The DEC Education: Product Design
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Design for Non Designers INTRODUCTION TO DESIGN PRINCIPALS AND PRODUCT DESIGN
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ABOUT THE CLASS This class, taught by SMU Advertising Lecturer Dev Gupta, will walk you through the design process for building better products. This class is for the non-designer, to understand the importance of creating great user experiences. Learn how to lead a design team to stay focused on the greater vision of your company through clear communication, business goals and ease of use. THE TAKEAWAYS To establish a clear understanding of the product value proposition before diving in to the design process. To learn how to build a functional spec and business requirements through product roadmaps and wireframes. To establish strategies for building out content strategy - both internal and external. To discuss and demonstrate the importance of wireframing, user flow and prototyping before going into the actual visual design and development. To walk away with a better understanding as to why better designed products succeed, and learn how to set the bar higher for your own product design. ABOUT THE INSTRUCTOR, Dev Gupta Dev Gupta teaches creating advertising art direction and copywriting. Before joining SMU, he worked as an art director and freelance interactive designer at various New York and Dallas agencies. He holds a Masters in Advertising and Bachelors of Finance from The University of Texas. His work has been featured in and honored by Wired Magazine, GQ, The One Club, Mashables and TechCrunch. When he is not teaching he consults with agencies, tech start-ups and fortune 500 companies. PRESENTED BY, The Dallas Entrepreneur Center The Dallas Entrepreneur Center (DEC) is an entrepreneurial support system dedicated to bringing together the resources, support and opportunities that Dallas-area entrepreneurs need to start, build and grow their businesses. Launched in 2013, the DEC believes investment in entrepreneurs is investment in the community. Learn more at thedec.co.
Transcript of The DEC Education: Product Design
Design for Non DesignersINTRODUCTION TO DESIGN PRINCIPALS AND PRODUCT DESIGN
Believe me—I’m only kind of a hack
BEFORE WE START
My hope is that you learn enough to know what to google.
BEFORE WE START
Why DesignWhat DesignHow DesignWhere Design
AGENDA
Why Design
Consumers Demand it
How did we get here
IT DOES WHAT?!
Feature EraValue is created by the number of features
THE DEMOCRATIZATION OF INFORMATION
Information AgeThe internet changed the availability and access to information
EXPERIENCE ERA
Information SaturationInformation is ubiquitous to the point of distracting—how content is segmented and served is now as important as the content.
CONTENT AGGREGATORS
ON DEMAND SERVICES
CEO’S USE IPADS
CONNECTED DEVICES
WEARABLE TECH
MAKERS MOVEMENT
Context Matters
Design Creates Context
What Design
“Good design is useful, usable and desirable”
HIERARCHY AND AFFORDANCE
OrganizationDesign is a process of organizing information and intent.
IMPORTANTinteresting but less important
Push me
CREATES MEANING
EmotionalDesign communicates intangible ideas and creates attachment.
f a n c y
Old School
JUST WHAT’S NEED
IntentionalDesign includes elements that are absolutely needed to understand the underlying message—design is a process of abstraction.
EMPATHETIC
User CenteredDesign stands alone, in that a user should have everything they need to understand the design artifact. This is in contrast to fine art.
TRIAL & ERROR
IterativeThe process of design is 90% failure—there is not one right answer, just lots of wrong ones.
More specifically visual design is composed of typography, composition and color
Typography
OPTICAL OPTIMIZATION
Use Your EyesLetterforms are optimized for reading on a flat surface—they are adjusted optically. Most letterforms are imperfect—several type designers have failed to create a mathematically perfect typeface. The closest we have is Grajon.
SERIF & SANS SERIFS
ClassificationTypefaces are generally classified into two categories: serif and sans serif. Other classifications include slab serif and script.
Stern SerifsSerifs are among the first typefaces to be created. They are based off of the early carvings of roman columns—the most famous being Trajen’s Column.
Going SansThey were popularized during the
Industrial Revolution by printers looking
to add emphasize to headlines.
Slab MeAlthough it is technically a subset of serifs, It is often considered to be in its own category—also called Egyptian.
ScriptaculousScript is the proper name for cursive fonts.
TYPE CLASSIFICATION
Weight & VariantTypefaces typically come in 4 styles: R E G U L A R,
I TA L I C , B O L D A N D B O L D I TA L I C ; however several professional fonts include extra weights and variants, which extend range and application.
Im Tungsten Lightim mercury semibold roman sc & I’m Mercury Book sequam harchitaquis es nestio dolorporem vellestiOta coreribus, sum cuptasp ictate quaturestior sunt ex eliquodis debis ex essimusda que quidustem veliqua eptatur am faccate mporest excernatem faccum resed maionem volorero tem volesti beatibu sapicie ndistibea velenis reperunt iusdant
Oblique
ItalicsSwashes
CHOOSING TYPE
Making Type TalkTypefaces should be chosen for their semiotic association and/or use.
Playful
serious
Agnostic
EMOTION
Mid Century Modern
HISTORICAL ALLUSION
Im good for books
I was made for screeens
USE
LETTERSPACING
TrackingTracking is the overall space between characters. It can be tightened or loosened to achieve different visual effects. When setting type at minute sizes its customary to increase the tracking to ease readability. This is also the case when setting reversed type—white text on black background.
L O O S E Y
GOOSEY
TRACKING
LETTERSPACING
KerningKerning is the manual process of adjusting space between two characters in order to compensate for awkward whitespace and is used to restore natural spacing rhythm so that reading is uninhibited.
unkerned
kerning
KERNING
TYPOGRAPHY
When in doubt typography.com
Composition
COMPOSITION
SymmetrySymmetry is good. Asymmetry is better
BORING
MORE INTERSETING
COMPOSITION
BalanceOdd numbers look better than even.
BORING
MORE INTERSETING
COMPOSITION
Don’t Get CloseIf objects are near each other its best to have them overlap. If an object nears the edge, its best to bleed it off the edge.
AWKWARD TENSION
MUCH BETTER
COMPOSITION
Rule of ThirdsObjects placed on the axis of thirds are the most visualizing pleasing to the eye.
COMPOSITION
Optical CenterThings placed in the center of the page are not as visually interesting but if you have to center something: visually center based on weight not mathematically .
MATHEMATICALLY CENTERED
OPTICALLY CENTERED
COMPOSITION
ScaleVary scale to create visual interest and develop hierarchy.
COMPOSITION
White SpaceNegative space is as important as the forms on the page—helps create visual tension.
COMPOSITION
Use a GridThis is the most important rule of composition. A grid helps you organize content and provides a framework to build multiple layouts.
COMPOSITION
When in doubt siteinspire.com
Color
COLOR
Components of Color1. Hue - Red 2. Saturation - How red? 3. Luminosity - How dark or light?
HUE
SATURATION
LUMINOSITY
COLOR
Semiotic ValueCulturally we accept that certain colors are indexical of attitudes, for example, blue instill trusts, or red and green represent Christmas.
COLOR
Complementary ColorsColors with opposite hues, e.g red and green
COLOR
Analogous ColorsColors with adjacent hues, e.g. red and orange
COLOR
Monochromatic Same hue with varying saturation and luminosity
COLOR
When in doubt dribbble.com
How Design
“Good design is useful, usable and desirable”
1. Hierarchy and Affordance2. Meaning and Attachement
DESIGN CREATES
How does it do this?
Relying on patterns, cultural associations and shared assumptions
Designers understand and leverage these connections
How can you?
Short of going to design school do this...
AN APPLIED APPROACH
Design ManifestoThree or four lines that encapsulates the intended messaging. This gives the designer key words to design against.
AN APPLIED APPROACH
Pull Tear sheetsA collection of photography, typography, illustration, editorial design, etc...that share the same visual goals of the project at hand. Serves to inspire and direct the design process.
AN APPLIED APPROACH
Use• designspiration.net• fffffound.com• dribbble.com• behance.com• siteinspire.com
AN APPLIED APPROACH
Define the ZeitgeistA reservoir of visuals associated with pertinent ideas, e.g. if I’m designing a wedding invitation, I like to know what visuals people associate with weddings.
AN APPLIED APPROACH
Use• Google• Shutterstock• iStock• nounproject.com
Lets look at specific applications
Interface Design
PROCESS
Circle not lineThe process outlined in the next slides feels like a linear process, but when enacted its more like a spiral and is integrated with development efforts.
PROCESS
Mobile FirstThis forces the experience to be lean—its a good way to understand priority and must-haves vs nice-to-haves.
PRODUCT DEFINITION
Product Value StatementWhat is the value to the customer? Treat like a thesis, the value proposition should be a single idea that solves a human problem.
PRODUCT DEFINITION
Functional SpecOutlines the functionality and scope of the product.
INFORMATION ARCHITECTURE
Process FlowTake different users through the experience: a hybrid between a sitemap and storyboards.
INFORMATION ARCHITECTURE
Low Fidelity WireframesRough sketches of the entire experience. I prefer to sketch with pencil on paper.
USER EXPERIENCE
High Fidelity WireframesComputer comps that define specific interaction patterns. Some high fidelity wireframes speak to design. The most common creation tools are Omnigraffle, Illustrator and Fireworks.
VISUAL DESIGN
Conceptual DesignThe designer explorers several different looking design solutions of the same interaction or set of screens
VISUAL DESIGN
Applied DesignOnce a general design direction is set, it is blown out the remaining pages.
VISUAL DESIGN
Production DesignAll the states and support graphics are created. For example what does a button look like on hover, and on click.
VISUAL DESIGN
Interface design is not content design. Most apps incorporate both, marketing websites are content design in that the design relies heavily on the quality of existing visual assets.
Remember
IN ACTION
Profill.it: Case StudyThe following is an applied look at the aforementioned design process for a fictional product, called profill.it
PROFILL.IT: CASE STUDY
• My profile picture is the same from college• I want my profile picture to be consistent
across all my profiles• I hardly login to my accounts—I mostly use the
mobile or third party apps
Fodder
PROFILL.IT: CASE STUDY
Profill.it allows you to update your profile picture, across many of your social media accounts, in one place.
Product Value Statement
PROFILL.IT: CASE STUDY
• Upload image from device• Crop and scale image• Push new image to Google+, Facebook, Twitter,
Tumblr, Flickr, and Instagram
Functionality
PROFILL.IT: CASE STUDY
Upload Picture iOS Photo Album
Crop Img Choose Accounts
Push ImgAuthenticate
PROFILL.IT: CASE STUDY
Low Fi Wires
PROFILL.IT: CASE STUDY
Profill.it is a no fuss utility, targeted at the internet savvy user. It is all about streamlining and automating a manual process.
Design Manifesto
PROFILL.IT: CASE STUDY
Flat Tear Sheets
PROFILL.IT: CASE STUDY
Layered Tear Sheets
FLAT LAYERED
UPLOAD SCREEN OTHER STATESUPLOAD SCREEN OTHER STATES
Design by Numbers
Interface design relies almost exclusively on patterns and existing paradigms.
Available Variables1. Color2. Tone3. Amount of Chrome4. Typography5. Artwork
COLOR BY DESIGN
COLOR BY DESIGN
Color• Dark• Light• Muted • Vibrant• Brand Specific
DARK LIGHT
MUTED VIBRANT
COLOR BY DESIGN
Tone• Playful• Utilitarian• Fancy• Vintage• Editorial• Textured
PLAYFUL UTILITARIAN
EDITORIAL VINTAGE
FANCY TEXTURED
COLOR BY DESIGN
Chrome• No chrome• Flat• Pure App• Tactile• Dimensional• Skeuomorphic
NO CHROME FLAT
TACTILE DIMENSIONAL
SKEUMORPHIC
COLOR BY DESIGN
Type• Free• Paid
COLOR BY DESIGN
Artwork• Icon Style• Photography or Illustration• User generated?
WIRED FILLED
ILLUSTRATION PHOTOGRAPHY
UGC IS NORMALLY UGLY
Available Variables1. Color2. Tone3. Amount of Chrome4. Typography5. Artwork
COLOR BY DESIGN
Logo Design
LOGO DESIGN
LogoA logo is a metaphor for the ideals of a company. A logo can take the form of a logotype or logotype and logo mark.
LOGOOTYPE
LOGOTYPE + MARK
LOGO DESIGN
Logo MarkThere are four broad types of logo marks:• Representative - Dodge Ram• Monogram - Volkswagen• Visual Pun - Evernote• Abstracted - Nike
LOGO MARKS
ABSTRACTEDREPRESENTATIVE MONOGRAM VISUAL PUN
LOGO DESIGN
ConsiderationsLogos are abstractions—include only what is absolutely needed to communicate the stated message; therefore logos should work well at small sizes and in a single color.
LOGO DESIGN
RememberLogos are but one small component of Brand. A consumer’s understanding of a brand comes from interacting with it in various capacities. The best brands design all consumer touch points.
Where Design
WHERE DESIGN IS HEADED
Design Experiences Not artifactsDesign is more than pushing pixels—design is fundamentally about creating the best experience for the consumer, whether that be a website or the approach to customer service.
This has a name.
WHERE DESIGN IS HEADED
Design ThinkingDesign Thinking is a problem solving methodology that utilizes design processes to help find the right problem to solve. It does so by focusing on the end user, understanding the end-to-end experience and using iterative prototypes to fail early and often.
DESIGN THINKING
Efficiency vs EfficacyAn idea can be efficient but highly ineffective. Ford is famously quoted as saying, “If I asked people what they wanted, they would have said a faster a horse.” Design Thinking helps frame the problem in the right context.
DESIGN THINKING
Solution as ProblemFord’s quote underlines another common problem, presenting solutions as problems—rather than asking for a faster horse ask for a better way to travel.
What does this mean?
DESIGN THINKING
Design FirstCompanies like Ford, Square, AirBnb, Apple have adopted a design first mindset, which has allowed them to remain innovative so put your designer hat on when evaluating all facets of your business.
Thanks!FEEL FREE TO EMAIL ME AT [email protected]
