Resetting expectations. As corporate leaders become aware of the power of design, many view design thinking as a solution to all their woes. Designers, enjoying their new level of strategic influence, often reinforce that impression. When I worked with the entertainment company, I was part of that problem, primarily because my livelihood depended on selling design consulting. But design doesn’t solve all problems. It helps people and organizations cut through complexity. It’s great for innovation. It works extremely well for imagining the future. But it’s not the right set of tools for optimizing, streamlining, or otherwise operating a stable business. Additionally, even if expectations are set appropriately, they must be aligned around a realistic timeline—culture changes slowly in large organizations. An organizational focus on design offers unique opportunities for humanizing technology and for developing emotionally resonant products and services. Adopting this perspective isn’t easy. But doing so helps create a workplace where people want to be, one that responds quickly to changing business dynamics and empowers individual contributors. And because design is empathetic, it implicitly drives a more thoughtful, human approach to business.

Embracing risk. Transformative innovation is inherently risky. It involves inferences and leaps of faith; if something hasn’t been done before, there’s no way to guarantee its outcome. The philosopher Charles Peirce said that insights come to us “like a flash”—in an epiphany—making them difficult to rationalize or defend. Leaders need to create a culture that allows people to take chances and move forward without a complete, logical understanding of a problem. Our partners at the entertainment company were empowered to hire a design consultancy, and the organization recognized that the undertaking was no sure thing.

Several years ago, I consulted for a large entertainment company that had tucked design away in a select group of “creatives.” The company was excited about introducing technology into its theme parks and recognized that a successful visitor experience would hinge on good design. And so it became apparent that the entire organization needed to embrace design as a core competence. This shift is never an easy one. Like many organizations with entrenched cultures that have been successful for many years, the company faced several hurdles.

IBM and GE are hardly alone. Every established company that has moved from products to services, from hardware to software, or from physical to digital products needs to focus anew on user experience. Every established company that intends to globalize its business must invent processes that can adjust to different cultural contexts. And every established company that chooses to compete on innovation rather than efficiency must be able to define problems artfully and experiment its way to solutions.

Design thinking is an essential tool for simplifying and humanizing.

“There’s no longer any real distinction between business strategy and the design of the user experience,” said Bridget van Kralingen, the senior vice president of IBM Global Business Services, in a statement to the press. In November 2013 IBM opened a design studio in Austin, Texas—part of the company’s $100 million investment in building a massive design organization

the iterative process works at GE: “GE is moving away from a model of exhaustive product requirements. Teams learn what to do in the process of doing it, iterating, and pivoting.” Employees in every aspect of the business must realize that they can take social risks—putting forth half-baked ideas, for instance—without losing face or experiencing punitive repercussions.

Tolerate failure. A design culture is nurturing. It doesn’t encourage failure, but the iterative nature of the design process recognizes that it’s rare to get things right the first time. Apple is celebrated for its successes, but a little digging uncovers the Newton tablet, the Pippin gaming system, and the Copland operating system—products that didn’t fare so well. (Pippin and Copland were discontinued after only two years.) The company leverages failure as learning, viewing it as part of the cost of innovation.

In design-centric organizations, you’ll typically see prototypes of new ideas, new products, and new services scattered throughout offices and meeting rooms. Whereas diagrams such as customer journey maps explore the problem space, prototypes explore the solution space. They may be digital, physical, or diagrammatic, but in all cases they are a way to communicate ideas. The habit of publicly displaying rough prototypes hints at an open-minded culture, one that values exploration and experimentation over rule following.

The better a designer understands his or her audience and the unique needs of that particular audience, the more efficiently and effectively he or she will be able to develop, design, implement, and evaluate instructional materials in a rapid format. 

This corporate scale-up is not purely a US phenomenon. Rumor has it that Barclays is now the biggest employer of design talent in London, and Singtel has built out a massive floor for its design team in Singapore. __But no one has been more aggressive in building design into their core capabilities than IBM, which is on track to grow their design team to 1,000 people, making them by most measures the largest design firm in the world. __According to one friend they had 50 designers start the same week this summer. There are rumors that IBM offered a job to every single CMU grad this year in the interaction design program.

But advertising and design are fundamentally different businesses: in the world of advertising, user experiences are typically a loss leader to sell media buying services that are much more reliable and higher margin. Design, by contrast, is studio-driven, not account-driven—and does not benefit from the reliable, recurring revenue streams of ad spends. Ideas are not a loss-leader, they are the core value for design. __This difference may not be visible to corporate buyers, but it is quite meaningful to creative talent, the lifeblood of both industries. If you walk into a meeting in which you are pitched fully-formed concepts as part of the sales process, you are probably not talking to a design firm. __

rather than to comprehend them

Bypresenting information in a temporal context – in terms of, for example,trajectories, rhythms, and horizons, although potentially too according toother metaphors such as timelines – we can provide tools for more effectivelymaking sense of information and its consequences (Reddy et al., 2001)

The MVPs are evaluated in terms of the current ways in which they are being used; they are not being evaluated as (prospective) designs. Certainly these platforms are not finished products; there is a clear sense that they remain in-process; ever-frequent updates and even complete pivots will be made. In this sense, prototyping is no longer a stage within design, but the only outcome of design. Without forethought, prior evaluation, whether against a strong vision, or of consequential risk, is this still design? Is designing as foreseeing disappearing beneath permanent iteration?

Designing is the process of making futures (see the important Open University textbook Man-Made Futures, [8]). There are at least two distinct aspects to this process. Each aims at a different sense of “the possible” or what it means “to create.” One is disruptively innovative; it seeks to break with how things currently are, open up the new. The other is more instrumentally pragmatic; it seeks to work out how current things might be transformed, what it is practicable to make.

They can enable individuals to reflect on the personal and social impact of new technologies, and provide a provocative, speculative, and rich vision of our technological future that avoids the clichés of consumerist-oriented industrial design.

Critically engaged language can do detailed surgery on a topic, but critical objects can hit like an emotional sledgehammer if thoughtfully implemented.

reflection on unconscious values embedded in computing and the practices that it supports can and should be a core principle of technology design

Values in design is an approach to studying sociotechnical systems from the perspective of values, and starts from the assumption that technology is never neutral

Offering consultation services to clients is no longer optional in a world where websites can be generated by Squarespace and other white label services.

The model of future successful brand agencies is a hybrid approach of digital and brand, neither one prioritized over the other.

While none of these are a traditional logo, each of them represents a touch point between a human and a brand. Just like a logo, these types of interactions represent the tip of the iceberg of a brand. These days, a brand mark does not need to be visual–touch, interaction, or sound can equally be a brand mark.

At a time when brand experiences are often based upon touch, sound, and voice, how can a branding process that starts out from a purely visual perspective ever possibly succeed?

On the stage, a very adept and confident speaker jokingly mentioned a web-related joke that feels decades old (which she was sarcastically referring to as being decades old) and the whole room fell about laughing; it was the first time they had heard this reference. It was in that moment I realised the web industry had changed as we knew it. I looked at the other speakers and they too, had a similar look of realisation on their faces.

The Three Dimensions of Inclusive Design

your future success depends on developing a new kind of expertise: the ability to leverage your proprietary knowledge strategically and to make useful connections between seemingly unrelated knowledge assets or tap fallow, undeveloped knowledge.

Your competitors will have access to the same kinds of data and general industry knowledge that you do.

It’s a vote of confidence in the company’s capacity to protect enough tacit knowledge to stay ahead of the competition.

will make more money if more people build on the platform he has provided

The ease of knowledge sharing is directly proportional to the degree of knowledge codification

speeding up codification will increase the value of knowledge

Companies that figure out how to manage this complexity will enjoy a powerful competitive advantage in finding and selecting innovations.

In the short term, digital design will move beyond screens to physical surfaces and augmented or artificial environments, and designers will occupy more positions where they are directing or consulting on larger and more complex systems of experience. Design is already less visual and more collaborative, and will continue along that trend. It’s not enough, though, to look five or ten years in the future. Will there be a Machine-Learning designer in 2050? Maybe. But in forty years, it’s just as likely that jobs will no longer exist, or at least not in a way that we would recognize them.

Japanese people tend to require more information before reaching a purchasing decision. So for printed brochures, it is standard practice for Japanese companies to create one text-heavy version for the Japanese domestic market, and another “rest of the world” version that gets localized into multiple languages for markets worldwide. Often the Japanese domestic version goes into more detail and mentions this or that technology as part of a product’s appeal. The non-Japan version focuses more on user benefits, oftentimes not even mentioning the technology that makes those benefits possible. Western thinking is, consumers want to acquire an experience, not a technology. Japanese thinking is, those promises feel more real when somehow linked to technology.

The baseline here is detecting technical issues (counting errors, service availability, etc) but it's also worth monitoring business issues (such as detecting a drop in orders).

Visitor design pattern

La noción de diseño difuso se refiere al hecho de que todo el mundo está dotado con la capacidad de diseñar, mientras que la de diseño experto se refiere al conocimiento profesional del diseño. Entre las dos distinciones se abre un espacio para repensar ‘el diseño en un mundo interconectado’. En el modelo de Manzini este espacio funciona como un recurso heurístico que permite visualizar modos de diseño, desde los ‘activistas culturales’ comprometidos con el diseño difuso y la construcción de sentido hasta las formas de intervención tecnológica centradas en la solución de problemas bajo el liderazgo de expertos (

el mundo está experimentando una gran transición; el diseño puede contribuir a fomentar una cultura de localismo cosmopolita que vincule, efectivamente, lo local y lo global a través de infraestructuras resilientes que acerquen la producción y el consumo con base en sistemas distribuidos; (c) las acciones de la gente para cambiar sus condiciones de vida cotidianas se llevan a cabo, cada vez más, a través de organizaciones colaborativas; los expertos en diseño, como piezas importantes en este redescubrimiento de la colaboración, ayudan a crear las condiciones para el cambio social;

Production and post-production is, by many accounts, the most profitable element of the entire agency equation, and holding companies aim to boost those totals

as clients' marketing budgets decrease and agency profit margins feel the squeeze.

One boss allegedly followed a round of layoffs by warning employees that all production work needed to remain in-house if they wanted to keep their jobs, in part because production is the agency's only profitable department.

All major agency holding companies have launched their own production and postproduction units in recent years as part of what one agency veteran called "a revenue grab." In some cases, they have publicized this information, but the new divisions largely operate under the radar despite employing hundreds of people. "This isn't a threat to high-end production companies," said one source who has worked in that industry for years, "But it will wipe out the whole middle range of independent companies."

Some students have been conditioned by experience in other online courses to expect to be able to read and study quietly by themselves for a few weeks, post a minimum number of discussion board posts in a single day, and complete an exam or writing assignment at the end of a unit or module. The chunky model, with its frequent required interaction, may disappoint students who want to be able to proceed more independently. For that reason, we encourage students to refl ect and comment on the process as we go along. We make design visible by asking students to engage and respond to the course content and design in real time. Inevitably, some students will express resistance, arguing that they enrolled in an online course specifi cally to be able to “work on my own schedule.” So it is important to take those concerns seriously and encourage students to express them. In a writing course, we argue that students can measurably benefi t from breaking major writing projects into a series of steps that can be completed in short units of time.

Bythiswemeanthatthereisalwaysadistinctiontobedrawnbetweenwhattechnologiesaresupposed(ordesigned)todoandwhatpeopleactuallydowiththem.Inotherwords,whatevertheintentionsandgoalsofthedesignersandinventorsofdifferentcommunicationtechnologies,‘ordinary’peopleinevitablymaketheirowndecisionsaboutwhethertheywanttousethetechnology,and,moreimportantly,howtheywanttouseitbasedontheirownneedsandvalues.

utomatic interaction analysi

This means developing a flexible learning environment in which information is presented in multiple ways, students engage in learning in a variety of ways, and students are provided options when demonstrating their learning.

Coherence

Details

Designing

The selection committee declares that whatever LMS the university chooses next must work exactly like Blackboard and exactly like Moodle while having all the features of Canvas. Oh, and it must be "innovative" and "next-generation" too, because we're sick of LMSs that all look and work the same.

they depended mostly on pre-recorded videos for content (following the Khan Academy) model. This was content that was intended to be 'learned' by students.

if the children are from more than one class, the app is programmed with rules that determine which curriculum appears on the iPad.

carefully crafted learning outcomes

how to balance supporting a system as complex as Domain of One’s Own without dictating how people use it

definition of field: The field of instructional design and technology encompasses the analysis of learning and performance problems, and the design, development, implementa- tion, evaluation and management of instructional and non-instructional processes and resources intended to improve learning and performance in a variety of set- tings, particularly educational institutions and the workplace. Professionals in the field of instructional design and technology often use systematic instruc- tional design procedures and employ a variety of instructional media to accomplish their goals. More- over, in recent years, they have paid increasing atten- tion to non-instructional solutions to some performance problems. Research and theory related to each of the aforementioned areas is also an important part of the field. (Reiser, in p

Richardson argues that “open design” in the maker movement encourages diversity and collective participation in the production process. Being “pre-hacked” provides an alternative way to think about participation in technological produc-tion. The maker movement tenuously embraces open design, even if they have less success in considering how these practices might scale.

The Liminal Role of Instructional Designers

Design Talent or Design Skill?

Can Design be Taught or Do you Need Talent?

Research debt is the accumulation of missing interpretive labor. It’s extremely natural for young ideas to go through a stage of debt, like early prototypes in engineering. The problem is that we often stop at that point. Young ideas aren’t ending points for us to put in a paper and abandon. When we let things stop there the debt piles up. It becomes harder to understand and build on each other’s work and the field fragments.

For design this is a crucial factor, and a profound change. The designer of such ‘pages’ / sites is no longer the ‘author’ of an authoritative text, but is a provider of material arranged in relation to the assumed characteristics of the imagined audience. The power of the designer is to assemble materials which can become ‘information’ for the visitor, in arrangements which might correspond to the interests of the visitor. For the visitor however “Information is material which is selected by individuals to be transformed by them into knowledge to solve a problem in their life world” (Boeck, 2002)

But further than that, at a fundamental level, graphic design works as a kind of user interface; we organize information visually to allow people to navigate through and understand the world. As graphic designers we channel interactions through a primarily visual funnel, stripping out everything that can’t be accommodated in the medium. But as sensors, processing power and machine intelligence become more portable, ubiquitous, and increasingly part of the designer’s lexicon, we will one day find that our user interfaces are no longer primarily visual, but more sonic, haptic, and multi-sensory. With that comes a brand new palette of output at our disposal. Allow me to take this to a more extreme conclusion: We’re beginning to interface with our devices in more conversational terms as natural-language-processing algorithms improve, and in more gestural terms with improvements in computer vision and virtual reality. When coupled with renewed interest in anticipatory design, a massive signal appears pointing to a future in which graphic designers are barely required at all. But by taking a designer’s mindset to problem-framing and solving, we have skills that position us well to help shape the deployment and development of this new artificial intelligence in design; helping to develop new tools, new interfaces, and new interactions that shape future worlds in unimaginably profound ways.

The next design trend is one that eliminates all choices Written by Anne Quito Obsession Design June 18, 2015

Application developers will also likely win in all this. While the APIs and the data available will be pretty standardized, the manner in which it’s displayed will become a battleground of creativity. Innovation here will be key, doing something different and better than what everyone else is doing is the only way an app will stand out.

If there’s a definite winner in this possible future Internet, it is the content creators. If the only thing that sets one company or organization apart from their competition, then those who can create high-quality content will be in high demand. The thousands of dollars that a company used to be spent on website design will be funneled into website content instead.

Multimedia content will also still have a strong market. Those who can produce high-quality videos and even web-based apps (for things like Chrome OS) will have a strong business for years to come.

And all these touchpoints need to be designed, planned, and managed. This is a job that will continue to exist, regardless of the channel. We will still need cohesive experiences and valuable content across smart climatizers, virtual reality devices, electronic contact lenses, and whatever we invent in the decades to come.

The Cooper Hewitt, Smithsonian Design Museum’s The Jazz Age: American Style in the 1920s is billed as the “first major museum exhibition to focus on American taste in design during the exhilarating years of the 1920s.”

Every designer should have and be comfortable with these tools: Pencil and/or pen Sketch pad Everything after that is a matter of preference or specialization. I've been in this business for 15 years now and I have not met a single designer, art director, or creative director that does their best without first sketching it out. You can jump right into the computer but it's never as free as early concepts should be. As for the other items listed here ... Remember that digital makes up the majority of the market these days. Print isn't dead, but it isn't the only option for professional design. In fact, it's an afterthought much of the time. Pantone? That's for those print junkies. X-acto? Nice, but mostly just for print. Light table, tape, tracing paper, ink erasers!? You guys are as bad as me. That's all for us fussy history buffs. I hardly pull that stuff out any more. My art supplies are more like a museum than a tool kit. They come in handy every few months but that's only when I'm doubling as an illustrator. Or just playing around. I could probably save my clients some money and go buy royalty free icons next time ;)

Digital art will rival the real thing. “Will a 3D-printed sculpture have the same value as a sculpture made by someone 50 years ago with their hands? People sometimes see digital art as a lesser form of art. Oh, that is done by computer, not hand! Then people think it should be cheaper. I worry that consumers will see 3D art as something cheap — not the real thing. But once you can print a masterpiece from an artist and have it as your own, people will think differently. I am pretty sure that if Michelangelo had a computer, he would have used it.”

3D printing will continue to grow in importance. “As creatives, it’s our duty to incorporate 3D printing into our work. When you have the possibility to make your work tangible, that gives it more richness. I hope 3D printing allows people to fully customize their lives. One day if we need shoes or more silverware, we can just print them in our home. I think this will be true for all of our household basics. We’re going to have more creatives in the world because things that have traditionally been done on an industrial scale will be able to be done by anyone with 3D printing.”

You’ll have to broaden your skill set. “You can have a great design, but if you can’t communicate the story behind it, it will be the downfall of the greatest designers. It’s important to learn the ‘soft skills’ which are learning how to speak publicly to grab attention, keep attention, and clearly articulate your ideas. You should learn to negotiate your prices, as well as know how to read a room and when you should disappear. The other side is the psychology of the business upfront, the questions of: Why am I building this? Why is it important? Or what impact am I going to have on the world? It’s important to answer before you design. Having the business and designer mindset is important.”

Specialization + communication = a career win.  “Instead of trying to become a jack-of-all-trades, young designers should be trained in one specific design discipline, communication design, product design, interior design, fashion design, or digital media design. The design student should develop an understanding of how the respective design discipline interfaces with technology and business. Students should work in projects together with students from other design disciplines and preferably also with students from engineering and business. This is training for young designers and a time to nurture communication skills.”

Visual VR is just the start.  “There really is a lot of opportunities and means for expression inside VR. For example, Axon VR is developing full body virtual reality, both the software and hardware. The apparatus is somewhat imposing, and the leap to a first-person experience is astounding when you add visual, sound, and the sense of touch. The visual power of the experiences has sky-rocketed as a result. When you put that in the hands of creative people, there’s a real opportunity for the experiences that come out of it to be completely, utterly fantastic.”

Storytelling will have no clear narrative arc. “The amount of investment/heat around virtual and augmented reality will be the next big challenge for creative professionals, and understanding the self-navigating narrative like that is not a part of most creative disciplines. Traditionally, we’ve always told linear stories. I think the biggest nut to crack will be how creatives design story games that the users can tell themselves.”

Experience design will become increasingly important. “Retail shopping is not solely about the transactional experience any more. It’s about going into a store, feeling the vibe of that brand and getting that bigger lifestyle out of it. Right now that’s very much an urban, high-end experience, so how do we do that in a more populous way? We are looking a lot at the mall K11 in Hong Kong, and how they have incorporated so many different things in their experience, from having art everywhere to farms that are growing mushrooms that you can pick and have incorporated into your meal to programs for kids. And it’s all very-well curated, so there are always new exhibitions and programs.”

Crooked career paths will be the norm. “More and more I am seeing people who haven’t followed the traditional career path. When hiring, I look for the narrative that stitches the person’s career together: Why did they make the decisions that they did? What was the trajectory that they found themselves on? I don’t really care that much anymore if you went to a pedigree design school or started at a prestigious company. What I care about is that you learned and grew and there was an intent behind what you were building towards.”

The line between design and business will continue to blur. “The more a designer understands how the business works, the more valuable they will be to employers. Designers who understand a company’s value proposition and mission can help them thrive and grow. They just need to learn the language that someone who is running a company actually speaks. When they can articulate exactly what they bring to the table, executives will realize that they didn’t just hire a designer — they also hired a strategist!”

According to a recent study by online job matching service TheLadders, the fastest growing jobs are in user experience design, iOS and Android development, and business intelligence–some of which didn’t exist before 2007.The study, which gathered key word search data from among its 6 million members, also found that middle management jobs are being phased out. Among the top 10% of growing jobs, less than 2% of titles contain the word “manager” or “director,” which points to a trend that you can still be a professional in a high-paying position, but the end game isn’t a gold plaque with a management title tacked to your name.Mark Newman, CEO of digital interviewing service HireVue, says the company is witnessing similar trends as it helps place people with companies such as Hilton, GE, Chipotle, and others. “Overall, HireVue is seeing that jobs of the future are design and data scientist jobs,” he says.

We focus on a particular topic (e.g., racial prejudice), use a particular resource (e.g., To Kill a Mockingbird), and choose specific instructional methods (e.g., Socratic seminar to discuss the book and cooperative groups to analyze stereotypical images in films and on television) to cause learning to meet a given standard (e.g., the student will understand the nature of prejudice, and the difference between generalizations and stereotypes).

Furthermore, the format of the test causes many educators to erroneously believe that the state test or provincial exam only assesses low-level knowledge and skill. This, too, is false. Indeed, the data from released national tests show conclusively that the students have the most difficulty with those items that require understanding and transfer, not recall or recognition.

he Three Stages of Backward DesignThe UbD framework offers a three-stage backward design process for curriculum planning, and includes a template and set of design tools that embody the process. A key concept in UbD framework is align-ment (i.e., all three stages must clearly align not only to standards, but also to one another). In other words, the Stage 1 con-tent and understanding must be what is assessed in Stage 2 and taught in Stage 3.

Do Designers Need to Go to College?

JLW: Did these electronic or highly technical things come naturally to you? Or is it a case of working with the right collaborator? PS: It’s always a case of working with the right collaborator. I don’t like equipment. I don’t even take pictures.

I find that with 3D work it’s the opposite of graphic design for print. The computer has revolutionised this kind of work – the way you can see work before it is built. The jobs come out almost identical 
to my Photoshop rendering, and usually something is selected in the first or second round. These things, they’re a whole different speed. They take a very long time to realise. There’s a lot of expense involved, trying out materials – they go on forever. I’ve been working on the High Line [a New York park built on the 1930s elevated railway] for a million years [since 2000].

I told you I’m not a craftsperson. Anything I do where I think I make a breakthrough, in five minutes someone’s going to come along and do it better than I did it. JLW: So you keep moving … PS: Well I have to because I’m never going to develop the craft well enough. That’s been true for me my whole life.

My view is that to grow as a designer you have to allow yourself to be who you are irrespective of the technology, but let the technology inform you in ways that it can. When you look at periods you find designers whose body of work is completely connected to one technological form and then it stops there. I see it in some of my ex-students – it’s quite a sad thing. Students who learned to work on the computer in the late 1980s and 90s who are now approaching 40 are having a hard time working because the younger kids who are right out of school are not only cheaper but they can adapt to the technology much faster and much more easily, so they’re actually better at the gig. It leaves a whole generation cold in relation to advancement.

The thing I do – which is why I became less interested in style and more interested in finding a way to do it – is to create expressionist typography. Words have meaning and typography has feeling. When you put them together it’s a spectacular combination. I think the reason I responded so negatively to Helvetica way back when was that it neutralises feeling. A Modernist would argue that that’s terrific because then the words speak and you’re not influencing the content by creating disorder with them. It’s almost like an understood, generic form … that you can say OK take the words as they are because they’re laid out very clearly in Helvetica. All other styles imbue the words with a shade or meaning, which changes them, which is where I think all the fun is!

First I had a design teacher who gave us Basel basics: move a black square around a white page, make a white on white piece – things that involved seeing and craft, but I was very sloppy, so for me that form of exercise was terrible. Y’know, the notion of lining things up and making things function, and then later designing a business card or putting typography on a grid was virtually impossible to achieve and depressing for me. I felt I was cleaning up my room in some kind of ordered system where the goal of life is to be neat. I remember seeing Kathy McCoy talk about it from her perspective and she had said that the biggest compliment you could give to something was that it was ‘clean’. C’mon, there’s gotta be more than that… That can’t be it! What about expression, what about emotion, what about feeling? You had to be engaged with it in some way. If you could be neat, it seemed that you could achieve it. And that didn’t seem right to me about a form of expression and communication. If anybody can achieve it, why bother to do it, why don’t we all do it ourselves?

Designing with OER (DOER) Fellows

For instance, a set of stairs does not just afford climbing, but based on the angle of construction, may facilitate an easy climb, pose challenges to climbing, or be unclimbable entirely

graphic design has more opportunity for impact than ever, as institutional liveries now live not just on signs and letterhead, but in apps and physical installations that span landscapes, and typefaces can breathe and grow in response to their environments

I use backwards de-sign to develop our lesson plans: What do we want our students to write, and why? What skills are required, and how do students acquire those skills (Wiggins and McTighe 34)?

Technologists are not noted for learning from the errors of the past. They look forward, not behind, so they repeat the same problems over and over again.”

Six Steps to Superior Product Prototyping: Lessons from an Apple and Oculus Engineer

“An individual building, the style in which it is going to be designed and built, is not that important. The important thing, really, is the community. How does it affect life?” I.M. Pei

Thiết kế website

Hoe kan een digitale applicatie ervoor zorgen dat bekkenfysiotherapeuten meer controle hebben over de oefeningen die ze de patienten meegeven en daarbij minder tijd kwijt zijn aan het beschrijven van de oefening.

My plea to designers and software engineers: Ignore the fads and go back to the typographic principles of print — keep your type black, and vary weight and font instead of grayness.

It wasn’t hard to isolate the biggest obstacle to legible text: contrast, the difference between the foreground and background colors on a page. In 2008, the Web Accessibility Initiative, a group that works to produce guidelines for web developers, introduced a widely accepted ratio for creating easy-to-read webpages.To translate contrast, it uses a numerical model. If the text and background of a website are the same color, the ratio is 1:1. For black text on white background (or vice versa), the ratio is 21:1. The Initiative set 4.5:1 as the minimum ratio for clear type, while recommending a contrast of at least 7:1, to aid readers with impaired vision. The recommendation was designed as a suggested minimum contrast to designate the boundaries of legibility. Still, designers tend to treat it as as a starting point.

Now I can read updates in that private channel, I can receive desktop notifications, and I can also push notifications to Slack on my mobile devices.

The central idea of DbC is a metaphor on how elements of a software system collaborate with each other on the basis of mutual obligations and benefits.

Now that you have your component hierarchy, it's time to implement your app. The easiest way is to build a version that takes your data model and renders the UI but has no interactivity. It's best to decouple these processes because building a static version requires a lot of typing and no thinking, and adding interactivity requires a lot of thinking and not a lot of typing.

You can build top-down or bottom-up. That is, you can either start with building the components higher up in the hierarchy (i.e. starting with FilterableProductTable) or with the ones lower in it (ProductRow). In simpler examples, it's usually easier to go top-down, and on larger projects, it's easier to go bottom-up and write tests as you build.

To build a static version of your app that renders your data model, you'll want to build components that reuse other components and pass data using props. props are a way of passing data from parent to child. If you're familiar with the concept of state, don't use state at all to build this static version. State is reserved only for interactivity, that is, data that changes over time.

Since you're often displaying a JSON data model to a user, you'll find that if your model was built correctly, your UI (and therefore your component structure) will map nicely. That's because UI and data models tend to adhere to the same information architecture, which means the work of separating your UI into components is often trivial. Just break it up into components that represent exactly one piece of your data model.

Star Legacy by the Vanderbilt LearningTechnology Center, 4-Mat by McCarthy,instructional episodes by Andre, multipleapproaches to understanding by Gardner,collaborative problem solving by Nelson,constructivist learning environments byJonassen, and learning by doing by Schank.

truth is, there isn’t a better system – both flexbox and the CSS grid are good at different things and should be used together, not as alternatives to one another.

Now we have a new contender for the best-system-to-build-html-layouts trophy (trophy title is a work in progress). It is the mighty CSS Grid, and by the end of this month, it will be available natively in Firefox 52 and Chrome 57, with other browsers (hopefully) following soon.

project-based learning (PBL), game-based learning (GBL), Understanding by Design (UbD), or authentic literacy, find an effective model to institute in your classroom

Campus Design Toolkit

When dealing with technology, there are two dominant discourses that permeate research and practice: determinism and non-determinism. For the former discourse, ethics is only an issue for the designers of technology, because they determine what users should do; for the latter, ethics is only an issue for users, because they ultimately define what to do with technology. Both

nteraction designers try to impose structures upon human action by shaping coercive environments where people are punished if they do things the “wrong way” and by hiding or not providing options for changing artifact adaptations. Interaction design mediates human agency and power, but if it does not provide choices for action, there is no room for ethics: people act based on conditions, not on considerations of what should be done.

We argue that artifacts support human behavior by providing adaptations, but these adaptations can expand or restrict human actions.

The Building Blocks of Visual Design

29 principles for making great font combinations

Is the Learning Industry Dead?

Instructional Designers in Higher Education

To design a system means to orchestrate the interplay of its elements.

This is not easy. Well-designed educational technology has often lacked a learning sciences base, and many research-based education products have lacked a compelling user-centered design. How can world-class user experience (UX) design— grounded in a fail-fast culture—and educational research— grounded in rigor—peacefully coexist?

Every theorem of mathematics, every significant result of science, is a challenge to our imagination as interface designers. Can we find ways of expressing these principles in an interface? What new objects and new operations does a principle suggest? What a priori surprising relationship between those objects and operations are revealed by the principle? Can we find interfaces which vividly reveal those relationships, preferably in a way that is unique to the phenomenon being studied?

learning enabled by technology

The design and the way courses are structured can be vital factors that are associated with students’ motiva-tion and positive/negative experiences of learning online.

design this class, I found I was seeking an experience of learning

addressing their tasks clearly, placing calls to action up front and center. Highlight your app’s key and new features in context at the appropriate place

this diversity was reflected in the winning images and how much they varied between different countries and cultures:

but regional nuances can be powerful

One major example of gender differences in VR is that women are far more susceptible to VR-induced nausea.

“Starting from a place of 'I don’t have biases' is never helpful.” It’s not necessarily the gender of an engineer that matters, it’s that engineer’s ability to consider perspectives outside their own.

When design solutions address the symptoms of a problem (like sleeping outside in public) rather than the cause of the problem (like the myriad societal shortcomings that lead to homelessness), that problem is simply pushed down the street.

there is always an aspect of coercion to design

Today, we have since become so habituated to public lighting that our primary association with street lights is that they deter criminal activity and make us feel safe.

Designs that are unpleasant to some are put into place to make things more pleasant for others, and that latter category might just include you.

Perhaps they need not even be infrastructure in the traditional, utilitarian sense, but efforts to create lasting human works that can provide keystones of cultural continuity for centuries to come — works I believe capitalism has proven nearly incapable of building, or in some cases even maintaining.

it’s this pattern of a work reacting to itself and its environment that gives it the spark of life.

If you find them as powerful as I do the context will eventually present itself.

the way a sentence arises from grammatical templates/rules

work on architecture,