Tech veteran John Maeda released his annual Design In Technology report this week.
These computational designers exist in a hazy middle ground—not quite pure engineers, not quite pure designers—but their hybrid status is increasingly attractive to technology companies that are looking for employees who can both identify problems and build solutions. “When you can do both, you can do things that no one else can do,” says John Maeda. “Technology companies that innovate tend to have these unique people.”
The Human-Computer Interaction (HCI) Pioneers Project draws attention to the trail-blazers by describing their backgrounds and contributions. The photographs were taken by Dr. Ben Shneiderman during his professional career, accompanied by personal reflections on his friends and colleagues. More profiles will be added as time and resources permit. Click on the portraits to learn more…
Wait, you don’t get QR code?
That’s quite surprising (to me). Coming from a country that QR code is literally everywhere, I used to scanning computer screens, posters in subway, restaurant tables, and goods in supermarket. The simple scan brings large convenience — making payment, joining social network, getting discounts, attaining information, and so forth.
But on a second thought, I realized that I hadn’t scanned a single code since coming to the US last September. This sharp contrast triggered my initial curiosity. Then I looked back on QR code’s emergence, evolvement, and its role in today’s China. To my surprise, this black-and-white box is so important and it’s the apple of the eye of China’s tech giants, as well as countless merchants.
The Design Society, hereinafter called the Society, is an international non-governmental, non-profit making organisation whose members share a common interest in design. It strives to contribute to a broad and established understanding of all aspects of development and design, and to promote the use of results and knowledge for the good of humanity.
Despite its sudden popularity, flat design is not just some fly-by-night trend. It’s a substantial approach to web design that’s rooted in practicality, and necessity. The balance between aesthetics and usability reflected in flat design 2.0 demonstrates that the principles behind the philosophy have true staying power.
Consumption demand has transferred from quantitative consumption to "perceptual consumption" at nowadays through qualitative consumption changes along with arriving of information age. Development direction for guiding thoughts of designing creation shall be pursuing of more harmonious and closer perceptual relations between user and commercial goods in the future. Product designing shall not only focus on integration of visual elements but shall also pay more attention to perceptual part produced by overall sense organ in product using process. This essay discusses on how to implement product perceptual design by carrying out visual, touching, hearing, smelling and other organ element analysis.
Helen Armstrong views design from across the spectrum of a practicing designer, a college professor and a published author. She is an Associate Professor of Graphic Design at North Carolina State University. In addition to teaching, Armstrong works as principle of her company. Strong Design. Her clients have included Johns Hopkins, T. Rowe Price, US internetworking and Euler ACI. Her work has been recognized by Print and How Magazine and highlighted in several design publications. She also serves as co-chair of the AIGA Design Educators Community Steering Committee and is on the editorial board of Design and Culture. Armstrong authored Graphic Design Theory: Readings from the Field (Princeton Architectural Press, 2009) and co-authored Participate: Designing with User-Generated Content (Princeton Architectural Press, 2011) with Zvezdana Stojmirovic. Her upcoming book Digital Design Theory: Essential Texts for the Graphic Designer will be available spring 2016. This new collection will explore works by both designers and programmers, examining the two threads of discourse—design and computation—that have rapidly merged to define contemporary graphic design.
Just Design: Socially Conscious Design for Critical Causes [Christopher Simmons] on Amazon.com. *FREE* shipping on qualifying offers. For many, doing good work that also does good in the world is part of the ethos of design practice. Just Design celebrates and explores this increasingly critical aspect of design by showcasing a diverse collection of inspiring projects
Participate: Designing with User-Generated Content [Helen Armstrong, Zvezdana Stojmirovic, Ellen Lupton] on Amazon.com. *FREE* shipping on qualifying offers. Creativity is no longer the sole territory of the designer and other creative professionals. Amateurs are drawn to websites such as Flickr
Graphic Design Theory: Readings from the Field [Helen Armstrong] on Amazon.com. *FREE* shipping on qualifying offers. The titles in our best-selling Design Brief series are highly praised by graphic design students, educators
When Design Research began, which I shall take to be early in the 1960s, the eventual success of science was virtually unquestioned and even unquestionable. Already, in the notorious 1956 Oxford Conference, architectural education in the UK (and areas still controlled by the UK) had accepted that architecture was a second class subject: ie not properly scientific. Science (or, in actuality, its manufacturing arm, technology) was seen to be so successful that everything should be scientific. The philosopherÕs stone, at last! Architects (ie, a significant subdivision of designers) were determined to become scientific. The syllabus was changed and the new subject of design science was invented. Even that 'artist' of architecture schools, the Architectural Association School in London, succumbed to the trend and gave over a third of undergraduate time to design science. Also in London, Prime Minister Harold Wilson and his Labour Government were proclaiming the 'White Heat of the Technological Revolution.' So it was no wonder that design was seen not to be an approach a discipline, even in its own right. It was seen as flawed science. These flaws could be fixed by the proper application of scientific methods It did not matter that science as done as is now commonly understood was nothing like science as described in both scientific publications and in the philosophy of science, and that these descriptions were inappropriate even within science itself.
It is interesting to consider whether research in design should attempt to be scientific, or not. We have worked hard and long to make it so, with what are, perhaps, modest gains. The recent Western view of research has been that research equals scientific research, and, therefore, we have taken our models from science. But, when researchers into design are asking, as they are at the moment all over the world and in many different contexts, what models of/for research we should use (taken from which science), it is worth wondering whether we should be importing any models. Is design itself perhaps the model, after all? That is the position which is taken here.
The material presented here covers new ground. However, this presentation does not attempt to be rigorously argued. There are more academic (thoroughly argued and referenced) statements which put many of the points here. Some of these are mentioned in the final section, in which certain central, key references are noted.
There has been a long history of concern to develop a scientific approach to design. This paper unravels some of these concerns, and develops the view of 'design as a discipline', based upon a 'science of design', not a 'design science'. The underlying axiom of this discipline is that there are forms of knowledge special to the competencies and abilities of a designer. Design as a discipline needs to develop its intellectual independence, whilst seeking to emulate other disciplines in standards of rigour in scholarship and research.
Design Thinking: Understanding How Designers Think and Work [Nigel Cross] on Amazon.com. *FREE* shipping on qualifying offers. Design thinking is the core creative process for any designer; this book explores and explains this apparently mysterious design ability. Focusing on what designers do when they design
In 1982 Cross published a seminal journal article 'Designerly Ways of Knowing', drawing on design research to show Design as having its own intellectual and practical culture as a basis for education, and contrasting it with cultures of Science and Arts and Humanities. This is based on the idea that "There are things to know, ways of knowing them and ways of finding out about them that are specific to the design area." A series of his articles and conference papers on this theme over the period 1982 – 2000 was published under the title Designerly Ways of Knowing (2006).
The second DTRS meeting at Delft (1994) laid the foundations for much subsequent work on protocol studies of design activity. "Understanding how designers think and work" has been a significant theme in his writings, culminating in the book Design Thinking (2011). 
John McWade is the founder and creative director of Before & After magazine. For those of you who are new to all this, John in 1985 was the first desktop publisher in the world, a once-in-a-lifetime adventure that began as the original beta test site for Aldus PageMaker and continues to this day. For more on that story you’ll need to read Issue 1, which is in its third printing.
Design Talk arose from side conversations with readers.
Now available for iPhone and iPad, the new Kickstarter app doesn't just look gorgeous. It feels fresh.
The new app design has a few advantages over the old version. For one, it's a much more distinctive-looking app. While Kickstarter 1.0 looked almost like it had been designed using an off-the-shelf app template, the new Kickstarter app is a lot more distinct and modern. The entire UI is not only swipe-based, but consistent in orientation no matter where you are in Kickstarter's navigation hierarchy (i.e. a swipe left or right always brings you to the next Kickstarter project, no matter where you are). Kickstarter hopes this will help reduce the cognitive load, letting users lose themselves in the incredible number of ideas, aspirations, and dreams that are realized (or, let's face it, dashed) on the site every day.
I recently took on the job of updating the iconography for our mobile site – which was starting to look a bit dated, especially in Apple's shiny new iOS7 UI. Luckily, I love icons... and since I know there's a few icon-geeks like me out there, I thought I'd share my process for this job and hopefully give some insight into why I thought they were a worthwhile consideration.Like most projects, this one started with a brief and a quick chat with the designer who looks after the mobile designs – the direction he wanted to take was pretty clear; clean, crisp, iOS7. Usually an iconography project starts with an exploration of themes (visual directions the iconography could take), but since that hard work had already been done, my first job was to do a bit of iOS7 research.
Universal Principles of Design, Revised and Updated: 125 Ways to Enhance Usability, Influence Perception, Increase Appeal, Make Better Design Decisions, and Teach through Design [William Lidwell, Kritina Holden, Jill Butler] on Amazon.com. *FREE* shipping on qualifying offers. Whether a marketing campaign or a museum exhibit, a video game or a complex control system, the design we see is the culmination of many concepts and practices brought together from a variety of disciplines. Because no one can be an expert on everything
Published on Jun 2, 2011
(March 9, 2011) There's a lot more innovation than just having good ideas. Timing, audience, energy, politics, and many more factors all influence the outcome. James Gosling discusses how innovation has works and how it is affecting the area of computer science today.
Published on Apr 3, 2013
Here's a description of Janne's talk from GOTO Aarhus 2012:
Most developers today are aware of the importance of creating a good user interface with a high level of usability, but many are lacking the methods and techniques that can help in this process. This session will present to the listeners a range of concrete methods and techniques applicable in different phases of a design process, to handle specific challenges. This will include design patterns, personas, wire framing, paper prototype testing, progressive disclosure, card sorting and creative workshops and many of the methods and techniques will be accompanied by examples.
Published on Aug 29, 2011
(April 8, 2011) Don Norman speaks about complexity in everyday life and how design helps us understand and cope with complexity. Norman gives many examples of complexity and design working together to create understanding for the consumer and asks, "Why do we need complexity? Because what we really want is understanding, so, it's about design."
Published on Jun 2, 2011
(October 8, 2010) Guest speaker Jeff Johnson of UI Wizards shares how design mentality has changed over the years and where it is heading in the future. He draws on experiences from his own career to give the students a better idea of the themes he is discussing.
Essentially focus is a critical factor as we only show the user what they want/need to see and the rest is hidden until the user calls upon it. Inline expansion works with hierarchical elements that don’t always require its information to be revealed in specific order.
Working with an inline expansion means you have a primary element followed by secondary elements that are put into play when the user calls upon them. Stay tuned as we plan on dissecting the reasons why we’d use this functionality and where to use it.