The Design Process : Bundle Book + Studio Access Card (Multiple-component retail product, 4 ed)

Preface I. Organization and Learning Features II. Who Should Use This Book and How? III. New to the Fourth Edition Acknowledgments Introduction I. Objective II. Key Concepts III. Designing Is Up Close and Personal IV. The Design Process: A Relationship V. Designing Responsibly VI. Designing Is in the Mind VII. The Map: From the World of Imagination to the World of Objects A. Inspiration B. Identification C. Conceptualization D. Exploration/Refinement E. Definition/Modeling F. Communication G. Production VIII. Box I.1: Perspective: Karl Aspelund, Designer IX. Box I.2: Process into Practice: Three Projects to Follow: Apparel, Furniture, GUI X. Box I.3: Exercises: The First Journal Entry, a Reverse Design A. The Design Journal B. Reverse-Designing C. Stage 7: Production D. Stage 6: Communication E. Stage 5: Definition/Modeling 1) Form 2) Materials 3) Color 4) Detailing and Decoration 5) Function F. Stage 4: Exploration/Refinement G. Stage 3: Conceptualization H. Stage 2: Identification I. Stage 1: Inspiration Stage 1: Inspiration I. Objective II. Key Concepts III. Inspiration: An Act of Creation IV. Finding Inspiration V. Beware of the Myth VI. Genies Don't Return to Bottles VII. Play Somewhere Else VIII. All Work and No Play Doesn't Work IX. Inspiration Is Just the Beginning X. Box 1.1: Perspective: Yeohlee Teng, Fashion Designer XI. Box 1.2: Process into Practice: Stage 1: Inspiration A. Apparel Design: Inspiration B. Furniture Design: Inspiration C. GUI Design: Inspiration D. Graphic Design: Inspiration XII. Exercises A. Creating an Inspiration Journal 1) Brainstorm 2) Visualize B. 1: Focus C. 2: Energy Transferred D. 3: The Beauty of the World E. 4: Irresistible Force F. 5: The Noise That Keeps You Awake G. 6: A Challenge H. 7: Reflect Influences I. 8: Communicate Feelings J. 9: Be Completely Quiet K. 10: The Beginner's Mind I L. 11: The Beginner's Mind II M. 12: Pain N. 13: Get Up and Look XIII. Endnotes Stage 2: Identification I. Objective II. Key Concepts III. Identification IV. Constraints A. End User Constraints 1) Functionality and Form 2) Societal Constraints 3) Safety B. Constraints of Production C. Constraints of the Designer 1) Information 2) Time 3) The Tailor's Rule: First, Do the Math 4) The Tailor's Principle: Everything Takes at Least 15 Minutes 5) Amendment to the Tailor's Principle: Plan for Lag Time 6) Materials 7) Budgets V. Constraints of Responsibility: Unintended Consequences and Sustainability A. Planning: Expecting the Unexpected 1) Murphy's Law 2) Probabilities of Success 3) Unintended Consequences 4) Five Sources of Unintended Consequences B. Sustainability 1) Sustainability: A Need and a Constraint 2) Using Resources Efficiently 3) Eliminating Toxic, Persistent, and Bioaccumulative Substances 4) Increasing Durability, Reuse, and Reparability 5) Devising New Models of Consumer-Producer Relationships 6) Changing the Relationship Between Developed and Developing Countries VI. Box 2.1: Perspective: Brower Hatcher, Artist VII. Box 2.2: Perspective: Justice Stephen G. Breyer, Supreme Court of the United States VIII. Box 2.3: Process into Practice A. Apparel: Identification (Example Design Thesis) B. Furniture: Identification (Example Design Thesis) C. GUI: Identification (Example Design Thesis) D. Graphic Design (Example Design Thesis) IX. Exercises A. 1: Design Thesis 1) 1.1: What Will You Design? 2) 1.2: What Is Its Nature? 3) 1.3: Who Is It For? 4) 1.4: Why Is It Needed? 5) 1.5: What Are the Benefits of It? 6) 1.6: Why Is This Interesting? 7) 1.7: How Will You Proceed? B. 2: Identifying Constraints C. 3: Toward Sustainability 1) 3.1: How do products such as the ones you intend to design affect the environment? Consider the product's entire life cycle. X. Endnotes Stage 3: Conceptualization I. Objective II. Key Concepts III. Bringing the Idea into the World IV. Creating Sustainable Concepts V. Gestalt Perception VI. Brainstorming A. Preparation for Brainstorming B. Rules of Brainstorming 1) Have an Agenda 2) Define Success 3) In a Group, Appoint a Facilitator 4) Write All Ideas Down 5) Don't Criticize Ideas 6) Deal with Doomsayers Immediately 7) Focus on Having Many Ideas 8) Welcome Hitchhiking or Piggybacking. 9) Encourage Freewheeling 10) Set a Time Limit 11) Edit and Consolidate 12) Revisit C. Brainstorming as Inspiration 1) Don't Wait for the Muses 2) Be Careful When Letting the Genies Out 3) Play Outside Your Own Backyard 4) All Work and No Play Does Not Work D. Simile, Metaphor, and Analogy: A Poetic Tool Kit 1) Simile 2) Metaphor 3) Analogy E. Brainstorming Tools 1) Description 2) Comparison 3) Association 4) Construction 5) Use 6) Troubleshooting VII. Analysis A. Listing Pros and Cons B. Visualize and Sketch C. Scamper 1) Substitute 2) Combine 3) Adapt 4) Minimize/Magnify 5) Put to Other Uses 6) Eliminate/Elaborate 7) Reverse/Rearrange VIII. Presenting Concepts A. Do 1) Practice Your Presentation 2) Cover All the Bases 3) Speak to Your Audience 4) Be Enthusiastic and Excited 5) Welcome All Feedback 6) Present Options 7) Bring Samples and as Many Visuals as You Can B. Don't 1) Assume Knowledge on Behalf of Anybody 2) Assume That Anything Is Obvious 3) Gloss Over Gaps or Problems 4) Present Filler 5) Spend More Time on the Content Than on the Presentation 6) Present Inaccurate or Half-Finished Models or Drawings 7) Assume That Presentation Technology Will Work (Especially If It Is Not Yours) 8) Panic! IX. Box 3.1: Perspective: Jill Pable, Interior Designer, Professor of Interior Design X. Box 3.2: Process into Practice: Stage 3: Conceptualization A. Apparel: Concept Map B. Furniture: Concept Map C. GUI: Concept Map D. Graphic Design: Concept Map XI. Exercises A. 1: Brainstorm B. 2: Concept Board XII. Endnotes Stage 4: Exploration/Refinement I. Objective II. Key Concepts III. Practicing Alchemy IV. Observing and Testing V. Looking for Green VI. Exploration and Refinement A. Sketching and Illustrating: Tools and Languages 1) Communication Basics 2) Early Drawing 3) Later Drawing 4) Conveying Information B. Do 1) Sketch Quickly and Repeatedly 2) Sketch Constantly 3) Sketch Large and Small 4) Avoid Limitation; Use Different Media. 5) Consider the Purpose of Your Sketching 6) Practice. C. Don't 1) Edit Yourself 2) Keep Your Sketches to Yourself D. Forming E. Computer-Aided Design VII. Dialogue VIII. Reflection IX. Box 4.1: Perspective: Leifur Breidfjord, Artist/Designer X. Box 4.2: Perspective: Mari Kussman, Designer and Futurist XI. Box. 4.3: Process into Practice: Stage 4: Exploration A. Apparel: Exploration B. Furniture: Exploration C. GUI: Exploration D. Graphic Design: Exploration XII. Exercises XIII. Endnotes Stage 5: Definition/Modeling I. Objective II. Key Concepts III. Making It Real A. The Basis of Decisions: When Is "Good Enough" Enough? B. The Hierarchy of a Design's Needs 1) Level 1: Functionality 2) Level 2: Reliability 3) Level 3: Usability 4) Level 4: Proficiency 5) Level 5: Creativity C. Anatomy of an Idea D. Details E. Creating Models and Samples 1) The Model Is Real, But It's Not the Real Thing 2) Scaling Problem F. Obsession with Modeling Techniques and Methods G. Strategies 1) Dimensionality 2) Functionality 3) Choosing a Scale 4) Choosing Materials 5) Time Management IV. Reinspire V. Box 5.1: Perspective: Ian Cunningham, Design Director VI. Box 5.1: Process into Practice: Stage 5: Definition A. Apparel: Definition B. Furniture: Definition C. GUI: Definition D. Graphic Design: Definition VII. Exercises A. Revision and Remodeling 1) 1: What Will You Design? 2) 2: What Is Its Nature? 3) 3: Who Is It For? 4) 4: Why Is It Needed? 5) 5: What Are the Benefits of Your Design? 6) 6: Why Is This Interesting? 7) 7: How Will You Proceed? 8) 8: Create the Model VIII. Endnotes Stage 6: Communication I. Objective II. Key Concepts III. The Art of Communication: Speaking to Different Audiences A. The Audience: The Team 1) The Client 2) Corporations 3) Manufacturing 4) Associates B. Information 1) Statement 2) Concept 3) Detail 4) Planning C. Venue D. Organization and Quality E. Language IV. The Art of Presentation A. The Tailor's Rule Revisited B. Presentation Methods and Techniques 1) Structure 2) Andante 3) Crescendo 4) Forte-Piano 5) Illustration Techniques 6) Pencil 7) Colored Pencils 8) Pens and Inks 9) Markers 10) Pastels and Crayons 11) Watercolors 12) CAD Programs 13) Photoshop 14) Books and Boards 15) PowerPoint 16) Web Pages 17) Models 18) Graphic Design C. A Designer Prepares 1) Know Your Lines 2) Know Your Props and Setting 3) Know Your Direction 4) Know Your Motivation V. Box 6.1: Perspective: Mark Zeff, Designer/Architect VI. Box 6.2: Process into Practice: Stage 6: Communication A. Apparel: Communication B. Furniture: Communication C. GUI: Communication D. Graphic Design: Communication VII. Exercises A. 1: Designing a Presentation: Layout and Graphic Design B. 2: A Stylistic Experiment C. 3: Illustrating the Designs D. 4: Designer's Notes: Planning for the Audience E. 5: Designing a Presenter: Assembling the Presentation VIII. Endnotes Stage 7: Production I. Objective II. Key Concepts III. It's a Wrap! IV. The Production Team: Meeting Your Maker V. Working with Feedback VI. Prototyping and Testing A. Concept Prototyping B. Throwaway Prototyping C. Evolutionary Prototyping D. "Reality" VII. Decisions A. Budgets B. Scheduling C. Materials and Aesthetics D. Sustainability VIII. Documenting IX. Reviewing the Design Process X. Box 7.1: Perspective: Palmi Einarsson, Design Director, Ossur Generation II XI. Box 7.2: Perspective: Madison Maxey, Designer and Entrepreneur XII. Box 7.3: Process into Practice: Stage 7: Production A. Apparel: Production B. Chair: Production C. GUI: Production D. Graphic Design: Production XIII. Exercises A. 1: Prototyping B. 2: Planning C. 3: What Now? XIV. Endnotes Appendix 1: Elements and Principles of Design Appendix 2: Recommended Reading and Resources Appendix 3: Notable Designers and Architects Appendix 4: Reading the Zeitgeist: Trendspotting in a Decentralized World Appendix 5: Zeitgeist and Design: A Timeline Photo Credits Index