Yet the key to a truly successful product design lies in designer’s ability to combine both beautiful design and functionality making it obvious to the customers how the product can be used and which benefits it delivers. However, one can combine the beauty of design with the utility it is supposed to provide. Most products fail to pass this test and never reach the production stage; some products do manage to get to the stores.
The ability to communicate effectively and send accurate visual messages that can be readily understood by others is a fundamental function of design thinking. It is essential to have an awareness and appreciation of the implied messages and stories that are being articulated by everyday marks and objects. The messages transmitted by an object is usually the consequence of numerous minor characteristics and details managing to blend and work in harmony to form a cohesive statement to a particular audience.
A close affinity with a material and the recognition of its susceptibility and vulnerability is usually acquired after considerable sensory exposure. The physical manipulation and mental investigation of a material arouses and provokes the imagination, often defying preconceived expectations, to develop an intimate understanding and appreciation of constraints within a particular context. Exploration of a material inevitably challenges boundaries and instigates a desire to discover exciting alternative practices that further question convention.
In the traditional development environment, each of the four logical groups occurs sequentially. Research precedes the development of the new product concept, then concepts are developed by the research and development department through an iterative process until an agreed upon concept is found. After that, a formal description of the concept is sent to the engineering department (design department) were a sequence of design work, review, and rework of design is made as a concept is being developed. When the design is completely finalized it is "released" to manufacturing to define the manufacturing process.
There needs to be a lot of communication between design and engineering in the process of manufacturing. Traditionally the designer brings the visuals and concepts and the engineer brings the formulation and applied science, but recently there has been much more overlap. Product design is becoming a field of interdisciplinary study.
A glimpse at the everyday objects of our forebears reveals that they tended to derive form from the physical attributes of their performance: the long and slender axis of a screwdriver, for instance, or the comfortable wooden handle and rigid steel blade of a kitchen knife. While such a a literal approach perfectly suits individual objects of a singular use, continued pushes from a powerful combination of human need and technological and material advancements are prodding a host of new considerations to the forefront of product design-and ensuring that the objects of tomorrow resemble little the objects of yesterday.
Kirby Ferguson, an NYC-based filmmaker, has posted his third episode in his series of four- entitled “Everything is a Remix”... He’s taken an astute look at history, especially a few watershed moments of invention and advancement, and shown how these innovations are simply new combinations of other innovations that already existed. He ably dispels the myth that innovation happens like a bolt of lightning through some genius process known only to a select few. The innovations that have changed the world were not singular moments, but the end results of an incremental processes distributed across time, place, and people.
The idea of copying is like an inside joke in the art and design community. People are constantly sharing and comparing ideas, and while nothing is directly being copied, many things are being influenced. This also relates to the concept of biomorphic or nature-inspired designs. Many designs have been successful because they mimic the already beautiful forms and effiicient functions found in nature.
The product constitutes one of the classic four P's of the marketing mix, and the most fundamental characteristic of a product is its exterior form or design. Recently, the art of product design has experienced a renaissance. Not since the 1930s has product design been more creatively and strategically employed to gain advantage in the global marketplace.
An improved version of the Gramophone, a talking machine invented by Emil Berliner (1851-1929) in 1888, and made since 1894 using a patented hard rubber disc, was introduced by Berliner's US Gramophone Company.
In 2000, digital music players were either big and clunky or small and useless with terrible user interfaces. Apple saw an opportunity and introduced its first portable music player. The iPod was the first MP3 player to hold 1,000 songs and 5 gigabytes of data.
When a designer starts to design the form of a new product, she needs to integrate many demands and wishes that the prospective users of the product may have. Not only technical and objective demands are important, but also aesthetic, emotional, and other experiential factors, some of which are hard or impossible to express objectively. In design practice, the designer has to balance between objective and subjective properties, between functional technology and emotional expressiveness, between information and inspiration.
“Silent Space Collection” from Annette Douglas Textiles ACOUSTICS is a collection of acoustic curtains, consisting of light, transparent and flame-retardant acoustic fabrics with excellent sound absorption properties. The fabric absorbs round five times more, than a common transparent sheer fabric.