上述设计准则中的某些不一致问题。 但是，要继续遵循指南，还需要进一步工作以确保设计风格统一。
Overall, with Big Sur, Apple has taken two steps forward but one step back with its design revamp. There are some clear inconsistencies in design protocols and potential accessibility concerns need to be accounted for before the big move to marry the two operating systems.
总体而言，有了Big Sur，苹果在设计改进上前进了两步，而后退了一步。 在设计协议中存在一些明显的不一致之处，在将这两个操作系统结合使用之前，需要解决潜在的可访问性问题。
macos黑苹果
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