It doesn’t matter if you’re a student of design, or just someone who hears the term “design” and stays quiet at meetings while noting to Google it later. There’s always more you can learn about design to benefit whatever you do. The Every "Design" Thing is a powerful primer on how-and why-some products satisfy customers while others only frustrate them.
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1) DESIGN is aCOMPLEX activity involving many DIFFERENT disciplines
2) Most design is used by PEOPLE
3) Technology changes FAST,People change SLOW
4) Principals of GOOD DESIGN are UNIVERSAL, they equally apply to making a new
toothbrush or to developing amobile phone app.
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Books by Donald A. Norman
1) Emotional Design, 2005
2) The Design of Future Things, 2009
3) Living with Complexity, 2011
4) The Design of Everyday Things, 2013
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Rams is possibly the most well-known German industrial designer, who not only produced—or directly oversaw - the design of more
than 500 products in the course of his 40 years of service for Braun, but also established and headed a design department, which was
extremely productive and made a global enterprise out of the company Radio Braun of Frankfurt. To date, Rams and Braun represent
what is considered the typical German design approach, in which thoroughness, straightforwardness, clarity, and meaningfulness play a
special role.
SanFranciscoMuseumofModernArt,www.sfmoma.org
Dieter Rams (born May 20, 1932), a German industrial designer.
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TraditionalTelefunkenrecord
player
BraunSK4recordplayerAKA
“SnowWhite’sCoffin”,1956
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The Braun T3 Radio (1958) and the Apple iPod (2001-2014)
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The Braun LE1 Speaker (1959) and the Apple iMac6th generation
(2009-2012)
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The Braun Infrared Emitter (circa 1970) and the Apple iSight camera
(2003-2006)
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The Braun ET66 Calculator (1976-Present) and the Apple iPhone calculator appfor iOS 2 (2008)
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The Braun FS80 television (1964) and the Apple eMac (2002-2006)
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The Braun T1000 radio(1962) and the Apple Power Mac G5 (2003-2006)
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Apple hasmanaged to achieve what I never achieved:
Using the power of their products to persuade people to queue to buy them.
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1) Gooddesign is INNOVATIVE
2) Gooddesign makesa product USEFUL
3) Gooddesign is AESTHETIC
4) Gooddesign make a product UNDERSTANDABLE
5) Gooddesign is UNOBTRUSIVE
6) Gooddesign is HONEST
7) Gooddesign is LONG -LASTING
8) Gooddesign is through down to the last DETAILS
9) Gooddesign is environmentally FRIENDLY
10) Gooddesign is as LITTLE design as possible
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1) Good design is INNOVATIVE
The possibilities for innovation are not, by any means, exhausted. Technological development is
always offering new opportunities for innovative design. But innovative design always develops
in tandem with innovative technology, and cannever be an end in itself.
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1) Good design is INNOVATIVE - TP1 radio / phono combination, 1959.
Explores new ideas / possibilities,
Best designs sometimes based on
what users didn’t know they needed.
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2. Good design makes a product USEFUL
A product is bought to be used. It has to satisfy certain criteria, not only functional but also
psychological and aesthetic. Good design emphasises the usefulness of a product while
disregarding anything that could possibly detract from it.
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2. Good design makes a product USEFUL -MPZ 21 multipress citrus juicer, 1972.
Should meeta need, and meetit well.
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3. Good design is AESTHETIC
The aesthetic quality of a product is integral to its usefulness because products are used every day
andhave aneffect on people andtheir well-being. Only well-executed objects can be beautiful.
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3. Good design is AESTHETIC - RT 20 tischsuper radio, 1961.
Absolute functionality without
compromising aesthetics.
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4. Good design make aproduct UNDERSTANDABLE
It clarifies the product's structure. Better still, it can make the product clearly express its function
by making use of the user's intuition. At best, it is self-explanatory.
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4. Good design make aproduct UNDERSTANDABLE - T 1000 world receiver, 1963.
Formshould follow function
Affordances built in to discoveruse
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5. Good design is UNOBTRUSIVE
Products fulfilling a purpose are like tools. They are neither decorative objects nor works of art.
Their design should therefore be both neutral and restrained, to leave room for the user’s self-
expression.
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5. Good design is UNOBTRUSIVE - T2 Cylinder Cigarette Lighter
Keepit simple
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6. Gooddesign is HONEST
It does not make a product more innovative, powerful or valuable than it really is. It does not
attempt to manipulate the consumer with promises that cannot be kept.
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6. Good design is HONEST -L 450 flat loudspeaker, TG 60 reel-to-reel tape recorder…
Do what you do well, don’t embellish
ordetract
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7. Good design is LONG LASTING
It avoids being fashionable and therefore never appears antiquated. Unlike fashionable design, it
lastsmany years – even in today's throwaway society.
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7. Good design is LONG LASTING -620 Chair Programme, Vitose,1962
Design for durability
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8. Good design is through down to the lastDETAILS
Nothing must be arbitrary or left to chance. Care and accuracy in the design process show respect
towards the consumer
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8. Gooddesign is through down to the last DETAILS -ET 66 Calculator, Braun, 1987
If you have a model or metaphor, stick
to it religiously
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9. Good design is environmentally FRIENDLY
Design makes an important contribution to the preservation of the environment. It conserves
resources andminimises physicalandvisualpollution throughout the lifecycle of the product.
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9. Good design is environmentally FRIENDLY - 606 Universal Shelving System, Vitsoe, 1960
Concerned both with the user
environment and sustainability
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10. Good design is as LITTLE design as possible
Less, but better – because it concentrates on the essential aspects, and the products are not
burdened with non-essentials.Backto purity, back to simplicity.
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10. Good design is as LITTLE design as possible - L2 Speaker, Braun, 1958
Keepit simple
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Design is concerned with how things work, how they are CONTROLLED, and the nature of the
INTERACTION between PEOPLE and TECHNOLOGY.
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When done WELL, the resultantproducts are BRILLIANT, PLEASURABLE.
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When done BADLY, the products are UNUSABLE, leading to great FRUSTRATION and
IRRITATION.
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Or they might be usable, but force us to BEHAVE the way the product wishes rather than as we
wish.
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“Well designed objects are easy to UNDERSTAND. They contain visible clues to their operation”
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“Poorly designed objects are not that easy to understand. They doesn't contain visible clues to
their operation”
The wateris nevergoingtogo whereyou wantitto,so you
mightas wellnoteven try.
Uncomfortable/ impossible waystoconsume abeverage.Oh,you wantedtosit down?
Good luckwiththat.
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… the products should also be delightful and enjoyable, which means that not only must the
requirements of engineering, manufacturing, and ergonomics be satisfied, but attention must
be paid to the entire experience, which means the aesthetics of form and the quality of
interaction.
… most important is UTILITY, not BEAUTY.
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Two of the most important characteristics of good design are DISCOVERABILITY &
UNDERSTANDING.
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DISCOVERABILITY : Is it possible to even figure out what actions are possible and where and
how to perform them?
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UNDERSTANDING : What does it all mean? How is the product supposed to be used? What do
allthe different controls and settings mean?
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How can such a simple thing as acoffeepot be so confusing?
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How can such a simple thing as acoffeepot be so confusing?
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The design of the coffeepot should indicate how to it works, without any need for signs, certainly
without anyneed for TRIAL & ERROR.
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With complex devices, discoverability and understanding require the aid of manuals or personal instruction. We
acceptthis if the deviceis indeed complex.
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Many products challenge understanding simply because they have too many functions and
controls.
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People are IMAGINATIVE & CREATIVE, filledwith COMMON SENSE;
that is,a lot of valuableknowledge built up over years of EXPERIANCE.
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we were designing things for people, so we needed to understand both technology andpeople.
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1) INDUSTRIAL DESIGN,
2) INTERACTION DESIGN, and
3) EXPERIENCE DESIGN.
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1) INDUSTRIAL DESIGN
The professional service of creating and developing concepts and specifications that optimize the
function, value, and appearance of products and systems for the mutual benefit of both user and
manufacturer (from the Industrial Design Society of America’s website).
Industrial designers draw attention to FORM and MATERIAL.
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2) INTERACTION DESIGN
The focus is upon how people interact with technology. The goal is to enhance people’s
understanding of what can be done, what is happening, and what has just occurred. Interaction
design draws upon principles of psychology, design, art, and emotion to ensure a positive,
enjoyable experience.
Industrial designers draw attention to UNDERSTANDABILITY & USABILITY.
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3) EXPERIENCE DESIGN
The practice of designing products, processes, services, events, and environments with a focus
placed on the quality and enjoyment of the total experience.
Experience designers draw attention to the EMOTIONAL IMPACT.
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HCD - anapproach that putsfirst
1) HUMAN NEEDS,
2) CAPABILITIES, and
3) BEHAVIOUR,
then designs to accommodate those needs, capabilities,andways of be having.
Good design starts with anunderstanding of psychology and technology.
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Good design requires good communication, especially from machine to person, indicating what
actionsare possible, what is happening, and what is about to happen.
A product that helps Africanpeople get water moreeasily
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The Role of HCDand Design Specializations
Experience design
Theseareareas of focusIndustrial design
Interactiondesign
Human -Centered Design
The process that ensures that the designs match the
needs and capabilities of the people for whom they are
intended
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It is relatively easy to design things that work smoothly and harmoniously as long as things go
right.
Streamline Iron by Henry Dreyfuss
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As soon asthere is amisunderstanding, the problems arise.
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Designers need to focus their attention on the cases where things go wrong, not on when things
work as planned.
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Great designers produce pleasurable experiences.
Note the word : EXPERIENCE
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The fit and finish, the sensation of power during acceleration, their ease of control while shifting
or steering, or the wonderful feel of the knobs and switches on the instrument. Those are
experiences.
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1) VIBILITY- Cani see it?
2) FEEDBACK - What is it doing now?
3) AFFORDANCE -How do I use it?
4) MAPPING -Where am 1 and where canI go?
5) CONSTRAINT - Why can’t I do that?
6) CONSISTENCY -I think I have seen this before?
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1) Can see the state of a device and possible actions,
2) Car controls are positioned in a way that they can be easilyfound and used.
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1) Problems arisewhen we cannot “see” how to do use a device,
2) Sensor technology like auto faucets - not sure how to use -guess where to put hands, and
3) Visible knobs, dialsand buttons have been replaced by invisible and ambiguous “active
zones”
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1) Hiding certain functions can be advantageous in interface design,
2) Certain functions are kept invisible until needed; also contained within a group of similar
types, and
3) Google search makes it clear where to enter text.
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1) Other examples of poor or good visibility in design?
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Signifiers communicate where the action should takeplace.
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Signify that anaction canbe performed / how to perform.
a) A “crash bar” on a door signifies that pushing on it willopen the door
b) What signifies that atouch screen can be swiped?
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People need some way of understanding the product or service they wish to use, some sign of
what it is for, what is happening, andwhat the alternative actionsare.
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1) What is it doing now? whataction has been performed?
2) Needs to be immediateand synchronized withuser action
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1) Other examples of feedback in everyday design?
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1) Perceived and actualproperties of an object that give clues to its operation
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1) Perceived and actualproperties of an object that give clues to its operation
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1) Perceived and actualproperties of an object that give clues to its operation
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1) Other examples of affordances ineveryday interactions?
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AFFORDANCES
The term affordance refers to the relationship between a physical object and a person. A chair
affords (“is for”) support and, therefore, affords sitting. Affordance is not a property. An
affordance is a relationship
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AFFORDANCES
Affordances are actions that can be performed with something
a) A door canbe opened
b) A touchscreen canbe swiped
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AFFORDANCES
Affordances determine what actions are possible.
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1) Relationship to controls and their effect
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1) Relationship to controls and their effect
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1) Relationship to controls and their effect
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1) Restricting the kindof interactions that can takeplace
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1) Restricting the kindof interactions that can takeplace
2) Reduce the chance of error
3) Can alsowork to focus user’s attention to needed task
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1) Designing interfaces to have similar operations and use similar elements for achieving similar
task,
2) Systems are usableand learnablewhen similarconcepts are expresses in similarways, and
3) Enables people to quickly transfer prior knowledge to new contexts and focus on relevant
tasks.
Four types of consistency:
a) Aesthetic
b) Functional
c) Internal
d) External
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a) Aesthetic
1. Style and appearance is repeated to enhance recognition, communicates membership
andsets emotional tone,
2. Mercedes Benz vehicles are instantly recognizable because the company consistently
feature its logo on allits vehicles, and
3. Associated with quality and prestige; respected and admired; fine craftsmanship and
reliable.
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b) Functional
1. Meaning andaction are consistent to improve learnability andunderstanding,
2. Consistent use of symbols to represent similar concepts, leverages prior knowledge and
makes new things easier to use,
3. Traffic alwaysturns yellow before red, and
4. Cassette recorder control symbols used.
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c) Internal
1. Consistency with other elements in the system,
2. Cultivates a sense of orientation and Trust,
3. Indicates system is well thought out andplanned, and
4. e.g. park and trailsignage.
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d) External
1. Consistent with other elements in the environment
2. Extends the benefit of internal consistencies across multiple, independent systems, and
3. More difficult to achieve because different systems rarely observe the same design
standards