Efnisyfirlit

• Front Matter
  • Acknowledgments
  • Introduction
    • Introduction Background
    • Introduction Focus
    • Introduction Goal and Usage
  • Problem Seeking and Solving
    • 0.1 Planet Earth
    • Problem Seeking
    • Problem Solving
    • 0.2 Branching approach
    • 0.3 Linear approach
    • Problem-Solving Phases
    • 0.4 Divergent and convergent thinking
    • 0.5 Divergent and convergent thinking and problem solving
    • 0.6 Photographs of Eames Furniture Collection Kiosk, 2003 John Bowers
    • Learning
      • 0.7 Project brief components
      • 0.8 Conceptualization for Eames Furniture Collection Kiosk, 2003 John Bowers
    • Identifying
      • 0.9 Direction generation
      • 0.10 Ideation Eames Furniture Collection Kiosk, 2003 John Bowers
    • Generating
      • 0.11 Pages from Eames Furniture Collection Kiosk, 2003 John Bowers
      • A single direction was chosen and refined.
    • Implementing
• 1 Looking Broadly
  • 1.1 Voter ballot, 2002 Client: Oregon Election Commission Gretchen Schulfer
  • Research
  • Epistemology
  • Looking Broadly Information
    • 1.2 Predominant ways of gathering information
    • Experiencing, Doing, and Sharing
    • Observing, Listening, and Reflecting
      • Learning by Doing
  • Looking Broadly Forms
    • 1.3 IDEO Method Cards, 2003 IDEO
    • 1.4 Research forms
    • Ethnography
    • Experimental
      • Research Forms
  • Looking Broadly Approaches
    • 1.5 Primary and secondary approaches
    • Primary
    • Secondary
      • 1.6 Website user interface study, 2010 Client: AIGA Second Story Interactive Studios
      • 1.7 Scientific and situational approaches
      • Bloom's Taxonomy
    • Situational
    • Scientific
  • Looking Broadly Methodologies
    • 1.8 Relationship of research and methodology
    • Methodology
    • Proprietary Methodology
    • 1.9 Qualitative and quantitative research methodologies
    • Qualitative
    • Quantitative
      • Research Plans
      • 1.10 Deductive and inductive reasoning
    • Deductive
    • Inductive
      • Logic
      • Intelligences
  • Looking Broadly Processes
    • 1.11 Conceptualization process workshop Umeå Institute of Design, 2010
    • 1.12 Research, methodology, and process relationship
    • Process
• 2 Interpreting
  • Interpreting Messages
    • 2.1 Front and back cover of Intelligent Design: Creating an Evolved Red vs. Blue State of Mind, 2005 Client and Design: Thirst Studio
  • Interpreting Communication
    • 2.2 Communication model
    • Encoding
    • Codes
    • Decoding
  • Interpreting Lenses
    • 2.3 Billboard Portland, Oregon, 2001
    • 2.4 Lenses of interpretation
    • Lenses
  • Interpreting Theory
    • 2.5 Relationship of theory and methodologies
    • Theory
  • Interpreting Contemporary Theorists
    • 2.6 (Top) Cover for Dada Painters, 1951 Paul Rand (Bottom) Page spread from VAS, 2003 Stephen Farrell
    • 2.7 Select contemporary thought
    • Audience
  • Interpreting Semiotic Theory
    • 2.8 Global information study, 1993
    • Representation
    • Syntactic
    • Semantic
    • Pragmatic
  • Interpreting Deconstruction and Relational Theory
    • 2.9 The $100 computer, 2006 MIT Media Lab
    • 2.10 Detail from VAS, 2002 Stephen Farrell
    • Deconstruction
    • Relational Theory
  • Interpreting Content
    • 2.11 Page from To Sleep, Perchance to Dream, 2008 Studio A
    • Knowledge Domain
    • Events
    • Objects
    • Activities
  • Interpreting Value Assessment
    • 2.12 Common assessments
    • 2.13 Assessment criteria
    • Critical Thinking
    • Point of View
    • Context
  • Interpreting Process
    • 2.14 Plaque aboard Pioneer 10, launched March 2, 1972 Frank Drake, Carl Sagan, and Linda Sagan, designers
    • Visual Literacy
    • Visual Language
    • Cues
  • Interpreting Textuality
    • 2.15 Advertisement, 1996 Wieden and Kennedy Eugene Richards, photographer
    • 2.16 Advertisement, 1992 Concept: O. Toscani United Colors of Bennetton
    • Literal
      • Denotation and Connotation
    • Textual
      • Signs
      • Metaphors
    • Intertextual
• 3 Targeting
  • Targeting Audiences and Responses
    • 3.1 Front and back of IDEO Method Cards, 2003 IDEO
  • Targeting Planning
    • 3.2 Planning components
  • Targeting Strategy
    • 3.3 U.S.–proposed table arrangements for the U.S.–North Vietnam peace talks, 1968
    • 3.4 Strategy components
  • Targeting Goals
    • 3.5 Goal-setting components
  • Targeting Response
    • 3.6 Maslow's hierarchy of needs
    • 3.7 Identity symbol, 1971 Client: Nike Carolyn Davidson, designer
    • Maslow's Hierarchy of Needs
  • Targeting Decision Making
    • 3.8 Decision-making components
    • Collaboration
  • Targeting Participation
    • 3.9 Participation types
    • 3.10 Do It Yourself exhibition, 2006 Ellen Lupton, curator
    • Do It Yourself (DIY)
    • Participation
  • Targeting Ethnography
    • 3.11 Ethnography methods
    • Ethnography
    • Human-Centered Design
  • Targeting Projections
    • 3.12 Persona John DeVylder
    • 3.13 Flowchart
    • Persona
    • Flowcharts
  • Targeting Observation
    • 3.14 Sample client interview guidelines and question categories
    • 3.15 IDEO Method Cards, 2003 IDEO
    • Focus Groups
    • Interviews and Observations
    • Documentation and Analysis
  • Targeting Visual Audits
    • 3.16 Visual audit components
    • 3.17 Visual identity material, 2010 Art Institute of Chicago
    • Visual Audit
  • Targeting Positioning Statements
    • 3.18 Positioning statement
    • Positioning Statement
  • Targeting Positioning Matrices
    • 3.19 Positioning matrix considerations
    • 3.20 Positioning matrix
    • Positioning Matrix
  • Targeting Assessment
    • 3.21 Assessment components
  • Targeting Evaluation
    • 3.22 Evaluation types
    • 3.23 Usability testing questionnaire for Design Archives Website, 2010 Client: AIGA Second Story Interactive Studios
    • Evaluation
• 4 Creating
  • Creating Visual Messages
    • 4.1 Yellow Book, 2004 Michelle Bowers
  • Creating Components
    • 4.2 Creating components
    • Constraints
    • Conceptualization
    • Ideation
  • Creating Emotion
    • 4.3 Identity symbol, 2010 EU Flag Design Competition Entry, 2010 Youngha Park
    • 4.4 Identity symbol, 2010 EU Flag Design Competition Entry, 2010 Youngha Park
    • Emotional Visuals
    • Emotional Connection
  • Creating Intuition
    • 4.5 Play as design tool Ruedee Sarawutpaiboon
    • 4.6 Spirograph
    • Common Sense
    • Play
  • Creating Methodical
    • 4.7 Identity system, 2010 Client: Smartpad (Lenovo) Jiuxue Zhang, design director Lijian Wang, designer
    • 4.8 Identity system study (above) and application (right), 2010 Client: Smartpad (Lenovo) Ning Zhang, strategist
    • This thoughtful identity is the result of a step-by-step design process.
    • Concept
    • Function
  • Creating Conceptualizing with Writing
    • 4.9 Writing in the design process
    • Writing
  • Creating Questions and Assumptions
    • 4.10 Question and assumptions used to develop this book
    • 4.11 Listing and prioritizing questions and assumptions
    • Questions
    • Questions
    • Assumptions
  • Creating Thinking Maps
    • 4.12 Thinking map started
    • 4.13 Thinking map completed
    • Brainstorming
    • Thinking Maps
    • Attribute Lists
  • Creating Visual Matrices
    • 4.14 Decision tree
    • 4.15 Visual matrix
    • Decision Tree
      • Decision Tree
      • Visual Matrix
  • Creating Prioritizing Content
    • 4.16 Listing types
    • 4.17 Depiction of the Western hemisphere.
    • Information
  • Creating Planning and Diagramming
    • 4.18 Organizational sketches for Design Archives Website, 2010 Client: AIGA Second Story Interactive Studios
    • 4.19 Organizational sketches for Design Archives Website, 2010 Client: AIGA Second Story Interactive Studios
  • Creating Visualizing
    • 4.20 Sketches (left) and final identity symbol (right), 2006 Client: Obama presidential campaign Sender LLC
    • Multiple hand-drawn directions led to a final symbol.
    • Directions
    • Iteration
    • Generative Work
  • Creating Emphasizing
    • 4.21 Gestalt principles
    • 4.22 Gestalt aspects of a page
    • 4.23 Parts and hierarchy of a page
    • Gestalt Aspects
    • Hierarchy Principles
  • Creating Documenting
    • 4.24 Process book
    • Process Book
  • Creating Storytelling
    • 4.25 Billy Rabbit: An American Adaptation, 2006 Ann Tyler
    • 4.26 Wireframe for Grasslands Kiosk, 2009 Client: Natural History Museum of Los Angeles County Second Story Interactive Studios
    • Storytelling
• 5 Looking Closer
  • 5.1 Positioning of select individual and collaborative work
  • Looking Closer Interpreting Cultural Landscape
    • 5.2 Page spreads from Intelligent Design: Creating an Evolved Red vs. Blue State of Mind, 2005 Client and Design: Thirst Studio
    • Rick Valicenti
    • Intelligent Design
    • Third Coast Audio
      • 5.3 Project objective and processes
      • 5.4 Page spreads from Intelligent Design: Creating an Evolved Red vs. Blue State of Mind, 2005 Client and Design: Thirst Studio
      • Intelligent Design: Creating an Evolved Red vs. Blue State of Mind Team Members
    • Learning and Identifying
    • Generating and Implementing
      • 5.5 Project objective and processes
      • 5.6 Sound visualization study (top) and process diagram (below), 2009 Client: Third Coast Audio Thirst Studio
      • How did Intelligent Design influence the Third Coast Audio project?
      • How does your photography background shape your current work?
      • 5.7 Sound visualization (top) and application (bottom), 2009 Client: Third Coast Audio Thirst Studio
      • 5.8 Cards (top) and posters (bottom) proposal, 2009 Client: Third Coast Audio Thirst Studio
      • 5.9 Poster application proposal, 2009 Client: Third Coast Audio Thirst Studio
      • How does your self-generated work relate to your client-associated work?
  • Looking Closer Interpreting Narratives
    • 5.10 Page from To Sleep, Perchance to Dream, 2008 Client: Folger Shakespeare Library Studio A
    • Antonio Alcalá
  • Looking Closer Interpreting Narratives
    • 5.11 Project objectives and process for To Sleep, Perchance to Dream, 2008 Client: Folger Shakespeare Library Studio A
    • 5.12 Page from To Sleep, Perchance to Dream, 2008 Client: Folger Shakespeare Library Studio A
    • 5.13 Pencil sketches for To Sleep, Perchance to Dream, 2008 Client: Folger Shakespeare Library Studio A
    • Learning and Identifying
    • Generating and Implementing
      • 5.14 Study for To Sleep, Perchance to Dream, 2008 Client: Folger Shakespeare Library Studio A
      • 5.15 Page from To Sleep, Perchance to Dream, 2008 Client: Folger Shakespeare Library Studio A
      • Describe your working process
      • 5.16 Detail and double-page spread from To Sleep, Perchance to Dream, 2008 Client: Folger Shakespeare Library Antonio Alcalá, Studio A
      • 5.17 Double-page spread from To Sleep, Perchance to Dream, 2008 Client: Folger Shakespeare Library Antonio Alcalá, Studio A
      • Do you write or edit content?
      • How important is storytelling?
  • Looking Closer Targeting Interaction
    • 5.18 Home page of Design Archives Website, 2010 Client: AIGA Second Story Interactive Studios
    • Julie Beeler and Brad Johnson
    • 5.19 Project objectives and process for Design Archives Website, 2010 Client: AIGA Second Story Interactive Studios
    • 5.20 Project brief for Design Archives Website, 2010 Client: AIGA Second Story Interactive Studios
    • 5.21 Conceptualization process for Design Archives Website, 2010 Client: AIGA Second Story Interactive Studios
    • Learning and Identifying
      • AIGA Design Archives Website Team Members Second Story Interactive Studios
      • 5.22 Information architecture diagrams for Design Archives Website, 2010 Client: AIGA Second Story Interactive Studios
      • 5.23 Information architecture study for Design Archives Website, 2010 Client: AIGA Second Story Interactive Studios
    • Generating and Implementing
      • 5.24 Component study for Design Archives Website, 2010 Client: AIGA Second Story Interactive Studios
      • 5.25 Information architecture (wireframe) study for Design Archives Website, 2010 Client: AIGA Second Story Interactive Studios
      • How do you learn about your target audience?
      • What verbal or written processes do you use?
      • 5.26 Selection feature (image) for Design Archives Website, 2010 Client: AIGA Second Story Interactive Studios
      • To what extent do you employ quantitative research?
      • How important is storytelling in your practice?
      • 5.27 Selection feature (color) for Design Archives Website, 2010 Client: AIGA Second Story Interactive Studios
      • Describe your working process.
  • Looking Closer Creating Experiences
    • 5.28 Page spread from Carbon Gluebook, 2007 Found printed material and self-photographed imagery glued in found book Michelle Bowers
    • Michelle Bowers
    • 5.29 Project objectives and process for gluebooks Michelle Bowers
    • 5.30 Collage parts for gluebooks Found printed material and self-photographed imagery Michelle Bowers
    • 5.31 Collage parts for gluebooks Found printed material and self-photographed imagery Michelle Bowers
    • Learning and Identifying
    • Generating and Implementing
      • 5.32 Page spreads from Cranbrook Gluebook, 2003 Found printed material and self-photographed imagery glued in found book Michelle Bowers
      • Describe your working process.
      • What verbal or written processes do you use?
      • 5.33 Art Department posters, 2008 Printed offset Client: Kendall College of Art and Design, Michelle Bowers
      • 5.34 University Viewbook, 2003 Printed offset Client: Grand Valley State University Michelle Bowers
      • 5.35 Viewbook interpretative maps, 2003 Printed offset Client: Grand Valley State University Michelle Bowers
      • How does the book form shape your process?
      • Do you primarily work alone?
  • Looking Closer Creating Empowerment
    • 5.36 Studies for Identity symbol, 2006 Client: Obama presidential campaign Sender LLC
    • Sol Sender
    • Obama Presidential Campaign Symbol Team Sender LLC
    • 5.37 Project objective and processes
    • 5.38 First-round identity symbol versions, 2006 Client: Obama presidential campaign Sender LLC
    • 5.39 First-round identity symbol versions, 2006 Client: Obama presidential campaign Sender LLC
    • Learning and Identifying
    • Generating and Implementing
      • 5.40 Second-round identity symbol version, 2006 Client: Obama presidential campaign Sender LLC
      • 5.41 Second-round identity symbol version, 2006 Client: Obama presidential campaign Sender LLC
      • What were the unique challenges of this project?
      • 5.42 Identity symbol sketch, 2006 Client: Obama presidential campaign Sender LLC
      • 5.43 Final identity symbol, 2006 Client: Obama presidential campaign Sender LLC
      • How did the symbol's message evolve once implemented?
      • How has this project changed your thoughts on design?
• Back Matter
  • Timeline
    • Bauhaus
    • Ulm
    • Timeline Modernism
      • 6.1 Bauhaus Curriculum Diagram 1923 Johannes Itten
      • 6.2 Cover for The Dada Painters 1951 Paul Rand
      • 6.3 Diagram from The Measure of Man 1955 Henry Dreyfuss
    • Timeline Post-Modernism
      • 6.4 Department of Transportation symbols 1974 Roger Cook and Don Shanosky
      • 6.5 Graphical interface Macintosh computer 1984 Steve Jobs, Jef Raskin, and Susan Kare
      • 6.6 IDEO Method Cards 2003 IDEO
  • Terms
  • Study Questions
    • Study Questions Chapter Concepts
      • Introduction Problem Seeking and Solving
      • Chapter 1 Looking Broadly
      • Chapter 2 Interpreting
      • Chapter 3 Targeting
      • Chapter 4 Creating
      • Chapter 5 Looking Closer
      • Timeline
  • Exercises
    • Exercises Learning Outcomes
    • Learning Style Theory
    • Vygotsky Social Cognition Theory
    • Communities of Practice Theory
    • Exercises Chapter 2 Interpreting
      • 6.7 Each student chooses a culturally coded object (e.g., silicon wristband or pill) and writes the object name at the top of a large sheet of paper.
      • 6.8 Students write questions and assumptions about their objects.
      • 6.9 The class as a whole adds questions and assumptions, then highlights those deemed most important.
      • Listing and Prioritizing
        • Learning Outcomes
        • Experience Assessment
      • Process
        • Listing
          • School of the Art Institute of Chicago 2010 Workshop Participants
        • Prioritizing
    • Exercises Chapter 4 Creating
      • 6.10 Students apply additional processes to further understand their objects.
      • 6.11 Students create thinking maps based on their objects.
      • 6.12 Students also make an attribute list (top) and visualization matrix (bottom).
      • Connecting and Editing
        • Learning Outcomes
      • Process
        • Connecting
        • Editing
          • Experience Assessment
    • Exercises Chapter 2 Interpreting
      • 6.13 Students list the events, objects, and activities of their culture's rituals on color-coded Post-it notes.
      • 6.14 Students place the Post-it notes on a group matrix that includes the students’ countries.
      • 6.15 Collectively, the class selects, groups, and labels similar rituals, such as celebrations.
      • Categorizing and Grouping
        • Learning Outcomes
      • Process
        • Categorizing
          • Experience Assessment
          • Umeå Institute of Design 2010 Workshop Participants
        • Grouping
    • Exercises Chapter 3 Targeting
      • 6.16 Students create a matrix based on one of their cultural rituals, e.g., the Korean Doljabi.
      • 6.17 Selected objects of a student's Korean Doljabi birthday ritual were chosen and positioned.
      • 6.18 The frequency with which each object was chosen and its foretelling power in a student's family history were identified.
      • Learning Outcomes
      • Experience Assessment
      • Positioning and Valuing
      • Process
        • Positioning
        • Valuing
  • Endnotes
    • Chapter 1 Looking Broadly
    • Chapter 2 Interpreting
    • Chapter 3 Targeting
    • Chapter 4 Creating
    • Chapter 5 Looking Closer
  • Bibliography
    • Introduction Problem Seeking and Solving
    • Chapter 1 Looking Broadly
    • Chapter 2 Interpreting
    • Chapter 3 Targeting
    • Chapter 4 Creating
    • Chapter 5 Looking Closer
    • Index
  • Image Credits
    • Cover and chapter title pages
    • Introduction
    • 1
    • 2
    • 3
    • 4
    • 5
    • Timeline
    • Exercises
  • Essay A Lesson from Spirograph

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