In one of the only books of its kind, a veteran design consultant offers the tools for success gained from nearly 30 years of developing corporate and brand identity programs. Readers will discover the most effective formats for design briefs, how to structure the best possible team, what distinguishes a great design brief from an adequate one, how to use the brief in project tracking, as a measuring tool, and as a means of getting approval for a design solution; and much, much more. • Covers all the essential elements comprising an effective design brief • Copublished with the prestigious Design Management InstituteAllworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.

One of the world's great designers shares his vision of "the fundamental principles of great and meaningful design", that's "even more relevant today than it was when first published" (Tim Brown, CEO, IDEO).Even the smartest among us can feel inept as we fail to figure out which light switch or oven burner to turn on, or whether to push, pull, or slide a door.The fault, argues this ingenious -- even liberating -- book, lies not in ourselves, but in product design that ignores the needs of users and the principles of cognitive psychology. The problems range from ambiguous and hidden controls to arbitrary relationships between controls and functions, coupled with a lack of feedback or other assistance and unreasonable demands on memorization.The Design of Everyday Things shows that good, usable design is possible. The rules are simple: make things visible, exploit natural relationships that couple function and control, and make intelligent use of constraints. The goal: guide the user effortlessly to the right action on the right control at the right time.The Design of Everyday Things is a powerful primer on how -- and why -- some products satisfy customers while others only frustrate them.

Ten laws of simplicity for business, technology, and design that teach us how to need less but get more.Finally, we are learning that simplicity equals sanity. We're rebelling against technology that's too complicated, DVD players with too many menus, and software accompanied by 75-megabyte "read me" manuals. The iPod's clean gadgetry has made simplicity hip. But sometimes we find ourselves caught up in the simplicity paradox: we want something that's simple and easy to use, but also does all the complex things we might ever want it to do. In The Laws of Simplicity, John Maeda offers ten laws for balancing simplicity and complexity in business, technology, and design—guidelines for needing less and actually getting more.Maeda—a professor in MIT's Media Lab and a world-renowned graphic designer—explores the question of how we can redefine the notion of "improved" so that it doesn't always mean something more, something added on.Maeda's first law of simplicity is "Reduce." It's not necessarily beneficial to add technology features just because we can. And the features that we do have must be organized (Law 2) in a sensible hierarchy so users aren't distracted by features and functions they don't need. But simplicity is not less just for the sake of less. Skip ahead to Law 9: "Failure: Accept the fact that some things can never be made simple." Maeda's concise guide to simplicity in the digital age shows us how this idea can be a cornerstone of organizations and their products—how it can drive both business and technology. We can learn to simplify without sacrificing comfort and meaning, and we can achieve the balance described in Law 10. This law, which Maeda calls "The One," tells us: "Simplicity is about subtracting the obvious, and adding the meaningful."

“An adulating biography of Apple’s left-brained wunderkind, whose work continues to revolutionize modern technology.” —Kirkus ReviewsIn 1997, Steve Jobs discovered a scruffy British designer toiling away at Apple’s headquarters, surrounded by hundreds of sketches and prototypes. Jony Ive’s collaboration with Jobs would produce some of the world’s most iconic technology products, including the iMac, iPod, iPad, and iPhone. Ive’s work helped reverse Apple’s long decline, overturned entire industries, and created a huge global fan base. Yet little is known about the shy, soft-spoken whiz whom Jobs referred to as his “spiritual partner.”Leander Kahney offers a detailed portrait of the English art school student with dyslexia who became the most acclaimed tech designer of his generation. Drawing on interviews with Ive’s former colleagues and Apple insiders, Kahney “takes us inside the creation of these memorable objects.” (The Wall Street Journal)

Representing a new generation of designers in Japan, Kenya Hara (born 1958) pays tribute to his mentors, using long overlooked Japanese icons and images in much of his work. In Designing Design, he impresses upon the reader the importance of emptiness in both the visual and philosophical traditions of Japan, and its application to design, made visible by means of numerous examples from his own work: Hara for instance designed the opening and closing ceremony programs for the Nagano Winter Olympic Games 1998. In 2001, he enrolled as a board member for the Japanese label MUJI and has considerably moulded the identity of this successful corporation as communication and design advisor ever since. Kenya Hara, alongside Naoto Fukasawa one of the leading design personalities in Japan, has also called attention to himself with exhibitions such as Re-Design: The Daily Products of the 21st Century.

A manifesto for a radically different philosophy and practice of manufacture and environmentalism"Reduce, reuse, recycle" urge environmentalists; in other words, do more with less in order to minimize damage. But as this provocative, visionary book argues, this approach perpetuates a one-way, "cradle to grave" manufacturing model that dates to the Industrial Revolution and casts off as much as 90 percent of the materials it uses as waste, much of it toxic. Why not challenge the notion that human industry must inevitably damage the natural world?In fact, why not take nature itself as our model? A tree produces thousands of blossoms in order to create another tree, yet we do not consider its abundance wasteful but safe, beautiful, and highly effective; hence, "waste equals food" is the first principle the book sets forth. Products might be designed so that, after their useful life, they provide nourishment for something new-either as "biological nutrients" that safely re-enter the environment or as "technical nutrients" that circulate within closed-loop industrial cycles, without being "downcycled" into low-grade uses (as most "recyclables" now are).Elaborating their principles from experience (re)designing everything from carpeting to corporate campuses, William McDonough and Michael Braungart make an exciting and viable case for change.

We design to elicit responses from people. We want them to buy something, read more, or take action of some kind. Designing without understanding what makes people act the way they do is like exploring a new city without a map: results will be haphazard, confusing, and inefficient. This book combines real science and research with practical examples to deliver a guide every designer needs. With it you’ll be able to design more intuitive and engaging work for print, websites, applications, and products that matches the way people think, work, and play.Learn to increase the effectiveness, conversion rates, and usability of your own design projects by finding the answers to questions such as:What grabs and holds attention on a page or screen? What makes memories stick? What is more important, peripheral or central vision? How can you predict the types of errors that people will make? What is the limit to someone’s social circle? How do you motivate people to continue on to (the next step? What line length for text is best? Are some fonts better than others? These are just a few of the questions that the book answers in its deep-dive exploration of what makes people tick.

Design, Creativity, and Culture: An Orientation to Design is unique in offering a fresh and innovative approach to assessing the cross-cultural, multidisciplinary nature of design. This book is objective and free from overt bias. It references design history, design process, cultural studies, media studies, visual culture, political culture, and information technologies. It is inclusive, making reference to the full spectrum of design disciplines, providing examples from architecture, interior, product, graphic and fashion design, from a variety of cultures.Design, Creativity, and Culture provides examples and illustrations from a wide range of recognized topics from the Big Bang to The Matrix, cave wall drawings to Twitter and modernism to mass culture. Design, Creativity and Culture is an inclusive, cross-cultural study of design that will make readers question design and culture.

Thinking: Objects: Contemporary Approaches to Product Design discusses influences on modern product design such as globalization, technology, the media and the need for a sustainable future, and demonstrates how readers can incorporate these influences into their own work. The book also discusses how readers can learn to read the signals an object sends, interpret meaning and discover historical context.Thinking: Objects provides an essential reference tool that will enable you to find your own style and succeed in the industry.