Thoughts On Designing Information

Eighteen internationally reputed designers were interviewed by the editors Inge Gobert and Johan Van Looveren. All are active in the broad field of information design: interactive, editorial, and environmental design, data visualization, wayfinding, typography, cartography. . . This book contains reflections on the field of information design and its boundaries, working methods, client-designer relations, attitudes, dreams, and frustrations. Special emphasis is placed on how future information designers can be effectively prepared to work in a world that is supposed to provide constant access to information. Interviews with: Johannes Bergerhausen, Peter Crnokrak / The Luxury of Protest, Brendan Dawes, Rose Epple, Tim Fendley / Applied, Joost Grootens / Studio Joost Grootens, Fernando Guti�rrez / Studio Fernando Guti�rrez, Joe Malia / BERG, Joris Maltha / Catalogtree, Morag Myerscough / Studio Myerscough, Maria da Gandra & Maaike van Neck / MWMcreative, Mark Porter / Mark Porter Associates, Liz� Ramalho & Arthur Rebelo / R2, Andr�as Uebele / B�ro Uebele Visuelle Kommunikation, Gerlinde Schuller / The World as Flatland, Karsten Schmidt, Andrew Vande Moere, Marius Watz.

Thoughts on Interaction Design, Second Edition, contemplates and contributes to the theory of Interaction Design by exploring the semantic connections that live between technology and form that are brought to life when someone uses a product. It defines Interaction Design in a way that emphasizes the intellectual and cultural facets of the discipline. This edition explores how changes in the economic climate, increased connectivity, and international adoption of technology affect designing for behavior and the nature of design itself. Ultimately, the text exists to provide a definition that encompasses the intellectual facets of the field, the conceptual underpinnings of interaction design as a legitimate human-centered field, and the particular methods used by practitioners in their day-to-day experiences. This text is recommended for practicing designers: interaction designers, industrial designers, UX practitioners, graphic designers, interface designers, and managers. Provides new and fresh insights on designing for behavior in a world of increased connectivity and mobility and how design education has evolved over the decades Maintains the informal-yet-informative voice that made the first edition so popular

One of the seminal texts of graphic design, Paul Rand's Thoughts on Design is now available for the first time since the 1970s. Writing at the height of his career, Rand articulated in his slender volume the pioneering vision that all design should seamlessly integrate form and function. This facsimile edition preserves Rand's original 1947 essay with the adjustments he made to its text and imagery for a revised printing in 1970, and adds only an informative and inspiring new foreword by design luminary Michael Bierut. As relevant today as it was when first published, this classic treatise is an indispensable addition to the library of every designer.

#1 NEW YORK TIMES BEST SELLER • At last, a book that shows you how to build—design—a life you can thrive in, at any age or stage • “Life has questions. They have answers.” —The New York Times Designers create worlds and solve problems using design thinking. Look around your office or home—at the tablet or smartphone you may be holding or the chair you are sitting in. Everything in our lives was designed by someone. And every design starts with a problem that a designer or team of designers seeks to solve. In this book, Bill Burnett and Dave Evans show us how design thinking can help us create a life that is both meaningful and fulfilling, regardless of who or where we are, what we do or have done for a living, or how young or old we are. The same design thinking responsible for amazing technology, products, and spaces can be used to design and build your career and your life, a life of fulfillment and joy, constantly creative and productive, one that always holds the possibility of surprise.

A playbook for creative thinking, created for contemporary students and practitioners working across the fields of graphic design, product design, service design and user experience. Design is Storytelling is a guide to thinking and making created for contemporary students and practitioners working across the fields of graphic design, product design, service design, and user experience. By grounding narrative concepts in fresh, concrete examples and demonstrations, this compelling book provides designers with tools and insights for shaping behaviour and engaging users. Compact, relevant and richly illustrated, the book is written with a sense of humour and a respect for the reader's time and intelligence. Design is Storytelling unpacks the elements of narrative into a fun and useful toolkit, bringing together principles from literary criticism, narratology, cognitive science, semiotics, phenomenology and critical theory to show how visual communication mobilizes instinctive biological processes as well as social norms and conventions. The book uses 250 illustrations to actively engage readers in the process of looking and understanding. This lively book shows how designers can use the principles of storytelling and visual thinking to create beautiful, surprising and effective outcomes. Although the book is full of practical advice for designers, it will also appeal to people more broadly involved in branding, marketing, business and communication.

An exploration of the political qualities of technology design, as seen in projects that span art, computer science, and consumer products. In Adversarial Design, Carl DiSalvo examines the ways that technology design can provoke and engage the political. He describes a practice, which he terms “adversarial design,” that uses the means and forms of design to challenge beliefs, values, and what is taken to be fact. It is not simply applying design to politics—attempting to improve governance for example, by redesigning ballots and polling places; it is implicitly contestational and strives to question conventional approaches to political issues. DiSalvo explores the political qualities and potentials of design by examining a series of projects that span design and art, engineering and computer science, agitprop and consumer products. He views these projects—which include computational visualizations of networks of power and influence, therapy robots that shape sociability, and everyday objects embedded with microchips that enable users to circumvent surveillance—through the lens of agonism, a political theory that emphasizes contention as foundational to democracy. DiSalvo's illuminating analysis aims to provide design criticism with a new approach for thinking about the relationship between forms of political expression, computation as a medium, and the processes and products of design.

How inclusive methods can build elegant design solutions that work for all. Sometimes designed objects reject their users: a computer mouse that doesn't work for left-handed people, for example, or a touchscreen payment system that only works for people who read English phrases, have 20/20 vision, and use a credit card. Something as simple as color choices can render a product unusable for millions. These mismatches are the building blocks of exclusion. In Mismatch, Kat Holmes describes how design can lead to exclusion, and how design can also remedy exclusion. Inclusive design methods—designing objects with rather than for excluded users—can create elegant solutions that work well and benefit all. Holmes tells stories of pioneers of inclusive design, many of whom were drawn to work on inclusion because of their own experiences of exclusion. A gamer and designer who depends on voice recognition shows Holmes his “Wall of Exclusion,” which displays dozens of game controllers that require two hands to operate; an architect shares her firsthand knowledge of how design can fail communities, gleaned from growing up in Detroit's housing projects; an astronomer who began to lose her eyesight adapts a technique called “sonification” so she can “listen” to the stars. Designing for inclusion is not a feel-good sideline. Holmes shows how inclusion can be a source of innovation and growth, especially for digital technologies. It can be a catalyst for creativity and a boost for the bottom line as a customer base expands. And each time we remedy a mismatched interaction, we create an opportunity for more people to contribute to society in meaningful ways.

Visual Thinking for Information Design, Second Edition brings the science of perception to the art of design. The book takes what we now know about perception, cognition and attention and transforms it into concrete advice that students and designers can directly apply. It demonstrates how designs can be considered as tools for cognition and extensions of the viewer’s brain in much the same way that a hammer is an extension of the user’s hand. The book includes hundreds of examples, many in the form of integrated text and full-color diagrams. Renamed from the first edition, Visual Thinking for Design, to more accurately reflect its focus on infographics, this timely revision has been updated throughout and includes more content on pattern perception, the addition of new material illustrating color assimilation, and a new chapter devoted to communicating ideas through images. Presents visual thinking as a complex process that can be supported in every stage using specific design techniques Provides practical, task-oriented information for designers and software developers charged with design responsibilities Includes hundreds of examples, many in the form of integrated text and full-color diagrams Steeped in the principles of “active vision, which views graphic designs as cognitive tools Features a new chapter titled Communicating Ideas with Images that focuses on a new emerging theory of human cognition and how that theory, which deals with the construction and refinement of predictive mental models in the mind, provides a solid foundation for reasoning about what should go into a presentation

Why the Internet was designed to be the way it is, and how it could be different, now and in the future. How do you design an internet? The architecture of the current Internet is the product of basic design decisions made early in its history. What would an internet look like if it were designed, today, from the ground up? In this book, MIT computer scientist David Clark explains how the Internet is actually put together, what requirements it was designed to meet, and why different design decisions would create different internets. He does not take today's Internet as a given but tries to learn from it, and from alternative proposals for what an internet might be, in order to draw some general conclusions about network architecture. Clark discusses the history of the Internet, and how a range of potentially conflicting requirements—including longevity, security, availability, economic viability, management, and meeting the needs of society—shaped its character. He addresses both the technical aspects of the Internet and its broader social and economic contexts. He describes basic design approaches and explains, in terms accessible to nonspecialists, how networks are designed to carry out their functions. (An appendix offers a more technical discussion of network functions for readers who want the details.) He considers a range of alternative proposals for how to design an internet, examines in detail the key requirements a successful design must meet, and then imagines how to design a future internet from scratch. It's not that we should expect anyone to do this; but, perhaps, by conceiving a better future, we can push toward it.

In this completely updated and revised edition of Designing with the Mind in Mind, Jeff Johnson provides you with just enough background in perceptual and cognitive psychology that user interface (UI) design guidelines make intuitive sense rather than being just a list or rules to follow. Early UI practitioners were trained in cognitive psychology, and developed UI design rules based on it. But as the field has evolved since the first edition of this book, designers enter the field from many disciplines. Practitioners today have enough experience in UI design that they have been exposed to design rules, but it is essential that they understand the psychology behind the rules in order to effectively apply them. In this new edition, you'll find new chapters on human choice and decision making, hand-eye coordination and attention, as well as new examples, figures, and explanations throughout. Provides an essential source for user interface design rules and how, when, and why to apply them Arms designers with the science behind each design rule, allowing them to make informed decisions in projects, and to explain those decisions to others Equips readers with the knowledge to make educated tradeoffs between competing rules, project deadlines, and budget pressures Completely updated and revised, including additional coverage on human choice and decision making, hand-eye coordination and attention, and new mobile and touch-screen examples throughout