I partially agree with this statement. From a professional perspective, it’s true that having a critic with expertise in the subject often leads to more meaningful and targeted feedback. Experts can identify deeper design issues, point out technical limitations, and suggest informed improvements that align closely with the problem being solved. Their insights usually help refine the project at a more advanced level. However, I also think that feedback from non-experts can still be valuable, even if it doesn’t directly address the substance of the problem. Sometimes, people outside the field can highlight user experiences or emotional reactions that experts might overlook. For example, in a UX design project, a non-expert user might not understand the interface logic or find a certain feature confusing. While this feedback might not tackle the technical side of the design, it still reveals accessibility or clarity issues that are crucial for improving the user experience.

I agree with this point, because without faith in the design process it becomes very easy to give up—even on an idea that has the potential to solve a real problem! Discouragement from external voices or internal self-doubt can make us abandon designs too early. That’s exactly why practicing the strategies mentioned in this chapter (finding the essence of something, building analogies, and training ourselves to notice details and externalize it) matters so much. I find this chapter useful because now I know how there is practical strategies to give me the confidence to push forward, refine ideas, and discover new possibilities. I feel like having faith is not blind optimism, but an essential mindset for transforming challenges into meaningful designs.

I see the value in the author's point about personas, but I also find myself disagreeing with this approach to a certain extent. While personas can be a useful design tool to capture a specific user group, I think that creating "fictional people" risks being too abstract or even unrealistic. Sometimes these imagined profiles might not align with the real needs of users. In my opinion, instead of relying on fictional constructs, designers should gather insights through methods mentioned in previous chapters--interviews, observations, surveys... These methods help ensure that design decisions are based on real experiences and evidence rather than assumptions. Personas could serve as a way to organize and communicate findings, but they should be built on genuine user research, not imagination alone.

I agree with this idea because it highlights that design is not about finding the “correct” or "best"method but about adapting flexibly to different constraints like "time, skill, or resources". What I find especially useful about this is how it extends beyond design itself. In many other fields (like health, law, engineering, etc), the ability to understand context and adapt methods accordingly often determines the success or failure of a project. This chapter really encourages me to value context awareness and adaptability as much as technical knowledge.

I agree with this point, and it really speaks to me as an iSchool student because our field emphasizes the importance of diversity, equity, and accessibility. Connecting this idea with the previous chapter, I see value in recognizing that design power can shape whose voices and needs are prioritized. At the same time, I think the alternative to this issue could be creating multiple designs that meet different needs/serve various user groups. For example, designing a single interface that tries to accommodate everyone can become overly complex, whereas separate, tailored designs can provide more direct and meaningful support to specific communities.

I find this idea striking because it reframes design as not just a creative process, but also as source of influence over what people use daily. This also makes me wonder: does concentrating design power (for example, in a visionary leader like Steve Jobs) lead to more innovative products, or just more personal bias? I believe this question is addressed in the next section to a certain extent because a good designer must hold the essential skill of " maintaining emotional distance from ideas." This skill prevents design decisions from becoming too connected to personal ego or subjective preferences. Instead, it encourages designers(even powerful ones) to step back and evaluate ideas critically.