Right then, Design Thinking, hasn’t it, has really cemented its position across all manner of disciplines these past few years, and visual design is certainly no exception. At its core, this concept isn’t merely a design methodology, but rather a proper problem-solving approach, you see. From the sheer impact of a poster in graphic design to the overall functionality of a space in interior architecture, Design Thinking rather cleverly reconfigures the entire design process by placing creativity and user-centricity squarely at the heart of it all.
Now, in visual design, the fundamental principle of Design Thinking, what it really boils down to, is understanding the needs of the user and then providing solutions that directly address them. Take, for instance, a graphic designer crafting a logo for a brand. They wouldn’t simply be guided by purely aesthetic concerns, would they? Instead, they’d undertake a thoroughgoing analysis of the brand’s narrative, its intended audience, and its communication style. This very process, you see, that’s the “empathise” stage of Design Thinking. By focusing intently on the user’s emotions and expectations, the designer manages to produce a design that isn’t just visually appealing, but genuinely meaningful as well.
Let’s consider the Apple logo. Terribly simple, clean, and utterly iconic. Now, this isn’t just a product of some aesthetic whim, not at all. It’s rather a design artefact that profoundly reflects the brand’s narrative, its intended demographic, and its overall communication style. You see, Apple emerged with the express aim of redefining the very relationship its users had with technology. If we cast our minds back to the world of the ’70s and ’80s, Apple sought to transform what was often perceived as complex and rather cold technology into a simple, user-friendly experience that could be seamlessly integrated into people’s daily lives. And this very objective, wouldn’t you know, was mirrored directly in the logo’s design. The logo design team, led by a chap named Rob Janoff, addressed the feeling of alienation users often felt towards technology and, to counteract this sentiment, they crafted a logo that was straightforward, easily understood, and rather approachable. The apple motif itself was chosen as a metaphor, symbolising knowledge and discovery. The bite, quite cleverly, alludes to both the act of “to bite” and the computer term “byte,” thereby symbolising the connection between technology and humankind. The subtle nod to the original sin – the eating of the forbidden fruit from the tree of knowledge, the acquisition of understanding – also ensured the logo was readily grasped by the target audience. Furthermore, this very bite neatly resolved a rather amusing issue that arose in the focus groups during the design process: the logo being mistaken for a cherry.
Now, in interior architecture, Design Thinking takes into account not just the visual appeal of spaces, but also, crucially, how well they cater to the needs of the users. Take, for example, the design of an office. Details such as how natural light can be best utilised to enhance employee productivity, the impact of colours on one’s mood, and the optimal flow of the space are all integral parts of the Design Thinking process. This particular approach encourages the designer to consider the space not merely as an “aesthetically functional area,” but rather as an “area of experience,” wouldn’t you agree?
If we take a gander at an Apple Store, what do we find? A rather spacious and airy environment, deliberately conceived to allow users to amble about comfortably and, indeed, to properly explore the wares on display. Natural light, you see, is quite the pivotal element in these establishments. Expansive glass walls and skylights ensure that daylight floods the interior. This, in turn, helps customers feel rather more energetic and, dare I say, positive. Simultaneously, the natural light rather effectively underscores Apple’s minimalist and thoroughly modern design ethos.
The colour palette within Apple Stores is also very much a part of the Design Thinking process. The whites, greys, and timber tones, all quite in keeping with Apple’s brand identity, lend the space a simple yet contemporary feel, and crucially, they allow customers to focus their attention squarely on the products themselves.
The flow of the store is also of considerable importance in the design of Apple Stores. The products are displayed in such a manner that customers can readily access them, touch them, experiment with them, and generally have a good old explore. Furthermore, areas dedicated to events like “Today at Apple” provide opportunities for users to acquire new skills and to, shall we say, unlock their creative potential.
Another rather significant aspect of Design Thinking is the stages of prototyping and testing. In graphic design, a logo design, for instance, will be revised numerous times based on feedback gleaned from client focus groups. In interior architecture, the design of a space is optimised by observing the behaviour of employees and customers alike. This iterative process ensures that the design not only works in theory but is thoroughly effective in practice.
Ultimately, Design Thinking is an approach in visual design that rather cleverly marries creativity with functionality. Whether it’s shaping the identity of a brand in graphic design or bringing forth the very spirit of a space in interior architecture, this methodology provides the designer with the means to offer user-centric and thoroughly innovative solutions. Design Thinking, you see, elevates design from being merely a “visual” thing to becoming a proper “experience.”
Armeda