Reframing design problems.
How do designers find and reframe
human-centred design problems?
Human-Centred design improves outcomes for people.
This task can refer to all four Fields of Design.
In this Area of Study, students will investigate opportunities where design can be used to offer a solution to a social, cultural or environmental problem. Problems in this realm are sometimes referred to as ‘Wicked Problems’ as they rarely can be addressed with one solution because there are so many competing and interconnected elements at times.
Students will investigate conceptions of Good Design in different contexts. From this foundation, students will identify a Human-Centred design problem, stemming from a societal issue. They will conduct in-depth research, skilfully applying both Divergent and Convergent thinking in the Double Diamond design process. During the Discovery phase, students will gather information, consider cultural and social nuance, and empathise with stakeholders and the implied target audience or solution benefactors. With this acquired knowledge, students will critically assess their findings, seeking areas where opportunities for meaningful solutions exist. Finally, they will write a Brief that addresses the opportunity they identified.
outcome
What students need to do
ON COMPLETION OF THIS UNIT THE STUDENT SHOULD BE ABLE TO
-
use human-centred research methods to reframe a design problem and identify a communication need.
(VCE VCD Study Design 2024 – 28 p.22. )
CAUTION
Good to know
For Teachers
As the initial Area of Study for VCE Visual Communication Design, this Area of Study is considerably loaded with Key Knowledge. This is not a criticism as it is all valuable and forms a sound base from which students can develop. However, deconstructing each Key Knowledge point in both simplicity and detail has necessitated writing an extensive range of Tasks. Teachers are advised to select and set tasks that they consider will assist their students in learning and are relevant to their context. They may also consider having selected students or groups of students, doing different tasks and sharing their findings with the class.
Shinjuku is one of Tokyo's business districts with many international corporate headquarters located there. It is also a famous entertainment area. 10 June 2015, Tokyo, Japan. (Image: Sakarin-Sawasdinaka@shutterstock.com)
What is design?
This is the beginning of VCE Visual Communication Design. Unit 1. Outcome 1. Here. But before we start, let’s consider, do we all have a shared understanding of what is meant by the term ‘design?’ Do we all agree about what it is and what it means?
Considering the word ‘design’. What does it mean? What can it mean? What is design? Who designs? What can be designed? What isn’t designed? How does design help our world? Is design different in different cultures?
The term ‘design’ has a very broad meaning. Target Learning suggests design is the conception of an idea or system, the selection or organisation of components, to create a solution that meets a need. There are three parts to this statement. These are;
- Thinking up new, or combining existing, ideas or systems
- Selecting, organising, combining and arranging things using new or existing strategies
- Fulfilling a pre-existing need or perceived opportunity
Students’ ideas about design most probably refer to designs of objects; personal, industrial or commercial devices, machines and products, of environments; buildings, landscapes and urban plans, of messages; books, posters, signs, maps and of interactive experiences; app designs and websites. All these examples are right. They are all designs. However, in this century, the concept of design has been enlarged to include intangible (you can’t touch them) things like programs, strategies or products. These two involve the selection, organisation and arrangement of things and sometimes people, to meet a need. Examples of intangible designs include financial products like bank loans, frequent flyers and consumer loyalty schemes and the hospital Triage medical admission system.
"Today designers work on business strategy, they create virtual environments, they craft digital interfaces, they design service systems and new branches of design are evolving continuously.
Seemingly disparate as these examples may be, they share a common fundament. Regardless of the application, designers follow design methodology and a set of fundamental notions, which inform their approach. Designers are trained to analyse problems holistically, searching to understand not only the immediate or obvious problem but the system that created it." (1)
"Forms of design for tomorrow may become, for example, the creation of a network of people brought together to influence governments to establish a policy or systems to share and reuse tangible goods. "(2)
Whilst the true definition of design is broad and encompasses tangible and intangible designs, students of VCD refer to design within four areas known as ‘Fields of Design’. Messages, Objects, Environments and Interactive Experiences. More about this soon.
References:
- "What is Design?" Accessed 18 October 2023.
- "Designers, designing designs." Accessed 18 October 2023
task
Show I know ...
Discussion
Discuss these questions in groups. Feedback to the class.
1.1 What is design?
Do you agree with Target Learning’s three-step definition of design?
Can you think of three examples of design to illustrate this definition? If you can, identify the actual components for each of the three steps.
1.2 Pre-existing need or perceived opportunity
Identify one design that you think responded to a pre-existing need and one that you think a designer or design team may have perceived (felt, seen or thought) of an opportunity to design something before anyone even knew they needed it.
1.3 How many designs can you see?
Take a detailed look at the busy Tokyo region of Shinjuku in the photo above. Make a list of all the things you can see that have been designed. Identify those that are tangible and those that are intangible designs. How many can you find?
Jump to
Good Design
In this section, we are going to examine the idea of ‘Good Design’. What would you say would make a design good? What features should it have? Would it be good because it works, or because it looks good, or would it be good because it works and looks good? And after all, what if you like a design but I don’t? Can we still call it good design? From whom, when and where do ideas about Good Design come?
key knowledge
What we will learn about
key knowledge points for this outcome
- conceptions of good design across a range of design disciplines and contexts
(VCE VCD Study Design 2024-28, p. 22)
Good Design? No way. This is Great Design! This is how Captain Cook would have travelled if he had taken a QANTAS 747 down under in the early ‘70s. Wait a minute? He did come to Australia in the ‘70s – Just two hundred years too early. Read the section below and you might be able to answer with this notion of Good Design turns out to be personal, contextual and political. (Image: Reconstruction of the original QANTAS Boeing 747 First Class lounge of 1971. QANTAS Founders Museum, Longreach, Queensland. 6 September 2023)
Notions of Good Design
It's not you. Bad Doors are Everywhere. Watch to find out about bad design.
If we, students and our teachers are going to learn how to design objects, environments, messages and interactive experiences, and we want to do our job well, perhaps it might help to understand what we are talking about when we use the phrase; ‘Good Design’.
Up to now, you may have thought that good design was a matter of opinion. Alternatively, you may believe that design professionals might be best equipped to describe the characteristics of Good Design. After all, by including experienced designers, we are at least moving from subjective ideas to objective notions. We want to know; can good design be good for all?
The VCD Study Design explains that notions (ideas or thoughts) about good design are ‘personal, contextual and political’. (VCAA VCD Study Design, 2024 p19).
Broadly, this means that ideas about Good Design can initially, be opinions based on how well a design suits a person’s needs. However, from this, a raft of questions come to mind.
Is Good Design, forever good design? Or do ideas about good design change from time to time? Makes sense. The attitudes, values and behaviours in society and cultures change through time so, why not ideas about Good Design? This helps explain that notions of Good Design are contextual.
But finally, who exactly in society has the agency to influence peoples’ definitions of Good Design? Who gets to choose? This is where definitions of Good Design are political. Powerful institutions, companies and prominent designers lead in influencing our ideas of Good Design.
Notions of Good Design are indeed personal, contextual and political. To find out about how good design is defined and engage in broadening your understanding, press the link below on Good Design.
try it out
Tomorrow’s designs
Predicting the exact look of good design in the future is challenging due to the evolving nature of design influenced by technology, culture, and societal shifts. The environment itself is constantly changing and designers of the future will face both unprecedented challenges and exciting opportunities. However, there are some trends and directions that suggest what good design might look like in the future:
Sustainability-First
Good Design may prioritise sustainability as a core principle. Designers will seek to create products, buildings, and systems that minimize environmental impact and contribute positively to a Circular Economy. Urban design will likely prioritize smart and sustainable city planning, with a focus on efficient transportation, energy use, and green spaces.
Human-Centred and Personalized
Human-centred design is currently a focus for Good Design and will likely continue to be in the future. As technology becomes more integrated into our lives, good design will focus on preserving and enhancing the human experience. It will prioritize ethical tech, privacy, and user empowerment. Design of the future will also likely be more personalised offering highly personalized experiences, from tailored healthcare solutions to individually customized products and services.
Social Inclusivity and Diversity
Future design like current design will likely continue to focus on improving and celebrating diversity and inclusivity. Products and spaces will be designed to accommodate a wide range of abilities, backgrounds, and preferences.
Biophilic Design
Design will increasingly incorporate elements of nature to promote well-being. Biophilic design principles are more frequently integrated into architecture, interior design, and urban planning.
Adaptive and Resilient
Good Design needs to be adaptive and resilient, capable of responding to rapid changes in climate, technology, and social dynamics. Resilient design will become essential in the face of unpredictable challenges the World may offer.
Emotional Intelligence
Design may aim to create emotionally intelligent products and spaces. Understanding and responding to users' emotional needs may be a key consideration. Future designers may become more transdisciplinary and will likely draw from diverse fields like psychology, neuroscience, and sociology to create more effective and empathetic designs.
What are design disciplines and contexts?
The VCD Study Design identifies four Fields of Design. These terms; Messages, Objects, Environments and Interactive Experiences are used to describe four areas of the design industry that are distinctly different from one another. Known as ‘Fields of Design’ these are the top-level differentiators for work in the design industry. However, within each field, there are also areas of specialisation. No one, designer is likely to be fully conversant with the myriad different conventions, methods and technologies of their field. Specialisations within each field of design are known as design disciplines. The Design Institute of Australia has a good article on Design Disciplines.
Examples of disciplines within each field are;
Messages
- Art director
- Graphic designer
- Typographer
- Illustrator
Objects
- Industrial designer
- Furniture designer
- Textile designer
- Fashion designer
- Jewellery designer
Environments
- Architect
- Landscape architect
- Interior designer
- Exhibition designer
- Theatre set designer
Interactive Experiences
- Multimedia designer
- Web designer
- App designer
- User Interface (UI) designer
- User experience (UX) designer
Multi, inter and transdisciplinary designers
As with all work in the Arts, there are designers whose work draws on approaches and perspectives from more than one discipline within a field, and indeed sometimes those from more than one field of design. Such people are known as multidisciplinary, interdisciplinary, and transdisciplinary designers.
Multi-disciplinary Designer
A multi-disciplinary designer is someone who possesses expertise in multiple disciplines within a design field. They have a diverse skill set and can work across various design domains, such as architecture, interior design, landscape design, and more. Multi-disciplinary designers are knowledgeable and proficient in multiple design tools and understandings. They bring a breadth of skills to their work, allowing them to tackle projects from different angles.
For example. A Graphic and Web Designer combines skills in graphic design and web development. They create graphics for print media while also understanding the technical aspects of web design, ensuring a seamless user experience online.
Interdisciplinary Designer
Interdisciplinary design refers to the practice of combining knowledge and methodologies from different design disciplines, not limited to their field, to create innovative solutions. An interdisciplinary designer actively engages with multiple design fields and incorporates various approaches into their work. They draw upon the strengths of different design disciplines, such as industrial design, graphic design, architecture, and interaction design, to develop unique and comprehensive design solutions.
For example, a Fashion and Technology Designer combines fashion design with technology, integrating elements like wearable tech, smart fabrics, and interactive accessories. They create garments that not only look stylish but also serve functional purposes, such as monitoring health or providing augmented reality experiences.
Transdisciplinary Designer
A transdisciplinary designer goes beyond the boundaries of design disciplines, and their fields, and collaborates with professionals from other domains (outside design) to solve complex problems. They integrate knowledge and methods from multiple disciplines, such as technology, science, social sciences, and humanities, into their design process. Transdisciplinary design involves working closely with experts from various fields, conducting research, and employing a wide range of methodologies to address multifaceted challenges.
For example, a Space Architecture and Sustainable Urban Planning Expert combine space architecture knowledge with sustainable urban planning principles. They design habitats for space exploration, considering factors like limited resources and environmental sustainability, and apply these innovative ideas to urban planning, creating eco-friendly and space-efficient city structures.
To find out more about the four Fields of Design click on the link below.
Design contexts
The context for design refers to the geographical, historical, chronological, social or cultural position of a design or designer. As we will discover in this Area of Study, these contextual factors influence how a solution will be conceived and delivered. A warm coat for Australians works in temperatures ranging upwards from zero degrees. The same coat would never satisfy the same need in Canada where temperatures are as low as minus-forty! The context is different, the way the design need is framed is different and the design solution is very different. In a similar way, notions of appropriate and fashionable dress are different in Western (Anglo-European) cultures and Muslim societies. A dress that will suit one cultural context may not please the other. Social and cultural context is as important in correctly framing a design need as any other contextual variable.
This has been a huge amount of learning; Good Design, Design Fields and Contexts for design. Take a break, then start on the tasks below.
Jump to
Principles of Good Design
Fields of Design
Contexts
task
Show I know ...
2.1 Design Fields and disciplines
Take notes on design fields and disciplines. Identify two disciplines within each design field. Collect one image to illustrate each discipline. Annotate them to produce a Design Fields page.
2.2 Design Contexts
Read the page on Design Contexts. Take notes on Contextual Factors. Choose one kind of design. For example, a house, car, plane or logo. Find three images of one kind of design that are different because they have been created in different contexts. Explain how one or more contextual factors have influenced the aesthetics or function of the design.
2.3 Design Fields and Disciplines
Re-read the section on the Fields of Design above. Create a page to explain the fields of design. Collect two images that illustrate two different disciplines in each of the four fields of design. Annotate each image to explain the field, discipline and the job that would be responsible for creating it.
2.4 Good and not so good
In defining what is good design, it can be helpful to look at design that is not so good. Make sure you watched the ‘Bad Doors are Everywhere’ video in the section above, then go for a walk through your school looking for examples of good and not-so-good design across all of the four Fields of Design. Take photos of each good and bad design. Put them into a simple annotated report and present them to your class or table group.
Here are some areas to help you begin:
- Message – school branding, signs, maps, and posters around the school
- Environment – classroom design, landscaping, canteen design
- Object – lockers, outdoor furniture, equipment in the classroom
- Interactive – school website, school app
2.5 Put designs to the test
Take a look at the test of vegetable peelers shown above. Choose a simple design like a pen, peeler, juicer, chair or desk. Referring to Rams' 10 Principles of Good Design, choose the best three principles to use as Design Evaluation Criteria, then test and evaluate each product. Write down the results. Did they surprise you? Were the principles of Good Design good at determining good design in the real world?
2.6 Good Design Bad Design Wall
Individually
Read the page on Good Design, focussing on Dieter Rams’ 10 Principles of Design. Make a page to describe each of the Ten Principles.
In groups
Collect up to ten images of designs from anywhere that;
- share some of the 10 Principles of Good Design
- do not share any or many of the 10 Principles
Print them and then arrange them on the classroom wall in groups from worst designs to best designs. Evaluate them collaboratively.
2.7 Analyse the 10 Principles of Good Design
Identify three of Rams’ 10 Principles of Good Design that are present in the T3 Pocket Radio, and explain how they have been used to create an effective design.
2.8 Personal, contextual and political
Locate three images of designs. For each image, ensure they assist in the following points of analysis;
- Personal; choose an image of a design that you can be sure would appeal to one audience but be strongly rejected by another
- Contextual; choose an image of a design that would be really great in one context but quite hopeless in another
- Political; choose an image of a design that has been deemed ‘good design’ by a design influencer, publisher or museum.
Referring to each image, justify your choice of image in relation to each question
2.9 Value adding
Describe how using Good Design’ can add value to designs. What kind of value does it add?
2.10 Bad Design
Find an image of a design that you think or know is really bad. Evaluate it using the 10 Principles of Good Design as a score sheet. Describe how it could be improved by making three adjustments, based on three of the 10 Principles
2.11 Create your own Principles of Good Design
Now that you have explored notions of Good Design in detail, it’s time to make your own list. Create a list of five to ten principles of Good Design. Make an infographic to explain and promote your list. Give each principle a name, describe it and find one image or create a graphic to illustrate it clearly. Print and hang your Principles of Good Design in the classroom.
Jump to
The role of Visual Language
Visual Language is the means by which designs, in all fields, communicate ideas, information, emotions and information. The manner in which Visual Language is used creates aesthetic qualities present in designs and supports their function. The careful and deliberate use of the components of Visual Language is key to meeting the expectations of target audiences and satisfying the needs of users. Let’s explore how Visual Language can be used to produce good design outcomes.
key knowledge
What we will learn about
key knowledge points for this outcome
- the role of visual language in producing good design outcomes
(VCE VCD Study Design 2024-28, p. 22)
These three magazine covers are aimed at different audiences. However, they are all made from similar components of Visual Language. Skip to Task 3.2 below and examine how their designers used components to meet the expectations of each audience group.
Introduction
Designers convey concepts to audiences visually. After all, we are studying Visual Communication Design. This means we encode feelings, emotions, sentiments, ideas and information into a language that communicates without words. In a similar way to languages like English and Italian, messages constructed with Visual Language are made from a range of components. The components of Visual Language function in a similar way to the letters, words, sentences and grammar used by spoken and written languages. Visual Language is comprised from;
- The Elements and Principles of Design
- The methods, media and materials that visual communications are made from
- Pictures
- The symbolic use of subject matter, symbols and visual composition
- Type and typography
As a student designer, you will be required to learn the components of Visual Language, how to discuss how they are used in analyses of designs and how to select and apply relevant components of Visual Language to convey ideas, concepts and information in the designs you make.
For more information on Visual Language, Click the link below.
Jump to
Visual Language
task
Show I know ...
3.1 Visual Language
3.2 How is visual language used?
Referring to the three magazine covers shown above, choose three components of Visual Language used in all three. Make a table, describe and compare how they are used differently. In your answer, explain how the design decisions you have identified were made to cater for different audiences.
3.3 Visual Language and Good Design
Jump to
Design process
The 2024 Study Design for Visual Communication Design uses a well-known model to illustrate the Design Process. Moving away from the traditional ‘engineering design process’ circle, we now use a model proposed by the UK Design Council in 2017. This model shows two diamond shapes side by side. The diamonds are read from left to right and represent a starting point, Divergent thinking (the spreading out and multiplying of design ideas) is shown on the left side of each diamond. Convergent thinking (the coming together, clarification and reduction of design ideas) and the arrival at a single point, is shown on the right side. The Design Process includes four separate phases. These are: Discover, Define, Develop and Deliver. However, in this Area of Study, students will investigate and use the two first stages; Discover and Define.
key knowledge
What we will learn about
key knowledge points for this outcome
- the Discover and Define stages of the VCD design process
(VCE VCD Study Design 2024-28, p. 22)
The Discover and Define stages of the Double Diamond Design Process. Note how the investigation of things on the left, the Discover stage is random and haphazard. Using Divergent Thinking information and knowledge spread out. By contrast, processes of sorting and categorising bring data together, clarifying it in the Define stage. Convergent Thinking draws elements together towards a single point.
Discover
The Discover stage is the first in the Double Diamond Design Process. Working in this stage is about understanding the problem space designers are in. The Discover stage uses Divergent Thinking to help designers think broadly, get a better understanding of the bigger picture and collect information about a problem worth solving. A discovery should start with a broad objective such as: ‘Go find out about this problem, just how big it is, and what the opportunities might be.’
Finding problems worth solving
In this stage, students will explore the strategies for defining a design problem in a given area or context. In the Assessment task, students will work more independently, identifying and defining a design problem from a wider context.
What kinds of problems do students have in their broader study space? How could one of these problems be an opportunity for a designer? (Image: Sebra@shutterstock.com)
Defining a design problem
In the following Tasks, students will be asked to brainstorm problems that exist in their immediate study space. From this brainstorming, they will identify a problem concerning this area. Issues in the broader study space include methods, times, homework, managing time, sports commitments and part-time work, procrastination, hunger, binge eating or any other issue concerned with managing productive study habits.
Methods are provided below to enable students to identify a specific design problem. When identifying a design problem, students are encouraged to read and use the question and statement-based models.
There is also a range of great resources to assist students in defining Design Problems in ‘The Field Guide to Human-Centred Design’ by IDEO. Download this guide and head to pages 33 and 165.
Once students have identified a design problem they will then investigate it fully. There are many ways to use Human-Centred and ethical research methods (more below) to start gathering information about the context of a design problem, students can use any of the following techniques.
A great resource for the Discover stage can be found here.
Good to know
Thanks for that
User interviews and surveys
Interviewing audiences and users and conducting surveys are techniques that can be used both before and after a Design Problem has been identified. For example, asking users about their experiences can reveal gaps that reveal a problem or opportunity that can then be framed as a question or statement-based Design Problem. Alternatively, interviewing or surveying people in relation to a specific problem can reveal preferences for how they might like to see it solved. Both ways create data that can guide the selection and presentation of information in the Define stage.
Ways to gather insights
User Interviews and Surveys
Students conduct interviews and surveys with potential users or stakeholders to gather insights into their needs, pain points, and preferences. Students must plan interviews and surveys carefully to ensure that the information they collect is directed at giving insights into a particular problem from a range of genuine perspectives.
Students must also follow the principles of Ethical Research.
Competitor Analysis
A wonderful example of a mind-map used to analyse an online survey made by a student. Jesse Briffa.
A great example of primary competitor research. Jesse Briffa.
Trends and Market Research
A Trend analysis is a method to visualise trends or fashions. One can be produced from data gained in research or from primary or secondary research gained from observation of platforms such as on social-media. Designers use trend analysis to understand audiences and users. Spotting emerging trends helps designers anticipate the needs of users.
Stakeholders
Stakeholders in Human-Centred design are people who are impacted by a design solution. Planners and designers need to identify a range of people who have either interest or influence on a project. Participating in collaborative workshops with takeholders to help identify project goals, expectations, and priorities.
Examples of collaboration with stakeholders include:
Stakeholder analysis, Stakeholder Workshops, Stakeholder Mapping
Our problems
In this stage, students will explore the strategies for defining a design problem in a given area or context. In the Assessment task, students will work more independently, identifying and defining a design problem from a wider context.
Jump to
Discover
Human-Centred Design
Define
The Define stage is all about making sense of the information and knowledge that was collected in the Discover stage. Students will sort and draw together their learnings, clarify and re-frame their design problem and write a design brief, for the subsequent stages of the Design Process.
Human-Centred Design strategies for the Define stage include;
Ways to present insights
Audience Personas
Students create fictional representations of audience members or users based on their research findings. Visual and written material is included to communicate demographic, psychographic and behavioural information about audiences that is important as they are chief stakeholders.
An audience persona identifies characteristics of audience members. These include their habits, mindsets, experiences, demographic and psychographic information as well as their behaviours. Audience personas can be made for single members of an audience or for groups.
A journey map visualises a user's experience through a product or service. 'Stages' represent sections of their journey, 'emotions' indicate their feelings at various stages, 'actions' refer to what they are asked to do at each stage and 'touchpoints' mean the parts of the product or service with which they interact.
Journey Mapping
Mapping out the user's journey through a product or service helps designers visualise users’ experiences and identify pain points and opportunities for improvement. This is a complex map that gives great insight into when and how users feel when they interact with particular parts of a product or experience.
Compare the way you felt when you got your new phone with the way you felt when you tried to call your telco to resolve an issue with the phone...
Empathy Mapping
An empathy map is a way to visualise how a user or member of a target audience experiences an issue. 'Think and Feel' is used to record their thoughts and feelings, 'See' and 'Hear' records what they see, from their point of view and 'Say and Do' records their words and actions used at the time. 'Pains' records the user's fears, frustrations and the obstacles that prevent them from achieving their goal. 'Gains' records the user's wants or needs, how they might measure success and their goals in relation to the issue.
Reframe Design Problem
Write a Brief
The final activity in the Define stage, the point at which it converges, is writing a brief. This is where students articulate a design problem into a communication need, describing the purpose, context and guiding constraints and expectations.
Requirements for the Brief will be discussed in the last section of this page.
task
Show I know ...
4.1 Identify a design problem
Identify a Design Problem in the area of high school students’ study. Use a question or statement-based method. Refer to the link above for more information.
4.2 Consider ways to make a contextual enquiry
Revisit the methods for investigation above, in the Discover section. Identify the purpose of enquiry in the Discover phase of the Design Process and describe some examples of enquiry techniques that can be used. Refer to the Discover page for more information.
4.3 Consider ways to make sense of information
Revisit the material above, in the Define section. Identify the purpose of the activities in the Define phase of the Design Process. Describe some examples of techniques that can be used and explain how they are helpful in meeting the purpose you have identified. Refer to the Define page for more information.
4.4 Design Brief
Revisit the material on the page for the Brief. Identify the components of a brief and define each of them.
Jump to
Human-Centred Design &
Ethical Research
Our primary goal is to make the world a better place through Human-Centred design. In this section, we'll explore how we can tackle Human-Centred design challenges, ensuring that our designs meet the real needs of our audience and stakeholders. When conducting research, it's vital to be ethical, sensitive, and respectful in gathering information and working with people. We will use two approaches to our thinking: Divergent and Convergent. Divergent thinking helps us brainstorm many possible solutions, while Convergent thinking helps us analyse and choose the best solution to solve the problem. Both these thinking strategies will guide us in presenting our Human-Centred research findings. We'll explore different strategies to make our research findings clear and compelling. Ultimately, as young designers, our work isn't just about creating beautiful designs; it's about making a positive impact on the world by understanding and addressing the needs of the people we design for.
key knowledge
What we will learn about
key knowledge points for this outcome
- techniques for effective collaboration in reframing human-centred design problems and identifying communication needs
- human-centred research methods including ethical design research practices
- strategies for convergent and divergent thinking
- techniques for the presentation of human-centred research findings
(VCE VCD Study Design 2024-28, p. 22)
Working with people, for people
Principles of Human-Centred Design. Don Norman.
Human-centred design problems are about meeting human needs and solving specific user-centric issues. These problems are a critical starting point for design thinking and the human-centred design process. They guide designers in understanding, ideating, and developing solutions that are user-focused and empathetic. Learn more about Human-Centred design in this Don Norman video:
To reframe a Human-Centred problem, collaboration is a great way to get a wider range of thoughts, ideas, and opinions to be able to define what the underlying problem might be. There are a range of techniques that can be used in collaboration such as using ‘How Might We’ questions, which encourage creative problem-solving and generation of a range of potential solutions. These questions can be written on a large sheet of paper and students can work in small groups writing possible solutions to the ‘How Might We’ question.
Empathy Interviews with end-users or stakeholders is another way of collaborating and allows the designer to deeply understand their needs, pain points, and preferences.
Some methods to help define a human-centred problem are;
Role-plays
Role-plays in small groups can uncover communication needs and potential roadblocks. Encourage team members to role-play as users or stakeholders to simulate real-world scenarios. For example, having someone role-playing sweeping the kitchen floor, may uncover more in-depth thoughts about how the broom and pan are stored and how they may be designed to access hard-to-reach nooks and crannies.
Mind-mapping and Brainstorming
Mind Mapping is also an excellent way of collaborating in small or large groups. Below is a video for different techniques for brainstorming in groups.
Ethical research
Human-centred research methods are approaches designers use to gather insights and data directly from users, customers, or stakeholders, to inform the design of objects, environments, messages, or interactive experiences. These methods prioritise understanding human needs, behaviours, and preferences.
Ethical research practices are essential for conducting research that respects the rights and well-being of participants, stakeholders, and the broader community. As you conduct your research some things to keep in mind are:
Consent
Obtain informed consent from all research participants before their involvement. Clearly explain the purpose of the research, the data to be collected, and how it will be used. Participants should have the option to withdraw at any time.
Confidentiality and anonymity
Safeguard the privacy of participants. Anonymise or pseudonymise data to protect individuals' identities. Ensure data is stored securely and is only accessible to authorised people.
Respect
Be culturally sensitive and respectful. Designers use Human-Centred research methods to gather insights and data directly from users, customers, or stakeholders, to inform the design of objects, environments, messages, or interactive experiences. These methods prioritize understanding human needs, behaviours, and preferences.
To conduct ethical research practices, it is essential to respect the rights and well-being of participants, stakeholders, and the broader community. As you conduct your research, keep in mind the following important things: diverse backgrounds and perspectives. Avoid cultural appropriation and stereotypes in research materials and methods.
Transparency
Be transparent about the research process and objectives. Clearly communicate your project and what you are trying to achieve.
Think big, then narrow down
Divergent and Convergent thinking are on opposite ends of the spectrum Divergent Thinking looks for lots of different possible solutions and Convergent Thinking looks for the best possible solution. This section, really just reminds students that they will use Divergent Thinking in the Discover stage and Convergent Thinking in the Define stage. We have explored them in some detail in the section on the left half of the Design Process.
Students can also find out more details by accessing the pages linked below.
Present research
Once the students have gathered the results from their Human-Centred research, they need to present it. Effective communication is key to presenting research findings in an informative and engaging manner. There are a range of techniques that can help students convey insights and recommendations clearly and persuasively. Details for some of the following methods are shown above, in the Define stage of the Design Process.
Students can make visuals like charts, graphs, and infographics to simplify complex data and make it visually appealing. This is a great way of presenting statistical information gained from surveys and interviews. Storytelling is used to craft a narrative around students’ research, using real-life examples and user stories to make it relatable and engaging.
Audience or user personas use fictitious names and pictures to represent the target audience students identified in their research. This makes the data more relatable. Students should include information about their audience characteristics such as age, gender, location, interests, etc. Empathy maps visualise user emotions, thoughts, and pain points. Students can draw these or use digital tools.
Photographs that provide context, like images of users in their environments, are a great way to demonstrate engagement with users and an understanding of the context of a Design Problem. Students must be sure that they have consent and have communicated with their users how these photos will be used and who will see them.
Students should be encouraged to present their findings to each other, fostering their communication and collaboration skills.
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Human-Centred Design
Divergent Thinking
Convergent Thinking
task
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5.1 Human (and not-SO human) Centred Design
Consider some human and not-so-human-centred designs you use every day. Identify five of them and then rank them from most to least human-centred. Next, for the least human-centred designs, identify a priority, other than human-centred, that has motivated the design. Finally, suggest one improvement that could be made to the least human-centred design to make the user experience better. (I’m thinking of the Myki ticketing system!!)
5.2 Ethical Research Principles
It is important to conduct Human-Centred research honestly, respectfully and responsibly. In pairs or small groups, write notes and explain what this means, and the impact of ethical practices on the collection and use of research data.
5.3 What holds your study up?
Work in groups to make a Human-Centred and ethical research survey to find out what kinds of things limit your friend’s effective study. Provide for the collection of both quantitative and qualitative data. When the results are in, put them into a visual form and then share them with the class. Discuss the good and bad features of each survey to learn more effective data-gathering strategies.
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The brief
The Brief acts as a foundational document that guides the entire right-hand diamond in the Design Process; the Develop and Deliver stages. It provides a starting point for tackling ill-defined problems by offering clarity, direction, and a shared vision. The end of the Define stage of the Design Process is the time to write the Brief which will help define and clarify the problem at hand. In the case of ill-defined problems, where the initial challenge might be vague, the brief serves as a guiding document that outlines the problem's scope, objectives, and constraints. It sets boundaries and provides context.
key knowledge
What we will learn about
key knowledge points for this outcome
- the contents of a brief and its role in reframing ill-defined design problems
- design terminology used in research, analysis and evaluation.
(VCE VCD Study Design 2024-28, p. 22)
Contents of a brief
This page has outlined the time at which a Brief is written (the end of the Define stage, and indicated the contents to be included) Flick back up to the Define stage of the Design Process if students need a reminder. There is no specific format that needs to be used in writing a brief and depending on the Field of Design, the contents included in the Brief can also vary.
One option of a Brief for this outcome includes;
- Client
- Design Problem
- Communication Need
- Target Audience
- Purpose
- Context
- Constraints and expectations
- Proposed final presentation formats
Briefs (1) more concerned with designs that improve a user’s experience may include;
- What
- Why
- Goals
- Tone
- Audience
- Context
- Constraints and expectations
- Deliverables
1( https://www.vcaa.vic.edu.au/curriculum/vce/vce-study-designs/visualcommunicationdesign/Pages/TeachingandLearning.aspx ) Accessed 20 October 2023.
Sample Brief
A sample brief for this assessment task for this Area of Study.
Brief
Client
‘Appy’, is an Australian company that develops smartphone apps for students, parents and teachers in Australian Schools.
Design Problem
(What is the problem?) Students are repeatedly saying that they don’t understand what they are missing or doing wrong when they do tests and exams.
(Why?) Students want some help in identifying gaps in their study knowledge so they can use their time more effectively to improve their results
(Goals and results) An improvement in student results and an increase in student confidence that they can manage their own study better.
Communication need
An app design in the field of Interactive Experience design that helps students keep track of different parts of their knowledge and enables them to review their learning and seek feedback from teachers.
Target Audience
Middle and Senior High School students attending Australian government, Catholic and Independent schools.
Purpose
The purpose of the presentation is for the client to experience using the app through users’ eyes.
Context
The final presentation will be shown in the client’s office at the conclusion of the Design Process.
Constraints and expectations
The following considerations must be taken into consideration when preparing a design solution. The app must;
- conform to iPhone and Android operating systems and conventions
- be simple, intuitive and easy to use
- be accessible to a wide range of users with vision impairments
- look fun and attractive for the target audience
- appeal to boys, girls and LGBTQI+ users
- contain sounds and animations to extend engagement
- work with existing college learning management and email systems
- keep student data private and secure
- enable parent supervision
Presentation format or deliverables
A functioning prototype app design using the prototyping software Adobe XD.
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Brief
task
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6.1 Practice Writing a Brief
Reconsider the Design Problem to do with high school students' study that you identified in Task 4.1. Draft a Brief to drive the next stages of the Design Process. Describe each section under the headings shown above.
When you have your first draft, show it to your partner for feedback. Are the constraints and expectations clear and do they relate to the needs of the target audience or users? Is the communication need framed broadly to allow for Divergent Thinking (good) or is it framed so it describes the solution (bad)?
6.2 Critique and Evaluate Briefs
Have the class print their Briefs in large type and present them on a front table. Group them into the four Fields of Design. Consider the strengths and areas that could be developed in each one.