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The DEC Education: Product Design
 

The DEC Education: Product Design

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ABOUT THE CLASS ...

ABOUT THE CLASS
This class, taught by SMU Advertising Lecturer Dev Gupta, will walk you through the design process for building better products. This class is for the non-designer, to understand the importance of creating great user experiences. Learn how to lead a design team to stay focused on the greater vision of your company through clear communication, business goals and ease of use.

THE TAKEAWAYS
To establish a clear understanding of the product value proposition before diving in to the design process.
To learn how to build a functional spec and business requirements through product roadmaps and wireframes.
To establish strategies for building out content strategy - both internal and external.
To discuss and demonstrate the importance of wireframing, user flow and prototyping before going into the actual visual design and development.
To walk away with a better understanding as to why better designed products succeed, and learn how to set the bar higher for your own product design.

ABOUT THE INSTRUCTOR, Dev Gupta
Dev Gupta teaches creating advertising art direction and copywriting. Before joining SMU, he worked as an art director and freelance interactive designer at various New York and Dallas agencies. He holds a Masters in Advertising and Bachelors of Finance from The University of Texas. His work has been featured in and honored by Wired Magazine, GQ, The One Club, Mashables and TechCrunch. When he is not teaching he consults with agencies, tech start-ups and fortune 500 companies.

PRESENTED BY, The Dallas Entrepreneur Center
The Dallas Entrepreneur Center (DEC) is an entrepreneurial support system dedicated to bringing together the resources, support and opportunities that Dallas-area entrepreneurs need to start, build and grow their businesses. Launched in 2013, the DEC believes investment in entrepreneurs is investment in the community. Learn more at thedec.co.

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    The DEC Education: Product Design The DEC Education: Product Design Presentation Transcript

    • Design for Non Designers INTRODUCTION TO DESIGN PRINCIPALS AND PRODUCT DESIGN
    • Believe me—I’m only kind of a hack BEFORE WE START
    • My hope is that you learn enough to know what to google. BEFORE WE START
    • Why Design What Design How Design Where Design AGENDA
    • Why Design
    • Consumers Demand it
    • How did we get here
    • IT DOES WHAT?! Feature Era Value is created by the number of features
    • THE DEMOCRATIZATION OF INFORMATION Information Age The internet changed the availability and access to information
    • EXPERIENCE ERA Information Saturation Information is ubiquitous to the point of distracting—how content is segmented and served is now as important as the content.
    • CONTENT AGGREGATORS
    • ON DEMAND SERVICES
    • CEO’S USE IPADS
    • CONNECTED DEVICES
    • WEARABLE TECH
    • MAKERS MOVEMENT
    • Context Matters
    • Design Creates Context
    • What Design
    • “Good design is useful, usable and desirable”
    • HIERARCHY AND AFFORDANCE Organization Design is a process of organizing information and intent.
    • IMPORTANT interesting but less important
    • Push me
    • CREATES MEANING Emotional Design communicates intangible ideas and creates attachment.
    • fancy
    • OldSchool
    • JUST WHAT’S NEED Intentional Design includes elements that are absolutely needed to understand the underlying message—design is a process of abstraction.
    • EMPATHETIC User Centered Design stands alone, in that a user should have everything they need to understand the design artifact. This is in contrast to fine art.
    • TRIAL & ERROR Iterative The process of design is 90% failure—there is not one right answer, just lots of wrong ones.
    • More specifically visual design is composed of typography, composition and color
    • Typography
    • OPTICAL OPTIMIZATION Use Your Eyes Letterforms are optimized for reading on a flat surface—they are adjusted optically. Most letterforms are imperfect—several type designers have failed to create a mathematically perfect typeface. The closest we have is Grajon.
    • SERIF & SANS SERIFS Classification Typefaces are generally classified into two categories: serif and sans serif. Other classifications include slab serif and script.
    • Stern Serifs Serifs are among the first typefaces to be created. They are based off of the early carvings of roman columns—the most famous being Trajen’s Column.
    • Going Sans They were popularized during the Industrial Revolution by printers looking to add emphasize to headlines.
    • Slab Me Although it is technically a subset of serifs, It is often considered to be in its own category—also called Egyptian.
    • Scriptaculous Script is the proper name for cursive fonts.
    • TYPE CLASSIFICATION Weight & Variant Typefaces typically come in 4 styles: REGUL AR, ITALIC, BOLD AND BOLD ITALIC; however several professional fonts include extra weights and variants, which extend range and application.
    • ImTungstenLightim mercury semibold roman sc & I’m Mercury Book sequam harchitaquis es nestio dolorporem vellestiOta coreribus, sum cuptasp ictate quaturestior sunt ex eliquodis debis ex essimusda que quidustem veliqua eptatur am faccate mporest excernatem faccum resed maionem volorero tem volesti beatibu sapicie ndistibea velenis reperunt iusdant
    • Oblique Italics Swashes
    • CHOOSING TYPE Making Type Talk Typefaces should be chosen for their semiotic association and/or use.
    • Playful serious Agnostic EMOTION
    • Mid Century Modern HISTORICAL ALLUSION
    • Im good for books I was made for screeens USE
    • LETTERSPACING Tracking Tracking is the overall space between characters. It can be tightened or loosened to achieve different visual effects. When setting type at minute sizes its customary to increase the tracking to ease readability. This is also the case when setting reversed type—white text on black background.
    • L O O S E Y GOOSEY TRACKING
    • LETTERSPACING Kerning Kerning is the manual process of adjusting space between two characters in order to compensate for awkward whitespace and is used to restore natural spacing rhythm so that reading is uninhibited.
    • unkerned kerning KERNING
    • TYPOGRAPHY When in doubt typography.com
    • Composition
    • COMPOSITION Symmetry Symmetry is good. Asymmetry is better
    • BORING
    • MORE INTERSETING
    • COMPOSITION Balance Odd numbers look better than even.
    • BORING
    • MORE INTERSETING
    • COMPOSITION Don’t Get Close If objects are near each other its best to have them overlap. If an object nears the edge, its best to bleed it off the edge.
    • AWKWARD TENSION
    • MUCH BETTER
    • COMPOSITION Rule of Thirds Objects placed on the axis of thirds are the most visualizing pleasing to the eye.
    • COMPOSITION Optical Center Things placed in the center of the page are not as visually interesting but if you have to center something: visually center based on weight not mathematically .
    • MATHEMATICALLY CENTERED
    • OPTICALLY CENTERED
    • COMPOSITION Scale Vary scale to create visual interest and develop hierarchy.
    • COMPOSITION White Space Negative space is as important as the forms on the page—helps create visual tension.
    • COMPOSITION Use a Grid This is the most important rule of composition. A grid helps you organize content and provides a framework to build multiple layouts.
    • COMPOSITION When in doubt siteinspire.com
    • Color
    • COLOR Components of Color 1. Hue - Red 2. Saturation - How red? 3. Luminosity - How dark or light?
    • HUE SATURATION LUMINOSITY
    • COLOR Semiotic Value Culturally we accept that certain colors are indexical of attitudes, for example, blue instill trusts, or red and green represent Christmas.
    • COLOR Complementary Colors Colors with opposite hues, e.g red and green
    • COLOR Analogous Colors Colors with adjacent hues, e.g. red and orange
    • COLOR Monochromatic Same hue with varying saturation and luminosity
    • COLOR When in doubt dribbble.com
    • How Design
    • “Good design is useful, usable and desirable”
    • 1. Hierarchy and Affordance 2. Meaning and Attachement DESIGN CREATES
    • How does it do this?
    • Relying on patterns, cultural associations and shared assumptions
    • Designers understand and leverage these connections
    • How can you?
    • Short of going to design school do this...
    • AN APPLIED APPROACH Design Manifesto Three or four lines that encapsulates the intended messaging. This gives the designer key words to design against.
    • AN APPLIED APPROACH Pull Tearsheets A collection of photography, typography, illustration, editorial design, etc...that share the same visual goals of the project at hand. Serves to inspire and direct the design process.
    • AN APPLIED APPROACH Use • designspiration.net • fffffound.com • dribbble.com • behance.com • siteinspire.com
    • AN APPLIED APPROACH Define the Zeitgeist A reservoir of visuals associated with pertinent ideas, e.g. if I’m designing a wedding invitation, I like to know what visuals people associate with weddings.
    • AN APPLIED APPROACH Use • Google • Shutterstock • iStock • nounproject.com
    • Lets look at specific applications
    • Interface Design
    • PROCESS Circle not line The process outlined in the next slides feels like a linear process, but when enacted its more like a spiral and is integrated with development efforts.
    • PROCESS Mobile First This forces the experience to be lean—its a good way to understand priority and must- haves vs nice-to-haves.
    • PRODUCT DEFINITION Product Value Statement What is the value to the customer? Treat like a thesis, the value proposition should be a single idea that solves a human problem.
    • PRODUCT DEFINITION Functional Spec Outlines the functionality and scope of the product.
    • INFORMATION ARCHITECTURE Process Flow Take different users through the experience: a hybrid between a sitemap and storyboards.
    • INFORMATION ARCHITECTURE Low Fidelity Wireframes Rough sketches of the entire experience. I prefer to sketch with pencil on paper.
    • USER EXPERIENCE High Fidelity Wireframes Computer comps that define specific interaction patterns. Some high fidelity wireframes speak to design. The most common creation tools are Omnigraffle, Illustrator and Fireworks.
    • VISUAL DESIGN Conceptual Design The designer explorers several different looking design solutions of the same interaction or set of screens
    • VISUAL DESIGN Applied Design Once a general design direction is set, it is blown out the remaining pages.
    • VISUAL DESIGN Production Design All the states and support graphics are created. For example what does a button look like on hover, and on click.
    • VISUAL DESIGN Interface design is not content design. Most apps incorporate both, marketing websites are content design in that the design relies heavily on the quality of existing visual assets. Remember
    • IN ACTION Profill.it: Case Study The following is an applied look at the aforementioned design process for a fictional product, called profill.it
    • PROFILL.IT: CASE STUDY • My profile picture is the same from college • I want my profile picture to be consistent across all my profiles • I hardly login to my accounts—I mostly use the mobile or third party apps Fodder
    • PROFILL.IT: CASE STUDY Profill.it allows you to update your profile picture, across many of your social media accounts, in one place. Product Value Statement
    • PROFILL.IT: CASE STUDY • Upload image from device • Crop and scale image • Push new image to Google+, Facebook, Twitter, Tumblr, Flickr, and Instagram Functionality
    • PROFILL.IT: CASE STUDY Upload Picture iOS Photo Album Crop Img Choose Accounts Push ImgAuthenticate
    • PROFILL.IT: CASE STUDY Low Fi Wires
    • PROFILL.IT: CASE STUDY Profill.it is a no fuss utility, targeted at the internet savvy user. It is all about streamlining and automating a manual process. Design Manifesto
    • PROFILL.IT: CASE STUDY Flat Tear Sheets
    • PROFILL.IT: CASE STUDY Layered Tear Sheets
    • FLAT LAYERED
    • UPLOAD SCREEN OTHER STATESUPLOAD SCREEN OTHER STATES
    • Design by Numbers
    • Interface design relies almost exclusively on patterns and existing paradigms.
    • Available Variables 1. Color 2. Tone 3. Amount of Chrome 4. Typography 5. Artwork COLOR BY DESIGN
    • COLOR BY DESIGN Color • Dark • Light • Muted • Vibrant • Brand Specific
    • DARK LIGHT
    • MUTED VIBRANT
    • COLOR BY DESIGN Tone • Playful • Utilitarian • Fancy • Vintage • Editorial • Textured
    • PLAYFUL UTILITARIAN
    • EDITORIAL VINTAGE
    • FANCY TEXTURED
    • COLOR BY DESIGN Chrome • No chrome • Flat • Pure App • Tactile • Dimensional • Skeuomorphic
    • NO CHROME FLAT
    • TACTILE DIMENSIONAL
    • SKEUMORPHIC
    • COLOR BY DESIGN Type • Free • Paid
    • COLOR BY DESIGN Artwork • Icon Style • Photography or Illustration • User generated?
    • WIRED FILLED
    • ILLUSTRATION PHOTOGRAPHY
    • UGC IS NORMALLY UGLY
    • Available Variables 1. Color 2. Tone 3. Amount of Chrome 4. Typography 5. Artwork COLOR BY DESIGN
    • Logo Design
    • LOGO DESIGN Logo A logo is a metaphor for the ideals of a company. A logo can take the form of a logotype or logotype and logo mark.
    • LOGOOTYPE
    • LOGOTYPE + MARK
    • LOGO DESIGN Logo Mark There are four broad types of logo marks: • Representative - Dodge Ram • Monogram - Volkswagen • Visual Pun - Evernote • Abstracted - Nike
    • LOGO MARKS ABSTRACTEDREPRESENTATIVE MONOGRAM VISUAL PUN
    • LOGO DESIGN Considerations Logos are abstractions—include only what is absolutely needed to communicate the stated message; therefore logos should work well at small sizes and in a single color.
    • LOGO DESIGN Remember Logos are but one small component of Brand. A consumer’s understanding of a brand comes from interacting with it in various capacities. The best brands design all consumer touch points.
    • Where Design
    • WHERE DESIGN IS HEADED Design Experiences Not artifacts Design is more than pushing pixels—design is fundamentally about creating the best experience for the consumer, whether that be a website or the approach to customer service.
    • This has a name.
    • WHERE DESIGN IS HEADED Design Thinking Design Thinking is a problem solving methodology that utilizes design processes to help find the right problem to solve. It does so by focusing on the end user, understanding the end-to-end experience and using iterative prototypes to fail early and often.
    • DESIGN THINKING Efficiency vs Efficacy An idea can be efficient but highly ineffective. Ford is famously quoted as saying, “If I asked people what they wanted, they would have said a faster a horse.” Design Thinking helps frame the problem in the right context.
    • DESIGN THINKING Solution as Problem Ford’s quote underlines another common problem, presenting solutions as problems—rather than asking for a faster horse ask for a better way to travel.
    • What does this mean?
    • DESIGN THINKING Design First Companies like Ford, Square, AirBnb, Apple have adopted a design first mindset, which has allowed them to remain innovative so put your designer hat on when evaluating all facets of your business.
    • Thanks!FEEL FREE TO EMAIL ME AT DEVGUPTA@ME.COM