The document provides an overview of the design thinking process, which includes the key modes of Empathize, Define, Ideate, Prototype, and Test. It describes each mode in terms of what it is, why it is important, and how to execute it. The Empathize mode involves understanding users through observation and engagement to gain insights. Define is about synthesizing research to craft a problem statement. Ideate is the generation of ideas. Prototype creates artifacts to test ideas. Test gets feedback on prototypes from users.
Ideation is at the heart of the Design Thinking process. Ideation sessions help you to challenge assumptions, think outside the box, and explore uncharted territory. In the ideation phase, you explore and come up with as many ideas as possible.
In this presentation guide, you will learn and develop skills in six types of ideation techniques that can be used in the Design Thinking cycle. They include:
1. Brainstorming
2. 2 x 2 Matrix
3. Dot Voting
4. 6-3-5 Method (Brainwriting)
5. Special Brainstorming (Negative Brainstorming, Figuring Storming, and Bodystorming)
6. NABC (Need, Approach, Benefit and Competition)
This guide provides a means to introduce ideation techniques to your workshop participants other than the traditional brainstorming method. It helps to make your ideation sessions fun and exciting.
LEARNING OBJECTIVES
1. Gain knowledge on the various ideation techniques that can be used in the design thinking cycle.
2. Develop skills in the application of ideation techniques.
3. Understand the expert tips and key learnings of ideation techniques.
CONTENTS
1. Brainstorming
2. 2 x 2 Matrix
3. Dot Voting
4. 6-3-5 Method
5. Special Brainstorming
6. NABC
To download this complete presentation, visit: https://www.oeconsulting.com.sg/training-presentations
Design Thinking & Agile Innovation Workshop combining elements from Design Thinking, Customer Development, Christensen's Jobs to be Done, Osterwalder's Value Proposition Canvas, Javelin Experiment Board, Lean Startup and Paper Prototyping.
December 2017 presentation covering: What is design thinking? What does it look like in practice? What are some case stories of design thinking being used in the real world? How can we use design thinking in our organization? Where can I learn more?
Ideation is at the heart of the Design Thinking process. Ideation sessions help you to challenge assumptions, think outside the box, and explore uncharted territory. In the ideation phase, you explore and come up with as many ideas as possible.
In this presentation guide, you will learn and develop skills in six types of ideation techniques that can be used in the Design Thinking cycle. They include:
1. Brainstorming
2. 2 x 2 Matrix
3. Dot Voting
4. 6-3-5 Method (Brainwriting)
5. Special Brainstorming (Negative Brainstorming, Figuring Storming, and Bodystorming)
6. NABC (Need, Approach, Benefit and Competition)
This guide provides a means to introduce ideation techniques to your workshop participants other than the traditional brainstorming method. It helps to make your ideation sessions fun and exciting.
LEARNING OBJECTIVES
1. Gain knowledge on the various ideation techniques that can be used in the design thinking cycle.
2. Develop skills in the application of ideation techniques.
3. Understand the expert tips and key learnings of ideation techniques.
CONTENTS
1. Brainstorming
2. 2 x 2 Matrix
3. Dot Voting
4. 6-3-5 Method
5. Special Brainstorming
6. NABC
To download this complete presentation, visit: https://www.oeconsulting.com.sg/training-presentations
Design Thinking & Agile Innovation Workshop combining elements from Design Thinking, Customer Development, Christensen's Jobs to be Done, Osterwalder's Value Proposition Canvas, Javelin Experiment Board, Lean Startup and Paper Prototyping.
December 2017 presentation covering: What is design thinking? What does it look like in practice? What are some case stories of design thinking being used in the real world? How can we use design thinking in our organization? Where can I learn more?
Hi semua, terima kasih sudah berkunjung kesini 😆 Semua file yang diupload adalah materi perkuliahan. Nah... materi ini dari dosen yang dikhususkan untuk teman-teman kelas #manabeve 💚
Biar gampang diakses, yah masukin sini aja kan😆 Sekalian membantu kalian yang mungkin butuh beberapa konten dalam file-file ini.
Jangan lupa di like yah 💙 Kalau mau dishare atau didownload PLEASE MINTA IZIN dulu oke??
Biar ngga salah paham cuy😆
ASK FOR PERMISSION ▶ itsmeroses@mail.ru
Kalau kesulitan untuk mendownload FEEL FREE untuk email ke aku🔝🔝🔝🔝
[DISCLAIMER] Mohon banget kalau udah didownload. Kemuadian ingin dijadikan materi atau referensi. Jangan lupa cantumkan sumbernya. Terima kasih atas pengertiannya💖
------------------------------------------------------------
Materi details :
Coming soon ")
------------------------------------------------------------
MEET CLASS FELLAS💚
Instagram ▶ https://www.instagram.com/manabeve
Blog ▶ https://manabeve.blogspot.com
Email ▶ manabeve@gmail.com
------------------------------------------------------------
LET'S BECOME FRIENDS WITH ME💜
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Twitter ▶ https://www.twitter.com/amlediana3
These slides were prepared to introduce district leaders to the design thinking process. The design challenge we worked on during this day-long introduction was to redesign high school media centers. These slides were used to step participants through each phase of the design thinking process.
Are you constantly coming up short on forward-thinking ideas and prototypes that excite your test audience? Time for a new course of action - Design Thinking! Join us in this complimentary training lesson as we introduce you to the five key factors of The Design Thinking Process and show you how to begin implementing innovative and successful project solutions.
How to re-frame business problems to customer-centric opportunity spaces that drive value. Design thinking is your shortcut to customer empathy. A good understanding on how this method could help you identify real customer problems and unmet needs is essential. Moreover we will share techniques and tools that you can implement directly after this crash course. Start inventing the future.
Developed by students at Stanford University, the Design Thinking approach was created to establish a new way to grow innovative products, processes and services. The Design Thinking process consists of six iterative stages which enable participants to seek flexible solutions and innovations concerning the issue they treat.
One important aspect of Design Thinking is the creation and cultivation of ideas within a well-coordinated team. Thus, the team spirit is a decisive element during Design Thinking operations and encourages to produce the best possible results. In addition to the team side of Design Thinking, a flexible and productive environment is crucial to develop inventive ideas and products. The more workable an environment, is the easier it is for employees to visualize and transmit thoughts and new concepts.
Hi semua, terima kasih sudah berkunjung kesini 😆 Semua file yang diupload adalah materi perkuliahan. Nah... materi ini dari dosen yang dikhususkan untuk teman-teman kelas #manabeve 💚
Biar gampang diakses, yah masukin sini aja kan😆 Sekalian membantu kalian yang mungkin butuh beberapa konten dalam file-file ini.
Jangan lupa di like yah 💙 Kalau mau dishare atau didownload PLEASE MINTA IZIN dulu oke??
Biar ngga salah paham cuy😆
ASK FOR PERMISSION ▶ itsmeroses@mail.ru
Kalau kesulitan untuk mendownload FEEL FREE untuk email ke aku🔝🔝🔝🔝
[DISCLAIMER] Mohon banget kalau udah didownload. Kemuadian ingin dijadikan materi atau referensi. Jangan lupa cantumkan sumbernya. Terima kasih atas pengertiannya💖
------------------------------------------------------------
Materi details :
Coming soon ")
------------------------------------------------------------
MEET CLASS FELLAS💚
Instagram ▶ https://www.instagram.com/manabeve
Blog ▶ https://manabeve.blogspot.com
Email ▶ manabeve@gmail.com
------------------------------------------------------------
LET'S BECOME FRIENDS WITH ME💜
Instagram ▶ https://www.instagram.com/ameldiana3
Twitter ▶ https://www.twitter.com/amlediana3
These slides were prepared to introduce district leaders to the design thinking process. The design challenge we worked on during this day-long introduction was to redesign high school media centers. These slides were used to step participants through each phase of the design thinking process.
Are you constantly coming up short on forward-thinking ideas and prototypes that excite your test audience? Time for a new course of action - Design Thinking! Join us in this complimentary training lesson as we introduce you to the five key factors of The Design Thinking Process and show you how to begin implementing innovative and successful project solutions.
How to re-frame business problems to customer-centric opportunity spaces that drive value. Design thinking is your shortcut to customer empathy. A good understanding on how this method could help you identify real customer problems and unmet needs is essential. Moreover we will share techniques and tools that you can implement directly after this crash course. Start inventing the future.
Developed by students at Stanford University, the Design Thinking approach was created to establish a new way to grow innovative products, processes and services. The Design Thinking process consists of six iterative stages which enable participants to seek flexible solutions and innovations concerning the issue they treat.
One important aspect of Design Thinking is the creation and cultivation of ideas within a well-coordinated team. Thus, the team spirit is a decisive element during Design Thinking operations and encourages to produce the best possible results. In addition to the team side of Design Thinking, a flexible and productive environment is crucial to develop inventive ideas and products. The more workable an environment, is the easier it is for employees to visualize and transmit thoughts and new concepts.
Digital transformation? Make it happen! Tiana Tasich
Presented at Digital Transformation: Supporting Culture Shift in Museums, a one-day seminar organised by Museums Galleries Scotland, and at Communication in Cultural Institutions, a two-day seminar in Buenos Aires in March 2015.
This presentation explore the 3 key elements of Design Thinking concept:
1) mind-set
2) process and
3) tool
Thinking of design as an experience rather than isolated objects help us deal with much more complex world - Tim Brown
A way of approaching business problem in the same way designers approach design problem - Roger Martin
No longer associated simply with objects and appearances, design is increasingly understood in a much wider sense as the human capacity to plan and produce desired outcomes. - Bruce Mau
Design as a way of thinking, an approach to solving problems
2016 has been a watershed year for UI design tools. Adobe finally launched XD, their direct competitor to Sketch. Sketch itself has not stopped evolving and is about to switch to a subscription model, and the venerable Photoshop remains a default install for many a UI and visual designer.
Though UI design is only one aspect of UX, it is the part of the process that defines the look and feel, as well as creating the assets for development. In that respect, choosing the best tool can have a big impact on both the quality of the designer’s work as well as their efficiency.
So, has the rise of Sketch and the advent of XD changed the playing field? Visual designer Rob Musser presents his analysis of Photoshop, Illustrator, InDesign, XD, and Sketch.
Get ready to RUMBLE!!!
Introduction to Design Thinking for Business StudentsPatrick Glinski
This was a presentation I gave October 16th, 2010 at the Queens School of Business responsible leadership weekend. The talk was designed to introduce the principals of design thinking to undergraduate and MBA students with an interest in corporate and social change.
This is a shortened version of an internal workshop I gave on workshop design. It touches on the principals of design thinking and how they relate to facilitating the process of innovation. Enjoy.
The value added by the software and IT services sector to Romania’s GDP has reached EUR 3.066 billion in 2015, by 21% higher than the one generated in 2014, according to the data from the Employers’ Association of Software and Services Industry from Romania (ANIS). The modernisation of key economic sectors in Romania will continue to provide IT vendors with opportunities in banking, oil, power and telecommunications. An environment of investment in modernisation is likely to drive growth, particularly in the transport and utilities sectors. The present paper analyses the IT industry in Romania and its latest development.
Maximizing an organization’s potential requires multiple factors and strategies. One of the most important is developing accountability, making sure every member of the team, including the leaders themselves, understands the impact that their efforts and decisions have on the organization’s success. True accountability empowers every team member from the top down to make better decisions, take smarter risks, and contribute to the overall health and well-being of their organization. True accountability cannot be taught or dictated - it must be fostered and cultivated through continuous attention and reinforcement.
An Introduction to Design ThinkingPROCESS GUIDEWHAT is t.docxgalerussel59292
An Introduction to Design Thinking
PROCESS GUIDE
WHAT is the Empathize mode
Empathy is the centerpiece of a human-centered design process. The Empathize mode is
the work you do to understand people, within the context of your design challenge. It is your
effort to understand the way they do things and why, their physical and emotional needs, how
they think about world, and what is meaningful to them.
WHY empathize
As a design thinker, the problems you are trying to solve are rarely your own—they are those of
a particular group of people; in order to design for them, you must gain empathy for who they
are and what is important to them.
Observing what people do and how they interact with their environment gives you clues about
what they think and feel. It also helps you learn about what they need. By watching people,
you can capture physical manifestations of their experiences – what they do and say. This will
allow you to infer the intangible meaning of those experiences in order to uncover insights.
These insights give you direction to create innovative solutions. The best solutions come out
of the best insights into human behavior. But learning to recognize those insights is harder
than you might think. Why? Because our minds automatically filter out a lot of information
without our even realizing it. We need to learn to see things “with a fresh set of eyes,” and
empathizing is what gives us those new eyes.
Engaging with people directly reveals a tremendous amount about the way they think and
the values they hold. Sometimes these thoughts and values are not obvious to the people
who hold them, and a good conversation can surprise both the designer and the subject by
the unanticipated insights that are revealed. The stories that people tell and the things that
people say they do—even if they are different from what they actually do—are strong indicators
of their deeply held beliefs about the way the world is. Good designs are built on a solid
understanding of these beliefs and values.
HOW to empathize
To empathize, you:
- Observe. View users and their behavior in the context of their lives. As much as possible
do observations in relevant contexts in addition to interviews. Some of the most powerful
realizations come from noticing a disconnect between what someone says and what he does.
Others come from a work-around someone has created which may be very surprising to you as
the designer, but she may not even think to mention in conversation.
- Engage. Sometimes we call this technique ‘interviewing’ but it should really feel more like
a conversation. Prepare some questions you’d like to ask, but expect to let the conversation
deviate from them. Keep the conversation only loosely bounded. Elicit stories from the
people you talk to, and always ask “Why?” to uncover deeper meaning. Engagement can come
through both short ‘intercept’ encounters and longer scheduled conversations.
- W.
An Introduction to Design ThinkingPROCESS GUIDEWHAT .docxdaniahendric
An Introduction to Design Thinking
PROCESS GUIDE
WHAT is the Empathize mode
Empathy is the centerpiece of a human-centered design process. The Empathize mode is
the work you do to understand people, within the context of your design challenge. It is your
effort to understand the way they do things and why, their physical and emotional needs, how
they think about world, and what is meaningful to them.
WHY empathize
As a design thinker, the problems you are trying to solve are rarely your own—they are those of
a particular group of people; in order to design for them, you must gain empathy for who they
are and what is important to them.
Observing what people do and how they interact with their environment gives you clues about
what they think and feel. It also helps you learn about what they need. By watching people,
you can capture physical manifestations of their experiences – what they do and say. This will
allow you to infer the intangible meaning of those experiences in order to uncover insights.
These insights give you direction to create innovative solutions. The best solutions come out
of the best insights into human behavior. But learning to recognize those insights is harder
than you might think. Why? Because our minds automatically filter out a lot of information
without our even realizing it. We need to learn to see things “with a fresh set of eyes,” and
empathizing is what gives us those new eyes.
Engaging with people directly reveals a tremendous amount about the way they think and
the values they hold. Sometimes these thoughts and values are not obvious to the people
who hold them, and a good conversation can surprise both the designer and the subject by
the unanticipated insights that are revealed. The stories that people tell and the things that
people say they do—even if they are different from what they actually do—are strong indicators
of their deeply held beliefs about the way the world is. Good designs are built on a solid
understanding of these beliefs and values.
HOW to empathize
To empathize, you:
- Observe. View users and their behavior in the context of their lives. As much as possible
do observations in relevant contexts in addition to interviews. Some of the most powerful
realizations come from noticing a disconnect between what someone says and what he does.
Others come from a work-around someone has created which may be very surprising to you as
the designer, but she may not even think to mention in conversation.
- Engage. Sometimes we call this technique ‘interviewing’ but it should really feel more like
a conversation. Prepare some questions you’d like to ask, but expect to let the conversation
deviate from them. Keep the conversation only loosely bounded. Elicit stories from the
people you talk to, and always ask “Why?” to uncover deeper meaning. Engagement can come
through both short ‘intercept’ encounters and longer scheduled conversations.
- ...
d.school Bootcamp Bootleg, as generously created and offered (under Creative Commons license) by the Stanford d.school: http://dschool.typepad.com/news/2009/12/the-bootcamp-bootleg-is-here.html
Design Thinking ist eine neuartige Methode zur Entwicklung innovativer Ideen in allen Lebensbereichen. Das Konzept basiert auf der Überzeugung, dass wahre Innovation nur dann geschehen kann, wenn starke multidisziplinäre Gruppen sich zusammenschließen, eine gemeinschaftliche Kultur bilden und die Schnittstellen der unterschiedlichen Meinungen und Perspektiven erforschen.
Σήμερα, με το πάτημα ενός κουμπιού έχουμε πρόσβαση σε όλο τον κόσμο, εξοπλισμένοι με ποικίλα εργαλεία , έχουμε την ευκαιρία, να εξερευνήσουμε νέες δυνατότητες , νέες ιδέες , νέες τελετουργίες και λύσεις . Έχουμε όμως ακόμα όνειρα; Με αφετηρία τη διαδικασία της σχεδιαστικής σκέψης ( ‘designerly’ ways of thinking), θα μελετήσουμε βήμα προς βήμα τα στάδια μετάβασης από την ιδέα στην υλοποίηση της δικής σας δράσης.
The presentation explains what is design thinking, what ways an entrepreneur could use design thinking to solve problems or validate their ideas. The presentation also includes a brief overview of attributes of design thinking, methods and the six stages of design thinking process.
Explore this presentation to comprehend the essential design theories, popular concepts, methodologies, and ideologies of UX Design. To explore more about UX, you can visit our UX/UI Design courses page - https://www.admecindia.co.in/ui-and-ux-courses
Rendre la critique créative. La démarche abductive et pragmatique du design E...Geoffrey Dorne
La démarche à la fois abductive et pragmatique du design se nourrit du terrain puis s’en détache pour proposer des scénarii à vivre, se préoccupant de l’expérience humaine dans toutes ses dimensions. Sa vocation est d’« améliorer ou au moins maintenir l’habitabilité du monde » (Findeli, 2010, 292). Basé sur un dialogue entre textes et retours d’expériences de l’auteure, designer chercheuse française, cet article vise à dresser un portrait du praticien réflexif et à dessiner quelques jalons pour outiller sa démarche, portée par un questionnement éthique. Les notions théoriques seront interrogées au regard de l’expérience, des rencontres interdisciplinaires, et des paradoxes de l’identité flexible du praticien réflexif. Renégociant perpétuellement son positionnement ainsi que ses outils, c’est une force à la fois critique et créative que celui-ci cherche à exercer dans les entreprises et la société au sens large.
Cette 23e édition de Graphisme en France propose, pour
la première fois, un objet central dans la pratique des designers
graphiques : les logotypes et les identités visuelles.
Ce sujet très large est abordé selon plusieurs aspects
qui tendent plus à une compréhension globale des origines
et des pratiques qu’à une quelconque exhaustivité.
Ainsi, Roger R. Remington, historien et directeur du Vignelli
Center for Design Studies, revient sur les origines et
les développements des identités visuelles aux États-Unis.
La traduction d’un texte de Paul Rand datant de 1991 permet de
comprendre la position de cet immense designer qui a aussi
beaucoup écrit sur sa pratique. Vivien Philizot, lui même designer
et chercheur en études visuelles, nous invite à un parcours
sur l’histoire des logos, et décrypte leur impact et leur sens dans
notre environnement visuel. Ruedi Baur, designer et concepteur
d’innombrables identités visuelles pour des institutions en France
et à l’étranger, partage ses préconisations au regard de
son expérience. Enfin, Martin Lorenz, designer, nous fait part
de ses recherches sur les identités visuelles fluides, suscitées
par la généralisation des supports numériques.
Cette nouvelle édition est l’occasion d’une collaboration
avec Elsa Aupetit et Martin Plagnol. Diplômés de l’École nationale
supérieure des arts décoratifs de Paris en 2012, ils ont fondé l’atelier
Kiösk en 2015. S’inspirant de la structure des chartes graphiques,
ils ont conçu ce document à la manière d’un ouvrage technique.
L’utilisation du caractère typographique Programme, créé
par les designers suisses de Maximage, permet des variations
tout en donnant à l’ensemble une identité forte.
Comme chaque année, le calendrier des événements
organisés dans toute la France témoigne d’initiatives et de projets
toujours plus nombreux. Le Cnap accompagne et promeut par
de nombreuses actions ce réseau de diffusion national du design
graphique et de la typographie afin de permettre une meilleure
reconnaissance de ces pratiques et d’aller à la rencontre d’un public
toujours plus large.
Cette année encore au Campus Fonderie de l’Image, nous accueillons des professionnel-les pour les Puces de l’Illu #4, le marché de l’illustration contemporaine. Illustrateurs, illustratrices, éditeurs, éditrices, galeristes et libraires indépendants viendront vous présenter leurs œuvres samedi 10 et dimanche 11 décembre 2016 de 10h à 19h. Ces deux journées de rencontre sont l’occasion de mettre en valeur le design graphique , l’illustration sous tous ses formats et sa production artisanale et numérique.
Les Puces de l’Illu seront inaugurées par un colloque à destination des étudiant-es le jeudi 24 novembre sur la parité dans la création visuelle intitulé 93 % meufs, 100 % illustration, Parité, nf : égalité entre illustratrices et illustrateurs mettant en lumière les question des solidarités et des discriminations de genre.
Amateurs-trices, passionné-es, engagé-es ne manquez pas ces journées riches en découvertes graphiques !
1. Le design et les métiers d’art : deux secteurs économiques en plein essor représentant un atout
formidable de la France
Le design et les métiers d’art font partie des « industries créatives » (ICC) dans la terminologie
européenne qui représentent aujourd’hui près de 2,6 % du PIB européen et ont un taux de
croissance supérieur à la moyenne. Le chiffre d’affaires du design en France est estimé en 2010
entre 1,9 et 3,4 milliards d’euros.
Le nombre de designers exerçant leur activité à titre principal se situe, en 2010, entre 30 et 33 000,
l’effectif total concerné par l’activité design étant estimé entre 46 et 56 000 personnes, dont 50 %
intégrés dans des entreprises et 50 % indépendants.
Le design n’est plus une question de forme et d’esthétique
Depuis « l’esthétique industrielle » de l’aprèsͲguerre, le design a gagné tous les domaines de la
relation entre l’homme et la machine, entre l’homme et son environnement. Centré davantage sur
l’utilisateur que sur l’objet, le design s’est étendu à des méthodes de management avec le design
Thinking, aux sciences de la conception. Touchant des domaines aussi divers que les nouvelles
technologies, l’écoͲdéveloppement, les politiques publiques et sociales, il est par essence
pluridisciplinaire, polysémique et intégrateur. Le design s’est imposé dans la société civile à la croisée
entre l’art, la science, la technologie, les humanités numériques et il est en totale connexion avec le
monde d’aujourd’hui dans sa réalité concrète et économique.
Il a sa place au MIT à Stanford et dans tous les grands établissements qui pensent et préparent
l’avenir de nos futurs modes de vies, « villes connectées », « prothèses intelligentes », « supports
numériques » etc.
La légitimité d’une recherche en design aussi bien dans les écoles d’art, à l’université que dans les
écoles d’ingénieurs ou de commerce ne devrait plus être sérieusement contestable.
« Architectes, sculpteurs, peintres, tous nous devons retourner à l’artisanat » écrit l’architecte Walter Gropius dans son manifeste du Bauhaus. Fondé en 1919 à Weimar, dissout en 1933 à Berlin face à la montée du nazisme, le Bauhaus est une école d’enseignement artistique qui s’est imposée comme une référence incontournable de l’histoire de l’art du XXe siècle. Elle a été créée par Gropius pour rendre vie à l’habitat et à l’architecture au moyen de la synthèse des arts plastiques, de l’artisanat et de l’industrie.
Le guide de la bonne relation entre annonceur et agence en designGeoffrey Dorne
Qu’il s’agisse de marques produits, de
lieux ou d’entreprises, la mission d’une
agence de design est de créer des uni
-
vers émotionnels spécifiques pour les
marques, univers porteurs de valeurs
pour les différentes parties prenantes
(consommateurs, prescripteurs, colla
-
borateurs, partenaires…).
Les agences de design françaises
emploient plusieurs centaines de desi
-
gners, formés dans les meilleures écoles
d’art graphique, imprégnés de cette
culture et de ce sens des marques qui
rendent leur travail si pertinent. Ce sont
aussi des stratèges qui auscultent les
tendances de nos sociétés pour en anti
-
ciper les grands mouvements.
Brand packaging, retail design ou corpo
-
rate branding, les métiers des agences
sont aujourd’hui tous largement digi
-
talisés.
POUR L’ADC
Frédéric MESSIAN
Président
POUR L’UDA
Étienne LECOMTE
Président
Pierre-Jean BOZO
Directeur Général
Les agences imaginent et donnent
corps à de nouvelles expériences de
marque, physiques et virtuelles, qui
accompagnent la transformation pro
-
fonde et durable des modèles écono
-
miques des entreprises.
Le design est une discipline qui s’ins
-
crit dans le long terme, parce qu’une
marque doit pour s’imposer respecter
son ADN. Mais le design est aussi la dis
-
cipline du temps court. Au-delà de l’an
-
ticipation des tendances, il suscite et
accompagne l’innovation.
Levier de transformation et de création
de valeurs puissant, la marque est plus
que jamais au cœur des préoccupations
de l’ensemble des entreprises.
Résultats de l'enquête relative aux tendances typographiquesGeoffrey Dorne
Les polices jouent un rôle essentiel dans les projets de tout type. Les polices sont aussi
importantes pour un graphiste que les couleurs le sont pour un peintre. Les fontes
représentent en effet la palette créative du concepteur.
J'ai souhaité mieux comprendre les professionnels de la création et me plonger dans
leur univers créatif. Pour transmettre un message, une grande partie du travail créatif
repose sur des textes et des polices. Une police ou un style de police peut même être le
point de départ de tout un mouvement créatif.
Dans le cadre de cette enquête, j'ai sélectionné plusieurs styles de police vus à droite à
gauche. J'étais curieux de voir les réactions de la communauté créative à ces tendances
et styles spécifiques. Les créateurs sont les premiers acteurs des changements
typographiques observés et je souhaitais vérifier certaines hypothèses émises par les
fonderies au sujet des nouvelles polices disponibles sur le marché.
Lorsque j'ai analysé les données de notre enquête sur les tendances typographiques, j'ai
été frappé par la passion qui animait les créatifs. Les créatifs sont des professionnels
vraiment passionnés !
J'espère que votre équipe et vous apprécierez la lecture de ce document et qu'il vous
sera utile. L'enquête vous aidera peut-être à décider quels styles de police privilégier.
Vous pouvez également avoir envie de lire les résultats de l'enquête simplement pour
satisfaire votre curiosité. Quoi qu'il en soit, nous vous souhaitons une agréable lecture !
La démarche design, un outil pour renouveler les processus de l’urbanismeGeoffrey Dorne
Parti de l’univers du mobilier, le design s’est transformé en une véritable « science des processus » au service de l’homme qui se manifeste à travers une démarche d’intervention. Depuis plusieurs années, il s’intéresse de plus en plus à l’espace urbain et lui est bénéfique à de nombreux égards. Les exemples analysés permettent d’identifier les atouts que présente le design pour la ville et les impacts que celui-ci a sur les réalisations. Enfin, il s’agit de suggérer comment les méthodes propres au design peuvent être appropriées par les urbanistes afin d’adapter les processus d’intervention sur la ville à chaque contexte. Les bénéfices potentiels pour chaque acteur sont également mis en avant dans l’optique d’atteindre une ville intense
INNOVER EN FRANCE AVEC LE DESIGN THINKING ? MémoireGeoffrey Dorne
Avant de présenter le design thinking tel qu’il sera
défini dans le cadre de ce mémoire, il nous semble
important de comprendre d’où vient cette notion.
Cette mise en perspective historique mettra en
lumière le fait qu’il n’existe pas une définition
incontestée et incontestable du design thinking.
(Chapitre 1)
Fort de ce constat, nous choisirons de traiter le
design thinking en tant que méthodologie d’innovation
développée tout au long des années 90 dans
la prestigieuse université de Stanford. Plus spécifiquement,
nous présenterons la pensée de Tim
Brown, CEO de l’agence d’innovation IDEO et apôtre
depuis une quinzaine d’années du design thinking.
Il s’agit de l’approche la plus diffusée en France ces
dernières années. (Chapitre 2)
Enfin, nous dépasserons cette vision pour mettre en
lumière les grands principes sur lesquels le design
thinking repose : la reformulation de la question
de départ, le process de design et le fait de placer
l’humain au coeur de la démarche. (Chapitre 3)
design.
En d'autres termes, pendant que la formation du
designer continue à vivre placidement à l'ombre d'un
Bauhaus déjà légendaire, l'industrial design, pour sa
part, semble être dans une situation particulièrement
critique.
L'enjeu du design industriel en 1980 - Quand on demande à un expert anglo-saxon les
raisons du succès exceptionnel de l'industrie automobile
française, au moment où ses concurrentes américaines,
anglaises, italiennes, allemandes sont en difficulté, il
répond invariablement: «Les automobiles françaises
ont un meilleur design » — signifiant par là que ce n'est
ni l'avance technologique, ni la gestion des entreprises
qui fait la différence mais l'architecture du produit, son
esthétique et sa valeur d'usage.
Le diagnostic se confirme
Le kit pratique que vous vous apprêtez à
consulter aborde, de façon très concrète,
certaines thématiques qui occupent une
place croissante dans le métier de bibliothécaire,
au premier chef la question de
l’innovation.
Pourquoi les bibliothèques sont-elles concernées
par l’innovation, une notion que l’on rattache
plus volontiers à la sphère de l’industrie
ou de la technologie ? Tout simplement parce
que, depuis que le numérique est entré dans
nos vies quotidiennes, nous vivons tous
au rythme du changement technologique.
Les pratiques culturelles n’échappent pas
à ce phénomène : elles évoluent en permanence
à un rythme parfois difficile à suivre,
même pour des professionnels. Pour ne pas
être dépassés, les bibliothécaires doivent
apprendre à observer, à comprendre et à
intégrer au fur et à mesure ces nouveaux
usages, bref, à innover.
2. WHAT is the Empathize mode
Empathy is the centerpiece of a human-centered design process. The Empathize mode is
the work you do to understand people, within the context of your design challenge. It is your
effort to understand the way they do things and why, their physical and emotional needs, how
they think about world, and what is meaningful to them.
WHY empathize
As a design thinker, the problems you are trying to solve are rarely your own—they are those of
a particular group of people; in order to design for them, you must gain empathy for who they
are and what is important to them.
Observing what people do and how they interact with their environment gives you clues about
what they think and feel. It also helps you learn about what they need. By watching people,
you can capture physical manifestations of their experiences – what they do and say. This will
allow you to infer the intangible meaning of those experiences in order to uncover insights.
These insights give you direction to create innovative solutions. The best solutions come out
of the best insights into human behavior. But learning to recognize those insights is harder
than you might think. Why? Because our minds automatically filter out a lot of information
without our even realizing it. We need to learn to see things “with a fresh set of eyes,” and
empathizing is what gives us those new eyes.
Engaging with people directly reveals a tremendous amount about the way they think and
the values they hold. Sometimes these thoughts and values are not obvious to the people
who hold them, and a good conversation can surprise both the designer and the subject by
the unanticipated insights that are revealed. The stories that people tell and the things that
people say they do—even if they are different from what they actually do—are strong indicators
of their deeply held beliefs about the way the world is. Good designs are built on a solid
understanding of these beliefs and values.
“To create meaningful innovations,
you need to know your users
and care about their lives.”
EMPATHIZE
DPØ STEPS: 1 Interview :: 2 Dig Deeper
3. HOW to empathize
To empathize, you:
- Observe. View users and their behavior in the context of their lives. As much as possible
do observations in relevant contexts in addition to interviews. Some of the most powerful
realizations come from noticing a disconnect between what someone says and what he does.
Others come from a work-around someone has created which may be very surprising to you as
the designer, but she may not even think to mention in conversation.
- Engage. Sometimes we call this technique ‘interviewing’ but it should really feel more like
a conversation. Prepare some questions you’d like to ask, but expect to let the conversation
deviate from them. Keep the conversation only loosely bounded. Elicit stories from the
people you talk to, and always ask “Why?” to uncover deeper meaning. Engagement can come
through both short ‘intercept’ encounters and longer scheduled conversations.
- Watch and Listen. Certainly you can, and should, combine observation and engagement.
Ask someone to show you how they complete a task. Have them physically go through the
steps, and talk you through why they are doing what they do. Ask them to vocalize what’s
going through their mind as they perform a task or interact with an object. Have a conversation
in the context of someone’s home or workplace – so many stories are embodied in artifacts.
Use the environment to prompt deeper questions.
Transition: Empathize >>> Define
Unpack: When you move from empathy work to drawing conclusions
from that work, you need to process all the things you heard and saw
in order to understand the big picture and grasp the takeaways of it all.
Unpacking is a chance to start that process – sharing what you found
with fellow designers and capturing the important parts in a visual
form. Get all the information out of your head and onto a wall where
you can start to make connections—post pictures of your user, post-its
with quotes, maps of journeys or experiences—anything that captures
impressions and information about your user. This is the beginning of
the synthesis process, which leads into a ‘Define’ mode.
In empathy work, connect with people and seek stories
DEFINEEMPATHIZE
4. WHAT is the Define mode
The Define mode of the design process is all about bringing clarity and focus to the design
space. It is your chance, and responsibility, as a design thinker to define the challenge you
are taking on, based on what you have learned about your user and about the context. After
becoming an instant-expert on the subject and gaining invaluable empathy for the person you
are designing for, this stage is about making sense of the widespread information you have
gathered.
The goal of the Define mode is to craft a meaningful and actionable problem statement – this
is what we call a point-of-view. This should be a guiding statement that focuses on insights and
needs of a particular user, or composite character. Insights don’t often just jump in your lap;
rather they emerge from a process of synthesizing information to discover connections and
patterns. In a word, the Define mode is sensemaking.
WHY define
The Define mode is critical to the design process because it results in your point-of-view
(POV): the explicit expression of the problem you are striving to address. More importantly,
your POV defines the RIGHT challenge to address, based on your new understanding of
people and the problem space. It may seem counterintuitive but crafting a more narrowly
focused problem statement tends to yield both greater quantity and higher quality solutions
when you are generating ideas.
The Define mode is also an endeavor to synthesize your scattered findings into powerful
insights. It is this synthesis of your empathy work that gives you the advantage that no one
else has: discoveries that you can leverage to tackle the design challenge; that is, INSIGHT.
“Framing the right problem is the only
way to create the right solution.”
DPØ STEPS:
3 Capture Findings :: 4 Define Problem Statement
DEFINE
5. HOW to define
Consider what stood out to you when talking and observing people. What patterns emerge
when you look at the set? If you noticed something interesting ask yourself (and your team)
why that might be. In asking why someone had a certain behavior or feeling you are making
connections from that person to the larger context. Develop an understanding of the type
of person you are designing for – your USER. Synthesize and select a limited set of NEEDS
that you think are important to fulfill; you may in fact express a just one single salient need
to address. Work to express INSIGHTS you developed through the synthesis of information
your have gathered through empathy and research work. Then articulate a point-of-view by
combining these three elements – user, need, and insight – as an actionable problem statement
that will drive the rest of your design work.
A good point-of-view is one that:
- Provides focus and frames the problem
- Inspires your team
- Informs criteria for evaluating competing ideas
- Empowers your team to make decisions independently in parallel
- Captures the hearts and minds of people you meet
- Saves you from the impossible task of developing concepts that are all things to all people
(i.e. your problem statement should be discrete, not broad.)
Transition: Define >>> Ideate
In the Define mode you determine the specific meaningful challenge to take
on, and in the Ideate mode you focus on generating solutions to address that
challenge. A well-scoped and -articulated point-of-view will lead you into ideation
in a very natural way. In fact, it is a great litmus test of your point-of-view to see if
brainstorming topics fall out your POV.
A great transition step to take is to create a list of “How-Might-We . . .?”
brainstorming topics that flow from your problem statement. These brainstorming
topics typically are subsets of the entire problem, focusing on different aspects of
the challenge. Then when you move into ideation you can select different topics,
and try out a few to find the sweet spot of where the group can really churn out a
large quantity of compelling ideas.
Articulate the meaningful challenge
IDEATEDEFINE
6. WHAT is the Ideate mode
Ideate is the mode of the design process in which you concentrate on idea generation.
Mentally it represents a process of “going wide” in terms of concepts and outcomes. Ideation
provides both the fuel and also the source material for building prototypes and getting
innovative solutions into the hands of your users.
WHY ideate
You ideate in order to transition from identifying problems to creating solutions for your users.
Ideation is your chance to combine the understanding you have of the problem space and
people you are designing for with your imagination to generate solution concepts. Particularly
early in a design project, ideation is about pushing for a widest possible range of ideas from
which you can select, not simply finding a single, best solution. The determination of the best
solution will be discovered later, through user testing and feedback.
Various forms of ideation are leveraged to:
- Step beyond obvious solutions and thus increase the innovation potential of your solution set
- Harness the collective perspectives and strengths of your teams
- Uncover unexpected areas of exploration
- Create fluency (volume) and flexibility (variety) in your innovation options
- Get obvious solutions out of your heads, and drive your team beyond them
“It’s not about coming up with the
‘right’ idea, it’s about generating the
broadest range of possibilities.”
DPØ STEPS: 5 Sketch :: 7 Generate a new solution
IDEATE
7. HOW to ideate
You ideate by combining your conscious and unconscious mind, and rational thoughts with
imagination. For example, in a brainstorm you leverage the synergy of the group to reach new
ideas by building on others’ ideas. Adding constraints, surrounding yourself with inspiring
related materials, and embracing misunderstanding all allow you to reach further than you
could by simply thinking about a problem.
Another ideation technique is building – that is, prototyping itself can be an ideation technique.
In physically making something you come to points where decisions need to be made; this
encourages new ideas to come forward.
There are other ideation techniques such as bodystorming, mindmapping, and sketching. But
one theme throughout all of them is deferring judgment – that is, separating the generation
of ideas from the evaluation of ideas. In doing so, you give your imagination and creativity
a voice, while placating your rational side in knowing that your will get to the examination of
merits later.
Transition: Ideate >>> Prototype
In order to avoid losing all of the innovation potential you have just generated
through ideation, we recommend a process of considered selection, by which you
bring multiple ideas forward into prototyping, thus maintaining your innovation
potential. As a team, designate three voting criteria (we might suggest “the most
likely to delight,” “the rational choice,” “the most unexpected” as potential criteria,
but they’re really up to you) to use to vote on three different ideas that your team
generated during brainstorming. Carry the two or three ideas that receive the most
votes forward into prototyping. In this way, you preserve innovation potential by
carrying multiple ideas forward—a radically different approach than settling on the
single idea that at least the majority of the team can agree upon.
Maximize your innovation potential
PROTOTYPEIDEATE
8. WHAT is the Prototype mode
The Prototype mode is the iterative generation of artifacts intended to answer questions that
get you closer to your final solution. In the early stages of a project that question may be
broad – such as “do my users enjoy cooking in a competitive manner?” In these early stages,
you should create low-resolution prototypes that are quick and cheap to make (think minutes
and cents) but can elicit useful feedback from users and colleagues. In later stages both your
prototype and question may get a little more refined. For example, you may create a later
stage prototype for the cooking project that aims to find out: “do my users enjoy cooking with
voice commands or visual commands”.
A prototype can be anything that a user can interact with – be it a wall of post-it notes, a
gadget you put together, a role-playing activity, or even a storyboard. Ideally you bias toward
something a user can experience. Walking someone through a scenario with a storyboard is
good, but having them role-play through a physical environment that you have created will
likely bring out more emotions and responses from that person.
WHY prototype
To ideate and problem-solve. Build to think.
To communicate. If a picture is worth a thousand words, a prototype is worth a thousand
pictures.
To start a conversation. Your interactions with users are often richer when centered around a
conversation piece. A prototype is an opportunity to have another, directed conversation with
a user.
To fail quickly and cheaply. Committing as few resources as possible to each idea means less
time and money invested up front.
To test possibilities. Staying low-res allows you to pursue many different ideas without
committing to a direction too early on.
To manage the solution-building process. Identifying a variable also encourages you to break
a large problem down into smaller, testable chunks.
“Build to think and test to learn.”
DPØ STEP: 8 Build
PROTOTYPE
9. HOW to prototype
Start building. Even if you aren’t sure what you’re doing, the act of picking up some materials
(post-its, tape, and found objects are a good way to start!) will be enough to get you going.
Don’t spend too long on one prototype. Let go before you find yourself getting too
emotionally attached to any one prototype.
ID a variable. Identify what’s being tested with each prototype. A prototype should
answer a particular question when tested. That said, don’t be blind to the other tangential
understanding you can gain as someone responds to a prototype.
Build with the user in mind. What do you hope to test with the user? What sorts of behavior
do you expect? Answering these questions will help focus your prototyping and help you
receive meaningful feedback in the testing phase.
Transition: Prototype >>> Test
Prototype and Test are modes that you consider in tandem more than you
transition between. What you are trying to test and how you are going to test that
aspect are critically important to consider before you create a prototype.
Examining these two modes in conjunction brings up the layers of testing a
prototype. Though prototyping and testing are sometimes entirely intertwined,
it is often the case that planning and executing a successful testing scenario is a
considerable additional step after creating a prototype. Don’t assume you can
simply put a prototype in front of a user to test it; often the most informative
results will be a product of careful thinking about how to test in a way that will let
users give you the most natural and honest feedback.
You can learn a lot from a very simple prototype
TESTPROTOTYPE
10. WHAT is the Test mode
The Test mode is when you solicit feedback, about the prototypes you have created, from
your users and have another opportunity to gain empathy for the people you are designing for.
Testing is another opportunity to understand your user, but unlike your initial empathy mode,
you have now likely done more framing of the problem and created prototypes to test. Both
these things tend to focus the interaction with users, but don’t reduce your “testing” work to
asking whether or not people like your solution. Instead, continue to ask “Why?”, and focus on
what you can learn about the person and the problem as well as your potential solutions.
Ideally you can test within a real context of the user’s life. For a physical object, ask people
to take it with them and use it within their normal routines. For an experience, try to create
a scenario in a location that would capture the real situation. If testing a prototype in situ
is not possible, frame a more realistic situation by having users take on a role or task when
approaching your prototype. A rule of thumb: always prototype as if you know you’re right, but
test as if you know you’re wrong—testing is the chance to refine your solutions and make them
better.
WHY test
To refine prototypes and solutions. Testing informs the next iterations of prototypes.
Sometimes this means going back to the drawing board.
To learn more about your user. Testing is another opportunity to build empathy through
observation and engagement—it often yields unexpected insights.
To refine your POV. Sometimes testing reveals that not only did you not get the solution right,
but also that you failed to frame the problem correctly.
“Testing is an opportunity to learn
about your solution and your user.”
DPØ STEPS: 6, 9 Share your solutions and get feedback
TEST
11. HOW to test
Show don’t tell. Put your prototype in the user’s hands – or your user within an experience.
And don’t explain everything (yet). Let your tester interpret the prototype. Watch how they
use (and misuse!) what you have given them, and how they handle and interact with it; then
listen to what they say about it, and the questions they have.
Create Experiences. Create your prototypes and test them in a way that feels like an
experience that your user is reacting to, rather than an explanation that your user is evaluating.
Ask users to compare. Bringing multiple prototypes to the field to test gives users a basis for
comparison, and comparisons often reveal latent needs.
Iteration and making
the process your own
Iteration is a fundamental of good design. Iterate both by cycling through the
process multiple times, and also by iterating within a step—for example by creating
multiple prototypes or trying variations of a brainstorming topics with multiple
groups. Generally as you take multiple cycles through the design process your
scope narrows and you move from working on the broad concept to the nuanced
details, but the process still supports this development.
For simplicity, the process is articulated here as a linear progression, but
design challenges can be taken on by using the design modes in various orders;
furthermore there are an unlimited number of design frameworks with which to
work. The process presented here is one suggestion of a framework; ultimately
you will make the process your own and adapt it to your style and your work. Hone
your own process that works for you. Most importantly, as you continue to practice
innovation you take on a designerly mindset that permeates the way you work,
regardless of what process you use.
The key to user testing is listening.