Design

posted 02/16/08 by Rick Webb

Design. Graphic Design. Shaken, not stirred. We get asked about design a lot. I suppose that’s only fair, we pay a lot of attention to it, and we work hard to have the best and most appropriate design for the challenge at hand.
The best and most appropriate. That’s an interesting challenge sometimes. The internet is a pretty heady place. And there’s a lot of DIY stuff going on. There’s an ethos and aesthetic of lo fi. Of messy. Of a twelve year old photoshopping the head of his cat onto Trent Reznor. Sometimes we need to mimick this. Sometimes we need to make design that is notably un-designed. The chicken, of course, was an example of this.
Design and marketing have a very intertwined relationship. They’re even more intertwined when you think of Branding, and the rules strict branding has saddled marketing with – the logo must always be this size, this color, in this place, with this much free space. The tagline should always be on there. We must use these colors.
The nature between design, marketing and branding is changing. We’re tempted to say it’s collapsing. Design is a tool, but one whose primary use has, perhaps, been forgotten: to connect and serve the end user. Branding, and the strictures it places on design, are, perhaps, in conflict with this. Is the internet causing this? Perhaps, but more likely, it’s just bringing it out in the open. The users are talking back. They’re responding to designs they like, even if they are not our idea of good desingn. They like things, sometimes, that aren’t designed well. Just like they like the Moldy Peaches.
Of course, the converse is as true as ever. Good design works. Good design sells. Ask Steve Jobs. It’s a challenge knowing when this is true, and when something is overly-designed for the market. The iPhone works. The Vertu? Not so much. (ed: the what? rick: exactly).
So, then, the best and most appropriate. Designing down. Designing up. When and where. And then, after figuring that out, doing it as well as possible. Designing down, as well as possible, we admit, can be a lot of fun sometimes (check out the XPJS site for Gametap). Designing up, for us, just like every other design studio of notable quality, is a never-ending enterprise. We’ve been wrestling a lot with how to further enhance our process to ensure those things that need to be well-designed are as perfect as possible. It’s a never-ending quest. One of the things we’ve noticed: by letting our employees pursue both designing up, and designing down, they get better. Mix up the work. Mix up the tasks. Give them room to spread their wings in both directions.

Here are some recent posts from our employees about Design:

Vitamin T Digital Career Infographic

The life of a digital creative is no walk in the park. Cranky clients, fire-breathing creative directors, and the occasional warping from design work to development (with a side trip into content delivery); these are just a few of the everyday trials and pitfalls of the industry. After a while, the whole thing can start to feel surreal, almost like a video game.
We wouldn’t be video game connoisseurs worth our Triforce if we didn’t do something to try and help. So along with our friends at Vitamin T, we’ve provided a walkthrough to help put the world of a digital creative into perspective.
It’s everything you’ll need to help navigate the careers and skill sets across design, development and content delivery. It is important to begin with a character that will maximize your talents, because even though you may end up knee-deep in code eventually, attacking development with the wrong skills at the wrong time can be an intense challenge. But don’t worry. There are infinite possibilities to explore, and a few odd secrets, as well.

Principles of interaction design: #6 Don't be a dick

I recently spent the weekend with some friends whose teenage daughter has lost all but a shred of her vision. It is very likely that eventually she will be totally blind. I was amazed to see how well she adapts to a sighted world but still couldn’t help but reflect on the designs I create and wonder whether she can experience them fully.
Around the time of the last internet boom, bubble and burst the discussions I remember weren’t about web standards, but web accessibility. Flash was extremely popular but because it was a plugin that didn’t expose it’s code structure to the browser, screen readers for the blind couldn’t make any sense of it. As far as they were concerned a Flash object was no different than a single static image.
Today I am shocked to find that many of the younger designers I talk to aren’t aware that the ‘alt’ tag assigned to images in HTML was created so that screen readers could describe the image to vision impaired users. It seems to be thought of as another place to add marketing. A branded opportunity for when the mouse hovers an image.
Now in the wake of CSS3, HTML5, and closer browser alignment to standards the notion of ‘responsive web design’ seems to be the discussion of choice. I’ve even blogged about it. Responsive design is a great thing as it brings accessibility issues to the forefront. Specifically the accessibility of smaller screens, but combined with the latest coding practices the environment for visually or auditory impaired users is now at it’s greatest.
As interaction designers, coders, and creatives we need to be aware of everyone who may want to use our designs. We need to consider smaller screens, the elderly who rely on hearing devices, and a blind teenager who one day wants to be a writer and ask ourselves, is this design good enough for them? Am I being a dick?
Don’t be a dick.

The principles of interaction design: #2 Trick People

#2 Trick People
Technology isn’t perfect. A lot of times it’s slow, annoyingly slow and equally annoying are impatient users. They quickly become distracted and press the back button or switch to some other task. Sometimes there are technical ways to make things faster, like reducing images on a page or reducing the number of items returned by a search. Other times it’s not enough to just reduce and that is when the principle of tricking people comes into play.
Remember that people are easily distracted and use it to your favor. Remember that first principle: Patterns and Prediction. To apply that here, predict when users expect instant results and manage them with distractions. If you know that something is going to take more than half a second to react, design a trick. This can be as simple as a unique click-state on a button, like a drop-down closing in stages or as complex as a mini-game to play while content loads in the background.

Mindful Consumption

These entrepreneurs, designers and artists are changing the status quo. They’re not over-thinking, they’re relying on their own instincts and volition to benefit the greater good. They are just doing. And doing so with a purpose. And consumers are beginning to connect with that purpose. Thoughtful ideation, design and production is moving consumers toward more mindful and meaningful consumption.

Kashi, Seven Whole Grains on a Mission

Like us, you’ve probably heard those words before. Did you ever wonder what “Seven Whole Grains on a Mission” really means? What are these seven whole grains? What’s the mission? Can grains even go on a mission?
In 2009, Kashi asked us to create an immersive and engaging experience to tell their 7WGOAM story—what these grains are, how they work together, and introduce their grain sourcing map, where you can see where their grains are grown. Along with doing all of these things, this experience also had to express the spirit of Kashi and its people. It took us a couple of years, but we’re very happy and proud to announce that we’ve finally launched Seven Whole Grains on a Mission.
We think it does everything it’s supposed to do, with a little smidge of TLC thrown in.



Form+Code in Design, Art, and Architecture

Form+Code in Design, Art, and Architecture by Casey Reas, Chandler McWilliams, ad LUST.

Patina

Some of the best designed objects get better over time: antique furniture, a leather briefcase, jeans. There is something about the human touch that tells a story, how it was used, and what was important. But in the digital age, everything is in ones and zeros; it never fades.
It may seem obvious, but this physical vs digital juxtaposition had never struck me until watching Objectified, a documentary about design. The film features Jonathan Ive, Tim Brown (and a bunch of other people from IDEO), Karim Rashid, and a several others. I thought it was great, but it was all about the physical space, things you could actually touch.
And this thought goes beyond product design. If you’ve ever played an old record, or read a birthday card from a deceased grandparent, you know what I’m talking about. It tells a story. You can hear someones voice through their handwriting, something that doesn’t translate quite as well with helvetica.
In some ways this is great. We can easily archive every picture we take and every song we download. We can hold on to files and back them up on hard drives. I’m sitting next to two external drives that contain most of the last twelve years of my life. If there was a fire, I’d probably grab them, knowing that every bit of data was stored just the way I left it.
Perhaps the problem is that it lacks the element or idea of time. Music today will never need to be remastered, photos won’t need to be restored. Nothing requires extra care to preserve. It all gets filed away in a catalogue of memories that is stored on a disk or drive we trust to keep our data safe.
So my question is, how can we design the digital space so that content created today can wear better over time? So that it becomes more special as it spends time living on the internet. Is the human touch simply a list of comments and responses from our friends? Or is there something more we can do?
I’m just thinking that 40 years from now, I will have amassed so much personal content that it might be overwhelming, and I don’t think I’ll be satisfied with some sort of infographic to look back on life.

Roush Fenway Racing Redesign

It didn’t take long after our initial meeting with Roush Fenway Racing for us to all become NASCAR fans (except for Noah, he’s loved it since birth). The people at Roush won us over with their enthusiasm, friendliness and passion. You won’t meet a nicer group of people in the sport.
Roush Fenway came to us with an interesting request. They were looking to reposition themselves as an entertainment and marketing entity and not just a race team. So we helped Roush get to the core of what they stood for and really drilled down into what performance and success means on the track and on the web, so we could bring that to life for their sponsors and fans. Of course, this would all start with their website.
This is a big change not just for Roush, but also for the industry, and we wanted to make sure their website had a new look to match their new positioning. The energy and vigor we felt at the racetrack was incredible so we wanted to bring some of that atmosphere and life into the site with color and great photography. The devotion of the fans amazed us so we also made sure we kept their drivers front and center. Furthermore, we organized the content so that it was not only easy to search but also easy to navigate. In addition to the race and team information, we featured their current sponsors as well as case studies to highlight their successful marketing programs.
After eight months in the making and a lot of learning, we are happy to announce the launch of the first part of our efforts. Check it out.