What is Design?

Georgia Crawford
This 10-page eBook focused on ‘what is design?’. The purpose is to explain and present
s2891726 examples of how designers solve problems using theories, principles and practices.
Covering 6 main topic allowed me to gain a better understanding of each week’s
topic/theme, especially through researching theory and applying it to my own design,
while also looking at other designers works in the area.

The topics covered include:

1. Analogy: Design is like….

2. Metaphor and meaning.
3. The Norman Door: An observation of how people interact with ‘things’
4. Storytelling and narrative
5. The time/space continuum

Through this process I have gained a deeper understanding of design, its purpose and
how it really influences everything. The main point learning design is a form of problem
solving really allowed me to break down each topic and apply what was solved and how
I applied that in my practical piece.
 Semiotics part 1. Analogy

Design is like smoothie: its all about the ingredients

Figure 2. Examples of analogy in advertising(center), driving safety(left) and Wildlife
Semiotics is essentially the interpretation of signs. A sign must have both a ‘signified’
preservation (right)
being the concept used to create meaning and ‘signifier’ which is the material form of
the sign (Chandler, 2002). Pierce suggests “nothing is a sign unless it is interpreted as a
sign” (Chandler, 2002, p17). For example, a blue square with an airplane in it is a
universal sign that regardless of language barriers is understood without a written word.
Analogies are a sign that show a comparison between one thing and another.

I have learnt design is a form of problem solving. In lecture 1, we disused through

semiotics, a ‘visual design’ is universally more powerful than a written/spoken
language. Using the ‘source to target’ we are able to map our explanation to the target.
My analogy is explaining the design (target) process is to compare it to a smoothie
(source). The ingredients are the most important elements to determine if the smoothie
tastes good. If the ingredients don’t combine well with each other the end result will not
be successful, just like in design if elements don’t combine well.

Figure 1. Saussure’ s model of the sign

Figure 3. Mixed media collage which explores the idea design is like a smoothie, its all about
the ingredients

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 Semiotics part 2. Metaphor

Denotation – Connotation
Money grows on trees
A metaphor is a type of analogy that blends the meaning of associations in an implicit
way by not directly expressing an idea or thought (M. McCauley, 1530QCA, March 5,
Figure 2. Examples of metaphors: head in the clouds, you are what you eat and global warming
2018). “Metaphors in design mostly serve to stimulate creativity, generate new ideas we are melting
and solve problems” (Gulari, 2015, p. 2). They do this by juxtaposing unfamiliar design
problems with known situations (Casakin, 2007). Denotation refers to the literal
meaning of a sign and connotation refers to the secondary meaning (McCauley, March
5, 2018).

In my metaphor, the literal elements of the design (denotation) are the tree getting
sawed down and the manufactured objects falling from the tree. This implies
(connotation) money grows on trees, as the products are made from the tree’s wood and
then sold for money without consideration of sustainability of trees and the
environment. As discussed in week 1, the encoded message is money grows on trees,
this is decoded and interpreted by the meaning of the manufactured objects being sold
for money as a result of cutting down the trees.

Figure 1. How analogies work by transfer of meaning Figure 3. Mixed media collage which explores metaphor money grows on trees

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 Ethnography and Human-Centered Design

The Norman Door

Human centered design focuses on the audience in which the designs are for. There is a
central focus on the user friendliness throughout the design process to ensure the
finished product is usable, useful and desirable for the intended audience (Zoltowski,
Figure 2. How the Human Design Process is broken up to success
Oaks & Cardella, 2012). The combination of creative thinking and critical thinking
meshes together to create products and designs that people want and can use. Criscitelli
& Goodwin (2017) note Apple utilizes this design process to develop innovative
products that gives a solution to their consumers.

I have learnt that at some point in the process each design was considered a good idea
and approved regardless of considering the audience they are designing for. My
example of explaining a design failure is the Recycling bin with an opening big enough
to fit only a cup or small object. The cardboard and papers from takeaway packaging on
the campus have not been considered in the design.

Figure 3. Recycling rubbish bins at Griffith University only have a hole big enough for cups,
users are unable to recycle anything bigger than this hole, including majority of on campus
restaurants take away rubbish

Fggggggggggg

Figure 1. Examples of Design Failures

Figure 4. Proposed design improvement with bigger recycling opening

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 Storytelling and Narrative

Sequential art uses imagery sequence to communicate information or narrative. “Placing

panels beside each other allows a story to start emerging, if certain panels are taken
away, all meaning is lost” (M. Keioskie, 1530QCA lecture notes, March 19, 2018).
Communication is the main objective of comics, Scott McLeod’s 6 steps to
understanding comics is an integral method for a designer to incorporate in order to get
their message communicated in the comic.

My story is based on the university having a recycling bins only suitable for cups and
very small objects, any recycling large than the small circle on campus goes into
landfill. From McLeod’s panel transitions my story used majority scene to scene and
aspect to aspect transitions. The purpose of this was to present my story concisely in
one comic so the message could get across without needing a secondary written
narrative. I utilized speech bubbles to convey the moment and communicate to the
audience what the panel was trying to communicate. I do think however incorporating
more of the transitions could make my story flow more effectively.

Figure 2. My comic on the design issue established in week 3

Figure 1. The 6 Panel Transitions

Figure 3: Scott McCloud Comic example

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 Space-Time Continuum

The definition of time is based on the relationship between depicted and perceived time
(S. Roberts, 1530QCA lecture notes, April 16, 2018). It takes time to understand media
in still images and text. In a comic the panel acts as a general indicator that time or
space is being divided (McCloud, 1994). McCloud suggests it’s not as simple for
viewers minds filling in the blanks of time and motion between comic panels. Joseph
Campbell idea of a ‘hero story’ that all stories are based around concept that many Figure 2. Examples of emotive narrative without narration. DreamWorks Introduction (left) and
narratives follow the same narrative stages and contain universally recognisable Fishing with Sam short film (right)

situations and character.

I used the ‘simple linear’ narrative structure as seen in figure 1 to depict my story. The
exposition was the university eating area, the catalysis was the size of the recycling
hole, the rising action was trying to resolve by fitting rubbish in the hole, the climax and
when she kept trying and had no success and she paused, the resolution was throwing
into landfill and walking back to class with a design issue for her project. The format of
time my video portrays is a compressed sequence of time.

Figure 3. 10 second story video demonstrating compressed sequence of time

Figure 1. Simple Linear Narrative Structure

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 References

Casakin, H. P. (2007). Metaphors in design problem solving: Implications for

creativity. International Journal of Design, 1(2) Retrieved from
http://search.proquest.com.libraryproxy.griffith.edu.au/docview/921471788?acc
ountid=14543
Chandler, D. (2001). Semiotics : the basics. London, England: Routledge. doi:
10.4324/9780203166277

Criscitelli, T., & Goodwin, W. (2017). Applying human-centred design thinking to

enhance safety in the OR. AORN Journal, 105(4), 408-412.doi:
10.1016/j.aorn.2017.02.004

Gulari, M. N. (2015). Metaphors in design: How we think of design expertise. Journal

of Research Practice, 11(2). Retrieved from
http://jrp.icaap.org/index.php/jrp/article/view/485/444

McCloud, S. (1994).Understanding comics: the invisible art. New York, NY: Harper
Perennial
Zoltowski, C. B., Oakes, W. C., & Cardella, M. E. (2012). Students' ways of
experiencing human-centered design. Journal of Engineering Education, 101(1),
28-59. doi: 10.1002/j.2168-9830.2012.tb00040.x

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