Laura Busche is the author of Lean Branding and Powering Content. Her approach to brand design is holistic: she combines insights from her undergraduate degree in business, master’s degree in design management, and Ph.D. in consumer psychology. Busche is an experienced brand strategist with a track record of helping companies in the public and private sector bring their message to life with a compelling brand story, memorable visual symbols, and a bold communication strategy.
Enter the Brand System: a shared library that defines the brand’s story, symbols, and strategy. Learn how Brand Systems can help avoid fragmentation, confusion, and exclusion within teams.
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Mmost products contain at least one element of anticipation. Aaron Shapiro from HUGE defined anticipatory design as a method where it’s up to the designer to simplify processes as much as possible for users, minimizing difficulty by making decisions on their behalf. Look at the examples in this article, and consider the checklist to spot opportunities for improvement in your current user experience. If you are starting out from scratch, you have a unique opportunity to embed these principles from the outset.
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Low-fidelity prototypes are rough representations of concepts that help us to validate those concepts early on in the design process. Throughout this article, Laura Busche will look at some of the features that make low-fidelity prototyping a unique tool to radically improve your work and to build an environment in which users’ needs can be truly realized. This article focuses on the practice and general principles behind integrating low-fidelity prototypes in design in general, covering applications that range from graphic, web and user experience design to business and service design.
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Working walls are known by countless names. Underlying them all is a single idea: that physically pinning our sources of inspiration and work in progress can help us to rearrange concepts and unlock breakthrough insights. According to Vyas and his colleagues at the University of Twente, designers integrate these surfaces “artfully” and organize information in such a way that it empowers them to visualize and extend their work in progress.
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Is sketching by hand more than a nostalgic activity? How is paper any different from a screen, especially when hardware is becoming more and more sophisticated? Is improving your hand-sketching skills really worthwhile when high-tech software is advancing every day?
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