Basics Design: Design Thinking

184 Pages·2009·9.38 MB·english

by  Gavin Ambrose

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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
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an increasingly integral part of quantitative and qualitative by concise descriptions, technical P8 of several books on branding,
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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
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BASICS
design Gavin Ambrose
Paul Harris
08
DESIGN
TH!NKING
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An AVA Book
Published by AVA Publishing SA
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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
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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.
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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
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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
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people view both large corporations and religion. e
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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
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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
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Glossary 176 o
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Conclusion 188 ng
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Acknowledgements 190 hin
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Contacts 192 n
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Working with ethics 193 esi
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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
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ctio Here we look at how designers use different methods This section looks at how ideas come to life through
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d and sources of inspiration to generate creative production. Implementation must ensure that design
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ntr solutions to the brief. These include sketching, details are put into effect and that the client is happy
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Client: Getty Images
Design:Gavin Ambrose
Design thinking: Choice
of photographs to echo the
message being conveyed by
the design
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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
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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.
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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.
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