cover_OK.qxd 9/24/09 04:08 PM Page 1 Title: Basic Design-Thinking__Cover Client: QPL Size: 491mmx230mm BASICS BASICS Publisher’s note Design Design Gavin Ambrose Paul Harris 08 08 Ethical practice is well known, taught Featured topics The Basics Design series from GB Gavin Ambrose studied at Central and discussed in the domains of brainstorming AVA Publishing’s Academia imprint avas St Martins and is a practising graphic defining the design problem inic mbuetd wicains,e u, nlatwil ,r escceienntclye, raanredl ys ociology dideesaig gne dnierreacttiioonns ethxrpoluogrehs a k seeyr aierse aosf coaf sdee ssitgundies Ams De DESIGN dinecsluigdneesr .c Clieunrrtesn ftr ocmom thmee arcrtisa ls percatcotri,ce dViisscuuasl Asertds .i nY etht ed etesrimgns ios fb tehceo Ampipnlgie d impmroopdtloeetmlyspeinntgation jCuoxtnatpemospeodr abryy kweoyr ckr iesa stuivpep ‘obratseidc s’. brose/sign 0 TH!NKING gagalelenrcieiess, .p Hueb liiss htheers c aon-adu atdhover/rdtiessiniggner an increasingly integral part of quantitative and qualitative by concise descriptions, technical P8 of several books on branding, a our everyday lives and its influence researching the design expansions and diagrammatic u packaging and editorial design. on our society ever-more prevalent. problem visualisations, enabling the reader l H samples and feedback a selection and refinement to fully understand the work rr AVA Publishing believes that our sketching being discussed. is Paul Harrisstudied at London College world needs integrity; that the target groups of Printing and is a freelance writer and ramifications of our actions upon themes The eighth in this series, Design value editor. He has written for magazines and others should be for the greatest Thinking examines the ways in visualising ideas journals both in London and New York, happiness and benefit of the greatest which solutions to a design brief are n the act or practice including Dazed & Confused. He is co- number. We do not set ourselves Featured contributors approached, researched and of using your mind to author and collaborator on books about out as arbiters of what is ‘good’ or 3 Deep Design refined. The Basics Design series consider design Daniel Eatock packaging design and design principles. ‘bad’, but aim to promote discussion also includes: Format, Layout, Faydherbe/de Vringer in an organised fashion for an Futro Typography, Image, Colour, Print & D individual’s understanding of their Hugh Avila Finishand Grids. E Mark Studio S own ethical inclination. Marque IG Miha Artnak and Ziga Aljaz By incorporating a ‘working with N Moving Brands ethics’ section and cover stamp Navyblue T on all our titles, AVA Publishing aims NB Studios H Pentagram ! to help a new generation of students, Research Studios N educators and practitioners find Social Design K a methodology for structuring their Studio AS IN Studio Myerscough thoughts and reflections in this G Studio Output vital area. The Team UsLot Everywhere Webb &Webb Why Not Associates Z2 Marketing ava publishing sa [email protected] www.avabooks.ch 1 2 3 4 5 6 7 8 9 10 OK CLB/HAC/N MY 3 U NWOh iRleE eSvPeOryN eSfIfBoIrLt IhTaYs l ibaebeinlit tya kweinll btoe c aacrcrye potuetd in fsotrr uecrrtioorns to customers satisfaction UK black text U258174 DLMAC7osx 24.09.2009 175# C KHDEA-LDITMP U 068 CAUUSTHTOOMRIESRINSG A PRREI NTTH ERRUENFSORE URGED TO CHECK THOROUGHLY BEFORE chap_1_FINAL_P1-33.qxd 8/14/09 10:47 PM Page 1 Title: Basic Design-Thinking Client: QPL Size: 160mmx230mm BASICS design Gavin Ambrose Paul Harris 08 DESIGN TH!NKING 1 2 3 4 5 6 7 8 9 10 OK N MY 1 U NWOh iRleE eSvPeOryN eSfIfBoIrLt IhTaYs l ibaebeilnit yta wkeilnl btoe caacrcrye potuetd i nfsotrr uecrrtioorns to customers satisfaction black text U258174 DLMAC7osx 14.08.2009 175# C KHDEA-LDITMP U 068 CAUUSTHTOOMRIESRINSG A PRREI NTTH ERRUENFSORE URGED TO CHECK THOROUGHLY BEFORE chap_1_FINAL_P1-33.qxd 9/3/09 01:17 PM Page 2 Title: Basic Design-Thinking Client: QPL Size: 160mmx230mm An AVA Book Published by AVA Publishing SA Rue des Fontenailles 16 Case Postale 1000 Lausanne 6 Switzerland Tel: +41 786 005 109 Email: [email protected] Distributed by Thames & Hudson (ex-North America) 181a High Holborn London WC1V 7QX United Kingdom Tel: +44 20 7845 5000 Fax: +44 20 7845 5055 Email: [email protected] www.thamesandhudson.com Distributed in the USA & Canada by: Ingram Publisher Services Inc. 1 Ingram Blvd. La Vergne TN 37086 USA Tel: +1 866 400 5351 Fax: +1 800 838 1149 Email: [email protected] English Language Support Office AVA Publishing (UK) Ltd. Tel: +44 1903 204 455 Email: [email protected] Copyright © AVA Publishing SA 2010 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without permission of the copyright holder. ISBN 978-2-940411-17-7 10 9 8 7 6 5 4 3 2 1 Design and text by Gavin Ambrose and Paul Harris Original photography by Xavier Young www.xavieryoung.co.uk Production by AVA Book Production Pte. Ltd., Singapore Tel: +65 6334 8173 Fax: +65 6259 9830 Email: [email protected] ng All reasonable attempts have been made to trace, clear and credit the nki copyright holders of the images reproduced in this book. However, if any Thi credits have been inadvertently omitted, the publisher will endeavour to gn incorporate amendments in future editions. si e D 1 2 3 4 5 6 7 8 9 10 OK N MY 2 U NWOh iRleE eSvPeOryN eSfIfBoIrLt IhTaYs l ibaebeilnit yta wkeilnl btoe caacrcrye potuetd i nfsotrr uecrrtioorns to customers satisfaction black text U258174 DLMAC7osx 03.09.2009 175# C KHDEA-LDITMP U 068 CAUUSTHTOOMRIESRINSG A PRREI NTTH ERRUENFSORE URGED TO CHECK THOROUGHLY BEFORE chap_1_FINAL_P1-33.qxd 10/6/09 03:45 PM Page 3 Title: Basic Design-Thinking Client: QPL Size: 160mmx230mm 23 Client: Futro Fanzine Design:Futro Design thinking: Logo appropriation forces people to consider the parallels between large corporations and religion Futro Fanzine This poster, created by Futro, appropriates a famous fast-food logo and adapts it to the context of organised religion by making it appear like a church building or bishop’s mitre. The appropriation transfers the fast-food brand characteristics and ng ki colour scheme to the new context and implies that organised religion is akin to a hin massive global brand with great marketing muscle. The design questions how gn t si people view both large corporations and religion. e D 1 2 3 4 5 6 7 8 9 10 OK N MY 3 U NWOh iRleE eSvPeOryN eSfIfBoIrLt IhTaYs l ibaebeilnit yta wkeilnl btoe caacrcrye potuetd i nfsotrr uecrrtioorns to customers satisfaction black text U258174 DLMAC7osx 06.10.2009 175# C KHDEA-LDITMP U 068 CAUUSTHTOOMRIESRINSG A PRREI NTTH ERRUENFSORE URGED TO CHECK THOROUGHLY BEFORE chap_1_FINAL_P1-33.qxd 8/14/09 10:07 PM Page 4 Title: Basic Design-Thinking Client: QPL Size: 160mmx230mm Contents Introduction 6 How to get the most out of this book 8 Frost Design NB Studio Studio Myerscough Stages of thinking 10 Research 34 Idea generation 48 The design process 12 Identifying drivers 36 Basic design Stage 1 – Define 14 Information gathering 38 directions 50 Stage 2 – Research 18 Target groups 42 Themes of thinking 56 Stage 3 – Ideate 20 Samples and Inspiration and Stage 4 – Prototype 22 feedback 46 references 60 Stage 5 – Select 24 Brainstorming 66 Stage 6 – Implement 26 Value 70 Stage 7 – Learn 28 Inclusion 74 Example project 30 Sketching 76 Presenting ideas 80 s nt e nt o C g n ki n hi T n g si e D 1 2 3 4 5 6 7 8 9 10 OK N MY 1 U NWOh iRleE eSvPeOryN eSfIfBoIrLt IhTaYs l ibaebeilnit yta wkeilnl btoe caacrcrye potuetd i nfsotrr uecrrtioorns to customers satisfaction black text U258174 DLMAC7osx 14.08.2009 175# C KHDEA-LDITMP U 068 CAUUSTHTOOMRIESRINSG A PRREI NTTH ERRUENFSORE URGED TO CHECK THOROUGHLY BEFORE chap_1_FINAL_P1-33.qxd 8/14/09 10:08 PM Page 5 Title: Basic Design-Thinking Client: QPL Size: 160mmx230mm 45 Futro Studio Output Peter and Paul Refinement 82 Prototyping 134 Implementation 152 Thinking in images 84 Developing designs 136 Format 154 Thinking in signs 86 ‘Types’ of prototype 140 Materials 158 Appropriation 92 Vocabulary 144 Finishing 162 Humour 96 Media 166 Personification 98 Scale 168 Visual metaphors 100 Series/Continuity 172 Modification 102 Thinking in words 108 Words and language110 Type ‘faces’ 118 Thinking in shapes 120 Thinking in proportions 124 Thinking in colour 130 s nt e nt Glossary 176 o C Conclusion 188 ng ki Acknowledgements 190 hin T Contacts 192 n g Working with ethics 193 esi D 1 2 3 4 5 6 7 8 9 10 OK N MY 1 U NWOh iRleE eSvPeOryN eSfIfBoIrLt IhTaYs l ibaebeilnit yta wkeilnl btoe caacrcrye potuetd i nfsotrr uecrrtioorns to customers satisfaction black text U258174 DLMAC7osx 14.08.2009 175# C KHDEA-LDITMP U 068 CAUUSTHTOOMRIESRINSG A PRREI NTTH ERRUENFSORE URGED TO CHECK THOROUGHLY BEFORE chap_1_FINAL_P1-33.qxd 9/3/09 01:22 PM Page 6 Title: Basic Design-Thinking Client: QPL Size: 160mmx230mm Introduction ‘You cannot hold a design in your hand. It is not a thing. It is a process. A system. A way of thinking.’ Bob Gill, Graphic Design as a Second Language Design is an iterative process and design thinking is present in each stage of the journey from client brief to finished work. Different solutions can be produced for any given brief and these can differ widely in levels of creativity, practicality and budget. This book aims to present an overview of the design thinking involved at each stage of the design process: the methods used by designers to generate and refine creative ideas, the key considerations that help shape them and the feedback and review elements that allow design teams to learn from each job and contribute to future commissions. Through detailed studies of contemporary work and analysis of the basic theories, we examine how a designer can generate and resolve ideas to produce creative solutions that best meet the stated aims of a brief. Stages of thinking Refinement An overview of the different stages of the design This section looks at how a general design concept process and the key considerations of each stage can be refined. We will examine how images, words, to produce a successful design, with a focus on colour and substrates can be used to enhance the idea the design brief and project definition stage. and increase its effectiveness. Research Prototyping This section looks at the stage at which information is Design ideas need to be presented and articulated to collected to help generate design ideas. This includes test target group acceptance and receive client consumer profiles and target group definitions, approval. Here we see how models, dummies and quantitative and qualitative information and storyboards can be used to convey ideas so that they feedback from past projects. can be understood in this context. Idea generation Implementation n ctio Here we look at how designers use different methods This section looks at how ideas come to life through u d and sources of inspiration to generate creative production. Implementation must ensure that design o ntr solutions to the brief. These include sketching, details are put into effect and that the client is happy g I kin brainstorming and the different paradigms used with the final product. n hi through design history. T n g si e D 1 2 3 4 5 6 7 8 9 10 OK N MY 2 U NWOh iRleE eSvPeOryN eSfIfBoIrLt IhTaYs l ibaebeilnit yta wkeilnl btoe caacrcrye potuetd i nfsotrr uecrrtioorns to customers satisfaction black text U258174 DLMAC7osx 03.09.2009 175# C KHDEA-LDITMP U 068 CAUUSTHTOOMRIESRINSG A PRREI NTTH ERRUENFSORE URGED TO CHECK THOROUGHLY BEFORE chap_1_FINAL_P1-33.qxd 8/14/09 10:13 PM Page 7 Title: Basic Design-Thinking Client: QPL Size: 160mmx230mm 67 Client: Getty Images Design:Gavin Ambrose Design thinking: Choice of photographs to echo the message being conveyed by the design n o cti Getty Images u d o These cards were created by Gavin Ambrose to announce the upcoming office ntr move for the sports department at Getty Images. The images by Julian Herbert ng I ki (top) and Mike Hewitt (bottom) depict dramatic movement, reflecting the physical hin movement of the company’s office. The cards also use humour; as one group of n t g animals is running away, the other group is just arriving. esi D 1 2 3 4 5 6 7 8 9 10 OK N MY 1 U NWOh iRleE eSvPeOryN eSfIfBoIrLt IhTaYs l ibaebeilnit yta wkeilnl btoe caacrcrye potuetd i nfsotrr uecrrtioorns to customers satisfaction black text U258174 DLMAC7osx 14.08.2009 175# C KHDEA-LDITMP U 068 CAUUSTHTOOMRIESRINSG A PRREI NTTH ERRUENFSORE URGED TO CHECK THOROUGHLY BEFORE chap_1_FINAL_P1-33.qxd 9/18/09 01:45 PM Page 8 Title: Basic Design-Thinking Client: QPL Size: 160mmx230mm How to get the most out of this book This book introduces different aspects of design thinking via dedicated chapters for each topic. Each chapter provides numerous examples from leading contemporary design studios, showing unique and creative design thinking and with a detailed analysis to explain the reasons behind the design choices made. Key design principles are isolated so that the reader can see how they are applied in practice. Clear navigation Introductions Each chapter has a clear strapline, Special section introductions which allows readers to quickly outline basic concepts that will locate areas of interest. be discussed. Samples and feedback 4647 Samples and feedback Client: London College Understanding the motivations, of Fashion Design:Moving Brands behaviours and aspirations of a target Design thinking: Interactive presentation allows viewers group often involves detailed study of that to leave feedback group. As it is not possible to quiz every member of the target population, a sample group is typically defined. Samples A sample group is typically a collection of five to ten people who share the characteristics of the target group and who can be used for one-to-one interviews, questionnaires and focus groups. The sample should be as representative as possible of the overall population under study and should be selected by first determining the most important attributes that define the group. These may include age, education level, ethnicity and socio-economic group. Feedback Design is an iterative process, during which internal and external feedback is sought and received at all stages. The main learning opportunity comes at the end of the process when feedback about the performance, acceptance and success of a design is sought and fed back into the design process. The aim of this is to maintain or improve performance or to better control the process. Cluster and vote, deciding which ideas to develop k This is a method used to identify patterns in a problem area or in a series of boo iadgeraese dto a hseselps sthmee dnet scigritne rteiaa tmha ste cleacnt taapkpe rionptori aatcec sooulnutt iothnes .c Tohnicse srnysst eomf m uusletisple London College of Fashion et the most out of this Design Thinking Research stSAtohtlcale eokdnnree itchnshooigeguls dnrmea ei gderwseet.ih la lpT osbah dearest rsitecoe iptt oacalr lnbietteedsr sittaoco ao pcrrreoeo dnbds rauiadgcienaersi n attosh ftrei nmt ahpelee ds ris,cn prodeerifevcini tdfeiovudrea ,es l a asogcefrh leeo ecitdhdteieo aarn n.s dctar siktteerruhiaco tladuneredrds. Tssawsdcsghtue hhlioaapgeoroesurifo.tw isas claLsdT.c’ce lto h Tectpa aohoe.hasco ke fTeretd ridmnit htdvaiaf-ngeoa esrgtg klti hGtsizeteo aeh,me ln baa atodwiholsnotef es tno uw wai,i onrsn vgakLotc ti edes oerhwokr wernriaff hnos dwaec6itimccorget0a ihennnvpe0s, e d r wCopbosw epftaaevod hurtislildoen hedl ettdjgeenoeegtd e e nceespgs tthx aelisiioavoghonx ecftnnipwd ob eF eal oniidamatcd fis snoi v oitetshr nihnraifnoinoe oe ss adtert neahish udn’c westaosgbuu st t2f ad seer et0tycteah frot 0fkanceaaem8 nth guacv’ ss -sdgbtisp seb.iwrot e waauuAuunordidensltectru e rd knwesr anc eecu ohttlosryoec nalrpu i ohnea teolt ,kpdenhtx nhitdr dehnhcese igrotisbityvonha en ifeuttewbontri og riltrta‘geoa enlhfonulbud, ottwelte heukb.hde,irynoe irtgsoe Design Thinking Samples and feedback g o w t Ho Examples g kin Commercial projects from n hi contemporary studios and T gn designers bring to life the si De principles under discussion. 1 2 3 4 5 6 7 8 9 10 OK N/HAC MY 2 U NWOh iRleE eSvPeOryN eSfIfBoIrLt IhTaYs l ibaebeilnit yta wkeilnl btoe caacrcrye potuetd i nfsotrr uecrrtioorns to customers satisfaction black text U258174 DLMAC7osx 07.09.2009 175# C KHDEA-LDITMP U 068 CAUUSTHTOOMRIESRINSG A PRREI NTTH ERRUENFSORE URGED TO CHECK THOROUGHLY BEFORE chap_1_FINAL_P1-33.qxd 9/18/09 01:46 PM Page 9 Title: Basic Design-Thinking Client: QPL Size: 160mmx230mm 89 Basic design directions 5051 Basic design directions Client: Ian Macleod Distillers Starting from a given point (often the DDeessiiggnn: tNhianvkyibnlgu:e A divergence design of existing or competing products, farnodm h tehreit atygpei-cbaal streadd iatipopnr-oach brands or organisations), designers can curneiqatuees aaltne renxactiitvineg and think in specific ‘directions’ in order to generate new ideas from existing designs. Divergence Divergence is the expansion or spreading out of something from a central point or theme. This can be clearly seen in fields as diverse as market segmentation and typography. Divergence occurs as both an instigator and a response to divergence in society at large as designers respond to changing demographics, and the increasingly diverse market segmentations of their clients. Convergence Diagrams Cgeonnevrearlgiseendc pe oisin tth. eIn c doenstriganc,t ioalnth oofu sgohm theteh oinvge rtroidwinagrd tse an dceennctrya ils, mtoowreards divergence, convergence can still be found in areas such as generic branding. Brands nowadays often take products back to a more basic state or pre- Diagrams add meaning to branding time – when a tin of tomatoes was just a tin of tomatoes, for example. Transformation Transformation involves a substantial qualitative change, such as the redesign of theory by showing the basic a visual identity, or a repackage in order to facilitate a new distribution method. principles in action. Design Thinking Idea generationDMdAilirsoveovec irntcgiogaeln laneswdc fe arboyrm ainn a cd hcifiofnemgre monutotn. point. CTmphoooeinnr ectv eooermnr gtciientoingemcs tm eotogowenta hgredrors uo anf dtcw.e ont orarl TAarp aqpnuesaaflriotaarntmicveae t ociorh ncahnagrea cinter. IINSupqnanauca niicaovtq sklMytiuc tabrieheaegl u sdcdiwne leeaeg hsstno,oii isdggidotk nn kfpyD l.a o raaTiovfs s hoddtt huiuuailveslr ceess, e prrt igfadsnaoer scutantikn netya gdaoagd pupwi nnpooigtgrfihn o tfiatoaan,n kcr N tdihIhnaa .ege nvU n ypaMsebr iohrnlaguidgcseeult t etobcihcortrey d.ai m- nt Dracaainhsgddeteiit dl,ilto er faonorsduac’itlu t Saitsoompinn pco-grbrk oeoaeaanshct eeethdh a ae tdano ip Snubphcnrraeouonrtsaecducnhiahnt lw g tao hfn oitsdhrkey,Design Thinking Basic design directions Thinking in images 8485 Thinking in images Client: Trafalgar Hotel Images have the ability to convey an idea Design:Social Design Design thinking:Images or a lot of information very quickly, which representing aspects of hotel services are used as icons to is why images are such a prominent part create patterns of graphic design. As we all know, a picture paints a thousand words, so it is worth spending adequate time on image selection and presentation. Images can be used to communicate in many different ways as they are very versatile and their reading can be conditioned by other factors at play during their presentation. Images can have different cultural and social interpretations and these can be shaped by the contexts within which they are used. The cultural groups they are directed towards, the inclusion or exclusion of particular signs and symbols shared by a cultural group, the use or absence of conditioning agents such as wit and humour and appropriation of historical meaning, are all factors that might influence the meaning drawn from an image. The way an image or design is rendered also has an impact; a black-and-white sketch conveys a different feel from a glossy print, for example. k o o b s hi Trafalgar Hotel of t Design Thinking Refinement RWaDboehoecausett i ttvohhitenish g hem roa eudnasednes s iinrg eintnpe arprepsrsapreecenttciitcnt saeg n t ihi smEa tntha gwagltieis lolsh cnmoean cnda’istni oncnoa tsh tjoulews, t a ts hhheoo vmwie eaw, paeinrc rtaeurcrceeh ioivtfee cas t ohuror auinl stweeo.r pTrkrhe, etas d stehoseui gricmneea rog mfe j ouoysf tto htrhe si nhokorruoswe?. Piadranes ri ptcipLnatooekiuli cnnsreet dtnms doov oenfai rfn.ior n etuTnht ehpmaerern eeih ndsdnott et ta.,pes tibilehg’sacen lse lsoues osfr ecvenair ceotwueafh .rtp eeiFsa dopkt tr abef toeyrtxnre Sasrtnhom ssecop imfaflotele ao,f noddasre mg atulh aepresen sbodu fr.ip n aiWacinntoditgtne h orseinnf x t thpithshaee eutr i Tsrecerenoapdcnfra eetfleo sgaxrean ttnr dh otH e fcd oarieft feaeltreesnt he most out et t g o w t Additional information Captions Ho g Clients, designers and the design Key points are explained n ki thinking used are included here. within the context of an hin example project. gn t si e D 1 2 3 4 5 6 7 8 9 10 OK N/HAC MY 2 U NWOh iRleE eSvPeOryN eSfIfBoIrLt IhTaYs l ibaebeilnit yta wkeilnl btoe caacrcrye potuetd i nfsotrr uecrrtioorns to customers satisfaction black text U258174 DLMAC7osx 07.09.2009 175# C KHDEA-LDITMP U 068 CAUUSTHTOOMRIESRINSG A PRREI NTTH ERRUENFSORE URGED TO CHECK THOROUGHLY BEFORE