Unit-1

Introduction to elements and principles of design:

Definitions of design:
The ability of people to show their creativity in deciding the shape of an object, whether physical or
virtual.
OR
A design is a plan or specification for the construction of an object or system or for the implementation of
an activity or process, or the result of that plan or specification in the form of a prototype, product
or process.
Design process:

Types of design:

1. Architectural Design: Project living spaces for the human being: buildings, parks, public squares,
houses.
2. Design of Spaces: It is responsible for carrying out projects of the use and adaptation of the spaces
according to specific needs of its usefulness: commercial, residential, educational, labor.
3. Industrial Design: Projects industrial production objects for human use from a spoon to the body of a car
or the fuselage of an airplane, through furniture, tools, artifacts.
4. Graphic Design: Reproduce significant visual messages: logos and brands, posters, magazines, book
covers, websites.
5. Fashion Design: Design and make clothes and clothing accessories: clothes, shoes, jewelry.
6. Textile Design: Combination of some methods of Graphic Design with some others of Industrial Design
and Fashion Design, consists of conceiving and configuring fabrics and patterns for the textile industry:
prints, yarns, embroidery, fibers.
7. Interactive Design: Focused on the design of digital interfaces and software.

A good design:
 i. The first one Innovative types
ii. The second one is the product useful
iii. Further, The third one is making different types of products understandable
iv. The fourth one div Honest
v. The fifth one is Long-lasting
vi. Hence, The sixth one is Environmentally types of friendly

Elements of Design:

1. The elements of design create every object around us. Nothing can exist without these ingredients. The
discipline of learning the power of these elements and formatting them within the principles of design is
the responsibility of the designer.
2. Color - typically known as hue. This word represents a specific color or light wavelength found in the
color spectrum, ranging circularly from red to yellow, green, blue and back to red.
3. Line - is a line just a series of points? Or is it the best way to get from point "A" to point "B"? As a
geometric conception, a line is a point in motion, with only one dimension - length. Line has both a
position and a direction in space. The variables of line are: size, shape, position, direction, number,
interval and density. Points create lines, lines create shapes or planes and volume.
4. Mass - Here, mass is interchangeable with volume. A mass is a solid body or a grouping of visual
elements (line, color, texture, etc.) that compose a solid form. Volume is a three-dimensional form
comprising length, width, and depth. Three-dimensional forms contain points (vertices), lines (edges), and
planes (surfaces). A mass is the two-dimensional appearance of a three-dimensional form.
5. Movement - Also known as motion. This element portrays the act or process of changing place or
direction, orientation, and/or position through the visual illustration of starting or stopping points, blurring
of action, etc. This is not animation, although animation is an end product of movement, as well as other
elements of design.
6. Space - A two- or three-dimensional element defined by other elements of design.
7. Texture - A technique used in two-dimensional design to replicate three-dimensional surfaces through
various drawing and media techniques. On three-dimensional surfaces, it is experienced by touch or by
visual experience.
8. Type - Also known as typography, and it is considered an element in graphic design. Although it consists
of elements of design, it is - in itself - often an element in the form of visual communication.
9. Value - Another word for the lightness or darkness of an area. Brightness measured in relationship to a
graded scale from white to black.

Purpose of Design:
The principles of design influence the way users view and interact with a design. When implemented
purposefully, they can be used to create an emotional impact on the user, as well as enhance the overall
user experience.
 Principles of design:

 The principles of design are applicable to all design disciplines including - but not exclusive to -
architecture, art, graphics, fashion, industrial design, poetry, writing, and web design.
 The principles of design are tools used to format the elements of design.

There are twelve basic principles of design: contrast, balance, emphasis, proportion, hierarchy, repetition,
rhythm, pattern, white space, movement, variety, and unity. These principles work together to create
visually appealing and functional designs that make sense to users.

The main design principles:

1. Balance
2. Unity
3. Contrast
4. Emphasis
5. Repetition
6. Pattern
7. Rhythm
8. Movement
9. Proportion
10. Variety
11. Harmony
12. Hierarchy
13. White Space
14. Direction
15. Economy
Every design piece has a structure below the surface that holds up the design and makes it visually
interesting and balanced.

Principles of Design: Balance

 Any element placed on a page carries a visual weight. It can range from form to size, color, and texture. In
order to make a design feel stable or have balance, the elements need to have a certain scale.
 For instance, in a symmetrical design, the elements on the right side have the same visual weight as the
elements on the left side. There are two basic types of balance: symmetrical and asymmetrical.
Symmetrical designs lawet elements of equal weight on either side of an imaginary center line.
Asymmetrical balance uses elements of differing weights, often laid out in relation to a line that is not
centered within the overall design
 Lack of balance would make wer design feel heavy on one side and empty on the opposite.
 Every element of a design—typography, colors, images, shapes, patterns, etc.—carries a visual weight.
Some elements are heavy and draw the eye, while other elements are lighter. The way these elements are
laid out on a page should create a feeling of balance.

Principles of Design: Unity

 Unity is the harmony produced by all the elements in a design piece. For instance, using similar colors that
match and integrate elements organically makes it appear as if they belong together and are not just put on
a page.
 We can achieve unity by making clear relationships between visual elements. We can find unity wherever
we find clear organization and order, and the elements of the page won’t be fighting for attention. Instead,
they’ll work together to make the message stronger. Too much unity can result in a sterile design with a
lack of personality.
 Lack of unity would make design feel cluttered and confusing. Viewers will be attracted to the wrong
element of the design and won't get a clear message. A good rule of thumb is to place an element in
design only if it enhances the message.

Principles of Design: Contrast

 Contrast refers to the level of difference between design elements in order to create visual hierarchies. The
variation makes certain elements stand out more than others. We can apply contrast by using colors,
textures, sizes, and shapes.
 In a lawet, contrast is applied to create hierarchy between the font sizes. Larger text tends to be read
before any smaller text. Contrast is important when it comes to pairing fonts. For instance, we have a font
duo that includes a script font and a sans serif font. The script font adds movement to the static sans serif.

 Contrast can create a focal point to certain elements that can draw the viewer’s eyes. Contrast can also be
used to create balance and harmony by making sure items are distributed nicely on a page. Lack of
contrast can make a design look dull, and viewers can overlook the important message. Contrast is
important especially when designing accessible documents. For instance, black type on a white
background will be easier to read than black on a brown background.
 The difference between two or more objects in a design is referred to as contrast. The difference in
objects could be light and dark, thin and thick, small and large, bright and dull, etc.
 Contrast is most commonly associated with readability, legibility, and accessibility. Like hierarchy, the
most important element in a design should have the most contrast. A bright blue button on a stark white
background with a lot of white space is considered high contrast. If the button was almost the same
color as the background or was a 1px stroke versus a fill, it would have less contrast.
 A text-based design could be high contrast by using black text on a white background. For example,An
easy reminder is to think of a black-and-white photo. If the photo has a full range of white, gray, and
black, it has high contrast. If the photo only goes from a dull white to dark gray, it’s a low-contrast
image.

Principles of Design: Emphasis

 Emphasis is a strategy to get the viewer’s attention to a specific design element. This can be in any form: a
button, a website, or an image. The purpose is to create something that will stand out from the rest of the
page. we can use different elements to highlight a specific part of our design, like lines, color,
positive/negative relationships, and many more. As long as we can create contrast, either with elements or
color, we will be creating emphasis.
 Lines create direction on a page by pointing to specific elements that help the viewer’s eyes know where
to go.
 Shapes can also draw attention. Using a group of similar shapes and breaking the group with a different
shape will create tension and draw the eyes.
 Color can create an emphasis in any design. Buttons on a website tend to contrast with the background to
create a sense of urgency and attention.
 Texture can be seen in materials to enhance tactile features. For instance, a business card can have an
emboss or relief on a logo to emphasize it. Digitally, texture can be applied as a drop shadow on a button
to appear three-dimensional.
 Space is also an option to emphasize certain elements in wer design. Enough white space around an object
can prioritize the focus on a single element. For instance, Apple has a clean and direct idea of emphasizing
products.
 Emphasis can be created by size, weight, position, color, shape, and style. Sometimes referred to as
dominance, emphasis might seem similar to contrast, but it’s not quite the same. Contrast deals with the
difference between two objects, and emphasis deals with the impact of an object. To make it a little
more confusing, we can use contrast to support the emphasis of an object—like placing a solid black
sphere on a white background. This is high contrast with emphasis: The viewer’s eye is drawn directly
to the heavy shape.
 Adding emphasis to an object creates a focal point, which grabs an audience’s attention. It’s where we
want the viewer to look first, but doesn’t overpower the rest of the design (or it would be out of
balance). A simple example is a long hallway or corridor, where wer eye is drawn to the end of the
hallway. Imagine painting a bright wall at the end: That’s wer focal point.
 Principles of Design: Repetition

 Using repeated elements on a lawet can be pleasing to the viewer. Repetition is repeating a single element
through the design. We can call a grid a repetition of lines because it creates a certain consistency. In
lawet design, repetition is shown through the folio placement to help viewers find their way in a book or
magazine. The same folio placement creates continuity in the repetition.
 Repetition is seen on the menu placement, which gives the viewers a constant placement that can make
them feel comfortable and familiar. Repetition can also be achieved by repeating elements in a design like
a logo or a tagline in a brand development project. Below, the repetition of waves gives a feeling that the
page is endless.
 Repetition is the recurrence of a design element, commonly utilized in patterns or textures. Repetitive
elements can be used in conjunction with other principles to create a design that leads a user’s eye to a
focal point, has continuity, or flow. A repetitive element could be repeated lines, shapes, forms, color,
or even design elements.

Principles of Design: Pattern

 Pattern is the repetition of more than one design element. While repetition focuses on a single element
being repeated, pattern refers to multiple elements repeated throughout a design (e.g. wallpapers and
backgrounds).
 A seamless pattern is a repeated set of elements that flows without a flaw to create a unit. We can see
seamless patterns predominantly in interior design when using tiles. The use of patterns can enhance the
viewer's experience and the look of a final design.
 In the example,the pattern repeats itself from edge to edge without any disruptions. The pattern is
composed of multiple elements with varying sizes and depths.

Principles of Design: Rhythm

 Rhythm has more complexity than the previous principles of repetition and pattern. Repetition and pattern
are applied to the same element throughout a design. Rhythm is the visual tempo of a combination of
elements when used repeatedly, and with variation, it gives the feeling of organized movement.
 Rhythm is usually hidden in works of art and is not as obvious as the design principles of repetition and
pattern. In the example, the diagonal lines aren't arranged in a specific pattern. Instead, there's a repetition
of the elements with variations. The spaces between repeating elements can cause a sense of rhythm to
form, similar to the way the space between notes in a musical composition create a rhythm. There are five
basic types of visual rhythm that designers can create: random, regular, alternating, flowing, and
progressive.
 Random rhythms have no discernable pattern. Regular rhythms follow the same spacing between each
element with no variation. Alternating rhythms follow a set pattern that repeats, but there is variation
between the actual elements (such as a 1-2-3-1-2-3 pattern). Flowing rhythms follow bends and curves,
similar to the way sand dunes undulate or waves flow. Progressive rhythms change as they go along, with
each change adding to the previous iterations.

Principles of Design: Movement

 Movement refers to the path the viewer’s eye takes through a composition. In an image, every element can
affect how the eyes move. Important elements will lead to secondary elements and so on. Movement in a
composition creates interest and dynamism that keeps the viewer engaged.
 Movement can be created with rhythm when using a variation of an element repeatedly. Using curved
lines and diagonal lines creates more movement compared to straight lines. Use lines to trace the path to
the focal point. Color can help enhance the feeling of movement, juxtaposing high and low key colors to
create energy. A literal way of showing movement is by using an image that includes motion, like a
 dancer or hair in the wind. Some artists use illusions like optical art, in which the repetition and contrast
make our brains want to organize the information.
 In the example, movement is created by the slightly curved lines and the overlapping colors. Both effects
enhance the movement because the lines are unstable and the gradient blurs the lines instead of being
static.
Principles of Design: Proportion

 Proportion is the sense of unity created when all the elements in a composition relate well with each other.
Proportion is mostly about scale and size when two elements are compared. For instance, in art and
drawing, proportion is important for the elements to look realistic. Proportion doesn’t necessarily refer to
the size of one element but to the relationship of two or more elements.
 In lowest hierarchy, the proportion of the headline compared to the photo caption needs to be larger as the
headline is the most important element. Smaller elements have less importance. When we achieve a good
sense of proportion in a composition, it can add harmony and balance.
 Proportion is one of the easier design principles to understand. Simply put, it’s the size of elements in
relation to one another. Proportion signals what’s important in a design and what isn’t. Larger elements
are more important, smaller elements less.

Principles of Design: Harmony

 Harmony is the sense of cohesiveness between the elements in a composition. The elements shouldn’t be
exactly the same or completely different but related in some way. Color palettes or similar textures can
create a sense of unity between different components. Using similarly shaped items will create harmony
because they will seem related.
 Not enough or too much harmony can make a design dull; there needs to be some kind of variety for it to
be visually interesting.
 Principles of Design: Variety

 Creating visual interest will keep viewers engaged with our design. Holding their attention and guiding
them through the composition will create a powerful user experience. Variety adds something interesting
to the composition to create contrast and tension. For instance, mixing organic shapes with geometric
shapes adds variety.

Principles of Design: Direction

 Utilizing movement to create the visual illusion of displacement.

Principles of Design: Economy

 An principle operating on the "slim." Especially important when dealing with clients, where their product
or service is more important than the elaboration of design elements. Can also be considered "precise," or
"simplistic." Or, it can be considered great design.

Principles of Design: Hierarchy

 Hierarchy is another principle of design that directly relates to how well content can be processed by
people using a website. It refers to the importance of elements within a design. The most important
elements (or content) should appear to be the most important.
 Hierarchy is most easily illustrated through the use of titles and headings in a design. The title of a page
should be given the most importance, and therefore should be immediately recognizable as the most
important element on a page. Headings and subheadings should be formatted in a way that shows their
importance in relation to each other as well as in relation to the title and body copy.
 One of the most important principles in design, hierarchy is a way to visually rank our design elements.
 Hierarchy is not based on a design styles, but rather the order of importance. A good design leads the
eye through each area in priority order. A good example is a homepage: There’s usually a navigation bar
and a logo, some sort of large header image, or text with a call to action. In order of importance, the
logo tells the user where they are; the site navigation shows the user how to get around the site; and the
call to action compels the user to do something. More often than not, the CTA is the biggest or boldest
element on the page, followed by the logo and navigation. It’s designed to help the user complete an
action or absorb information.
 Another example is this article. The headline is the most important thing on the page so we can identify
what we’re reading; the intro gives we a summary of the article; and the content gives we the meat of
the design principles. If we read the article from bottom to top, it wouldn’t make much sense.
 A good rule of thumb for hierarchy is that wer most important elements should be the most prominent.

Principles of Design: White Space

 White space—also referred to as “negative space”— is the areas of a design that do not include any design

elements. The space is, effectively, empty.

 Many beginning designers feel the need to pack every pixel with some type of “design” and overlook the

value of white space. But white space serves many important purposes in a design, foremost being giving

elements of the design room to breathe. Negative space can also help highlight specific content or specific

parts of a design.

 It can also make elements of a design easier to discern. This is why typography is more legible when

upper and lowercase letters are used since negative space is more varied around lowercase letters, which

allows people to interpret them more quickly.

 Basics of Design –Dot, Line, Shape, Form as fundamental components:
Line:
 Often the starting point for all artistic expression, the line is one of the most essential elements of
design. It always has more length than thickness, and can be unbroken, broken, or implied. A line can be
vertical, diagonal, horizontal, and even curved. It can be any width, size, shape, position, direction,
interval, or density.
 Points create lines and lines create shapes. A line can have other elements like color, texture, and
movement applied to it. Though basic in appearance, lines can control the viewer’s thoughts and
emotions, and lead a viewer’s eye through space.
 In digital design, the line is commonly used to contain or break areas apart visually. For example, a
navigation bar could have a line to divide itself from the content.
 A line is essentially a series of connected points. There are characterised by their length, direction and
weight. Lines can be straight or wavy, long or short, heavy or soft, architectural or organic. As such they
can be utilised in a variety of ways in a composition. They can be used to create perspective, outline a
landscape, frame a composition etc. The directionality of a line will also have a big effect on your
composition with oblique or slanted lines suggesting movement and dynamism while vertical or

horizontal lines suggest structure, balance and conformity.

Shape:
 All objects are composed of shapes, and all elements of design are shapes in some way. Shapes can live
in a form. An example would be a button on a website: It’s a shape that’s living inside the computer
(which is the form).
 A shape is a two- or three-dimensional object that stands out from the space next to it because of a
defined or implied boundary. A shape can live in different areas in space, and have other elements like
line, color, texture, or movement. Like forms, shapes come in two different types: geometric and
organic.
 Geometric shapes can be drawn using a ruler, compass, or digital instrument. They feel very precise,
like an architecture rendering. They’re created in CAD or by hand, and are controlled and orderly.
Organic shapes are found in nature or drawn by hand. They’re the opposite of geometric, and often feel
natural or smooth. That’s not to say that because they’re natural, they’re less complex. Think of the
grain on a stump of wood: It’s complex, but not geometrically precise

 With the advent of computer-aided design, the definition of “hand drawn” has blurred. But as long as
they’re performed free hand, organic shapes can be created with a mouse, digital pen, or tablet.
 Shapes are essentially closed lines. Shapes are two dimensional and forms are three dimensional. The
basic two dimensional shapes are squares, rectangles and triangles with the related three dimensional
forms being cubes, bricks (technical name is a rectangular prism) and pyramids. An infinite amount of
other shapes exist of course, whether they are fluid organic shapes or rigid abstract shapes.

 A shape is the result of enclosed lines to form a boundary. Shapes are two-dimensional and can be
described as geometric, organic, and abstract.

 Geometric shapes have structure and are often mathematical and precise (squares, circles, triangles).
You’ll notice that the Swiss graphic design movement from the 1950s used mostly geometric shapes in
their designs. Shapes can add emphasis to a layout.
 Organic shapes lack well-defined edges and often feel natural and smooth. Shapes add emphasis to a
layout.
 Abstract shapes are a minimalist representation of reality. For instance, a stick figure of a person is an
abstract shape. Logos are mostly represented by abstract figures to show the type of business. The icon
pack below is a great example of abstract shapes conveying real-life objects and situations.
 Depending on the color, form, and size of shapes, we can determine particular moods and send messages.
For instance, triangles direct the eyes to a specific point and can also represent stability.
 We are surrounded by shapes that we may not think about much; we usually think of shapes as the main
geometric structures. For designers, shape is one of the most important elements when it comes to
branding development.

Form:

 Everything posses a form in one way or another. When we talk about form, we’re not talking about the
content of the form, but the form itself.
 Forms are three dimensional, and there are two types: geometric (man-made) and natural (organic). A
digital or physical form can be measured by height, width, and depth. A form can be created by
combining shapes, and it can be enhanced by color or texture. Depending on their usage, they can also
be ornate or utilitarian.
 For digital design, think of form as the object you’re designing for; so if you’re designing for a mobile
device, the phone is your form.
 Forms are essentially three dimensional shapes. The basic two dimensional shapes are squares, rectangles
and triangles with the related three dimensional forms being cubes, bricks (technical name is a rectangular
prism) and pyramids. An infinite amount of other forms exist of course, whether they are fluid organic
forms or rigid abstract geometric forms.
 A dot, line, or shape is a form when placed on a page. Unfortunately, form and shape are mostly used
interchangeably. A form can be either two-dimensional or three-dimensional. Many also believe that form
is a shape that acquires three-dimensional values, but the correct term is volume.
 Form and shape are mutually dependent because changing one would affect the other. The spatial
relationship between form and space can create tension and add 3D qualities to your design. Form and
space will lend the design lots of visual activity that can help keep viewers engaged. To create a 3D effect
in your design, you can add shadows, stack multiple elements, or play with color.

Dot:
 A dot can be considered the beginning of the elements. A dot marks the beginning and the end of a line.
 Point A point is an element that has position, but no extension. It is a single mark in space with a precise,
but limited, location. Alone it can provide a powerful relation between negative and positive space, but
when grouped with other points the Gestalt grouping principal of closure tends to kick in and the brain
compulsively connects the points together. Line or form is a natural result of multiple points in space.
INTRODUCTION TO DESIGN THINKING:

Origin of Design thinking:

 Design or making , has been classically understood to be a process of turning ideas

into things
 In this design process there is a vision or an idea, it can be figured out by some
drawings work with fabrications of crafts and if everything worked out right then it be
materialized.
 So, there is a direct correspondence between ideas, drawings, and finished products.
This design process called as Direct Design
 This is what most people understand design to be, and what they understand designers
to do that they turn their creative ideas into things.

Idea

Articulate Direct Design

Make

 The primary issue to direct design is preeminence to ideation. The core logic of direct
design is that ideas come first and then making comes after.
 While doing the direct design it marginalizes and ignores the agency of things,
environments, users and relations.
 In 21st century these direct designs were taught as type of closed design process where
designers have ideas and figure out how to realize separately from a deep engagement
with the world.
 It becomes obvious that human making could not effectively happen separate from the
world of users, practices, problems, needs, politics so on.
 Direct designs are criticized that these are not responsive to real world conditions.
 From an awareness of the power of engagement ,a new and expanded form of design
emerged called as Responsive design
 Responsive design is just that it begins in a considered response of the world rather
than an idea comes from designers.
 Responsive design at its best shifted the focus of design way from the narrow idea of
designers and design as being focused on independently making beautiful things.
 Design now become about all the interactive processes needed to make anything come
into being. Responsive design came in many from environmental design to human
centered design
 In responsive design the most popular form is “Design thinking”
“Design thinking is simply a form of human centered responsive design broad name “Design
Thinking”.

 The simplest way to understand how responsive design transforms direct design is to
 see that it adds a new critical step prior to beginning of direct design called
Consultation. Responsive design does not replace direct design so much subsumes it.
 During consultation the design thinking variants of design asks: what are up to? What
are the problems? Then the phase of ideation becomes collective: brain storming,
group improvisation and other collaboration exercise are added to mix.
 Then response design works as iterative loop. This loop is significant because it
allows the object to evolve through testing and use and not come out of designers
thought.
 Response design has had an enormous impact for good. Environmentally centered
design is of great value as is user centered design
 A huge part of design thinking appeals that it claims to be an exceptional source of
innovation

Design Converts Design Thinking

individual Teams

Products

Experience

Design is a combination of Design thinking is a combination

Engineering +science +Art Technology(Engg) +Business+ Humans
 Definitions of Design Thinking:

 Design thinking is a methodology that designers use to brainstorm and solve

complex problems related to Designing and Design engineering.
Or

 Design thinking is a human- centered approach to innovation that draws from

the designer’s toolkit to integrate the needs of people , the possibilities of
technology, and the requirements for business success—Tim Brown CEO of
IDEO

 The term design thinking has been applied in two different approaches related to areas
of conceptual development.
 The first established body of knowledge, starting in the late 1960‘s investigates how
designer (architects, industrial designers, graphic artists) perform their craft and seeks
to identify the skills, abilities and knowledge of expert designers.
 The second use of design thinking is related to business management .since the mid
1980’s interest within the business community grew in exploring how “designer”
thinking could be applied to business challenges, and be performed by employees and
leaders not trained formally as designers.
 Design thinking is a blend of logic, powerful imagination, systematic reasoning
and intuition to bring to generate the ideas that consists to solve the problems of the
clients with desirable outcomes .it helps to bring creativity with business insights.
 Design thinking helps to gain a balance between the problem statement and the
solution developed.
Design thinking process:

In essence, the Design Thinking process is iterative, flexible and focused on collaboration between
designers and users, with an emphasis on bringing ideas to life based on how real users think feel and behave.,

 The five phases of design thinking, are as follows:

a. Empathize – with your users

b. Define – your users’ needs, their problem, and your insights

c. Ideate – by challenging assumptions and creating ideas for innovative solutions

d.Prototype – to start creating solutions

e.Test – solutions
 It's worth noting that the five phases, stages, or modes aren't necessarily in that order.
 5 elements of Design Thinking:

 The guiding principle behind Design Thinking is putting users and their needs at the center of
business. It’s about designing for change and creating new value.
 Instead of designing a product and trying to find ways it will make people’s lives better, you
start by looking at what users really want and need and work toward that goal. You look at the
whole user experience from their perspective. And the more complex the project gets, the closer
you need to look.
 Focusing first on the experience rather than simply rushing ahead to just “solve the problem”
leads to faster, more successful solutions and results.
There are five key elements of the Design Thinking process:
1. Human-centered. If you don’t understand the person who will be using the thing you’re trying
to create, it simply won’t work. This principle starts with empathy and focuses on research to really
understand people—clients, customers and users.
2. Creative and playful. Creating an open, playful atmosphere is critical to fueling creativity. It
allows you to frame the problem in a new way, look at it from different perspectives and consider a
variety of solutions.
3. Iterative. Once you’ve come up with a solution or product, it’s important to keep challenging
and reframing the problem. Test, iterate, test and test again. Early rounds of testing and feedback
helps ensure you are delivering solutions that people will love.
4. Collaborative. People with diverse perspectives work together, creating multidisciplinary
teams that encourage different viewpoints and client co-creation. Working in a flat hierarchy.
5. Prototype driven. A prototype can be used to communicate and test your data. Whether it’s a
sample product or an idea drawn on paper, creating tangible representations of your solutions
allows for sharing and gathering feedback.

Features of design thinking:

Design thinking provides multi dimensional solutions to the problems.

Features are:

 Finding simplicity in complexities

 Having a beautiful and aesthetically appearing products
 Improving clients and end users quality of experience
 Creating innovative, feasible and viable solution to real world problems.
 Addressing the actual requirements of the end users.
 simplicity

user appealing
requirements product
Features

end user innovative

experiences solutions

Use of design thinking:

 The basic principle of design thinking is that innovation can be

disciplined Design thinking helps to learn the following

 How to optimize the ability to innovate

 How to develop a variety of concepts, products, services, processes etc for end-users.
 How to leverage the diverse ideas of innovation
 How to convert useful data , individual insights and vague ideas into feasible reality
 How to connect with the customers and end-users by targeting their actual
requirements.
 How to use the different tools used by designers in their profession for solving
customers problems

Design Thinking helps in

Addressing theand
Feasibility needs of end users
viabilty
Optimization of capabilites
analysis

HISTORY OF DESIGN THINKING:

Year context
The idea of using Design as a way of solving complex problems in a
simplified manner in sciences originated in the book ‘ The science
1963
of
the Artificial’ authored by Herbert A. Simon
The idea of design was achieved for Design Engineering by the
1973
 book ‘experiences in visual thinking’ authored by Robert
McKim
Design methodology is defined by “cross” the study of the principles
1982 ,practices and procedures of design are developed .and includes the
study of how designers work and think
Peter Rowes Book Titled “ design thinking” describes methods and
1987
approaches that planners, designers and architects use
The work of Robert Mckim was consolidated by Rolf Faste at Stanford
1980s to 1990s
university during this period
David M Kelly Founded IDEO and adapt Design thinking to business
1991
interests
The design thinking process itself is human centered ,offering
2009 methods for inspiration, ideation and learning to designers --
Brown
2012 Apply the study of design thinking principles in engineering.
Verbal protocol analysis ,cognitive ethnography , controlled
2015 laboratory experiments, and other formal methods from cognitive
science have been rigorously applied in engineering
Design thinking reflected in many applications like prototyping,
2017 solution based method is often useful way to encourage
inspiration, ideation and organization learning and human
centered methods.