INDUSTRIAL DESIGN

For Engineering Technology Student

Universiti Teknikal Malaysia Melaka

MOHD QADAFIE BIN IBRAHIM

2
INTRODUCTION TO INDUSTRIAL DESIGN

Industrial Design
For engineering technology
Industrial design is a creative approach in designing a product. It covers relationships
among the users of the designed item, the efficient production of the designed item,
and the aesthetic characteristics of the designed item. Industrial design falls within a
broader category of design, which is the professional area of activity concerned a wide
variety of objects and spaces. Consumer appliances, tools, safety equipment, business
machines, furniture, medical equipment, architectural products, and transportation
devices make up a partial list of those areas of specialization in industrial design.
3
INTRODUCTION TO INDUSTRIAL DESIGN

Table of Contents
1.0 Introduction to Industrial Design
1.1 History
1.2 Classification

2.0 Visual Communication

2.1 Visual media
2.2 Effective information delivery
2.3 Form, content, context and concept

3.0 Design Elements

3.1 Aesthetics
3.2 Ergonomics
3.3 Colour factor

4.0 Acknowledging Design Principles

4.1 Human centred design
4.2 Human interaction
4.3 Intuitive
4.4 Perception
4.5 Flexibility

5.0 Feasibility Study

5.1 Market and users behaviour
5.2 Technology and constraints

6.0 Ideation
6.1 Brain storming
6.2 Mind mapping
6.3 Idea filtering

7.0 Conceptual Design

7.1 Integrating ideas and concepts
7.2 Refining aesthetics and functionality

8.0 Design Review and Critique

8.1 Modification process
8.2 Rules For Running A Productive Design Critique
4
INTRODUCTION TO INDUSTRIAL DESIGN
5
INTRODUCTION TO INDUSTRIAL DESIGN

1.0 HISTORY

1.1 INDUSTRIAL REVOLUTION

The Industrial Revolution which took place from the 18th to 19th centuries was
a period during predominantly agrarian, rural societies in Europe and America
became industrial and urban. Prior to the Industrial Revolution, which began in
Britain in the late 1700s, manufacturing was often done in people’s homes, using
hand tools or basic machines. Industrialization marked a shift to powered, special-
purpose machinery, factories and mass production. The iron and textile industries,
along with the development of the steam engine, played central roles in the
Industrial Revolution, which also saw improved systems of transportation,
communication and banking. The Industrial Revolution is the name given the
movement in which machines changed people’s way of life as their methods of
manufacture. There were several changes that led to the revolution such as the
invention of machines to do work of hand tools, the use of steam and other power
and adoption of the factory system.

The industrial revolution had been developed from early of the 16th century.
The emergence in Italy and Germany confronted with competitive pressures of
pattern books which were collections of engraving illustrating decorative forms
and motif that could be applied to a wide range of products and its application.
The architects’ and shipwrights’ drawing were developed during the Italian
Renaissance.

In 17th century, in France, the scale of artistic patronage of centralised

monarchical states led the growth of large government-operated manufacturing
operations by the Gobelins Manufactory. In 1667, the Gobelins Manufactory had
been opened in Paris which produced decorated products from tapestries and
furniture to metalwork and coaches by craftsman under Charles LeBrun, King’s
leading artist. Starting the 1700’s there were important events that had been
happened which were lead to the technology.

First Industrial Revolution in Europe had been occurred (approximate in 1700-

1900) which came out with the new technologies such as iron, steam engine steel. In
1709, the iron made from the coal instead of charcoal by the Abraham Darby. The
coal had been used in formation of iron because its minerals that contained inside it
compared to the charcoal that just burned wood. Therefore, in 1779, first Iron Bridge
made from cast iron by Abraham Darby III that crossed the River Severn in
6
INTRODUCTION TO INDUSTRIAL DESIGN

Shropshire, England. Abraham Darby I melted the iron ore with coke made from
Coalbrookdale. Shropshire became a centre for industry due to low price of fuel from
local mines. The bridge had been used only for pedestrians and closed for the
vehicular traffic. The first users of steam engines were the coal and iron industries.
They were destined to be basic industries in the new age of machinery. As early as
1720 many steam engines were in operation. In coal mines they pumped out the water
which usually flooded the deep shafts. In the iron industry they pumped water to
create the draft in blast furnaces.

The iron industry benefited also from other early inventions of the 18th century.
Iron was scarce and costly, and production was falling off because England's forests
could not supply enough charcoal for smelting the ore. Ironmasters had long been
experimenting with coal as a fuel for smelting. Finally the Darby family, after three
generations of effort, succeeded with coal that had been transformed into coke. This
created a new demand for coal and laid the foundation for the British coal industry.
The next great steps were taken in the 1780s, when Henry Cort developed the
processes of puddling and rolling. Puddling produced nearly pure malleable iron.
Hand in hand with the adoption of the new inventions went the rapid development of
the factory system of manufacture. Then, in 1828, the Nielson’s hot blast process
for Iron had been founded. The hot blast referred to preheating of air blown into a
blast furnace or other metallurgical process. The hot blast worked by alternately
storing heat from the furnace flue gas in a firebrick lined vessel with multiple
chambers, then blowing combustion air through the hot chamber and also known as
regenerative heating. As a result, the fuel consumption reduced. The hot blast allowed
the use of anthracite in iron smelting to lower the quality coal because less fuel meant
proportionately less sulphur and ash. The hot blast had been invented and patented by
James Beaumont Neilson at Wilsontown Ironworks.

On the sea, Britain dominated the industrialised world both in tonnage and
distance: the British India Steam Navigation Co., established in 1856, became the
largest shipping line in the world, eventually connecting India to South East Asia, the
Far East, the Persian Gulf, Britain, East Africa and Australasia. The emergence of
Britain in the Victorian period as the world's most powerful trading nation was the
direct result of the process of industrialisation that had transformed the country since
the latter part of the 18th century. This economic and social revolution had been
driven by many elements, but the most significant by far was the widespread
application of steam technology. Matthew Boulton had made steam power a practical
reality. It radically improved Britain's core industries, namely the production of
textiles, metalwork and other manufactured goods, and the mining of coal and other
raw materials. By 1820 the potential of the steam engine as a viable source of power
7
INTRODUCTION TO INDUSTRIAL DESIGN

for ships and railway locomotives had been realised. Inextricably linked to the process
of industrialisation was the increasingly stratified structure of British society, made in
any case more rigid by the application of the work ethic, a reflection of a revived
Protestant philosophy that had been largely dormant in the pre-Victorian period.
Classification was the order of the day in a society whose values were linked to a well-
defined moral code, fortified by concepts such as 'improvement' and 'self-help'.

As primary wealth-creators, the major producer industries of the Victorian

period were agriculture, textiles, coal, iron and steel, and engineering. These industries
were also the major employers, the major export earners and, in the latter part of the
century, the major targets for the newly emerging trades unions. The spread of
industrialisation and the expanding economy in Britain dramatically increased the
demand for coal. In the second half of the century, new pits were opened in every
British coalfield, but notably in South Wales, aided by the new technology that
facilitated deep mining and coal extraction. Between 1860 and 1900 the number of
miners increased from 307,000 to 820,000 and over the same period annual coal
production soared from 80 million tons to over 225 million tons. A quarter of this was
exported, making coal responsible for a tenth of all exports from Britain. More
significant in historical terms was the steel industry, which Britain dominated
throughout the latter part of the century. The birth of the industry was in the new
technology: Bessemer's converter of 1856 and Siemen's open-hearth process of 1869
both used hot gases to produce the steel, a technique that initially required low-
phosphorus ores, while the Thomas-Gilchrist process of 1879 used phosphoric ores.
Annual steel production in Britain grew from 300,000 tons in 1870 to 5 million tons in
1900 and by the end of the century nearly 1million tons were being exported. Much of
this came from Barrow, a huge steel-making centre established from 1865 to exploit
the low-phosphorus haematite ores from the Lakeland region. In 1900 Britain
produced 9 million tons of iron, and steel production did not outstrip iron until 1918.
Steel was used increasingly for railways, in engineering, for tool-making, for
armaments, in buildings and for ship-building. The construction of the Forth Bridge,
completed in 1890 as one of the wonders of the world because of its pioneering
cantilever construction, was made possible through the use of 50,000 tons of steel, as
was the rapid growth in ship construction. Paul Atterbury is a specialist in 19th- and
20th-century art and design, with an interest in the history of technology. He was the
curator of the Pugin: A Gothic Passion (V&A, 1994) and co-curator of Inventing New
Britain: The Victorian Vision (V&A, 2001). Publications include Victorians at Home
and Abroad (V&A Publications, 2001).
8
INTRODUCTION TO INDUSTRIAL DESIGN

The machines of the Industrial Revolution in the 18th and early 19th
centuries were simple, mechanical devices compared with the industrial
technology that followed. Many new products were devised, and important
advances were made in the system of mass production. Changes in industry were
so great that the period after 1860 has been called the Second Industrial
Revolution. New scientific knowledge was applied to industry as scientists and
engineers unlocked the secrets of physics and chemistry. Great new industries
were founded on this scientific advance: steel, chemicals, and petroleum benefited
from new understandings of chemistry; breakthroughs in the study of electricity
and magnetism provided the basis for a large electrical industry. These new
industries were larger and more productive than any industries existing before.
Germany and the United States became the leaders, and by the end of the 19th
century they were challenging Great Britain in the world market for industrial
goods.

The age of electricity began in 1882 when Thomas A. Edison introduced a

system of electric lighting in New York City. Electricity was later applied to
driving all kinds of machinery as well as powering locomotives and streetcars.
Electric lighting quickly spread across the United States and was soon adopted in
Europe. The electrical industry was dominated by large companies that developed
new products and then manufactured and marketed them. These companies were
based in Germany and the United States but sold their goods all over the world.
They were the first multinational companies. Companies like Westinghouse and
General Electric helped to electrify cities in Europe, Africa, and South America.

The steel and chemical industries used new technology that greatly
increased production. The size of factories increased rapidly, employing more
workers and using more machinery. These industries integrated all stages of
production under a single corporate structure. They bought out competitors and
acquired sources of raw materials and retail outlets. Corporations such as U.S.
Steel and Standard Oil controlled all stages of manufacturing the product, from
mining and drilling to delivering it to the customer. This gave them great
economic power, and the United States government took measures to limit their
monopolies in steel and petroleum.

The larger size of business presented great challenges to managers who

administered enormous organizations with many branches and subsidiaries.
Advances in communications and transportation helped decision makers to
maintain control. The electric telegraph was invented by Samuel Morse in 1844
and was used to relay commercial information about prices and markets. It was
9
INTRODUCTION TO INDUSTRIAL DESIGN

used in the stock exchanges and on the railway systems. Alexander Graham Bell
patented his telephone in 1876, and networks of telephone lines were built quickly
across the United States.

The telephone became a useful tool for managers to keep in contact with
the widely dispersed parts of their businesses. New methods of management were
devised that stressed central control, planning, and efficient production methods.
One of the leading advocates of "scientific management" was Frederick Winslow
Taylor.

The Second Industrial Revolution marked great progress in the methods

of mass production. More and more industries used interchangeable parts and
machine tools. Electric power replaced steam power in factories; it was cheaper,
faster, and more flexible. It allowed machine tools to be arranged more
efficiently. Human power was replaced by machine power. In 1913 Henry Ford
introduced the assembly line in the manufacture of his Model T Ford. Parts were
assembled on a moving conveyor belt, and the Model T took shape as it moved
from one work station to the next. The assembly line greatly increased the speed
of manufacture and soon was used in many industries.

By the outbreak of World War I in 1914, only a small number of

industries in the most industrialized nations of the world had adopted advanced
production methods and organization. Much of the world had not yet begun a first
industrial revolution. Russia, Canada, Italy, and Japan were just beginning to
industrialize.

Only Great Britain, the United States, Germany, France, and some parts of
the Scandinavian countries had successfully completed an industrial revolution.
Most of the world's population still worked in primitive agricultural economies.
China, India, and Spain did not begin to industrialize until well into the 20th
century.

AMERICAN INDUSTRIAL DESIGN

In America, many canals were dug. They connected the main rivers and so
furnished a network of waterways for transporting coal and other heavy goods. A
canal boat held much more than a wagon. It moved smoothly if slowly over the
water, with a single horse hitched to the towline. In some places, where it was
impossible to dig canals and where heavy loads of coal had to be hauled; mine
owners laid down wooden or iron rails. On these early railroads one horse could
haul as much coal as 20 horses could on ordinary roads. Early in the 19th century
10
INTRODUCTION TO INDUSTRIAL DESIGN

came George Stephenson's locomotive and Robert Fulton's steamboat, an

American invention. They marked the beginning of modern transportation on land
and sea. Railroads called for the production of more goods, for they put factory-
made products within reach of many more people at prices they could afford to
pay.
In 1919, the term of Industrial Design was attributed by the Joseph Claude
Sinel which also known as Father of American Industrial Design. In Industrial
Design system, the mass-produced products had been redesigned, refined and
improved for a greater in marketability to established brands. As designers, they
studied the function and form of the product as conceptual engineers. Therefore,
the industrial revolution in Great Britain showed the growth of the
industrialisation and mechanisation which brought to the urbanisation patterns.

GERMAN INDUSTRIAL DESIGN

The movement of German architectural modernism was known as Neues
Bauen. Peter Behren’s pioneering industrial design work for the German electrical
company AEG successfully integrated art and mass-production on a large scale
beginning in June 1907. Peter Behrens was not only the Father of German
industrial design, he was also the founder of corporate identity. Working for
AEG, Behrens was the first person to create logos, advertising material, and
company publications with a consistent, unified design. He designed consumer
products, standardized parts, created clean-lined designs for the company's
graphics, developed a consistent corporate identity, built the modernist landmark
AEG Turbine Factory and made full use of newly developed materials such as
poured concrete and exposed steel. Behrens was a founding member of the
Werkbund, and both Walter Gropius and Adolf Meyer worked for him in this
period.

BAUHAUS – ART SCHOOL

In 1907, the Deutscher Werbund was a German Association of Craftsman
which was a state-sponsored effort to integrate traditional crafts and industrial
mass-production techniques for Germany became competitive with England and
United States. For example, the Bauhaus in the city of Weimar had been founded
in 1919 to 1925 by Walter Adolph Georg Gropius which was a German architect
which to reimagine the material world to reflect the unity of arts and designs to be
explained in the Proclamation of the Bauhaus. Bauhaus was an art school whose
approach to design and the combination of fine art and arts and crafts to influence
the development of graphic design.
11
INTRODUCTION TO INDUSTRIAL DESIGN

Figure 1 : Bauhaus Weimar

Then, the Bauhaus was moved to Dessau in 1925 to 1932 and moved to
Berlin in 1932 to 1933 before was forced to close under pressure of Nazi political
party in 1933. The Nazi government had claimed that the Bauhaus was a centre of
communist intellectualism.

The most important influence on Bauhaus was modernism, a cultural movement

whose origins laid in 1880 and made its presence in Germany before the World War,
despite the prevailing conservatism. The design innovations associated with Gropius
and the Bauhaus, the radically simplified forms, the rationality, functionality and the
idea mass-production was reconcilable with individual artistic spirit were developed
before the Bauhaus was founded. The Deutscher Werkbund was formed by Hermann
Muthesius to harness the new potentials of mass-production with a mind towards
preserving Germany’s economic competitiveness with England.

Bauhaus building in Chemnitz

12
INTRODUCTION TO INDUSTRIAL DESIGN

1.2 CLASSIFICATION OF INDUSTRIAL DESIGN

We are addressing the issues about the history of industrial design which is more
focus on the classification section. We choose telecommunication and transportation
which is another classes of industrial design. Compare to other classes the
technology of these classes had changes and revolve quickly in industrial.

The technology of telecommunication and transportation had changes quickly in

industrial which increased the interconnection between societies. For
telecommunication, it consist of development of telegraph, telegrams, newspaper,
radio, television, then to telephones straight to the internet also known as wireless
technology which is the most advanced. For transportation, history of the journeys,
how people travels, from ships to the stream technology, and continued with the
railroads technology, trains and steamships. Furthermore, transportation revolve
again with the development of aircraft in 20th century.
Otherwise, we also focus on development of ergonomic chair where it has take
place in our country especially for office worker.

1.2.1 Transportation
The flow history of industrial which happened around 1790 to 1890 focuses on
innovations in transportation, technology, and power that include how people
worked, the increment of capacity production and the expand of their products to
the markets.
Transportation is mean by the movement of people and goods from one place
to another place which the word comes from Latin word “transportare”. Trans is
across while portare is to carry. The very first form of transportation is by human’s
foot or also known as “shanks pony”. Below is the timeline of the history of
transportation:

a) Volkswagen Beetle
The new Beetle “Concept 1” had been unveiled in 1994 by Volkwagen at the
North American International Auto Show. It was designed by J Mays that
research for a new American that targeted design revealed a strong customer
emotion for the original beetle. The original beetle was sold in US from 1949 till
1980 and it develops the concept which was deliberately reminiscent of the
original Beetle’s rounded shape. The design has a positive respond and reached
production in 1998 after 20 years of original Beetle was sold in US and 60 years
after the first Beetle was produced in Germany. This design had become the
13
INTRODUCTION TO INDUSTRIAL DESIGN

popular design concept and was manufactured in Mexico with water cooled front
mounted engines.

New beetle in 1998

In 1924, the first idea of Beetle was come from Adolf Hitler to solve
Germany’s unemployment problem. The car was designed that have two doors,
capable of transporting four passengers with a speed 100km/h. He also explained
that the engine should have air cooled same as a doctor has his own garage. The
“people cars’ was available to the citizens of Nazi Germany through savings
schemes with prices was almost equal to price of a motorcycle at that time. It was
among a first car engine works without using water. The designs for the
Volkwagen were not finalized until 1938. In 1939 the Volkwagen finally saw the
light but the production of the Volkwagen was ceased because of the Second
World War.

In 1934, the Stuttgart design company, owned and run by Ferdinand Porsche
was given the important task to designing this car within 10 month. The Hitler
was specified the criteria of the cars which are the car must have a top speed of 62
mph, achieve 42 miles per gallon, must have an air-cooled engine and can be
transport 2 adults and 3 children.

In 1935, an Austrian engineer that working for the company for less than a
year came up with a design for a flat four engine. The designed was the most
suitable option and same engine design has driven the Volkswagen Beetle for the
last 60 years. Ferdinand Porsche has incorporated some older design within this
14
INTRODUCTION TO INDUSTRIAL DESIGN

project based on his experienced working on various other companies in

manufacturing cars. Hitler had plans for the styling of the Volkswagen and gives
the idea that the car should look like a beetle hence the name Beetle.

Hitler was sketched his own design for the Beetle and were completed by
1938. His announced the new name for Volkswagen was the KdF-Wagen (Kraf
durch Freude-strength through joy car)

In 1939, the 150 000 Volkswagen Beetle was producing by the largest
motor factory in Europe per year with plans to expansion by 1942 the production
rate potential was 1.5 million cars per year.

Five criteria of Volkswagen Beetle

a) Able transporting 2 adults and 3 children at 100 km/h.

b) Not using more than 7 liters of fuel per 100 km

c) Air-cooled engine
d) Engine powerful for rapid sustained.
e) Round shape like a beetle
Criteria of Volkswagen Beetle
15
INTRODUCTION TO INDUSTRIAL DESIGN

Evolution Beetle
1938

The Volkswagen Beetle was launched in

Fallersleben, Germany. It was first called
Volkswagen Type 1.

1945

Mass production of the Beetle began. The

first run consisted of 20 000 vehicles

1950

Production of the Beetle Convertible was

introduced along with a two tone paint
scheme.

1971

The super beetle was introduced in 1971

offering more horsepower and subtle body
change

1998

The new Bettle was released with a

completely new look. A more gas efficient
engine was used along with a curvier body
shape.

2012

The bettle is restyled with a more modern

and sleek aesthetics. A clean Diesel model
is offered.

2018

A fully electric Beetle is rumored to be

released within the next four years.
16
INTRODUCTION TO INDUSTRIAL DESIGN

1.2.2 Telecommunication

Telephone takes an important role in our life ever since the day it was created. It
is an instrument designed for the simultaneous transmission and reception of the human
voice. The creation of telephone was started from an accident which gives Alexander
Graham Bell idea to create it. It started in 1870s, two inventors Elisha Gray and
Alexander Graham Bell both independently designed a devices that could transmit speech
electrically. On March 10, 1876, Alexander Graham Bell and his assistant demonstrates
the new instrument by spoke the words “Mr. Watson, come here, I want to see you”.
Even though, Bell and Gray invented the designs almost the same times but Bell won and
got to patented his telephone first. Then, Bell launched the telephone era with the first bi-
directional electronic transmission of the spoken word.
First, before the creation of telephone, Bell started doing experiment by using
telegraph to make improvement to it. Both telegraph and telephone are wire-based
electrical systems, and Alexander Graham Bell's success with his attempt of the idea
from the improvement of telegraph to make a telephone.

Picture 1 : Alexander Graham Bell's with his telephone

Candlestick is telephone that was popular from the 1890s to the 1930s. The
candlestick phone was separated into two pieces which consist of a mouth piece mounted
at the top that act as transmitter and an ear phone act as a
receiver that held to the ear during calling.
The Rotary has been around and become popular since
1914s. The rotary allows for specific number dialing through a
series of pulses that are controlled by a user dial. In 1919, the
first rotary dial entered into the service. This phone has been
invented by John and Charles Erickson, and their partner A.E.
Keith, in 1896.
Picture 2 : The Candlestick
17
INTRODUCTION TO INDUSTRIAL DESIGN

Picture 3 : Push Button

Touch-Tone, is a phone that allowed phones to use a keypad to dial numbers and
make phone calls. It was introduced by AT&T in 1963. It was installed first outside of
Pittsburgh in Carnegie and Greensburg, Pennsylvania. The push-button phone replaced
the rotary dial phone which much betters that have a blue box keys on it. Each key would
transmit a certain frequency, signalling to the telephone operator which number you
wanted to call.

Picture 4 : The Answering Machine

The answering machine or also known as telephone answering machine (TAM)

allows the callers to leave a message if no one was on the other end. This machine will
record the voice of the caller by using cassette tapes.
18
INTRODUCTION TO INDUSTRIAL DESIGN

Picture 5 : The Portable Phone

1980s, the portable phone or also known as a cordless phone, were the phone that
same with the TV remote. Back in the day, it communicates with a base station connected
to a fixed telephone line and the range is limit to the same building or some short distance
from the base station.

Picture 6 : The Smartphone

A smartphone is an advanced improvement of cellular phone. It is a device that
allows you to make telephone calls, but also have features that you might find on a
personal digital assistant and can perform many functions like a computer. Motorola
introduced some of the first cell phones to the public during the 1980 which the phones
were completely unlike the cell phones of today. Then, Ericsson was the first brand that
actually introduced “smartphone”, with the release of its GS88 in 1997. Later, Nokia beat
Ericsson to with their Nokia 9000 Communicator. The Nokia 9000 Communicator not
officially called a smartphone at the time which then a year later Ericsson released it GS
88 concept, also known as Penelope. It is provided with touchscreen on the inside and
came with a stylus. After that, these days smartphones are develop into more advanced
technology as we can see the birth of android phones, iPhone and also window phone.
19
INTRODUCTION TO INDUSTRIAL DESIGN

1.2.3 Furniture (Aeron Chair)

The Aeron ergonomic chair was designed by Bill Stumpf (1936-2006) and
produced by Herman Miller. It was divided into 3 sizes that had adjustable armrests,
varied bases and can be customized by adjustments to fit a range of body sizes and
weight. He was the son of a gerontology nurse and a preternaturally keen observer of
human behaviour. In1970, the American furniture company Herman Miller began
casting about for growth prospects and the potential of furniture for the elderly.
American was aging quickly and hospitals
lacked ergonomic furniture suited to long
term care. Thus, Stumpf and Chadwick
decide to design the chair focus on seating.
To solve the falling-backward problem,
they settled on a footrest that, when closed,
folded in under the seat, leaving the sitter
with room to curl her legs under the chair as
she sat down, thus bracing the seater. This
Aeron chair also help the sitter that fully
reclined by fins flipped up, supporting her
feet and keeping them from falling asleep.
The lever was banished of a pneumatic
control inspired by the recline buttons
found on airplane seats.

In the final design, the Aeron chair was come out with a difference from any
chair that had ever been designed for office or personal use. Bill Strumpf said that
the shape is similar to living organism so he considered the chair to be ‘biomorphic’.
After the designed was confirmed, the Herman Miller employed a team of physical
therapists, ergonomists, orthopaedic and ordinary users to test the new design. The
company has conducted extensive research on the flexible mesh fabric to use on the
chair. Otherwise, that company also tested the properties that repel heat and moisture
and elements such as weight distribution. Furthermore, to make sure the Aeron chair
was suitable and comfortable to various shapes and size of people they used the real
people as a tester to determined sizing and also assembled sampling of 224 peoples.

FOUR CRITERIA OF AERON CHAIR

a) contribute to the health of the individual
b) environmentally friendly
c) highly functional & fit the body measurements of the person
d) allow for the user to change position frequently and easily
20
INTRODUCTION TO INDUSTRIAL DESIGN
21
INTRODUCTION TO INDUSTRIAL DESIGN

2.0 VISUAL COMMUNICATION

Visual communication is communication through a visual aid and is described as the

conveyance of ideas and information in forms that can be read or looked upon. Visual
communication in part or whole relies on vision, and is primarily presented or expressed
with two dimensional images, it includes: signs, typography, drawing, graphic design,
illustration, industrial design, advertising, animation colour, and electronic resources. It
also explores the idea that a visual message accompanying text has a greater power to
inform, educate, or persuade a person or audience.

Visual communication is through visual aid the evaluation of a good visual

communication design is mainly based on measuring comprehension by the audience, not
on personal aesthetic and/or artistic preference as there are no universally agreed-upon
principles of beauty and ugliness. Excluding two dimensional images, there are other
ways to express information visually - gestures and body language, animation (digital or
analogue), and film. Visual communication by e-mail, a textual medium, is commonly
expressed with ASCII art, emoticons, and embedded digital images.

2.1 Visual Media

Visual media are sources of data or information in the form of visual representations.
These may be abstractions, analogues, rough illustrations, or digital reproductions of
22
INTRODUCTION TO INDUSTRIAL DESIGN

the objects the data pertains to; as such they generally require the interpretation of the
data gatherer. Their level of reliability compared to other sources varies considerably.
These sources may be hosted on the internet, printed in publications, displayed
through broadcast media, or otherwise disseminated. They are generally available or
at least citable as stable and traceable future references.

2.1.1 Visual aids

Something you look at (such as a chart or film) that is used to make something
easier to understand.
Visual aids are often used to help audiences of informative and persuasive speeches
understand the topic being presented. Visual aids can play a large role in how the
audience understands and takes in information that is presented. There are many
different types of visual aids that range from handouts to PowerPoints. The type of
visual aid a speaker uses depends on their preference and the information they are
trying to present. Each type of visual aid has pros and cons that must be evaluated
to ensure it will be beneficial to the overall presentation. Before incorporating
visual aids into speeches, the speaker should understand that if used incorrectly, the
visual will not be an aid, but a distraction. Planning ahead is important when using
visual aids. It is necessary to choose a visual aid that is appropriate for the material
and audience. The purpose of the visual aid is to enhance the presentation.
23
INTRODUCTION TO INDUSTRIAL DESIGN

Types of visual aids

 Objects
 The use of objects as visual aids involves bringing the actual object to demonstrate on
during the speech. For example, a speech about tying knots would be more effective by
bringing in a rope.
 Pro: the use of the actual object is often necessary when demonstrating how to do
something so that the audience can fully understand procedure.
 Con: some objects are too large or unavailable for a speaker to bring with them.

a) Models
 Models are representations of another object that serve to demonstrate that object
when use of the real object is ineffective for some reason. Examples include
human skeletal systems, the solar system, or architecture.
 Pros: models can serve as substitutes that provide a better example of the real
thing to the audience when the object being spoken about is of an awkward size or
composure for use in the demonstration.
 Cons: sometimes a model may take away from the reality of what is being spoken
about. For example, the vast size of the solar system cannot be seen from a model,
and the actual composure of a human body cannot be seen from a dummy.
b) Graphs
 Graphs are used to visualize relationships between different quantities. Various
types are used as visual aids, including bar graphs, line graphs, pie graphs, and
scatter plots.
 Pros: graphs help the audience to visualize statistics so that they make a greater
impact than just listing them verbally would.
 Cons: graphs can easily become cluttered during use in a speech by including too
much detail, overwhelming the audience and making the graph ineffective.
d）Maps
 Maps show geographic areas that are of interest to the speech. They often are used
as aids when speaking of differences between geographical areas or showing the
location of something.
 Pros: when maps are simple and clear, they can be used to effectively make
points about certain areas. For example, a map showing the building site for a new
hospital could show its close location to key neighbourhoods, or a map could
show the differences in distribution of AIDS victims in North American and
African countries.
24
INTRODUCTION TO INDUSTRIAL DESIGN

 Cons: inclusion of too much detail on a map can cause the audience to lose focus
on the key point being made. Also, if the map is disproportional or unrealistic, it
may prove ineffective for the point being made.

e）Tables
 Tables are columns and rows that organize words, symbols, and/or data.
 Pros: Good tables are easy to understand. They are a good way to compare facts
and to gain a better overall understanding of the topic being discussed. For
example, a table is a good choice to use when comparing the amount of rainfall in
3 counties each month.
 Cons: Tables are not very interesting or pleasing to the eye. They can be
overwhelming if too much information is in a small space or the information is
not organized in a convenient way. A table is not a good choice to use if the
person viewing it has to take a lot of time to be able to understand it. Tables can
be visual distractions if it is hard to read because the font is too small or the
writing is too close together. It can also be a visual distraction if the table is not
drawn evenly.
f）Photographs
 Pros: Photographs are good tools to make or emphasize a point or to explain a
topic. For example, when explaining the shanty-towns in a third world country it
would be beneficial to show a picture of one so the reader can have a better
understanding of how those people live. A photograph is also good to use when
the actual object cannot be viewed. For example, in a health class learning about
cocaine, the teacher cannot bring in cocaine to show the class because that would
be illegal, but the teacher could show a picture of cocaine to the class. Using local
photos can also help emphasize how your topic is important in the audience's
area.
 Cons: If the photograph is too small it just becomes a distraction. Enlarging
photographs can be expensive if not using a power point or other viewing device.
g）Drawings or diagrams
 Pros: Drawings or diagrams can be used when photographs do not show exactly
what the speaker wants to show or explain. It could also be used when a
photograph is too detailed. For example, a drawing or diagram of the circulatory
system throughout the body is a lot more effective than a picture of a cadaver
showing the circulatory system.
 Cons: If not drawn correctly a drawing can look sloppy and be ineffective. This
type of drawing will appear unprofessional.
25
INTRODUCTION TO INDUSTRIAL DESIGN

Visual aids media: simple to advance

a) Chalkboard or whiteboard
Chalkboards and whiteboards are very useful visual
aids, particularly when more advanced types of media
are unavailable. They are cheap and also allow for much
flexibility. The use of chalkboards or whiteboards is
convenient, but they are not a perfect visual aid. Often,
using this medium as an aid can create confusion or
boredom. Particularly if a student who is not familiar
with how to properly use visual aids attempts to draw on
a board while they are speaking, they detract time and
attention from their actual speech.
If available, whiteboards are good for developing an explanation, diagrams and
simple headings, and for recording interaction with, and comments from, the
audience during brainstorming sessions. Remember that writing on a whiteboard
takes time and that you will have to turn your back to the audience to do so. If using
a whiteboard, you should ensure that your handwriting is legible, aligned
horizontally, and is sufficiently large to be seen by all the audience. Also ensure
that you use non-permanent pens (sometimes referred to as dry-wipe pens) rather
than permanent markers so that your writing can be erased later.
Bear in mind that white background of a whiteboard can cause contrast problems
for people with vision impairment. If you have access to an interactive whiteboard,
you should make sure you know how this works, and practice using it, before your
presentation.

b) Poster board

A poster is a very simple and easy visual aid. Posters can display charts, graphs,
pictures, or illustrations. The biggest drawback of using a poster as a visual aid is that
often a poster can appear unprofessional. Since a poster board paper is relatively
flimsy, often the paper will bend or fall over. The best way to present a poster is to
hang it up or tape it to a wall
26
INTRODUCTION TO INDUSTRIAL DESIGN

c) Handouts
Handouts can also display charts, graphs, pictures, or illustrations. An important
aspect of the use of a handout is that a person can keep a handout with them long
after the presentation is over. This can help the person better remember what was
discussed. Passing out handouts, however, can be extremely distracting. Once a
handout is given out, it might potentially be difficult to bring back your audience’s
attention. The person who receives the handout
might be tempted to read what is on the paper,
which will keep them from listening to what the
speaker is saying. If using a handout, the
speaker distributes the hand out right before you
reference it. Distributing handouts is acceptable
in a lecture that is an hour or two, but in a short
lecture of five to ten minutes, a handout should
not be used.

d) Video excerpts
A video can be a great visual aid and attention grabber, however, a video is not a
replacement for an actual speech. There are several potential drawbacks to playing a
video during a speech or lecture. First, if a video
is playing that includes audio; the speaker will
not be able to talk. Also, if the video is very
exciting and interesting, it can make what the
speaker is saying appear boring and uninteresting.
The key to showing a video during a presentation
27
INTRODUCTION TO INDUSTRIAL DESIGN

is to make sure to transition smoothly into the video and to only show very short
clips.

e) Projection equipment

There are several types of projectors. These include slide projectors, PowerPoint
presentations, overhead projectors, and computer projectors. Slide projectors are the
oldest form of projector, and are no longer used. PowerPoint presentations are very
popular and are used often. Overhead projectors are still used but are somewhat
inconvenient to use. In order to use an overhead projector, a transparency must be
made of whatever is being projected onto the screen. This takes time and costs
money. Computer projectors are the most technologically advanced projectors.
When using a computer projector, pictures and slides are easily taken right from a
computer either online or from a saved file and are blown up and shown on a large
screen. Though computer projectors are technologically advanced, they are not
always completely reliable because technological breakdowns are not uncommon of
the computers of today.
i. PowerPoint
a. Use of PowerPoint and other presentation software is very common when
presenting today. Care should be taken, however, that visual effects do not
detract from the presentation itself. If you do choose to use PowerPoint
try to have a practice run well in advance of a presentation so that you are
confident when giving the presentation itself.
ii. Over-Head Projector (OHP)
a. Displays can be prepared on acetates, both in written and graphic form.
b. They command attention but, as with other visual aids, care must be taken
to talk to the audience and not the screen. OHPs are suitable for both large
and small groups although the machines can be noisy and unreliable and
the projector can obscure the screen. OHPs as a method of presenting have
28
INTRODUCTION TO INDUSTRIAL DESIGN

now largely been replaced by presentations projected from a computer

onto a whiteboard or other screen
iii. Slides
a. Slides of excellent visual quality can have great impact on any size of
group.
b. However, a good blackout is required for the images to be seen clearly and
this causes eye contact with the audience to be lost. Unlike with other
methods of presentation, you will not be able to add any spontaneous
notes or records to the slides. If you are using slides, ensure that they are
prepared in the correct order, ideally numbering the slides so that if the
carousel is dropped the slides can quickly be reordered.

Like OHPs, the use of slides has largely been replaced by digital photography
projected using PowerPoint or other presentation software in professional
situations.

f) Computer-assisted presentations

PowerPoint presentations can be an

extremely useful visual aid, especially for
longer presentations. For five- to ten-minute
presentations, it is probably not worth the time
or effort to put together a PowerPoint. For
longer presentations, however, PowerPoints
can be a great way to keep the audience
engaged and keep the speaker on track. A potential drawback of using a PowerPoint
is that it usually takes a lot of time and energy to put together. There is also the
possibility of a computer malfunction, which can mess up the flow of a presentation.

g) Flip charts
A flip chart is a popular, low cost, low tech solution to
recording interactive meetings and brainstorming sessions.
A flip chart can be prepared in advance and is portable; it
requires no power source and no technical expertise. Flip
charts are ideal for collecting ideas and responses from the
audience and are good for spontaneous summaries.
However, if the audience is large, a flip chart will be too
small to be seen by everyone.
29
INTRODUCTION TO INDUSTRIAL DESIGN

Ten tips for the effective use of a flip chart:

i. Arrive early and be sure that the flip chart is positioned so that you can get to it
easily when you need it.
ii. Ensure that the flip chart is positioned so that you can stand next to it and write
while still facing your audience. Do not turn your back on your audience.
iii. Make sure you have to hand several markers pens that work. Throw away any
pens that don't work.
iv. Only use blue or black marker pens: it will be difficult for those at the back of the
room to see any other colours. You can however use the colour red to accentuate
things already written in blue or black.
v. When writing on the flip chart, make your letters at least 2-3 inches tall so that
everybody can clearly see what you have written.
vi. Draw lines in pencil on blank pages before your presentation - to help you keep
your writing legible and straight.
vii. Plan out your pages as you are writing the outline for your presentation. They will
be the support for your public speaking presentation.
viii. Write notes to yourself, in pencil, on the flip chart to help remind yourself of all
the important points to be included. Your audience will not see the pencil notes.
ix. If you have something that you want to present and then accentuate during the
presentation or discussion, write out the flip chart page beforehand so that you can
just flip the page to it.
x. If you need to refer to something that you wrote on a page at a later point in your
presentation, rip off the page and affix it to the wall.

h) Infographics

The most basic way to understand why visual content is so effective on social
media is to consider that the brain processes visual information 60,000 times faster
than text. When we’re scrolling through hundreds (and sometimes thousands) of
30
INTRODUCTION TO INDUSTRIAL DESIGN

posts, tweets and updates – images are simply easier to digest. Infographics take
this concept to the next level, allowing brands to capture complex pieces of
information and turn them into engaging social media posts. Notice how Charity
World Vision has created a Pinterest board dedicated solely to its infographics. By
doing so, they’re able to share large chunks of information in a single visual post.

2.2 Effective information delivery

Effective information delivery is way of conveying the right messages and thoughts
through a visualize medium to the right user, commonly it will go through three
important criteria which is form, context and content. A proper message is deliver
with an effective manner if it forms is attractive to user, it has an outstanding context
and interesting content. These three elements will be further discussed in the next
subtopic of this assignment.

Form Context
Effective
information
delivery

Content

How to deliver information effectively?

a) Know your audience well (target audience)

b) simply/ persuasion/ inform
c) Research on related information thoroughly
d) Keep source documented systematically

e) Plan and organize collected information using attractive symbols, fonts and
images.
31
INTRODUCTION TO INDUSTRIAL DESIGN

Several example of effective information delivery:

i. Sketching

Above shows two types of sketching, difficult to convey message to audience (left)
and clearly convey message to audience regarding the concepts in one’s mind.

ii. Organization/ Placement

Above shows two types goods arranging, the goods are not arrange in proper manner
according to ages or types of diaper, message difficult to convey message to audience
(left) and they used “steps” to bring out their message so that parents can clearly
know that the sizes of baby diapers which placed higher is bigger size.
32
INTRODUCTION TO INDUSTRIAL DESIGN

iii. Image/ Animation and colour

Compare both images, right side will be more attractive and brings out the message
more clearly with images and figures. Black and white with only words will tend to
let read get bored easily and refuse to continue reading the text.

Research has been done through online; we found a few effective successful
organizations have shared their own opinion on effective information delivery.

An apple a day helps memory stay

If a message is released to the public but no one remembers it, did it really happen?
Communicating does no good if it’s not retained by your audience. Today, it’s easy
for information to get lost or ignored if it’s not in a digestible format. Integrating
visual content can boost how much your audience absorbs and remembers.
Studies show our brains not only process visuals faster, but they retain and transmit
much more information when it’s delivered visually.
33
INTRODUCTION TO INDUSTRIAL DESIGN

Boost engagement with visuals and see the results

In addition to helping you communicate a message that is remembered, effective
visuals pack a serious punch when it comes to upping your engagement. OpenView
Marketing Lab’s “Beginner’s Guide to Stunning Visual Content Marketing,” reports
that company Facebook pages who post status updates with visuals in the form of
videos and photo albums create up to 180 percent stronger engagement.
As you can see in the info graphic below, visual components seriously boost your
social media engagement.

People are catching on to the ways visuals affect customer responses. Visuals can
help you tell your brand or products story or explain new features and products.
Visuals also have the chance to go viral – it’s easy for people to like, share and
respond to graphic content
34
INTRODUCTION TO INDUSTRIAL DESIGN

2.3 CONCEPT

Visual communication is one of the communicate technique which transmits the

idea, information or message through the pictures with combination of visual arts and
technology. As a visual communication designer, the information which needed to
inform, guide, or even attract the specific audience can be controlled by colour, type,
movement, symbols and images.

All the visual communication form needed to analyse properly first before design
it for the specific audience to make sure that the design is fulfil the audience
background and lifestyle. By this, the designs can only attract the audience and can be
a good design. For example, we can use a large and eye-catching text or images or
even something unusual to make the design interested and attract the audience. There
are some design principles for visual communication we can review: simplicity,
unity, emphasis, readability, organization, balance, accuracy, and clarity.

a. Simplicity: Keep the poster, display, or slide simple. It should not be crammed
full of text or images. If you want to make the massage easier to understand and
recall, the fewer the elements such as text, or image need to put in the page or
screen.
b. Unity: All the visual communication need to compatibility in colour and structure
to enhance the harmony of the design. For example, all the font style or images
need to be showed unity in different posters if they are used for promote same
event or activity. Other than that, use the similar background, text and graphic
image for the slides and connect it with the content.
c. Emphasis: The important information can differentiate and emphasis easily by
using the harmonious materials to create unity in the overall of design. By using
some strategies can help the audiences clarify and catch the main point
immediately such as use some different element to attract their attention or use
some unique sentences that straight to the point. Emphasis will be more effective
if used sparingly, this means that we cannot emphasize all the information, if not,
there will be nothing stands out and the content need to focus will be very wide.
Same as, if we using too many strategies, this will make the audiences become
confuse. There have some consideration elements can used during attract the
attention of audiences to a specific sentence on poster, exhibit or slide.
 Animation: Animation or transition "reveals" might draw attention to text or
images on the screen.
 Underline, italics, and boldface: Boldface can use for headings, italics for
unfamiliar terminology, and underline for emphasis. Used consistently of
these because it can be excellent attention-getters. Pick one and assign them to
35
INTRODUCTION TO INDUSTRIAL DESIGN

different jobs but cannot use all of the three indiscriminately, this will make
the audience become confused.
 Bullet points: By using bullet-pointed text in posters, exhibits, or computer
slides, it can help readers digest information in a short time. Normally, people
will think that the important message will be presented in bullet points to
make it easy to understand and attract the attention of audiences.
 Colour: Certain colours will interpret in specific ways by most people. Using
different colour of the text or images in a page and screen will catch the
attention of audiences immediately. There are two types of colours, which are
warm colour and cool colour. In the Warm colours included reds, yellows,
and blends of those two colours (orange). These colours are related to heat,
fire, and the sun. While for the Cool colours consist like blue and green call
to mind the sky, sea, and wilderness. The following colours can be used
according to the message which are trying to get across to audience:
i. Red is the most dramatic colour. It excites and stimulates people. Red is
often associated with aggressive behaviour, passion, success, and
impulse. Use red sparingly, because it is such a "hot" colour.
ii. Bright yellow often is associated with health and wellbeing. Yellow is
also associated with caution. For example, all traffic signs that pertain to
caution—such as yield signs—are in yellow.
iii. Blues are associated with tradition, orderliness, and stability. Light blues
are associated with cleanliness. Dark blue colours seem to have a calming
effect. Purple is seen as daring, royal, and elegant.
iv. Greens provide a sense of nature and regeneration. Green is used by
many environmental organizations.
v. White is a symbol of purity and innocence in Western countries.
vi. Black usually signifies finality, ending, and death in Western countries.
d. Readability is usually measured in elementary school grade levels. Readable text
uses simple, short sentences and explains unfamiliar words and concepts
carefully. Of course you wouldn't oversimplify or "talk down" to the audience, but
for the most part it's actually more effective for communication to aim a bit lower
than the audience's reading level when communicating complicated information.
In addition to writing the content at or below the educational level of your
audience, try some of these strategies to enhance readability:
 Bullet points: In addition to being an emphasis element, bullet points also
help people understand information, especially if the bullet-pointed
information is concise.
 Underline, italics, and boldface: Use these to draw attention to certain parts
of your materials, but do not overdo specialized font styles, especially italics.
36
INTRODUCTION TO INDUSTRIAL DESIGN

Italicizing a lot of text makes it difficult to read, especially on computer

slides.
 Uppercase and lowercase: Always use uppercase and lowercase text,
particularly on computer slides. The only time you would want to type in all
uppercase would be to "shout" out information or for a special title for a
poster, exhibit, or computer slide. For regular content, use
uppercase/lowercase.
 Typeface: Typeface (also called "type" or "font") is the actual look of the
letters. Fonts are classified into two categories: serif and sans serif. Serif fonts
are those where the letters have "feet" or "tails," such as the Times New
Roman font. Serif fonts are a good choice for printed materials because the
"feet" at the bottom of letters make it easier for readers to follow each line of
text. Sans serif means "without serif," so the letters in sans serif fonts lack
"feet" or "tails." Arial and Helvetica are common sans serif fonts. Sans serif
fonts usually are not good choices for blocks of text on a page, because they
are more difficult to follow across the page without the "feet" for each letter.
Sans serif fonts are recommended for text that is projected onto a screen or
read on a television screen or computer screen. Sans serif fonts also are a good
choice for short headlines and brief photo captions. Make sure you choose a
font style (serif or sans serif) that is easy to read. For posters or exhibits, you
may want to use a thicker font—such as a sans serif font—to make text more
easily readable from a distance. For projected materials, it is usually better to
use a sans serif font style.
 Letter size: The rule here is that the letter size must be large enough to be
read at a reasonable distance. For an exhibit, that distance is usually six feet
away. For a poster, the distance may depend on where the poster is placed, but
usually, you would want all of the content to be seen from at least six feet
away.
e. Organization: For most visual communication, that visual pattern will begin at
the top, left-hand side of the document or slide and work to the bottom, right-hand
side, which is the English language reading pattern (top left to bottom right). This
means that the important information should probably be placed at the top,
usually on the left, and the least important information should be placed at the
bottom, on the right.
f. Balance: Imagine a line dividing a page either vertically or horizontally and then
place visual elements so they are in either symmetrical (formal) balance or
asymmetrical (informal) balance to achieve a balanced design
 Symmetrical balance or formal balance is mirror image balance. All the
visual elements on one side of the page are mirrored on the other side.
37
INTRODUCTION TO INDUSTRIAL DESIGN

 In asymmetrical balance or informal balance, several smaller items on one

side of the imaginary line are balanced by a large item on the other side, or
smaller items are placed further away from the centre line than larger items.
g. Accuracy: All text should be spelled and punctuated correctly. Sentences should
be grammatically correct, although fragments are permissible, especially in bullet
points. All names should be correct.
h. Parallelism: Items in a group must match one another. If first bulleted item
begins with a verb, so must all the others.
i. Clarity: Present only one main idea. The content should be clear. People should
know at a glance what the poster, display, or computer slide is about.

2.4 CONTENT

Visual communication is the most powerful medium for transferring volumes of

information because human always biologically wired to process the world visually.
They able to understand images instantly before learn about the language to describe
them.

The efficient, engaging and easy to synthesize content have been craved in a
world of exponential information growth. But, successful content is not simply
created from words and pictures thrown together. It is crafted with intent,
understanding and a solid framework.

Visuals able to explain about the message which the words cannot, that is why
infographics are infiltrating external content strategies for deeper audience
38
INTRODUCTION TO INDUSTRIAL DESIGN

engagement. Process of creating an infographic is called data visualization. And

according to Emma Whitehead, Head of GNM’s Digital Agency: "Good data
visualization democratizes content." The challenge is that while a "good" infographic
looks simple on the page, the process of creating one is far from straightforward. The
idea that infographics just require a bit of content and some design skills means bad
examples are too easy to find.

If experimenting with infographics and data visualization as part of internal

communication content strategy, there have five tips will ensure to create more
meaning than noise.

a) Data visualization takes a range of skills.

A creative designer might be able to design a beautiful and attractive visual, but
craft the narrative or choose the right imagery were not the necessary task for them.
Likewise, a talented storyteller might need someone to help them deconstruct a
complex data set or idea before they try and string it together in a way that makes
sense to a diverse audience.
No good infographic is ever created by just one person. The Guardian Digital
Agency suggests the process takes a web producer, analyst, communicator (or
journalist), and a designer, all contributing.

b) The most powerful visuals don't need explaining.

You are likely defeating the purpose, if the visual or infographic needs chunky
paragraphs of text to explain meaning of it. Same as, if the infographic or visuals
need someone to talk through and explain what the mean, although the visuals are not
adding anything explanation. Good visuals often take the form of charts that are
functional, bold, briefed and designed to be insightful in and of themselves.

c) The basics of data presentation remain important.

If trying to visualize data specifically, just because it’s not presented in an
academic, black-and-white, textbook format, doesn't mean can compromise on
credible details.
Design can attract and create meaning, but it can’t hide poor labelling, lack of
context, or at worst – inaccuracies. This is where an analyst is critical to spotting
biases and patterns in data before it’s turned into a strong narrative (by you, the
communicator) that looks great in a visual format.

d) Choosing the right visual takes time and preparation.

Putting an icon against a bunch of text cannot define as data visualization. The
best visuals are sketched and wire-framed by visual thinkers before the designer
39
INTRODUCTION TO INDUSTRIAL DESIGN

begins to make them elegant. That might be a chart if you’re trying to present
quantitative data, or one of these visuals, if you’re trying to convey a concept.
Creative designer could add a theme on top of these wire-frames (something
related to the subject matter, perhaps) for something that really strikes a chord with
your audience.

e) Creative designers take a different kind of management.

Hiring specialists, such as creative designers, is a move to seriously consider right
now. There's potential to create more digestible content, faster, when you embed
creatives in your business and subject matter.
But as HBR advises, beware, as creative need to be managed in a different way.
They need a development path, as well as time and space, not pressure, to continue to
practice their craft.
And finally, creative designers are not miracle workers, so make sure your brief is
clear and direct. "Here's what I'd like, feel free to be creative and come up with
something" is not a brief. "This is my data and narrative and here are the charts or
visuals I want to use to bring them to life. I'd like you to experiment with colour,
themes, shading, space and text to make it look engaging.”

2.5 CONTEXT

There have some possible meaning of context. Context means fixes meaning
which allows us to understand about it. It also parts that precede or follow a passage
or word which translates about how one arrives at an idea and its implications for the
future. It is about the ambient condition which consist the stuff around it that makes it
happen.
40
INTRODUCTION TO INDUSTRIAL DESIGN

A context is the circumstances that form the setting of an event, statement, or

idea. Webster’s Dictionary defines it as the whole situation, the background or the
environment relevant to a particular event, personality or creation.

When comes to visual thinking, a context is the environment or canvas within

which something is (the visual) or occurs. Therefore every time you draw an image
on a canvas you are placing it within a visual thinking environment that is up for
interpretation by those whom you’re trying to communicate your ideas with.

Putting your visuals into context is absolutely critical because the context will
effectively control and influenced the message of the visuals you are want to draw
people’s attention to.

How to Put Visuals into Context

To avoid misinterpretation, visuals must put into a context by using a combination
of visual thinking ingredients that are relevant to the message which trying to
communicate.
There have a large variety of information that could potentially use here.
However, the main complimentary information that might want to consider when
putting visuals into context are:

a. Complimentary Images

 Helps create meaning.

 Puts visual into perspective.
 Puts visual into a specific environment.

b. Arrows, Lines and Squiggles

 Helps create meaning and emotion.
 Forms connections and associations between visuals, words, graphs,
numbers, etc.
 Forms boundaries and borders.
 Identifies movement and direction.

c. Words and Phrases

 Helps create meaning.
 Gives the visual a voice.
 Identifies and labels different elements.
41
INTRODUCTION TO INDUSTRIAL DESIGN

These three categories of information will set in place the necessary components need
to ensure that the visuals have context and clarity.

As move forward through the visual thinking process, it’s important to keep the
context of the visuals in mind. The following set of questions might allow you to
critically examine the context within which you place your visuals and the message
you are attempting to convey:

 What message is the visual trying to communicate?

 Who or what specifically is the visual?
 Where exactly is the visual located?
 When is the visual located?
 What is the relationship or connection between the visual and its location?
 What is the visual doing?
 Why is the visual doing this?
 How is the visual doing this?
 Where is the visual going?
 How could the visual message be interpreted by others?
 Is the visual communicating the intended message?

Not necessarily need to fulfil all the questions for every visual. In fact, some
questions might not apply to all visuals. However, it’s important to keep them in mind
in order to ensure that all visuals are put into a relevant context that will help
minimize misunderstandings or misinterpretations.

2.6 FORM

Visual communication means that the communication takes place by any visual
aid such as signals, map, chart, poster, and slide, sign etc.

a). Visual symbols: Visual symbols are also used from long ago. For example, pigeon,
tiger and white flag are used as the symbol of peace, brave and alliance respectively.

b). Signal: Signal is use in various situations as the tool of visual communication.
42
INTRODUCTION TO INDUSTRIAL DESIGN

c). Table, chart, diagram etc: Table, chart, diagram etc. are used in data presentation

Presentation methods of visual communication: There are many ways through

which information and message can be presented. If want to ensure the effectiveness
of the presentation, select the most appropriate way. Some of the ways of presenting
information are: Tabulation, bar charts, line graph, pie charts, pictograms, maps,
diagrams, cartograms, flow charts, visual planning boards, commuter graphics, Gantt
charts etc.
43
INTRODUCTION TO INDUSTRIAL DESIGN
44
INTRODUCTION TO INDUSTRIAL DESIGN

DESIGN ELEMENT

1. AESTHETIC

Aesthetics in Design
In design terms, aesthetics is our perception or opinion of an object based on what
we see, feel, hear, smell and even taste. Our opinion could be based on one or all of these
senses.
Aesthetic response is most frequently stimulated by visual information, largely
because the vision system provides data more immediately and at higher rates than do the
other senses. Aesthetic response can also stimulate via senses.

Good design is aesthetic. The aesthetic quality of a product is integral to its

usefulness because products we use every day affect our person and our well-
being. But only well-executed objects can be beautiful.
– Dieter Rams

Importance of Aesthetics in Design

 Giving a pleasure to customer when view the product
 Can impress customer
 Attract customer to buy the product

Consideration of Aesthetics in Design

a) Physio-Pleasure
Pleasure derived from the senses from touch, smell, sensual pleasure etc. For
example, the smoothness of a curve in a hand-held product or the smell of a new
car.

b) Socio-Pleasure
Pleasure gained from interaction with others. This may be a 'talking point'
product like a special ornament or painting, or the product may be the focus of a
social gathering such as a vending machine or coffee machine. This pleasure can
also come from a product that represents a social grouping, for example, a
particular style of clothing that gives you a social identity

c) Psycho-Pleasure
Pleasure from the satisfaction felt when a task is successfully completed.
Pleasure also comes from the extent to which the product makes the task more
45
INTRODUCTION TO INDUSTRIAL DESIGN

pleasurable, such as the interface of an ATM cash machine that is quick and
simple to use. It is closely related to product usability

d) Ideo-Pleasure
Pleasure derived from entities such as books, art and music. This is the most
abstract pleasure. In terms of products, it is the values that a product embodies,
such as a product that is made of eco-friendly materials, and processes that
convey a sense of environmental responsibility to the user.

2. ERGONOMIC

Definition of Ergonomic

There are several definitions of ergonomics according to several institutes, fore

mostly from Ergonomics Society of Europe whereas it is defined as “the fit between
people, the things they do, the objects they use and the environments they work, travel
and play in. If good fit is achieved, the stresses on people are reduced. They are more
comfortable, they can do things more quickly and easily, and they make fewer mistakes."

Meanwhile, according to International Ergonomics Association (IEA), it is

defined as “the scientific discipline concerned with the understanding of interactions
among humans and other elements of a system, and the profession that applies theory,
principles, data and methods to design in order to optimize human well-being and overall
system performance."

Compton’s encyclopaedia defined it as “making sure that the machinery, tools, and
furniture associated with a job fit the workers who do that job is a field of engineering
called ergonomics, or human engineering”. Lastly, Lueder (Ed.) Ergonomics Payoff
defines ergonomic as "Ergonomics is the science of adapting products and processes to
human characteristics and capabilities in order to improve well-being and optimize
productivity."

2.1 6 Importance Of Ergonomic

i. Design of safe tools and machines and measures against excessive
workloads.
ii. Design of safe and healthy work environments and workstations.
iii. Optimization of work design.
iv. Measures against heat, noise, vibration and hazardous substances.
v. Proper setting of working and resting time and shift work schedule.
vi. Establishment of organizational culture, safety culture and leadership.
46
INTRODUCTION TO INDUSTRIAL DESIGN

2.2 PRINCIPLE OF ERGONOMIC

In order to consider the ergonomics involved in different design projects,
universal principles of ergonomics can be applied. While the principles may not
be applicable in some projects, the concepts can be adapted to both physical and
digital projects. There are 10 principles of ergonomic, namely:

i. Work in Neutral Postures

Your posture provides a good starting point for evaluating the tasks that
you do. The best positions in which to work are those that keep the body as
neutral as possible. The spinal column is shaped more or less like an "S." It is
important to maintain the natural S-curve of the back, whether sitting or standing.
The most important part of this "S" is in the lower back, which means that it is
good to keep a slight "sway back,"
When standing, putting one foot up on a footrest helps to keep the spinal
column in proper alignment. Working for long periods with your back in a “C-
curve” can place strain on your back. Good lumbar support is often helpful to
maintain the proper curve in the small of your back.

ii. Reduce Excessive Force

Excessive force on your joints can create a potential for fatigue and injury.
In practical terms, the action item is for you to identify specific instances of
excessive force and think of ways to make improvements. For example, pulling a
heavy cart might create excessive force for your back. To make improvements it
might help to make sure the floor is in good repair, that the wheels on the cart are
sufficiently large, and that there are good grips on the cart. Another example of
reducing force is to use a hoist for lifting heavy objects, such as a vacuum hoist.
Another kind of example is having handholds on boxes or carrying totes. Having
the handhold reduces the exertion your hands need to carry the same amount of
weight.

iii. Keep Everything in Easy Reach

In many ways, this principle is redundant with posture, but it helps to
evaluate a task from this specific perspective. One concept is to think about the
"reach envelope." This is the semi-circle that your arms make as you reach out.
Things that you use frequently should ideally be within the reach envelope of
your full arm. Things that you use extremely frequently should be within the
47
INTRODUCTION TO INDUSTRIAL DESIGN

reach envelope of your forearms. Much of the time, problems with reach are
simply matters of rearranging your work area and moving things closer to you.
This is not exactly a hard concept to grasp; what is difficult is having the
presence of mind to notice and change the location of things that you reach for a
lot. Often it is a matter of habit; you are unaware that you continually reach for
something that could be easily moved closer. Sometimes, the work surface is just
too big, causing you to reach across to get something. One option is just to get a
smaller surface. Another option is to make a cut-out. This way, your reaches are
cut but you still have plenty of space for things.

iv. Work at Proper Heights

Working at the right height is also a way to make things easier. A good
rule of thumb is that most work should be done at about elbow height, whether
sitting or standing. A real common example is working with a computer
keyboard. But, there are many other types of tasks where the rule applies. There
are exceptions to this rule, however. Heavier work is often best done lower than
elbow height. Precision work or visually intense work is often best done at heights
above the elbow. Sometimes you can adjust heights by extending the legs to a
work tables or cutting them down.

v. Reduce Excessive Motions

One of the simplest ways to reduce manual repetitions is to use power
tools whenever possible. Another approach is to change layouts of equipment to
eliminate motions. Sometimes, there are uneven surfaces or lips that are in the
way. By changing these, you can eliminate motions.

vi. Minimize Fatigue and Static Load

Holding the same position for a period of time is known as static load. It
creates fatigue and discomfort and can interfere with work. A good example of
static load that everyone has experienced is writer’s cramp. You do not need to
hold onto a pencil very hard, just for long periods. Your muscles tire after a time
and begin to hurt. In the workplace, having to hold parts and tools continually is
an example of static load. In this case, using a fixture eliminates the need to hold
onto the part.

vii. Minimize Pressure Points

Another thing to watch out for is excessive pressure points, sometimes
called "contact stress." A good example of this is squeezing hard onto a tool, like
a pair of pliers. Adding a cushioned grip and contouring the handles to fit your
48
INTRODUCTION TO INDUSTRIAL DESIGN

hand makes this problem better. A slightly more subtle kind of pressure point
occurs when you stand on a hard surface, like concrete. Your heels and feet can
begin to hurt and your whole legs can begin to tire. The answer is anti-fatigue
matting or sometimes using special insoles in your shoes.

viii. Provide Clearance

Work areas need to be set up so that you have sufficient room for your
head, your knees, and your feet. You obviously don’t want to have to bump into
things all the time, or have to work in contorted postures, or reach because there is
no space for your knees or feet.

ix. Move, Exercise, and Stretch

Depending upon the type of work you do, different exercises on the job
can be helpful. If you have a physically demanding job, you may find it helpful to
stretch and warm up before any strenuous activity. If you have a sedentary job,
you may want to take a quick "energy break" every so often to do a few stretches.

x. Maintain a Comfortable Environment

One common problem is lighting. In the computerized office, lighting has
become a big issue, because the highly polished computer screen reflects every
stray bit of light around. But many other types of tasks can be affected by poor
lighting, too. Concerns include glare, working in your own shadow, and just plain
insufficient light. One good way to solve lighting problems is by using task
lighting; that is, having a small light right at your work that you can orient and
adjust to fit your needs.

3. AESTHETICS AND ERGONOMICS IN PRODUCT DESIGN

Product Designers need knowledge of all these elements. In the case of the design
of a small or simple product, the designer's responsibility may be for all of these
elements. In the case of larger products, such as cars, the designer's responsibility may be
49
INTRODUCTION TO INDUSTRIAL DESIGN

for aesthetics only; ergonomists and engineers providing the expertise needed for the
other elements.

Conventionally, ergonomics has consisted of usability and functionality, and

designing pleasure into the product has been the job of the designer. However,
increasingly the boundaries between the two disciplines are disappearing, and
ergonomists are taking some responsibility for the aesthetics of the design, using
scientific methods to increase understanding of the aesthetics (both pleasurable and not
pleasurable) and applying this to the design of products.

The best design occurs when all three components are considered together from
the start of the design process. Usually, compromises will have to be made, but
understanding all the issues involved will help to make the most acceptable compromises.
For example, if you are designing a sports car, you will make different compromises from
those that you will make if you are designing a family saloon car.

4. COLOUR FACTOR

The Power of Colour

Colour can dominate all other factors of a product designs success. One might not
buy or drive a Porsche automobile if it were a hideous colour, despite the quality of
manufacture and engineering, prestige of the name, or the high performance. The same is
true with home appliances, consumer electronics, soft goods, sports equipment, shoes,
and practically every area of industrial design. A poor choice of colour and finish can
make or break the success of a product.

4.1 BASIC COLOUR THEORY

Colour theory encompasses a multitude of definitions, concepts and design
applications – enough to fill several encyclopaedias. However, there are three basic
categories of colour theory that are logical and useful: the colour wheel, colour
harmony and the context of how colours are used.
Colour theories create a logical structure for colour. For example, if we have an
assortment of fruits and vegetables, we can organize them by colour and place them
on a circle that shows the colours in relation to each other.
50
INTRODUCTION TO INDUSTRIAL DESIGN

4.2 The Colour Wheel

Primary colours : Red, yellow and blue

Secondary colours : Green, orange and purple
Tertiary colours : Yellow-orange, red-orange, red-purple, blue-
purple, blue-green & yellow-green

4.3 Colour Harmony

a) A colour scheme based on analogous colours
Analogous colours are any three colours which are side by side on a 12 part
colour wheel such as yellow-green, yellow and yellow-orange. Usually one of
the three colours predominates.

b) A colour Gradient
In computer graphics, a colour gradient (sometimes called a colour ramp or
colour progression) specifies a range of position-dependent colours, usually used
to fill a region. For example, many window managers allow the screen
background to be specified as a gradient. The colours produced by a gradient
vary continuously with position, producing smooth colour transitions.
Axial gradients
An axial colour gradient (sometimes also called a linear colour gradient) is
specified by two points, and a colour at each point. The colours along the
line through those points are calculated using linear interpolation, and then
extended perpendicular to that line. In digital imaging systems, colours are
typically interpolated in an RGB colour space, often using gamma
51
INTRODUCTION TO INDUSTRIAL DESIGN

compressed RGB colour values, as opposed to linear. CSS and SVG both
support linear gradients

Radial gradients
A radial gradient is specified as a circle that has one colour at the edge and
another at the centre. Colours are calculated by linear interpolation based on
distance from the centre. This can be used to approximate the diffuse
reflection of light from a point source by a sphere. Both CSS and SVG
support radial gradients

c) A colour scheme based on complementary colours

Complementary colours are any two colours which are directly opposite each
other, such as red and green and red-purple and yellow-green. In the illustration
above, there are several variations of yellow-green in the leaves and several
variations of red-purple in the orchid. These opposing colours create maximum
contrast and maximum stability.

If you want to use 3 colours, then you have to

use triangle shape in wheel colour to select the
best colour. If you want to use 4 colours, then
you have to use square shape in wheel colour
to select the best colour.
52
INTRODUCTION TO INDUSTRIAL DESIGN

d) A colour scheme based on nature

Nature provides a perfect departure point for colour harmony. In the
illustration above, red yellow and green create a harmonious design, regardless
of whether this combination fits into a technical formula for colour harmony.

4.4 TEN WAYS THAT COLOR CAN BE PURPOSEFULLY USED IN

INDUSTRIAL DESIGN

1. Colour as association
Colour can have high emotional and symbolic associations. It can be applied in
design to conjure up soothing emotions or vivid memories to the user. These
associations vary by culture, geography, and generation. These emotions seem to
come from general associations the mind makes with that colour, though long-
term memories. These memories were developed throughout our lifetime through
repetition or specific indelible events.

Symbolic association in the flag of Cameroon

Colour Common association Emotions and symbolism

blue Blueberries, water, sky, sea. Cool, clean, spirituality
red Blood, fire, roses, apples Warmth, passion, love,
danger, courage

Common association with colour in western culture

53
INTRODUCTION TO INDUSTRIAL DESIGN

2. Colour as user interface

Colour can give cues as to how to operate a machine or an appliance. Even
without understanding of the function of a form, a contrasting coloured feature
indicates how and what to do. A green button usually indicates “go” or “start,” a
red button may indicate, “stop” or on a trigger may mean, “Fire.” Our traffic
lights use green, yellow and red to direct drivers with its colour cues.

User interface cues on the X-Box video game controller

3. Colour as fashion

Fashion announces a fresh new palette of trendy colours every season.

Application of these colours in design can attract buyers who are, consciously or
not, affected by today’s hot palette. These colours change depending on the target
market, the geographic region, the season of the year, the culture and the design.
Because of these factors of variability, considerable research must be done to
select an appropriate palette.

Fashionable colours available for the Apple iPod mini

4. Colour as identity
Colour can be used to identify the object with a person, a company or a group.
The use of colour for a corporation becomes critical for those with strong brand
recognition. Even a sports team is identified through its application of colour on
helmets and uniforms. Colour can also identify a user or efficiently organize
items.
54
INTRODUCTION TO INDUSTRIAL DESIGN

Kensington SmartSockets designed by astro

5. Colour as form emphasis

Colour can be used to emphasize the physical form and to enhance the surface
variation or three dimensionality. This application is not dependent upon culture
but rather is based on how our minds process visual information. Our eyes equate
value variation with surface variation. When this variation is pronounced through
colour its three-dimensional form is enhanced.

Comparison of metallic orange (left) with non-metallic orange (right)

6. Colour as form alteration

This application of colour alters the three dimensional form by concealment or
disguise. An extreme example is camouflage on a military vehicle. The purpose is
to break up the form visually and to change its visual boundary, thereby causing
the mind to not recognize its true form. The changes of value in the colour are
contrary to the change of surface. This application may be used in design to hide
or conceal a feature of an object, or to de-emphasize a form. The example below
utilizes high contrast colour graphic treatment to obliterate the perception of its
three dimensional form.

Nighthawk matte black finish absorbs light and RADAR

55
INTRODUCTION TO INDUSTRIAL DESIGN

7. Colour as material emphasis

Colour may be used to celebrate a material’s properties, rather than hide them.
This is used when the material make up is valuable or has exemplary properties to
be emphasized. Jewellery designers do this naturally with precious metals and
gemstones. The polishing of gold brings forth its lustre and richness. The precise
cutting of rare gems highlights their natural colour and refractive properties.

8. Colour as material deception

The application of colour can be used to deceive the viewer of its true material
make up. This is especially useful where the faux material is too expensive or
impractical to be used in low cost, high volume production.

9. Colour as harmony
Colour can be used to make a design visually compatible with its environment. A
white kitchen appliance, for instance, is made to blend into and match the kitchen
environment. This application of colour can be used to achieve a quiet, neutral,
harmonious environment and reduce visual chaos. It is also used when a particular
colour and finish is prevalent with other items in the environment. A Band-Aids
bandage, for example, is coloured to match the majority of skin colours.

10. Colour as contrast

In order to stand out and contrast with its environment, colour can be critical.
Whether it’s an orange traffic cone or a yellow taxicab, colour is a powerful
differentiator. Distinction from environment can happen through contrasting hue,
saturation, or value. This application is important when safety is a concern. On
tools with cutting or rotating parts, a contrasting colour can be used to focus the
operator’s attention where it needs to be directed. A garden tool may be coloured
a contrasting colour to its predominately green environment in order to avoid
being lost or stepped on.

4.5 TEN REASON TO USE COLOUR

1. Use colour to speed visual search

Colour coding is a way to
convey information quickly, which
facilitates visual search. In this
Washington D.C. metro map, as
with most schematic subway maps,
colour coded lines represent the
different rail lines. Visual searching
56
INTRODUCTION TO INDUSTRIAL DESIGN

occurs when we actively scan the environment to locate a specific feature among
many distractors. In this case, colour makes it easier to visually follow the path of
a rail line, speeding up the search process.

2. Use colour to improve object recognition

We recognize objects more quickly when their colours reflect what we see in the
physical world. Upon seeing an object that is coloured differently, like a pink
banana, it can cause cognitive dissonance
that the viewer must resolve. Of course,
you may intentionally use unusual colours
as a creative, playful or dissonant
approach. But if you’re aiming for speedy
recognition, as in this cover for a
children’s book, use colours that are
normally associated with an object or
scene.

3. Use colour to enhance meaning

Our brains are compelled to find
meaning, whether it is intended or not.
Because the eyes are attracted to bright
and high-contrast colours, viewers will
derive meaning from something that
stands out. When you use colour for
emphasis, it’s like shouting that this
object or element has the greatest value. At the [Link] site, the bright yellow
is used to prominently display their most important message.

4. Use colour to convey structure

Colour is often used in technical documentation and textbooks to convey
structure. Each chapter might feature a different coloured heading and a block of
the same colour may appear on each
page, making it easy to distinguish
between chapters. Another approach
to colour structure can be found in
the book, designing for Small
Screens. Each chapter is organized
into three sections, denoted by vivid
57
INTRODUCTION TO INDUSTRIAL DESIGN

colours. The sections form three tracks running through the book, which is
described visually in the table of contents shown above.

5. Use colour to establish identity

In the sphere of marketing and advertising, brand identity is the visual essence of
a business or organization. Visual identity is often highly correlated with colour
through symbolism (see below). The chosen colour, in consort with other aspects
of the design, has the potential to project the entire flavour of the organization to
the world.

6. Use colour for symbolism

Colour elicits both cultural and psychological associations that are symbolic of
ideas, concepts and feelings. Context plays a part in colour symbolism, meaning
that one colour can have positive or
negative connotations depending on
the larger framework. For example,
although blue is often associated with
strength and optimism in Western
cultures, in another context it can be
associated with despair and frustration.
The vibrant orange tones in the
painting above express the energized tension of the bullfight.

7. Use colour to improve usability

The wise use of colour can improve usability for everything from everyday
objects to wayfinding. Consider the glaring red medical waste bags in a hospital,
lab or doctor’s office. They help ensure that healthcare workers will deposit
infectious materials into the correct container. This concept translates well to the
digital world. In user interfaces, colour informs users of the most important
functions and areas of the screen. For example, in the administrative panel of the
58
INTRODUCTION TO INDUSTRIAL DESIGN

Thesis WordPress theme, the large green button (and unusual text) ensures users
won’t ever have to wonder how to save their selections

8. Use colour to communicate mood

Many facets of colour—particularly saturation (colour purity) and value (range of
light to dark)—are known to evoke emotion. But colour also creates a mood.
Compared to emotion, mood refers to a longer-lasting, milder and generalized
experience. Research shows that lighter colours are associated with a more
positive affect and darker colours
with more negative. Painters and
photographers are good at exploiting
colour value to create a moody
experience.

9. Use colour to show associations

One of the first things we do when looking at a graphic is to group similar items,
colour being one of the most powerful. For example, Slate Lab’s animated
visualization of the US Senate Social Network calculates which senators had
voted alike with each other senator at least 65 percent of the time. Party colours
make it easy to see how the
senators voted in groups. On the
live version (click graphic), the
senator’s name displays by rolling
over each dot.
59
INTRODUCTION TO INDUSTRIAL DESIGN

10. Use colour to express metaphors

Verbal language is filled with metaphors for colour that translate well to visual
language. Feeling blue, seeing red and green with envy are common expressions
that are easily decoded from an illustration or graphic. In this example, the green
facial features against the crackling green sky leave no question that this woman
is filled with envy
60
INTRODUCTION TO INDUSTRIAL DESIGN
61
INTRODUCTION TO INDUSTRIAL DESIGN

4.0 INTRODUCTION OF DESIGN PRINCIPLES

The 7 Principles
The 7 Principles of Universal Design were developed in 1997 by a working group
of architects, product designers, engineers and environmental design researchers, led by
the late Ronald Mace in the North Carolina State University (NCSU). The purpose of the
Principles is to guide the design of environments, products and communications.
According to the Centre for Universal Design in NCSU, the Principles "may be applied to
evaluate existing designs, guide the design process and educate both designers and
consumers about the characteristics of more usable products and environments.” The
following are the 7 principles and their guidelines.

Principle 1: Equitable Use

Figure 1: The design is useful and marketable to people with diverse abilities.

The equitable use products will provide the same means of use for all users that
identical whenever possible; equivalent when not. These products are also avoided
segregating or stigmatizing any users. Besides that, provisions for privacy, security, and
safety should be equally available to all users. Other than that, equitable use principle is
also making the design appealing to all users.
62
INTRODUCTION TO INDUSTRIAL DESIGN

Principle 2: Flexibility in Use

Figure 2: The design accommodates a wide range of individual preferences and abilities.

A flexible product will provides choice in methods of use and accommodates

right- or left-handed access and use. The product which is flexibility in use is able to
facilitate the user's accuracy and precision. It is also provides adaptability to the user's
pace.

Principle 3: Simple and Intuitive Use

This principle is used to eliminate unnecessary complexity. The product should be

consistent with user expectations and intuition. Besides that, the product will
accommodate a wide range of literacy and language skills, and arrange information
consistent with its importance. The simple and intuitive use product should provide the
effective prompting and feedback during and after task completion.
63
INTRODUCTION TO INDUSTRIAL DESIGN

Figure 3: Use of the design is easy to understand, regardless of the user's experience,
knowledge, language skills, or current concentration level.

Principle 4: Perceptible Information

Figure 4: The design communicates necessary information effectively to the user,

regardless of ambient conditions or the user's sensory abilities.

The products use different modes (pictorial, verbal, tactile) for redundant
presentation of essential information. Perception information will provide adequate
contrast between essential information and its surroundings. The product will maximize
"legibility" of essential information. This principle differentiates elements in ways that
can be described such as make it easy to give instructions or directions. The products
should provide compatibility with a variety of techniques or devices used by people with
sensory limitations.
64
INTRODUCTION TO INDUSTRIAL DESIGN

Principle 5: Tolerance for Error

A design should arranges the elements to minimize hazards and errors such as
most used elements and most accessible elements, and the hazardous elements should be
eliminated, isolated, or shielded. Besides that, the products should provide warnings of
hazards and errors, and also provide fail safe features. Moreover, this principle is used to
discourage the unconscious action in tasks that require vigilance.

Figure 5: The design minimizes hazards and the adverse consequences of accidental or
unintended actions.

Principle 6: Low Physical Effort

This principle is used to allow user to maintain a neutral body position. When
doing some tasks, use reasonable operating forces and minimize the repetitive actions.
The low physical effort design should be minimized the sustained physical effort.
65
INTRODUCTION TO INDUSTRIAL DESIGN

Figure 6: The design can be used efficiently and comfortably and with a minimum of
fatigue.

Principle 7: Size and Space for Approach and Use

Figure 7: Appropriate size and space is provided for approach, reach, manipulation, and
use regardless of user's body size, posture, or mobility.
66
INTRODUCTION TO INDUSTRIAL DESIGN

The design will provide a clear line of sight to important elements for any seated or
standing user. This principle is used to ensure that make reach to all components
comfortable for any seated or standing user. Other than that, the design should
accommodate variations in hand and grip size and provide adequate space for the use of
assistive devices or personal assistance.

4.1 HUMAN CENTRED DESIGN

According to E (Greenhouse, 2016) human centred design also known as

universal design, life span design and inclusive design. Human centred design is a design
based on physical and psychological needs of the human user, enabling the user to
function at the highest level possible and it includes products and aspects of the physical
environment that meet the needs and abilities of the user, not those that demand
adaptation to the design by the user. Human centred design is not a style of design but a
process of generating a design and development that grounded in information about it
user. Research will be utilized as a tool to finding information and data on cognitive
abilities, physical abilities and limitations, social needs and task requirements in order to
provide user solutions to enable them to function at highest capacity with regardless of
age, sex and ability.

The principles underlying human-cantered design range across disciplines—from

community design, to architectural design, to interior design, industrial design, and
design of communication venues. And, according to the Institute for Human Centred
Design, universal or human-centred design “has a parallel in the green design movement,
which also offers a framework for design problem-solving based on the core value of
environmental responsibility. Universal Design and green design are comfortably two
sides of the same coin—green design focusing on environmental sustainability, universal
design on social sustainability."

Industrial designer, J. J. Pirkl, coined the term “Transgenerational Design,”

promoting design that enables all generations and inspiring the growth of human-centred
design. Recently, various advocates use the terms "integrative design," "life cycle
design," "inclusive design," and "user-centred design" in place of universal design or
human-centred design.

Whichever names are used, advocates for such design are looking to enable all of
society to function at the highest level possible, asking the following questions:

 Why should the built environment serve as an obstacle to functioning?

67
INTRODUCTION TO INDUSTRIAL DESIGN

 Why are we designing for a small segment of the population, leaving out millions
of others?
 Why place our older adults or our younger-aged people with disabilities in
institutions when appropriately designed environments will delay or prevent
institutionalization?
 Why limit the lives and contributions of persons with frailties or disabilities when
simply building “visitable” homes could allow them to interact with their friends
and relatives in the same way as others?

The following figure shows the human centred design pyramid. As summarised
by the model, human centred design consists of a series of questions and answers which
span the spectrum from the physical nature of people’s interaction with product, system
and service to the metaphysical. Designs whose characteristics answer questions and
curiosities which are further up the pyramid would be expected to offer a wider range of
affordances to people, and to embed themselves deeper within people’s minds and daily
lives. In particular, a product, system or service which can introduce a new meaning into
a person’s life would be expected to offer ample opportunities for commercial success
and for brand development, as historic examples such as Ferrari sports cars or Apple
Ipods seem to suggest.

Figure 8: The human centred design pyramid

68
INTRODUCTION TO INDUSTRIAL DESIGN

Human centred design tools can be classified based on their intended use. The
most basic form of tool consists of facts about people such as anthropometric,
biomechanical, cognitive, emotional, psychophysical, psychological and sociological data
and models. Such items of information, which are often treated as matters of ergonomics
or human factors, provide basic factual statements regarding the abilities and limitations
of humans. Such tools define the boundaries within which to operate, and usually act
more to inform the human centred design process than to drive it. Some human centred
design tools consist instead of methodologies and techniques for interacting with people
in such a manner as to facilitate the detection of meanings, desires and needs, either by
verbal or non-verbal means.

4.2 PERCEPTION

Perceptual Psychology and the Process of Product Design Perception As

suggested by theories in perceptual psychology (Biederman 1987; Marr 1982; Palmer
1999; Treisman 1993) brand design perception follows a four-stage process. The first
stage describes a two-dimensional retinal image which is a first impression of a visual
product stimulus that is projected to the viewpoint of the observer’s eyes. A retinal image
is perceived without the consumer’s attention, and the information is unstructured and
un-interpreted (Julesz 1984; Treisman 1993). In the second stage, the two-dimensional
retinal product impression is further processed, so that elements such as lines and edges
are detected and “sharpened” (image-based stage). Further in the surface-based stage,
general surface and spatial information is recovered. True three-dimensional processing
first occurs in the final stage, called the object based stage, since the product perception
process does not end with the mere representation of all the visible surfaces. Instead, it is
assumed that during perception surface information is related to general stored
knowledge about the intrinsic nature of the three dimensional object (Palmer 1999).
An example would be aspects of a product that are occluded from the current
viewpoint, such as the back or underside of a camera, TV, car, bottle, and so on. Thus, by
simply perceiving the curved surfaces of a bottle, the observer is able to make clear
predictions regarding the probable appearance and properties of the back of the bottle.
Therefore, hidden assumptions about the nature of the visual world are also required to
enable the inclusion of information about unseen surfaces or parts of surfaces.
Perception (from the Latin perceptio, percipio) can also be defined as the
organization, identification, and interpretation of sensory information in order to
represent and understand the environment. All perception involves signals in the nervous
system, which in turn result from physical or chemical stimulation of the sense organs.
69
INTRODUCTION TO INDUSTRIAL DESIGN

For example, vision involves light striking the retina of the eye, smell is mediated by
odour molecules, and hearing involves pressure waves. Perception is not the passive
receipt of these signals, but is shaped by learning, memory, expectation, and attention.
Perception can be split into two processes. Firstly processing sensory input which
transforms this low-level information to higher-level information such as extracts shapes
for object recognition. Secondly processing which is connected with person's concept and
expectations (knowledge), and selective mechanisms (attention) that influence
perception. Perception depends on complex functions of the nervous system, but
subjectively seems mostly effortless because this processing happens outside conscious
awareness.
The whole process in which a meaning is derived from a product appearance can
be summarized in two steps (Figure 10). First, when consumers see a product appearance,
consumers perceive certain physical properties that together make up the design of the
product such as colour, shape, and texture. For example, refrigerators are rectangular and
have a smooth, shiny white surface. Second, certain combinations of colours, materials
and other physical aspects give a product a look that can be described by a certain
appearance attribute (Brunswick, 1952). For example, a DVD-player that is angular,
metallic-looking and is made of a smooth material is perceived as modern. Attributes are
considered to be more abstract than separate physical aspects (Kaul & Rao, 1994;
Snelders, 1995; Veryzer, 1999; Geistfeld, Sproles, & Badenhop, 1977). The appearance
attributes together provide the consumer with an overall impression of the product.
Further, they are more actionable and informative than physical properties for designers
to use in briefings or product evaluation studies. In briefings, these attributes can be a
way of making clear to designers what is expected from them. In product evaluation
studies, it can be assessed whether consumers do actually perceive the meanings that the
designer intended to design in the product using appearance attributes.

Figure 10: A two-step model of product appearance perception.

Humans perceive products through their sensory organs (receptors). On the
product side this requires perception stimuli such as form, colour, material and surfaces.
70
INTRODUCTION TO INDUSTRIAL DESIGN

When processing such stimuli, humans respond by exhibiting behavioural reactions in the
form of experiences, actions and evaluations.

Figure 11: Human-product interaction as a basic aesthetic problem

However, perception also means to understand content and meaning. Behaviour
can be described as a human being’s response to what he or she has perceived. Observing
or operating something is important actions which may be experienced in a special way.
Experiences and actions prompt the user to make judgements and evaluations.
Affirmation or rejection as well as verbal judgements such as “I like it” or “I don’t like
it” often complete a man-product interaction. The degree of fulfilment of a human-
product interaction always depends on the relationship between perception and
behaviour. Therefore, it makes sense to postulate perception-oriented design as an
objective of designing. With regard to the design process, satisfying this objective
requires dealing with the stimuli of perception. The process of finding an overall product
design (shape) that does not only meet technical but also aesthetic criteria should be
highlighted in this context.
Perception-oriented design also means to consider those requirements that result
from the physiology and psychology of human perception as well as from an individual’s
experiences or as a result of his or her external environment. This also includes the
elements used in designing products with regard to their appearance. Perception-oriented
design as a design objective and precondition means to design products so that a person
can perceive such products in a way that suits his or her senses and intellectual
perception. Perception Humans can perceive their environment in several ways.
Approximately 60–80% of all environmental stimuli are visually perceived. For this
reason visual perception is of utmost importance for man-product interactions and it
71
INTRODUCTION TO INDUSTRIAL DESIGN

substantiates the dominance of visual design aspects in industrial design. Basic

interrelations are shown in Figure 11.
Perception means seeing and understanding. A human being in his or her role as
an observer recognises the product. The shape of the product and its design elements are
prerequisites for perception. The shape of the product and its design elements are
perceived visually and processed as a projected image in the eye, followed by a process
of cognition which results in a perception image. Therefore, we must distinguish between
two phases of perception which are 1st phase: The development of a projected image is
an objective, physico-chemical process which is equally developed in almost all human
beings, and 2nd phase: The development of a perceived image is a subjective process that
depends on the observer’s individual memories, experiences and value concepts.
Furthermore, the observer’s subjectivity is also influenced by his or her sociocultural
environment that particularly defines value concepts and norms. The user perceives
things in a subjective way and behaves accordingly.
Product design is part of a product development process focusing mainly on the
manufacture of mass products that are to satisfy the needs of larger groups of buyers and
users. However, large groups of buyers and users always consist of individuals.
Consequently, it is a special challenge to develop mass products that are capable of
satisfying individual needs. This is the reason why the product development process
necessitates an intensive analysis of user requirements.

4.3 INTUITIVE/INTUITION

Intuition is ability that without the need for conscious reasoning, and in
immediately you get what you want. In precise explanation, intuition is known as when
the knowledge of the user is sufficient to perform task and the outcomes are as expected
and desired. (Bres, 2014)

There are some guidelines for a simple and intuitive design which include
eliminate unnecessary complexity, be consistent with user expectations and intuition,
accommodate a wide range of literacy and language skills, arrange information consistent
with its importance, and provide effective prompting and feedback during and after task
completion.

Every single design is intent to solve problem practically. By the meaning of

intuitive or intuition, the product should comprise an interface that easy to understand
without any detail explanation and didn’t require any further decision for users.
72
INTRODUCTION TO INDUSTRIAL DESIGN

Honest terminology makes product and experience more likely to fulfil user
expectation. (Monses, 2014). An intuitive product can quickly pick up by user natural
movements and translate that movement into action. The learning duration is only about
few second to literate to operate the product, and this made it drastically efficient when
compared with a non-intuitive product.

4.4 FLEXIBILITY

Flexibility of a design implies that how easy the design can accommodate the
changes. A design must be flexibility in use which means that accommodate a wide range
of individual preferences and abilities. The guidelines for a flexible design include
provide choice in method of use, accommodate right-handed or left-handed access and
use, facilitate the user’s accuracy and precision, and provide adaptability to the user’s
pace.

Product flexibility for future evolution is defined as the ability to redesign a

product quickly and inexpensively to meet changing requirements. These changing
requirements may include shifting customer needs, advancing technology, or expanding
markets. Since these changes are difficult to predict, product designs may need to be
evolved over time in unanticipated ways.

Product flexibility for future evolution can be distinguished from other product
attributes such as changeability, re-configurability, adaptability, and robustness.
Changeable systems are defined as “those systems whose configurations can be changed,
altered, or modified with or without external influence after the system has been deployed
(Ferguson et al., 2007).” Reconfigurable systems are a subset of changeable systems that
are capable of specific, repeatable transformations, often involving changes of state
during deployment (Ferguson et al., 2007; Siddiqi and De Weck, 2008; Singh et al.,
2009). Similarly, adaptable systems are often defined as a specific type of reconfigurable
system that is capable of changing its configuration without external intervention after it
has been deployed (Fricke and Schulz, 2005; Ross, Rhodes and Hastings, 2008). Whereas
reconfigurable systems research is generally focused on modifying the configuration of a
product or system as it is being used, the research presented in this paper is focused on
redesigning a product to meet changing needs and requirements that cannot be met in any
other way. When a product is redesigned over time, it is said to evolve (Ferguson et al.,
2007; McManus and Hastings, 2006) — a type of change that is facilitated by flexibility
or the ability of a system to be changed easily to meet new requirements or objectives.
(Ferguson et al., 2007; McManus and Hastings, 2006; Roser and Kazmer, 1999; Ross,
Rhodes and Hastings, 2008; Saleh, Hastings and Newman, 2002; Thomke, 1997)
73
INTRODUCTION TO INDUSTRIAL DESIGN

A product that is flexible for future evolution has physical attributes that make it
faster and easier to redesign it into a future product offering. The manner in which the
components of the product are physically oriented relative to each other, the interfaces
between them, and the form of the components themselves are important factors that
determine whether a design is flexible enough for future evolution (Palani Rajan et al.,
2004). This type of product redesign is particularly challenging because it often takes
place after a design has been finalized and launched, and manufacturing tools and
processes have been established. To support this evolutionary process, design tools are
needed for quickly and economically innovating and selecting designs that are flexible
enough to accommodate unanticipated future changes.
74
INTRODUCTION TO INDUSTRIAL DESIGN
75
INTRODUCTION TO INDUSTRIAL DESIGN

Fundamentals of a Feasibility Study

Taking an idea from concept to viable cooperative takes many steps. None more
valuable or important than the feasibility study. In the section we will learn the
key concepts to allow we to formulate the idea and subject it to rigorous analysis
to identify opportunities and challenges that will make the cooperative successful.
A feasibility study should provide a comprehensive analysis and evaluation of the
market, operational, technical, managerial and financial aspects of your business
concept or opportunity. A comprehensive study can then evolve into the market-
driven strategic plan that is the road map for all subsequent decisions.
A feasibility study provides cooperative project committees with an understanding
of the viability of a business concept.

MARKET FEASIBILITY
Market feasibility identifies whether the product or service is viable within the
competitive environment of the industry or marketplace. The study needs to identify and
assess individual opportunities, and provide rationalization to proceed with that
opportunity, or assess other alternatives. The study needs to include the total market
potential and incorporate customer opinions regarding the particular service or product.

5.1 THE INDUSTRY DESCRIPTION

The industry description examines the industry or market segment and provides
an assessment of its potential size and scope. The industry description should
determine if the industry or market segment is stable, expanding or contracting,
and what part of the industry life cycle it occupies. The description should also
discuss the industry’s primary purpose, market served, scope in terms of annual
sales, range of products and services, customer groups and major competitors. The
history of the industry, how it changed and grown (or contracted) over time is also
helpful. Changes in consumer demand, products and services, delivery and
distribution models should be considered.
Here are some of the concepts that an industry description will help with:
5.1.1 Industry Competitiveness
Traditionally, competition between two or more businesses drives profits
lower. A highly concentrated industry or market segment is one in which
market share is held by the few largest companies. When a very few
companies hold, the vast majority of market share, there may be very little
76
INTRODUCTION TO INDUSTRIAL DESIGN

actual competition and the market may appear closer to a monopoly. An

industry or market segment is considered to have low concentration when
many companies own a small share of the market. An industry with very
low concentration industry is considered to be fragmented, and as such can
be highly competitive.
The amount of competition within an industry or market segment is
influenced by the following:

i. Large number of businesses – This increases competition as many companies

compete for a limited number of consumers and inputs.

ii. Low market growth – This result in firms having to struggle for a slowly growing
market share.

iii. High fixed costs – When an industry has high fixed costs (the cost of getting into
and staying in the business), then players need to look for efficiencies in the size
of their operation to achieve economies of scale and increase their potential
profit.

iv. Perishable goods – These are required to be sold quickly, and cannot be
inventoried for long. This may lead to price cutting and other competitive
dynamics, as businesses may need to unload large volumes of the same product
around the same time.

v. Limited exchange costs – This has to do with the cost to the customer of
exchanging or switching products or services.

vi. Industry or market segment consolidation cycles – If competition increases to a

point where there are so many suppliers that supply starts to exceed demand,
some businesses will fail and the industry will consolidate to the point where the
supply meets demand.

5.1.2 Barriers to Entry

In theory, given a supply of capital, businesses should be able to enter an
industry or market segment without barriers. In reality, this is seldom the
case. There are a number of factors that restrict the ability of new
businesses to enter and start operating in a particular industry.
The ease with which someone else can enter a market determines the
likelihood that a business will face new competitors. The easier it is to
77
INTRODUCTION TO INDUSTRIAL DESIGN

enter the industry or market, the faster profits will be eroded by

competition. On the other hand, the harder it is for new entrants to appear,
the longer the competitive advantage lasts. Mature businesses have often
developed greater operational efficiencies because they faced the pressure
of competition and found ways to dig in and remain viable.
The ease of entry into an industry or market segment depends upon two
factors: how high are the barriers to entry in that industry, and how
existing players react to new entrants. Existing competitors are most likely
to react strongly against new entrants when there is a history of such
behaviour, when the existing competitors have invested substantial
resources, and when the industry is characterized by slow growth. In other
words, the more that existing businesses have invested in the game, and
the less there is to go around, the more likely they are to react strongly
against newer players.

5.1.3 Analysis of major competitors

A competitor analysis is an essential component of cooperative strategy.
The competitor analysis is an assessment of the strengths and weaknesses
of current and potential competitors. First, it identifies opportunities (any
strategic weaknesses in rivals) and threats. Second, competitor profiling
will allow the business to anticipate how competitors might respond to
new entrants. Third, this knowledge will allow the business to consider
strategies to respond to competitor behaviours.
A competitor analysis should include:
i. An understanding of a key competitor’s vision, mission and objectives,
allowing a new business to consider how its own guiding statements
differ.

ii. Identification of product or market segment strengths and weakness, to

enable the new business to consider new and innovative products;
iii. A determination of the size, configuration and operations of the
competitor, which will allow new business owners to create realistic
business projections based on appropriately priced products;
iv. An analysis of how competitors use their distribution channels and
direct sales activities;
v. A listing of the competitive payment terms and discounts, in order to
make negotiating similar conditions simple; and
78
INTRODUCTION TO INDUSTRIAL DESIGN

vi. A sampling of the competitor’s marketing communications, which will

allow a new business to create their own marketing communication
plan to differentiate themselves.

A common technique is to create detailed profiles on each of your major

competitors. These profiles give an in-depth description of the competitor's
background, finances, products, markets, facilities, personnel and
strategies.

5.2 MARKET POTENTIAL

Market Potential is essential in determining the total sales for a given market. The
analysis must provide a determination if the market is large enough to sustain the
business entry in light of the competitive market conditions. The cooperative will
require detail information providing specific information to be able to make an
informed decision to proceed or abandon the business idea.
5.2.1 Marketing
Marketing is described by the Marketing Association as “an organizational
function and a set of processes for creating, communicating, and
delivering value to customers and for managing customer relationships in
ways that benefit the organization and its stakeholders. Marketing
management is a process of setting marketing goals for an organization
(considering internal resources and market opportunities), the planning and
execution of activities to meet these goals, and measuring progress toward
their achievement.

5.2.2 Marketing Plans

The key component of a business plan is the marketing plan. A good
marketing plan summarizes the who, what, where, when, and how much
questions of company marketing and sales activities for the planning year.
The financial projections contained in your business plan are based on the
assumptions contained in your marketing plan. It is the marketing plan that
details when expenditures will be made, what level of sales will be
achieved, and how and when advertising and promotional expenditures
will be made. Here are the major elements of a marketing plan:
79
INTRODUCTION TO INDUSTRIAL DESIGN

i. Situation Analysis - describes the total marketing environment in which

the company competes and the status of company products and
distribution channels.

Illustration 1: step of marketing analysis

ii. Opportunity and Issue Analysis - analyzes the major external opportunities
and threats to the company and the internal strengths and weaknesses of
the company, along with a discussion of key issues facing the company.
iii. Goals and Objectives - outlines major company goals and the marketing
and financial objectives.
iv. Marketing strategy - provides the company's marketing strategy statement,
summarizing the key target buyer description, competitive market
segments the company will compete in, the unique positioning of the
company and its products compared to the competition, the reasons why it
is unique or compelling to buyers, price strategy versus the competition,
marketing spending strategy with advertising and promotion, and possible
Research and development and market research expenditure strategies.
v. Sales and Marketing Plan - outlines each specific marketing event or
action plan to increase sales. For example, it may contain a summary of
quarterly promotion and advertising plans, with spending, timing, and
share or shipment goals for each program.

5.2.3 Market Research

Market Research is the function that links the businesses products or
services with the consumer. Market research is the systematic gathering,
80
INTRODUCTION TO INDUSTRIAL DESIGN

recording, and analyzing of data about your market. This information is

used to identify and define market opportunities and threats; generate,
refine, and evaluate marketing actions; monitor marketing performance;
and improve understanding of the market dynamics. Market research
specifies the information required to address these issues, and
communicates the findings and their implications.

Market research focuses and organizes marketing information. It ensures

that such information is timely and permits businesses to:
i. Reduce business risk
ii. Spot current and upcoming problems in the current market
iii. Identify sales opportunities
iv. Develop plans of action

5.2.3 Research Process

Businesses may conduct market research at varying degrees of complexity
or frequency. For example, a business might use a simple questionnaire to
determine the demand in a small market, or may hire a professional market
research firm to conduct research to assist them in developing a marketing
strategy to launch a new product. Larger firms may have their own
specialists on staff.
Regardless of the simplicity or complexity of our market research project,
the Small Business Association of America believes that the following
seven market research steps must be completed to provide accurate
information:

i. Step One: Define Marketing Problems and Opportunities

The market research process begins with identifying and defining the
problems and opportunities that exist for your business, such as:
 Launching a new product or service
 Low awareness of your company and its products or services
 Low uptake of your company's products or services (the market is familiar
with your company, but still is not doing business with you)
 A poor company image and reputation
 Problems with distribution; your goods and services are not reaching the
buying public in a timely manner
81
INTRODUCTION TO INDUSTRIAL DESIGN

i. Step Two: Set Objectives, Budget, and Timetables

Objective: With a marketing problem or opportunity defined, the next step is
to set objectives for your market research operations.
Budget: How much money are you willing to invest in your market
research? How much can you afford? Your market research budget is a
portion of your overall marketing budget.

Timetables: Prepare a detailed, realistic timeframe to complete all steps of

the market research process. If your business operates in cycles, establish
target dates that will allow the best accessibility to your market.

ii. Step Three: Select Research Types, Methods, and Techniques

There are two types of research: primary research (original information

gathered for a specific purpose) and secondary research (information that
already exists somewhere but needs to be interpreted for your use).

iii. Step Four: Design Research Instruments

The most common research instrument is the questionnaire. Keep these tips
in mind when designing your market research questionnaire.
 Keep it simple.
 Begin the survey with general questions and move towards more specific
questions.
 Design a questionnaire that is graphically pleasing and easy to read.
 Remember to pre-test the questionnaire.
 Mix the form of the questions.

iv. Step Five: Collect Data

To help you obtain clear, unbiased and reliable results, collect the data under the
direction of experienced researchers.
v. Step Six: Organize and Analyse the Data
Once your data has been collected, it needs to be cleaned. Cleaning research data
involves editing, coding, and tabulating results. To make this step easier, start with
a simply designed research instrument or questionnaire.
vi. Step Seven: Present and Use Market Research Findings
Once marketing information about your target market, competition and
environment is collected and analyzed, present it in an organized manner for use by
the business.
82
INTRODUCTION TO INDUSTRIAL DESIGN

5.3 MARKETING CONCEPTS

i. Commodities and Differentiated products
Commodities and differentiated products are the two ends of the product
spectrum. A product is a commodity when all units of production are
identical, regardless of who produces them. A differentiated product can be
easily distinguished from those of its competitors. On the continuum
between commodities and differentiated products, there are many degrees
and combinations. A commodity means that each unit of a commodity is
exactly like every other unit. For example, every bushel of number 1
Canadian Red Spring Wheat 11.5 per cent protein can be substituted for
every other bushel of number 1 Canadian Red Spring Wheat 11.5 per cent
protein. Because the identity of each producer’s wheat does not have to be
kept separate, the wheat from many farmers can be mixed together. This
also means that the price for wheat on any given day, at any given location,
is the same for all farmers.
Commodities tend to be raw materials like corn, wheat, copper, crude oil,
etc. Only commodities can be traded on “futures” markets because every
unit is the same. Commodities are often inputs to other (“finished”)
products. These finished products may in turn be differentiated ones.
i. Price Takers
People that produce commodities are referred to as “price takers.” This
means that an individual producer has no control over his/her price. On any
day, the producer must take what the market offers.

ii. Differentiated Products

A company’s product is a differentiated product if it is unique and cannot be
substituted for a competitor’s product. If the product is different, the
producer can make the case that it is better. If it is a better product, in the
eyes of customers, and they are willing to pay more, then the company can
charge a higher price for it. The customers can see a difference in value
between it and a possible substitute.

iii. Price Maker

The producer of a differentiated product is said to be a price maker rather
than a price taker. A price maker has some influence over price, but not as
much as most people believe. Essentially, a producer of a differentiated
83
INTRODUCTION TO INDUSTRIAL DESIGN

product creates a separate market for that product, to the extent that they are
able to do so through marketing activities and demand.

iv. Perceptions Are Everything

There is the false perception in agriculture that the emergence of niche
markets provides for unlimited product differentiation. For example, the
organic milk market niche offers you the opportunity to differentiate your
milk from commodity milk. While it does allow you to differentiate your
milk from commodity milk, your organic milk is not necessarily a
differentiated product.

v. The Value Added Differentiated Fallacy

Differentiation only takes place when the product you produce is seen as
different. So you need to convince organic milk purchasers that your organic
milk is better than that of your competitors. One way of doing this is to
create a brand for your product (e.g. Johnson’s Better Organic Milk), and
promote your brand to organic milk purchasers.

vi. Target Marketing

Target Marketing is the practice of directing the marketing effort at a
specific market segment. A target market, or segment, on which a business
may focus, is a group of potential buyers that the business believes will
want to or do want to buy that product.

vii. Branding
Branding is one of the most important factors influencing an item's success
or failure in today's marketplace. A brand is a combination of name, words,
symbols, design, reputation and association. It identifies a product and/or its
company and differentiates it from competition.

viii. Niche Marketing

Niche marketing is marketing a product or service in a small portion of a
market that is not being readily served by the mainstream product or service
providers. These “niches” can be geographic areas, a specialty industry, a
specific demographic or ethnic group, one gender, a specific interest group,
or other special group of people.
ix. Ethnic Marketing
What is ethnicity? It is a multidimensional expression of identity that
includes race, origin or ancestry, language and religion. It is influenced by
84
INTRODUCTION TO INDUSTRIAL DESIGN

immigration, blending and intermarriage, which very often influence the

strength of ethnic identification. It is often associated with cultural practices,
customs and beliefs and sometimes dress and eating habits. Ethnicity
depends partly on self-identification. Everyone chooses whether they want
to identify with a particular ethnic group or not.
Identifying with more than one group is more and more common, as cultural
mixing is increasingly on the rise.

TECHNOLOGY FEASIBILITY
5.1 Introduction
Analysis about technical mostly using during develop process or in manufacturing
process to create new product. In this analysis, engineering aspect very important
to decrease leak of production time and also can improve quality of product.
Therefore, the new technology provides in engineering field to get better result in
process, can reduce time or cost and get the good environment in working place.
The purpose of technical analysis is get more feasibility in process of system. It
means the inputs required in this process very important and available to
organization. However, the likely use for facilities in manufacturing process is
size, technology, location and etc. This method can detect what weakness can
improve in this system or process. The fields of the technical study can be
determined as follows: -
i. Method of Production

ii. Production Technique

iii. Project Requirements

iv. Project Location

v. Technical arrangements

vi. Material inputs and utilities

vii. Plant capacity

viii. Location and site

ix. Machineries and equipment

x. Environmental aspects

xi. Project charts and layouts

85
INTRODUCTION TO INDUSTRIAL DESIGN

xii. Schedule of project implementation

xiii. Work schedule

xiv. Need for considering alternative

5.1.1 Method of Production

The selection among a number of methods to produce the same commodity
should be undertaken first. Factors that make one method being preferred to other
method in agricultural projects are the following:
i. Availability of inputs or raw materials and their quality and prices.

ii. Availability of markets for outputs of each method and the expected prices for
these outputs.

iii. Various efficiency factors such as the expected increase in one additional unit of
fertilizer or productivity of a specified crop per one dune.

5.1.2 Production Technique

After we determine the appropriate method of production of a commodity, it is
necessary to look for the optimal technique to produce this commodity.

5.1.3 Project Requirements

Once the method of production and its technique are determined, technical people
have to determine the projects' requirements during the investment and operating
periods. These include:

i. Determination of tools and equipment needed for the project such as drinkers and
feeders or pumps or pipes …etc.

ii. Determination of projects' requirements of constructions such as buildings, storage,

and roads …etc. in addition to internal designs for these requirements.

iii. Determination of projects' requirements of skilled and unskilled labour and

managerial and financial labour.

iv. Determination of construction period concerning the costs of designs and

consultations and the costs of constructions and other tools.

v. Determination of minimum storage of inputs, cash money to cope with operating

and contingency costs.

5.1.4 Project Location

86
INTRODUCTION TO INDUSTRIAL DESIGN

The most important factors that determine the selection of project location are the
following:

i. Availability of land (proper acreage and reasonable costs).

ii. The impact of the project on the environment and the approval of the concerned
institutions for license.

iii. The costs of transporting inputs and outputs to the project's location (i.e., the
distance from the markets).

iv. Availability of various services related to the project such as availability of

extension services or veterinary or water or electricity or good roads or etc.

v. This method can be covering by:

vi. Manufacturing Process / Technology
vii. Choice of Technology

viii. Plant capacity

ix. Principle inputs

x. Investment outlay and production cost

xi. Use by other units

xii. Product mix

xiii. Latest developments

xiv. Ease of absorption

5.1.5 Technical arrangements

Satisfactory arrangements must be made to obtain technical know-how needed for
the proposed manufacturing process. When collaboration is sought the following
aspects must be worked out:
i. Nature of support from collaborators during each stage of the project.

ii. Process and performance guarantees in terms of plant capacity, product quality and
consumption of raw materials and utilities.

iii. License and royalty fee

iv. Benefit of collection agreement and manner of sharing management control.

5.1.6 Material inputs and utilities

87
INTRODUCTION TO INDUSTRIAL DESIGN

Technical analysis must define the materials and utilities required, specifying their
properties and setting up their supply programmer. Material inputs may be
classified into 4 broad categories:
i. Raw materials classified into :( Agricultural products, Mineral products, Livestock
forest products, and Marine products)

ii. Processed industrial materials and components. (Represent important inputs and
Analysis should cover the total requirement, sources, prices etc.)

iii. Auxiliary materials and factory supplies chemicals, packing materials, oils, grease
etc.

iv. Utilities power, water, fuel, steam etc

5.1.7 Plant capacity

Plant capacity is the production capacity or volume of units that can be produced
during a given period of time. It may be

i. Feasible normal Capacity –(FNC) Capacity attainable under normal working

conditions

ii. Calculated on the basis of installed capacity, technical conditions of plant, shift
pattern, down time for maintenance and holidays.

iii. Nominal maximum capacity (NMC)-Capacity that is technically attainable,

corresponds to the installed capacity guaranteed by the supplier of the plant.

5.1.8 Location and site

i. Location refers to Broad area like city, industrial zone and

ii. Site refers to Specific area or piece of land where the project would be set up.

iii. The choice of location would depend on:

iv. Proximity to raw materials.

v. Proximity to market

vi. Availability of infrastructure - power, transportation, water, communication

vii. Labour availability

viii. Governmental policies

ix. Other factors (Climate, Living conditions, Pollution, Ancillary units)

88
INTRODUCTION TO INDUSTRIAL DESIGN

x. The site selection would depend on the cost of site. Two or three alternative sites
must be considered and evaluated with respect to cost of land and cost of site
preparation and development.

5.1.9 Machineries and equipment

The requirement of machinery and equipment depends on production technology and
plant capacity and also the type of project. To determine the kinds of machinery required
the following procedure may be followed:
i. Estimate the likely levels of production overtime

ii. Define various machining and other operations

iii. Calculate machine house for each type of operation

iv. Select machineries and equipment for each function.

v. The equipment required may be classified into the following types: Process,
Mechanical, Instruments, Control, Internal transportation, Others

vi. Constraints in selecting machineries and equipment’s may be:

 Limited availability of power

 Difficulty in transport

 Workers not able to operate

5.1.10 Environmental aspects

A project may cause environmental pollution in various ways hence these aspects must
be properly examined

5.1.11 Project charts and layouts

Once the data is available on the principle dimensions of the project, charts and lay out
must be prepared. The important charts and lay outs drawings are:
i. General functional layouts

ii. Material flow diagram

iii. Production line diagram

iv. Transport layout

v. Communication layout

vi. Plant layout

89
INTRODUCTION TO INDUSTRIAL DESIGN

5.1.12 Schedule of project implementation

As part of the technical analysis a project implementation is also prepared. Following
information is required for this:
i. List of all possible activities from project planning to commencement of
production

ii. Sequence in which various activities have to be performed.

iii. Time required for each activity

iv. Resources required

v. Implication of putting more resources or less resource than normally required.

5.1.13 Work schedule

The work schedule reflects the plan of work concerning installation as well as initial
operation.

5.1.14 Need for considering alternative

There are alternative ways of transforming an idea into a concrete project. These
alternates may differ in one or more of the following aspects:
i. Nature of project

ii. Production process

iii. Product quality

iv. Scale of operation and time phasing

v. Location

Technological Feasibility and Cost Analysis

Technology Feasibility and Cost Analysis is performed to determine the potential
economic viability of a process or technology, and helps to identify which
technologies have the greatest likelihood of economic success. Results from
technology feasibility analysis efforts provide input to balanced portfolio
development and technology validation plans. The economic competitiveness of a
technology is assessed by evaluating its implementation costs for a given process
compared to the costs incurred by current technology. These analyses are
therefore useful in determining which projects have the highest potential for near-,
mid-, and long-term success. Parameters studied include production volume
benefits, economies of scale, process configuration, materials, and resource
90
INTRODUCTION TO INDUSTRIAL DESIGN

requirements. Of principle importance, technology feasibility analyses can help

direct research toward areas in which improvements will result in the largest cost
reductions. Additionally, advancement toward the final goal of commercialization
can be measured as the economics of a process are evaluated throughout the life
of the project. Tools used for technology feasibility analysis include process
modelling equipment cost modelling, and cash flow analysis. Technology
feasibility analysis is performed on a regular and ongoing basis, in the areas of
delivery, storage, and fuel cells.
91
INTRODUCTION TO INDUSTRIAL DESIGN
92
INTRODUCTION TO INDUSTRIAL DESIGN

6.0 Ideation

In this industrial design there are several processes to start designing a product. The
primary process in design is ideation where it is to generating, communicating with new
ideas and developing which is a creative process. It can be shown in many ways such as
visual, concrete or abstract. To get the actual of a product is by the compression of an
ideation a combination of all the innovation. This ideation is a priority of designing
process on practical and theoretical. In ideation there are also several important elements
that it takes in consideration such as creativity, idea, design and innovation.

Idea is the main of creating an ideation it is image representation of some object. It also
shows the concept that can present the product. Idea is to create symbolic concepts that
reflect to show the understanding of the project. It shows the idea arises that lead to
innovation in a spontaneous event.

Creativity is also important in ideation this is to produce a great idea with extra ordinary
human thinking. Creative will happened in a phenomenon that is something new and
valuable is created. The product that is made must be intangible was it is a combination
of many idea combinations with fact such as scientific theory on a physical object. This
creative concept covering many relations such as creative ability, creative thinking and
mental health.

There several methods to get ideation to produce a good product based on a crazy and
illogical idea. The methods are divided into 3 elements which are:-

a) Brainstorming
b) Mind Mapping
c) Idea Filtering

Brainstorming
Ideation
Mind Mapping
Idea Filtering

Figure 1: 3 Element of Ideation

6.1 Mind Mapping

This is a technique that shows more effective way to help us to get idea. Thus it
also improves and record new information. Hence it enhances our creativity in problem
solving with support. This way can help us quickly identify and help us understand the
93
INTRODUCTION TO INDUSTRIAL DESIGN

structure of our subject more deeply. This helps us to put our idea like a piece of puzzle
to form information that fits together. It also helps us to recall our brain on our discussion
with our group members. This also allowed us to comprehend, create more new ideas and
build connection based on our finding. Through the use of colors, images and words,
mind mapping encourages students to begin with a central idea and expand outward to
more in-depth sub-topics.

There is much useful information by using this technique. This technique may help us to
generate many ideas without logical explanation. So it will make us easier to choose idea
to design a product to manufacture. Some of the useful things in mind mapping are:-

a) Taking note and make summarization

b) Sources are taken in different research from consolidating information.

c) Complex problem is solve together

d) Overall structure of the subject is presented by format.

e) Memorizing information and studying research.

Figure 2: Mind Maps

94
INTRODUCTION TO INDUSTRIAL DESIGN

Figure 3: Guidelines Mind Maps

6.1.1 Benefits of Mind Maps

 It helps student to expose and explore more idea, concept or problem.

 Ease great idea and better understanding between ideas and concepts.

 It is to communicate new ideas and thought processes.

 To review and recall information.

 Expose student to take notes and plan tasks.

 Make student more organize their ideas and concepts

6.1.2 How to make Mind Map

1) Start with concept or idea and start choosing the topic or idea.

2) Creating an image with the first topic in the middle.

3) Create branches that each represent a single word that relates to the main topic.
95
INTRODUCTION TO INDUSTRIAL DESIGN

4) Used different color to differentiate the branches and sub topics.

5) Then break new branches under the first branches as a sub branches.

6) Start to elaborate the branches to further expand on idea and concepts.

7) In addition can put some images and sketches it should be helpful for
brainstorming.

This mind maps is visual aid that used by diagram used to organize information in a
proper way. It is often create around the main topic to produce a greater product design.
In other word the mind mapping is also called as a spider diagram that is similar to a
concept in the 1970 which is “idea sun bursting”.

Figure 4: Spider Diagram

6.1.4 Differences of Others Visualization

There are 2 methods that are involved which is:-

a) Concept Maps

b) Modelling Graphs
96
INTRODUCTION TO INDUSTRIAL DESIGN

6.1.5 Concepts Maps

This technique in mind maps in focusing on only one word or idea. This is also based on
the tree structure denoting relationships with a central governing concept. It is a diagram
that suggests the relationship with concepts. It also shows in graphical tool that ease the
designer, engineers and others used to organize structure knowledge.

The pattern of making concept map is represent by ideas and information in boxes that is
connected with label, arrow through the branching hierarchical structure.

Figure 6: Electrical Concept Maps

6.1.6 Modelling Graphs

This modelling graph is another additional way to produce ideas. This technique is by
using the “Unified Modelling Language” known as UML diagram or a semantic network.
It is structured element with line connecting object to produce relationship. This method
is to generated for the field of software engineering that is to provide a standard way to
97
INTRODUCTION TO INDUSTRIAL DESIGN

visualize design system. UML is to motivate to get a standardize desire that disparate
notational systems that approaches to software.

Figure 7: UML Diagram

6.1.7 The 5 Essential Characteristics of Mind Mapping

 The subject is focus on the crystallized in a central image

 The main themes radiate from the central image as branches
 The branches comprise a key image or key word drawn or printed on its
associated line
 Topics of lesser importance are representing as ‘twigs’ of the relevant branch
 The branches form a connected nodal structure
98
INTRODUCTION TO INDUSTRIAL DESIGN

6.2 Brainstorming

Brain storming is a technique that involved a group creativity designed to generate the
information, ideas and opinions between members. It also known as a method of problem
solving that consists of 4W IH. It is who, where, when, why and how. 4W 1H can be use
to define the problem which consider who involved, where the problem occurred, when it
occurred, why and how to solve the problem. Basically, the brainstorming will define the
problem not the solution. The information, ideas and opinions will be expressed through
the discussion between members and all the information, ideas and opinions will be
collected and selected. Usually the brainstorming was conducted in 30 minutes where the
ideas and opinion will be expressed spontaneously.

There are variations in the brainstorming which is Nominal group technique, Group
passing technique, Team idea mapping method, Directed brainstorming, Guided
brainstorming, Individual brainstorming and Question brainstorming.

For Nominal group technique, the members that involved will be asked to write their
idea without tell their name. The ideas will be collect and selected from each group. From
the ideas, it also can be divided as a subgroup which is it can be categorized such as the
member can work on the color required in a product. Another group may work on the
size, and so forth.

Meanwhile, Group passing technique is the technique that required each person in the
group to write down one idea on piece of paper and then it will pass to next person. From
the idea, the person can add their thought, ideas, problem solving and so on. It will take
longer, but it allows individuals time to think deeply about the problem.

Next is Directed brainstorming, Directed brainstorming is variation of electronic

brainstorming (described below). It can be done manually or with computers. In directed
brainstorming, each person who involved will give a sheet of paper and then we will
answer the brainstorming question and asked to stop. All of the papers (or forms) are
randomly swapped among the participants. They will add their ideas or do some
improvement on the ideas. This technique basically repeated for three or more rounds.

Guided brainstorming session is the brainstorming that releases the participant under
the constraint of perspective and time. It allows the participant to stimulate the critical
and creative thinking in an engaging, balanced environment. The participants are asked to
accepted the different mindset in period of time and describe their ideas into mind map.
For the unanswered question for previous brainstorming, it will give the priority to
discuss for the next brainstorming.
99
INTRODUCTION TO INDUSTRIAL DESIGN

Individual brainstorming is the technique that use as an individual thought. It is like a

speech that has given and they will picture their thought through mind map, visual note
and so on. Individual brainstorming is a useful method in creative writing and it shown
that it can be better option for the traditional group brainstorming.

Question brainstorming is the method of the brainstorming that have the question to be
solve and discuss but the participant doesn’t have to come up with immediate answers
and short term solutions. These methods are using to ensure that the participant has an
answered that contributed to the future action plan.

Brainstorming can be considered as a performance tool that can help the productivity in
the production line. The ideas and information can be transfer to the individual to
improve the skill. Some ideas and information in the brainstorming cannot be criticism
but give the ideas and opinion to improve it. In the brainstorming, it can test the
participant to produce their ideas and opinion which can be accepted.

The brainstorming also can give the Training, motivation, and personality as
determinants of the effectiveness of brainstorming groups and individuals. Brainstorming
also consider for the time travel which is the problem that occurred in the future. It is
depending on the participant to make sure how they can deal with the problem. The
brainstorming also helps the participant to facing the problem in a different place. The
brainstorming considers that the attribute change which is has a different gender, age,
race, and intellect can exposed the participants to a new spectrum of thinking that was
subconsciously.

We also can use the SWOT Analysis to make brainstorming become effective. With
SWOT Analysis we can determined what are the Strengths, Weaknesses, Opportunities
and Threats. The analysis will open up to ideas that may not be aware before.

There are several step of brainstorming rule. First is Defer judgment. The participant will
never know where a good idea is going to come from. The key is making everyone feel
like they can say the idea on their mind and allow others to build on it. Second,
Encourage wild ideas. Wild ideas can often give rise to creative leaps. In thinking about
ideas that are wacky or out there we tend to think about what we really want without the
constraints of technology or materials. Third, build on the ideas of others. Being positive
and building on the ideas of others take some skill. In conversation, we try to use a polite
word which is use ‘and’ instead of ‘but’. Lastly, Stay focused on the topic. Try to keep
the discussion on target.
100
INTRODUCTION TO INDUSTRIAL DESIGN

6.2.1 The advantage of using brainstorming

1. Save time for solving the problem

2. Can lead the ideas for the future
3. Increased creativity
4. Better employment relations
5. Better society
6. Better products and services
7. Better management
8. Less conflict and argument
9. Improvement in productivity and reliability
10. New product and services

Figure 8: Brainstorming Team

Brainstorming can be close up between employee and employer which they are meeting
up in the meeting to express their ideas and thought and they act as one team.

Figure 9: Idea Is Writing Down On Sticky Note in the Brainstorming

101
INTRODUCTION TO INDUSTRIAL DESIGN

The facilitator in the brainstorming can guide the participant to choose which have a
better solution for the problem. If they are come up with the ideas, they will choose and
list down the ideas that can help them to achieve their goals.

Figure 10: Brainstorming Activity Conducting

Figure 10 shows that the activity conducting in the brainstorming. The ideas and opinion
were recorded and presented. They were elaborated the idea and selected the idea for
submission. Exchanging the idea may reduce the time of solving problem. They will
come up with the solution and variety ideas. The participants have to think outside of the
box which is their ideas can be list as crazy idea, good and bad ideas. The participants
need to give the visual for their idea which can be accepted or not. In this brainstorming,
there are a lot of opposite opinion. They usually discussed the idea in their team and
accepted the idea that can give the benefits to them.

The brainstorming can be divided into 3 stages which can be considered as an

achievement in their solving problem method.
102
INTRODUCTION TO INDUSTRIAL DESIGN

Figure 11: 3 Stage of Brainstorming

6.3 Idea Filtering

This process is used to evaluate innovative product idea and strategies by industrial
designers. Idea filtering criteria are used to determine compatibility with overall objective
and whether the idea would fulfil customer needs and expectations. Whatever is not
meeting these criteria is typically discarded. It is uses to get specific result that a person
or system aim to achieve within a time frame and with available resources. In general
objectives are more specific and easier to measures. Objectives are basic tools that
underlie all planning and strategic activities. They serve as basis for evaluating
performance.

To filter ideas, product characteristics specified by industrial designers may

include the overall form of the object, the location of details with respect to one another,
colours, texture, form, and aspects concerning the use of the product. Additionally, they
may specify aspects concerning the production process, choice of materials and the way
the product is presented to the consumer at the point of sale. The inclusion of industrial
designers in a product development process may lead to added value by improving
usability, lowering production costs and developing more appealing products.
103
INTRODUCTION TO INDUSTRIAL DESIGN

Interactions among evaluators also should increase the quality of their

evaluations. Interactive and iterative evaluation techniques enable participants to learn
from one another and improve overall decision quality Diversity in expertise also
enhances the accuracy of the decision. Thus, it is beneficial to include many experts in
the idea evaluation processes and allow these experts to interact with one another, though
the threat of groupthink might limit the benefits of group decisions and yield biased
results.
The main goal is to outline the basic idea of the new product, provide some
information about possible market segments, and determine potential benefits for
customers. On the basis of the stimuli design, decision makers can evaluate and filter new
ideas.

6.3.1 Concept Selection

Concept selection is the method use by industrial designer. It is the process of
evaluating concepts with respect to the criteria such as colors, texture, form, and aspects
concerning the use of the product and selecting one or more concepts that fulfill the
needs.
Industrial design may also focus on technical concepts, products, and processes.
In addition to aesthetics, usability, and ergonomics, it can also encompass engineering,
usefulness, market placement, and other concerns such as psychology, desire, and the
emotional attachment of the user.
In fact, many industrial designers often use various design methodologies in
their creative process. Some of the processes that are commonly used are user research,
sketching, comparative product research, model making, prototyping and testing. These
processes are best defined by the industrial designers and/or other team members. From
this the manufacturing process may be modified to improve the product.

Figure 12: Concept Selection Pictorially

104
INTRODUCTION TO INDUSTRIAL DESIGN

6.3.3 Concept Selection in Sketch

Figure 16: Laptop Case Concept

Figure 17: Motivator Concept

105
INTRODUCTION TO INDUSTRIAL DESIGN
106
INTRODUCTION TO INDUSTRIAL DESIGN

Conceptual Design

Integrating ideas and concepts

Refining aesthetics and functionality

7.0 Definition of Conceptual Design

Conceptual design is the very first phase of design, in which drawings or solid
models are the dominant tools and products. The conceptual design phase provides a
description of the proposed system in terms of a set of integrated ideas and concepts
about what it should do, behave, and look like, that will be understandable by the users in
the manner intended. Conceptual design services include industrial design that defines
both the aesthetics and functionality of the product, and prototype manufacture.

Conceptual Design is a term given to all forms of non-aesthetic design

management disciplines. It is the design of interactions, experiences, processes and
strategies and is the point at which people, knowledge, products, services, processes, and
profitability meet vision and endless possibilities, each acting as a distinct colour on the
canvass of the designer. Conceptual designers tend to be better geared to abstract
reasoning in any given environment, quickly able to understand the underlying
motivations of key players, root-causes of failure, as well as feeling and connecting with
the human elements that any system, experience or interaction has on its users.

Since the emergence of design thinking as a vehicle for business and research
development, many conventionally trained aesthetic designers have wrongly been called
upon to support organizations with workshops pertaining specifically to business or
process development in the incorrect assumption that all design is equal in this capacity.
This has resulted in a large shadow being cast over the role of design in business and
development and questions being asked about the value of design as a tool for business
and research development.

Example for conceptual design

107
INTRODUCTION TO INDUSTRIAL DESIGN

7.1 Concept Design and Ideation

How do companies go from a written document filled with strict deadlines and
cost estimations to imaginative, well-thought-out products on the shelf? They do it with
the help from a team of creative, disciplined and professional designers.
Earlier we looked at part one of the industrial design process related to defining a
product in its earliest stages. The following article builds on that by discussing the role of
designers and the initial concept design stages they go through. These stages allow them
to pour their imagination and ideas from their minds into a tangible, coherent set of
thoughts and sketches.

7.2 Concept Design

In most companies, designers work to a design brief, product specification or play
specification that guides their designs. These guides include some visual and written
direction about an initial product opportunity that’s been identified. It’s then the
designer’s role to make these ideas a reality.
A professional designer has the ability to provide a large variety of designs in a
quick and efficient manner. Many people can draw one or two ideas, but when asked to
elaborate or iterate they often fall short. What separates the true design professional is
depth and breadth of their presented ideas and vision in a clear and concise manner.
Concept design generally means the use of hand-drawn or digital sketches to
convey what’s in a designer’s mind onto paper or a screen. It can, however, also include
sketch models or shape and form studies in a variety of mediums such as paper, plastic-
card, cardboard, clay or foam. Digital sketch models are also a good way to explore early
ideas, along with digital and hand-built mechanisms.

7.2.1 Draw from Your Imagination

There are a wide variety of ways to convey ideas, from hand sketches, block-in
silhouettes and rough scribbles to thorough drawings, turnarounds and detail views. Call-
outs are often added, further highlighting features of note or ideas that may not be
immediately apparent.

This image shows various early stage sketches. The emphasis here is on speed and
getting multiple ideas down on paper. The sheet shows techniques including; silhouettes,
hand drawn pen sketches, digital stylus sketches and even a white board sketch. Anything
goes at this stage.
108
INTRODUCTION TO INDUSTRIAL DESIGN

7.2.2 What Makes a Good Sketch?

A good sketch conveys the designer’s ideas without being overly worked. Drawings
don’t have to be crisp and sharp. It’s better to get several good ideas down quickly and
relay multiple thoughts and ideas at a glance. The main focus at this point is to convey
imagination and fresh thinking and not focus on or ‘noodle’ one idea.

7.2.3 Quality over Quantity

As in all things, quantity does not necessarily mean quality. So a designer should try to
create multiple sketches reflecting differing ideas or sketches that, through iteration,
improve the theme and direction of the brief. Repetition and alteration of one design
should really be reserved for later stages of the process.
Unfortunately, it’s common to see one sketch repeated many times with slightly different
parts being added. Sometimes designers will even pull out old sketches from previous
projects. To this end, designers should make every effort to stay fresh in their thinking
and style.

7.3 Aesthetic and Functional

Aesthetic in design
The aesthetics of an artifact are the immediate feelings evoked when experiencing
that artifact via the sensory system. I consider aesthetic responses to be different from
109
INTRODUCTION TO INDUSTRIAL DESIGN

other cognitive responses in at least three ways. Aesthetic response is rapid, usually
within seconds of exposure to the artifact. Aesthetic response is involuntary, requiring
little if any expenditure of cognitive effort. Aesthetic response is an aggregate assessment
biased either positively (e.g., beauty or attraction) or negatively (e.g., ugliness or
repulsion) and not a nuanced multi-dimensional evaluation. For example, consider a
brochure for a new financial service, say a mutual fund. The graphic design of the cover
of the brochure may evoke an aesthetic response— an immediate, involuntary sense of
attraction— but the prospectus detailing the securities held in the mutual fund is not
likely to do so.
While the service may be quite appealing and preferred over other alternatives,
this assessment of preference is likely the result of a deliberate analytical process over an
extended time period and will probably include a balancing of elements of like and
dislike. The response to the prospectus takes significant time, requires effort, and it is
multidimensional, and so for my purposes is not an aesthetic response. Aesthetic response
is most frequently stimulated by visual information, largely because the vision system
provides data more immediately and at higher rates than do the other senses.

Nevertheless, aesthetic responses can be stimulated via senses other than vision.
For example, consider the response to the sound of a recording of Aretha Franklin; the
feel of a warm whirlpool; the taste of a chocolate truffle; the smell of spoiled meat; the
acceleration of a rollercoaster in a sharp turn. We typically think of the aesthetics of an
artifact as distinct from its function. Two different hammers might perform the task of
driving nails

Equally well and yet they may evoke different aesthetic responses in the user.
Why then do aesthetics matter in design? Let me cite three reasons, giving a preview of a
theory of aesthetics to follow. All other things equal, most users will prefer a beautiful
artifact to an ugly artifact, even in highly functional domains such as scientific
instruments. Thus, beauty can be thought of as “just another attribute” in a user’s
evaluation of preference, alongside durability, ease of use, cost, and safety. In this
respect, the aesthetic quality of an artifact is an important factor in providing a satisfying
user experience, the prime motive for design. Second, the aesthetic response to an artifact
is usually the first response to the artifact. First impressions matter and overcoming an
initial aesthetic repulsion is a substantial challenge for the designer, better avoided in the
first place.

Third, beauty may serve as a signal for unobservable attributes of quality, much
as a brand does for products and services. In such cases, beauty itself is less important
than what else the observer may infer from an exhibition of beauty. So far I have avoided
the question of why one artifact may be perceived as more beautiful than another. This
110
INTRODUCTION TO INDUSTRIAL DESIGN

question has been posed more generally for centuries by philosophers attempting to
explain beauty across the domains of art, literature, music, landscapes, architecture, and
the human body. Eighteenth-Century philosophers David Hume and Immanuel Kant
(Gracyk, 2003) wrote about aesthetics and engaged the fundamental question of the
extent to which aesthetic quality is absolute and universal or dependent on context.
Although the philosophy and psychology of aesthetic judgments is more nuanced today,
this basic tension between universal standards and relative assessment remains
prominent. I believe that the most grounded theory of universal aesthetic judgment
derives from evolutionary psychology, and I review that perspective here. I then discuss
the perspective that aesthetic judgments are derived from specific human experience and
cultural context. After providing a brief review of these two perspectives, I synthesize
them into the beginnings of a theory of aesthetics for design. Finally, I turn to the
problem of how to design beautiful artifacts.

Evolutionary Aesthetics Most significant human adaptations evolved over the past
100,000 generations (2-3 million years) and so haven’t changed much since the dawn of
modern civilization. This fact has led to the observation that we live in a modern world,
but are equipped with a stone-age mind. The evolutionary perspective is that aesthetic
responses must have provided reproductive advantage to our ancestors, or as summarized
more formally by Thornill (2003): “Beauty is the moving experience associated with
information processing by aesthetic judgment adaptations when they perceive
information of evolutionary historical promise of high reproductive success.” The classic
example of evolutionary aesthetics is that humans on average find symmetry attractive in
potential mates. And in fact, even today, facial symmetry is correlated with reproductive
health, and so it is plausible that rapidly detecting and being attracted to facial symmetry
is an aesthetic judgment adaptation that could have led to relatively higher reproductive
success (Thornhill and Gangestad 1993).

Evolutionary aesthetics also convincingly explains a wide range of other

responses, including an aversion to slithering snake-like objects and a preference for
landscapes that provide protection and vantage points. A central tenet of evolutionary
aesthetics is that adaptations are shared by essentially the entire species and so to the
extent that an adaptation explains an aesthetic response, it does so universally. (See
Dutton (2003) for a nice summary of the key ideas in evolutionary aesthetics.) On
balance, I find quite compelling the idea that we possess many specific cognitive
adaptations for quickly assessing attractive and repulsive properties of the physical world
and that some of these adaptations are likely to be relevant to aesthetic judgments of
artifacts. However, the evolutionary perspective cannot yet explain a great many of the
interesting characteristics of aesthetic responses exhibited in society today.
111
INTRODUCTION TO INDUSTRIAL DESIGN

7.3.1 A Theory of Aesthetics in Design

Despite the ambitious section heading, let me state clearly from the outset that I do not
have a fully formed and comprehensive theory of aesthetics in design. Nevertheless, I
offer some fragments of a theory, which I do think are useful in providing insights and in
guiding practice.

The theory is comprised of these elements:

 The phenomena we lump together into aesthetic response are actually the result
of many different cognitive mechanisms.
 These cognitive mechanisms operate on basic sensory inputs and on symbols
derived from these inputs and from memory. ƒ
 The cognitive mechanisms that we consider aesthetic have short time constants
and may be superseded by a more deliberate formation of preference based on
analysis over longer time periods
 Some important and significant aesthetic responses are vestigial adaptations for
detecting physical features that were useful in an evolutionary sense.
 Other important and significant aesthetic responses are adaptations that operate
on symbols derived from learning, experience, and cultural context.

Exhibit VW is a early Volkswagen Beetle automobile. Is there anyone who

doesn’t immediately find this car cute? How can a car be cute? Why do we like cute
inanimate objects? We don’t need much imagination to create a theory of cuteness.
Babies exhibit certain physical features such as forward facing eyes and rounded heads
and these features are attractive to adults who can provide resources and protection for
the young. The cute phenomenon could have plausibly evolved to provide reproductive
advantage to humans. So powerful are cute features in invoking attraction, that our
cognitive mechanisms are tricked into oohing and ahhing over collections of sheet metal
that resemble babies.
112
INTRODUCTION TO INDUSTRIAL DESIGN

7.3.2 Functional Analysis

Function analysis is a method for analysing and developing a function structure. A

function structure is an abstract model of the new product, without material features such
as shape, dimensions and materials of the parts. It describes the functions of the product
and its parts and indicates the mutual relations. The underlying idea is that a function
structure may be built up from a limited number of elementary (or general) functions on a
high level of abstraction. Functions are abstractions of what a product should do. Being
forced to think about the product in an abstract way stimulates creativity, and prevents
you from ‘jumping to solutions’, i.e. immediately elaborating on the first idea that comes
to mind, which may not be the best.

In function analysis, the product is considered as a technical-physical system. The

product functions, because it consists of a number of parts and components which fulfil
sub functions and the overall function. By choosing the appropriate form and materials, a
designer can influence the sub functions and the overall function. The principle of
function analysis is first to specify what the product should do, and then to infer from
there what the parts - which are yet to be developed - should do. Function analysis forces
designers to distance themselves from known products and components in considering
the question: what is the new product intended to do and how could it do that? The
method is useful to accomplish a breakthrough in thinking in conventional solutions. A
function analysis often precedes the morphological method. The functions and sub
functions that are identified in the function analysis serve as the parameters in the
morphological chart.

Examples of Good and Bad Functional Requirements

a) Examples of well-specified Functional Requirement.
 The product must display enlarged images.
 The robot must orient parts on the ground at any angle. Note: we can mention
the "ground" here as part of the environment, rather than part of the product.
Since designers rarely have any substantive control over the operating
environment of their products, it is considered acceptable (even desirable!) to
mention the physical characteristics of the environment in the FR specifications.
 Resist bending. Note: there are various equivalent English forms for expressing
FRs; here, there is an implication that we are talking about "the product" during
its operation. One might ask: "To what degree should the product resist bending?"
But the answer to this begs the introduction of a constraint.
 Excess heat must be dissipated to the ambient air.
113
INTRODUCTION TO INDUSTRIAL DESIGN

 The container must hold hot liquids. Note: we might have said "cup" instead of
"container," but that may have carried unwanted connotations regarding capacity
(e.g. a mug holds more than a cup).

b) Examples of badly specified Functional Requirements.

 Maintain toughness in bending. Who is doing the maintaining here? This can be
interpreted as a direction to the designer, not a function of the product; i.e. the
designer must design a product such that he maintains the product's toughness.
 Minimize the weight of the car. Although this isn't a constraint (because an
objective function like minimize doesn't set hard limits on the value of the weight
of the car), it is an instruction to the designer and not a product function.
 Minimize material costs. Cost is not a product function. Indeed, this is more a
specification of a product characteristic than an FR.
 It must be possible to pour hot liquids into the cup. This is a passive statement,
more descriptive of the cup's user (which is part of the environment) than of the
cup itself.
 Use 6061-T6 aluminium. This includes a direct reference to the required value of a
characteristic of the product.
 The robot must have a rotating elbow joint. Same as above.
 Use a grade of steel that maintains toughness. The reference to a material is not
appropriate.
 Manufacturing costs cannot exceed 10% of the unit cost. There are all kinds of
things wrong with this one. Can you identify all the problems with this statement?

7.4 What is good design?

Good design is not just what looks good. It also needs to perform, convert, astonish, and
full fill its purpose. It can be innovative or it might just get the job done.
A good design cannot be measured by a finite way – multiple perspectives are needed.
Inspired by Dieter Rams, I’ve long kept a list of what I think good design is. It is ever
expanding and some things are more important in some projects than other. Below is how
my list looks right now – greatly inspired by Dieter Rams, but focused more on online
design.

a) Good design is innovative

Innovative design can both be a break-through product or service, and a redesign of an
existing product or service. A break-through product adds a before unseen value and
function to the market and the user, while a redesign improves an existing product.
114
INTRODUCTION TO INDUSTRIAL DESIGN

Innovative design always develops in tandem with innovative technology, and can never
be an end in itself.
b) Good design is functional
Useful design fills its intended function – and likely both a primary and secondary
function. A useful design solves problems and through its design it optimizes a given
functionality.

c) Good design makes a product useful

“It has to satisfy certain criteria, not only functional, but also psychological and aesthetic.
Good design emphasises the usefulness of a product whilst disregarding anything that
could possibly detract from it.”

d) Good design is aesthetic

An aesthetic product has an inherent power of being able to fascinate and immediately
appeals to its user’s senses.

e) A good design is intuitive

Intuitive design explains itself and makes a user manual unnecessary. A design makes
how to use, perceive, and understand a product obvious. A good design explains its
function. “It clarifies the product’s structure. Better still, it can make the product clearly
express its function by making use of the user’s intuition. At best, it is self-explanatory.”

f) A good business
Assuming a product is designed to sell; a good design does well in the competition and
stands out in a competitive market. A good business means a positive profit, why a good
design sells well.

g) A good design is long-lasting

In a society of over-consumption, a good design has an important objective. It builds on
sustainability in the sense that design and materials are durable and not just a trend.
Waste and over-consumption is not a part of good design. “It avoids being fashionable
and therefore never appears antiquated. Unlike fashionable design, it lasts many years –
even in today’s throwaway society.”

h) A good design is user-oriented

Good design is based on its use and designed to improve a given situation for its user.
User-oriented design adds value both intellectual and material value to its product and in
turn increases satisfaction and the life situation of its user.

i) A good design is unobtrusive

115
INTRODUCTION TO INDUSTRIAL DESIGN

“Products and their design should be both neutral and restrained, to leave room for the
user’s self-expression. Products fulfilling a purpose are like tools and are neither
decorative objects nor works of art.”

j) A good design is thorough – down to the last detail

“Nothing must be arbitrary or left to chance. Care and accuracy in the design process
show respect towards the consumer.”

7.5 Aesthetic design VS Functional design

116
INTRODUCTION TO INDUSTRIAL DESIGN
117
INTRODUCTION TO INDUSTRIAL DESIGN

8.0 DESIGN REVIEW AND CRITIQUE

In order to create a great design, so the best way is we truly need to consider the
design review and critique. The first thing that we need to understand is the meaning of
the design review and the design critique in order to apply it in the industrial design. This
two are the different thing that important in Industrial Design. It is the method that going
to be used on this subject.

It will start by discussing a bit about the design review. It is commonly being a
communication approach that generally involved between all of the members of the
design team, included management and the customer. This is because in order to get a
perfect review. The product technical status will have provided by the management team
and the customer. Meanwhile, the valuable feedback information that involves design
issues will be received by the design team.

The objectives of the design review are:

 To ensure that all contributory factors and reasonable design options have been
considered
 To ensure that the design meets the requirements.

On the design team must be an accurate, concise overview of the design to-date
and the facilitation of productive discussions. This to ensure that the design can be
produced tested, installed, operated and maintained in a manner that is acceptable to the
customer.

The reviews that had been categorised into two types which is in formal or
informal. This is depending who are participates. In the design project those individuals
directly involved an informal review. In the design, who are not directly involved with
formal reviews include applicable subject matter expert but can review and comment on
the design.

Reviews can also be classified as:

 Technical. Technical reviews involve subject matter experts and deal with
technical issues.
 Project reviews. Project reviews will include a summary of the technical review
in addition to a survey of the status of the budget, schedule and resources.
118
INTRODUCTION TO INDUSTRIAL DESIGN

These two reviews can be combined into a single meeting however the agenda of
the meeting should be such that subject matter experts are only required to be present
when appropriate.

There are different type of reviews and it been combined into a single review. All
of this are the design review method that can be conducted and each of it has certainly
used in the certain situation. These are a sample of the different design review that can be
conducted such as:

 Requirements Review, System Design Review (SDR)

 Preliminary Design Review (PDR)
 Critical Design Review (CDR)
 Test Readiness Review (TRR)
 Final Design Review (FDR)
 Production Readiness Review (PRR)
 Ad Hoc Reviews

If we do not plan it perfectly we will be failed to achieve our objective and this
situation will be same in the design review. The timing is important in the design review
but it dependent on various considerations including the magnitude of the project,
development schedule or the status. A design review should begin approximately a month
prior for the preparation to the review meeting starting the first action by setting a
meeting date and appoint a chairperson for the review.

The participants’ selection is one of the most crucial aspects of ensuring an

effective design review. The number of participants in a design review should be in the
range of 5 to 10 people to get the upper limit effectuality. When large systems are being
reviewed, maintain this number, it is not uncommon in the entire review for a few key
people to participate while others participate only during designated segments. The
participants that involved at a design review as a part the Chairperson, the design team,
subject matter experts.

A package that depends on a number of items is the design review that including
the type of reviews being held as well as the magnitude of the project. The current state
reflects the package of the design and project progress. For instance, as Current Product
Development Specification (PDS) were relevant engineering data such as calculations,
simulations t results, and any other analyses performed, drawings, breadboards,
paradigm, cost and schedule status and projections.
119
INTRODUCTION TO INDUSTRIAL DESIGN

There is certain aspect to conduct the design review. The time period a design
review depends on the budget or schedule and if it does not support a comprehensive
review, an abbreviated version is still more beneficial than no review at all. Not every
aspect of the design and the design process must be presented but only the implication
item or because it is important needs to be reviewed. In design review for the agenda of
meeting time, it contains such as:

 Introduction,
 Purpose and process
 Background
 Detailed reciprocal discussion of the product
 Discussion of the project
 The wrap-up.

The meeting time should be focusing on the synergistic discussion about the
product with the purpose of resolving any outstanding issues including obtaining answers
to questions, confirming assumptions made, and receiving feedback respecting the
design.

Lastly, the Post-Design Review Follow-up; where a person should be designated

with the responsibility to coordinate the follow-up activities of the design review. Each
and every issue that was identified for resolution and any other action items are
monitored to completion. Furthermore, by conducting the post mortem, various aspects of
the design process provides valuable information that can be used to improve processes
in the future project.

To be concluded, in the design review provides a forum in which questions can be

answered, assumptions clarified and advice sought. It is very useful mechanism because
the design of a product can be optimised through a systematic review of and feedback on
design process outputs. Typically a number of formal and informal reviews are conducted
during the duration of a design project. These reviews may be depending on the scope
and the phase of the project.

We focus on how important is the design critique which is actually, it is important

towards the designer because a good designer needs to learn to take the feedback from
the others to solve their particular design problem.

Critiques will also help them broaden their communication skills as a designer, as
there is always the opportunity to articulate why we did, what we did or to better explain
our idea to the reviewer if they don’t see it as clearly as we do. A good critique can
involve both positive and negative feedback, which can be tricky to navigate. For this
120
INTRODUCTION TO INDUSTRIAL DESIGN

design critique, there is some rule in order for good critiques such as identify design
owner, designate a facilitator, restated project goal, leave with a task list and etc. This
entire rule is a guideline for conduct the design team.

This design critique is also a corrective step for the designers which allow them to
think in a different way to reach the common ground such as compromising on visual
versus the technological requirements. The critique is actually allowed the team to
achieve the project ultimate goal.

Figure 1: The Design Process

As we can see in the figure 1 above show that an ideal design process will follow
the objective. In realistic, the design process will be strayed away from the main
objective. As a solution, the feedback information helps the project team to follow back
their objective although a bit curves in the middle journey of the design process.

As for the designer, a good design critique can allow the others team member to
help, teach, and guide when there is weaknesses or confusion. It is also make the team
member focus on the design problem by discussing bigger ideas and strategy; familiarize
colleagues, managers, and clients with the design process. It is also can identify the
problem by responding as a team and also distribute responsibility for developing
creative output plus it helps building the team trust and must eliminate devastating ego
among the designer and other team members.
121
INTRODUCTION TO INDUSTRIAL DESIGN

After knowing a bit about the design review and the design critique, both of this
actually an important thing that needs to consider in planning and running the project that
includes the involvement of project team, management and also the customer.

8.1 MODIFICATION PROCESS

Modification process is a design alteration conducted to the product. This process

can take place at any level in the product evolution process. The design alteration that
happen early in the design process is less costly compared to those that happen after it is
acquainted into full scale production. The cost of the modification process increases with
its development time. Essentially, the design alteration can be categorised into pre-
production and post-production design changes.

The focus of the alteration should be on the design of the avant-garde product, not
on physically changing an existing object. The sustainability of products and design
scheme to understate negative impacts by using reprocess materials may be one strategy.
Designer should develop their own designs that improve on or adapt an existing design
(with at least three points of difference) so that it suits their design context. Possible
sources of products to be modified:

• An existing product available in a shop

• The product of a specific designer
• A product advertised in a catalogue, magazine, the Internet etc.

Designers need to analyse the existing product to help them pinpoint what they
will retain and those aspects that could be altered and improved. Aspects that may be
modified:

• The primary function of the product should remain, however an additional

function could be added.
• The functional aspects of the product may be improved.
• The visual and aesthetic aspects of the product may be changed
• The production and construction processes can be altered.
• The location of parts could alter or rearranged
• The size of the product or its parts could be scaled up or down.
• The modification could incorporate elements from other products or styles.

Designers need to consider at least one change that will improve the
environmental/social impacts of the existing product. The following are some examples:
122
INTRODUCTION TO INDUSTRIAL DESIGN

• The materials may be changed (e.g. locally grown timber, recycled plastic or
re-used fabric).
• The amount of materials reduced (while still retaining adequate strength).
• Joining methods may change to make it easier to separate materials at the
product’s disposal stage.
• The durability of the product may be increased for longer product life.

8.1.1 Classification of Modification Process

a) Quality Modification
Quality modifications relate to a product's dependability and durability and
usually are executed by alterations in the materials or production process employed.
Reducing a product's quality may allow an organization to lower the price and direct the
item at a larger target market. The quality of a product may give a firm an advantage over
competing brands and may allow the firm to charge a higher price because of increased
quality. Or the firm may be forced to charge more because of higher costs to achieve the
increased quality.

b) Design Modification
Design modifications alter the aesthetic and sensory appeal of the product, such as
its taste, texture, sound, and appearance. Such modifications can act to differentiate
products in the marketplace, such as BMW cars have an immediately recognizable style.

c) Performance Modification
Performance modification is the improvement of system performance. This is
typically a computer system. The motivation for such activity is called a performance
problem, which can be real or anticipated. Most systems will respond to increased load
with some degree of decreasing performance. A system's ability to accept higher load is
called scalability, and modifying a system to handle a higher load is synonymous to
performance tuning. Systematic performance modification follows these steps:
• Assess the problem and establish numeric values that categorize acceptable
behaviour.
• Measure the performance of the system before modification.
• Identify the part of the system that is critical for improving the performance.
This is called the bottleneck.
• Modify that part of the system to remove the bottleneck.
• Measure the performance of the system after modification.
• If the modification makes the performance better, adopt it. If the modification
makes the performance worse, put it back the way it was.
123
INTRODUCTION TO INDUSTRIAL DESIGN

8.1.2 Simplification and Standardization

A physical and functional requirement envelope has been defined in which a part
must fit and perform as a design is being formulated from the conceptual level to the
detailed level. A designer must design or select a part or assembly for use within the
constraints of this envelope. There are many alternative ways to design a part to meet
requirements within this envelope.

The design of a custom part or selection of a new part may be the most optimal
approach to meet product requirements from the designer's point of view. However, it
may not be the best overall approach for the company. Product cost and quality may be
negatively affected by the development of specialized items that require specialized
capabilities or prevent efficient manufacture and procurement.

Minimizing the number of active or approved parts through standardization not

only simplifies product design, but can also result in operational efficiencies and lower
inventories. A formal policy of parts standardization and emphasis on use of parts from
an approved parts list (APL) for certain commodities provides management direction to
the designer.

Group technology (GT) and Component Supplier Management (CSM) systems

can facilitate standardization through retrieval of a similar part's design to consider for
use or as a basis for developing a new design. By providing a classification structure to
store and retrieve design information, an engineer can avoid "re-inventing the wheel" and
the design function can evolve toward the use of standards. CSM systems maintain
information about approved parts and suppliers and provide easy access and cross
reference to this information.

The engineer would determine the characteristics of the item that is needed and
identify similar parts that are available through retrieval. One of these parts may function
equally as well or there may be a non-critical specification (e.g., tolerance, finish,
dimension, etc.) on an existing part that could be changed to suit both needs. If the
existing designs were not satisfactory, the design data could be used to facilitate the
design of a new part, particularly with computer-aided design tools. This approach can be
extended to identify existing tooling and fixtures which also might be used, avoiding
additional re-design.

In addition to standardization, simplification of part and product designs also

offers significant opportunities to reduce costs and improve quality. Designers need to
evaluate if there is an easier way to accomplish the part function. DFM tools and
principles provide a structured approach to seeking simplified designs. Product
complexity can be further reduced by utilizing a modular building block approach to
124
INTRODUCTION TO INDUSTRIAL DESIGN

assembling products. Through standard product modules, a wide variety of products can
be assembled from a more limited number of modules, thereby simplifying the design
and manufacturing process. By simplifying and standardizing designs, establishing
design retrieval mechanisms, and embedding preferred manufacturing processes in the
preferred part list, design and production efficiencies are enhanced.

8.2 RULES FOR RUNNING A PRODUCTIVE DESIGN CRITIQUE

Design critique is good to improve the design and it is important to encouraging

the ideas from others people. A best critique can let others to teach, and guide if there
have confusion. Other than that, it is can make the designer familiarize colleagues,
managers and clients with the design process. It is also can help to believe among each
other in team and decreases of ego.

The designer can be sharing the works when it makes feel vulnerable and present
a rationale design that was made. There are some of the good feedbacks of the design
such as the designer can ask specific questions to gather some information. Identify what
the customer want to figure out exactly what they like. The designer must ask the
customer questions even if it is seeming absurd even the designer is understanding what
the other person saying, because the potential of misunderstand will happen at an
opportune time then to prevent later on when becomes a costly inconvenience.

The designer can also use some specific instance of websites or animations of
finishing product because it is to understand particular hesitation. It is not easy to figure
out the solution of the problem because it can take for several examples to understanding.
To opens up communication and assist people about the goals of the project by asking
some suggestion to approaching the project in the same view. If the some of the problem
that’s not fixed it will become a common thread. A critique is important because the
design improved and the goal is achieved. When the members of the project are sharing
information and perceptivity, it will make the value of the project goes up. A critique can
assist us to navigate both complex processes and projects. The advisable are able to do,
the more can be collaborate effectively, make increases of creative output.

There are 9 rules in a productive design critique. Sometimes the design critique
can be unpleasant and distributed. From this design critique where among team members
gets together and reviews a design a product. This can take a longer time and can lead to
inefficient outcomes. There are some of the guidelines to prevent some of the difficulty
and to make more efficient and focused.
125
INTRODUCTION TO INDUSTRIAL DESIGN

1. Identify the Design Owner.

Basically, the designer of the project is the owner. When the end of the meeting,
to solve any problems that get identified by the one on the implement. The job for the
designer is to remind everyone.

2. Designate the Facilitator.

Must has somebody to follow of the 9 rules and make it move things along
quickly and efficiently do not expect the meeting run itself. In the meeting, it should be
not if someone was little domineering so list their name on the board.

3. Restate the Project Goals.

The owner of the design must remind towards other about the goals of this project
frequently and hopefully made it success at least 50% increase the task. Help the team to
make predicate opinion not simply give reactions by bring up to the project goals.

Figure 2: Restate the project goal in a meeting

4. Ask for What You Want.

Be more specific and clearly what want to do and focused and useful. Try to write
the meeting goals on the board as well because that really helps people to trade the right
kind of responds and they will take account for the restraints.
126
INTRODUCTION TO INDUSTRIAL DESIGN

For the rule number 1 until number 4 is must be done before the review process
starts. From this stage, the goals of the project have identified and directly put it on the
board with the design. The function of the facilitator might not have needed if there is no
feedback being given during meeting.

5. Steer Clear of Sales Pitches.

From the beginning of the meeting, it is a bad idea if the designer present with a
long explanation for every screen. This is because the designer is lack use of time.
Besides that, it will make the others not interesting anymore and some important things
might be unaware or will not take it with seriously.

6. Write it Before You Say It.

In the meeting, it is a good idea to spend with everyone reviewing the design
silently and take note. Let’s everyone silently reviewing the design more deeply the way
to experience design in the real world.
This rule of number 5 and 6 are directly related to how many of team use Concept
board so the designer can be sharing the design on the board to be critique and comments
as they can identify what they would to change.

7. Go Negative and Positive

At the mock-up stage finding flaws is more efficient than patting designer on the
back. The end of the meeting, the design owner will address the problems so this is the
right time to give a list of things that are already working well to avoid some missed
important point. This rule is sometimes unnoticed when supplying the feedback, but
remark something is also accommodating for the designer.

8. Do Not Design in the Meeting

This is because it is the owner of the project jobs. The designer must identify the
problems with other kinds of critical thinking and do not solve the problem but give it to
the owner to discover the answer. This rule part is the typical Concept board process, so
the designer use of the comments to make a new iteration, and the new draft are shared
with the member of team.
127
INTRODUCTION TO INDUSTRIAL DESIGN

Figure 3: Critical thinking of the ideas

9. Leave with a Task List

Converting the discussion into a task is from the facilitators and writes it the task
on the board. If there is no more tasks to capture, so end the meeting. Taking the design
seriously with treating the critique seriously and it is good for the team and the product
itself. This last rule can be done easily with new project management features. Take the
comments created on the board and marked it as a task and designate them to the task
owner.

8.2.1 Characteristics for Goal Critique

There are some characteristics for goal critique while in the meeting might be
such as receive feedback from the others in the meeting and can equate for several
different components of the product are designed. Research some of the design of the
product to achieve the elements or qualities for the product. While in the meeting, allow
teammates with the variety job functions to supply feedback from their skilfulness.

From the meeting, this can improve the ability of the team members to think and
give an idea for the design. It is made process of project more creative for some structure.
These critique can active to teach of non-designer about what is going on, so they can
help to solving the problem situations of other kinds.
128
INTRODUCTION TO INDUSTRIAL DESIGN

8.2.2 General rules

There are some general rules of this design critique start with informative
questions that related to intended to design and create. Then, listen first before want to
speak. Try to take a moment and listen to understand well before you voicing an opinion
because that might be your challenging your thinking. Besides that, lead into explorations
of alternatives by ask the designer questions something about that surface other choices
might be not establish. Avoid statements that not even in relation. Then, try to speak in
context for your point view but make sure to be more specific for what kind of opinion
offering to help everyone agree based on customer perspective on the variety ideas.

8.2.3 Running in the Meeting

While in the meeting, everyone has to feel open about their opinions the ideas. It
is also requiring a different style of leadership than a status type meeting. The meeting
should be led by the creator of the designs and controlling the discussion to push for
feedback. In the meeting, it should be like an informal conversation between people with
same goals to explore and surface good thinking.

8.2.4 Pre and Post Meeting Work

There is some of additional work that can do to close the loop after the critique
and set yourself up or follow up the meeting. While in the meeting, take notes of key
questions that were arises or new issues or the ideas that came up. After the meeting,
what is the next steps in the design process will be to complete the project.

8.2.5 How Often to Run Critiques

How frequently to run critique design is depending on the project team. As the
driving force for the design effort these thing might be fine. If you as the designer
creating a weekly critique discussion can help put back in the middle of the creative
process.
129
INTRODUCTION TO INDUSTRIAL DESIGN

8.3 BENEFITS AND CHALLENGES OF DESIGN CRITIQUES

There is nothing important than having additional sets of eyes look at what we
have design. Design critiques are not the only way to make that happen, but it is a very
good way of doing that. Although design reviews can be painful, we should implement
the same rule that guides brainstorming, which anyone can bring up anything, and there
are no wrong statements. Some may not agree, but everything is a valid opinion. On a
design team, everybody should submit their designs for critique. It is important for
everyone to experience the feeling of their design being put under an electron
microscope.

Experiencing this yourself helps you to provide better and more nuanced feedback
when you review others design. It is not about pride, it is about understanding what
others consider good or worth improving. It may sound easy, but it is painful. If you are a
good designer, you care. You already care when at the idea stage or when you have just
created rough sketches. You will feel pain during the critique, but what you get from the
experience is evidence about whether you are on the right track and maybe even some
helpful direction.

The greatest challenge is to run a critique on a complex system. Designers can

require quite some time to explain what they are showing. This may include introducing
special vocabulary or explaining business logic. All of this can easily turn into a lengthy
monologue from a designer and the other folks still might not understand everything. In
such situations, it can be helpful to extract the core of your design. One way to do that is
by taking the paradigm that governs your user interface design approach and basically
transplanting it into an easier to understand context.

However, it is important to remember that, by taking a core paradigm out of a real

product context, you do run the risk of not getting feedback that is applicable to the real
product. It is talking about the how rather than the why and the why is critically
important. But, if that is your objective, a design review or usability test with actual target
users would be better.