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The Design Method: A Philosophy and Process for Functional Visual Communication
The Design Method is a short, functional, relatable book that will help designers clarify their understanding of the nature of design; learn methods for–consistently–creating good design; and find ways to persuade clients to trust in their counsel. It’s not a lofty book. It’s an affordable resource that feels like a sit-down with someone who has real answers to share.
225 pages, Paperback
First published August 12, 2013
34 people are currently reading
466 people want to read
About the author
Eric Karjaluoto
6 books5 followersEric Karjaluoto is Creative Director and a founding partner of the creative agency smashLAB. Since 2000, he has helped a broad range of clients, including CN, The Vancouver Aquarium, The Nature Conservancy, Canadian Heritage, ThoughtFarmer, lululemon athletica, Crescent Spur, WWF Canada, BC Film + Media, Tourism Vancouver, and the University of Minnesota’s Institute on the Environment with their strategic, design, and communication challenges.
This work has been recognized by The Adrian Awards, TIME, Communication Arts, The Advertising & Design Club of Canada, The Lotus Awards, Applied Arts, Graphis, Icograda, and others. In 2007, he spearheaded Design Can Change to unite designers and address climate change. Eric writes about design at erickarjaluoto.com and has spoken at events for AIGA, SEGD, and GDC.
He is the author of Speak Human: Outmarket the Big Guys by Getting Personal (smashLAB, 2009). His second book, The Design Method: A Philosophy and Process for Functional Visual Communication (New Riders, 2013), was released in August 2013. Eric lives in Vancouver with his lovely wife and two delightful boys.
This work has been recognized by The Adrian Awards, TIME, Communication Arts, The Advertising & Design Club of Canada, The Lotus Awards, Applied Arts, Graphis, Icograda, and others. In 2007, he spearheaded Design Can Change to unite designers and address climate change. Eric writes about design at erickarjaluoto.com and has spoken at events for AIGA, SEGD, and GDC.
He is the author of Speak Human: Outmarket the Big Guys by Getting Personal (smashLAB, 2009). His second book, The Design Method: A Philosophy and Process for Functional Visual Communication (New Riders, 2013), was released in August 2013. Eric lives in Vancouver with his lovely wife and two delightful boys.
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Displaying 1 - 19 of 19 reviews
October 2, 2015
He calls out the myth that design should always be trying to be different or novel-- a lot of a design's success relies on following patterns people are familiar with and then doing very nuanced little things to it to optimize for your specific customer. Have a pragmatic design philosophy.
Designers solve problems and have to vacillate between strategic problems to pixel pushing problems which is tough. He likes to make the point that design isn't supposed to be fun like art. Designers are really just working through often "boring" problems.
Create order by following conventions people already know and teaching new patterns as they come up
"Design seems like it's about ideas, but it's actually about facilitating actions"
"Never trick yourself into thinking you make things; instead, remember that you help make things happen" pg 32
Systems inform design- all your decisions need to be informed by larger design systems- even type selection must relate to what it needs to accomplish. For this reason, criticism of Comic Sans is highly misdirected. Vincent Connare built it not as a Typeface for common use, but instead to better suit on screen cartoon speech bubbles than Times New Roman did. The typeface does exactly what it's supposed to. But it was never meant for menus, emails or the Higgs Boson discovery announcement. Blame those who use the typeface inappropriately not the typeface.
Designers solve problems and have to vacillate between strategic problems to pixel pushing problems which is tough. He likes to make the point that design isn't supposed to be fun like art. Designers are really just working through often "boring" problems.
Create order by following conventions people already know and teaching new patterns as they come up
"Design seems like it's about ideas, but it's actually about facilitating actions"
"Never trick yourself into thinking you make things; instead, remember that you help make things happen" pg 32
Systems inform design- all your decisions need to be informed by larger design systems- even type selection must relate to what it needs to accomplish. For this reason, criticism of Comic Sans is highly misdirected. Vincent Connare built it not as a Typeface for common use, but instead to better suit on screen cartoon speech bubbles than Times New Roman did. The typeface does exactly what it's supposed to. But it was never meant for menus, emails or the Higgs Boson discovery announcement. Blame those who use the typeface inappropriately not the typeface.
October 10, 2014
In the business of graphic design and advertising I'm a firm believer in the mantra that "process makes perfect". It could be argued that the methodology we employ to generate our ideas is far more valuable than the concepts that are born from it. That said, it's really easy to become complacent in regards to one's creative process, especially if you've spent a lot of time working in the same place under one process. We have to escape the belief that our way is the best way or the only way in order to push ourselves and become better, more effective communicators. This is where books like "The Design Method" by Eric Karjaluoto come in.
"The Design Method" is the design project framework employed by Karjaluoto's SmashLab in Vancouver, BC. While it's certainly not practical to take another studio's process and apply it wholesale to your agency, there are always insights to be gained by taking a peek into how others approach a design problem and applying them to your own methods.
Here are a few such points from "The Design Method" that I found particularly interesting:
ARTISTS VS. VISUAL COMMUNICATORS
Many designers, particularly inexperienced designers feel that graphic design is more akin to fine art than it really is. In fact the best, most successful designs are simply the ones that successfully communicate the client's message to the right audience using the correct visual language. Stay away from design trends and excessive ornamentation, instead strip it down and focus only on what conveys your message to the target audience. It's not about making something that caters to your personal design tastes, it's about making something that speaks to the end user.
THE PHASES OF "THE DESIGN METHOD"
The four stages of Karjaluoto's method include Discovery, Planning, Creative and Application. Like a funnel, these stages become increasing more focused leading to the final solution to the problem prescribed by the client. The present day role of the graphic designer is a lot broader than just making pretty pictures, in fact the entire first half of the process occurs before the pencil even touches paper and the creative magic begins. By finding out everything you can about the client, their product/service, and their target market early in the process, you make things a lot easier on yourself when it comes time to generate the ideas and the artwork.
THE CREATIVE BRIEF
Once the discovery and planning stages are complete it's essential to condense all that information into a clear and concise document that will serve as the foundation for the creative team during the rest of the project: the creative brief. Get the what, who, why, where, and when all out onto a single page document that can be referenced and used to rationalize creative choices both internally and in client presentations. Having a well-thought-out creative brief is indispensable. You're going to go back to it over and over and it'll make every step of the creative and application stages easier and keep you on track.
PRESENT ONLY ONE SOLUTION
This probably sounds like complete madness to you, and it's obviously not going to work for everyone, but it's core to "The Design Method" concept. SmashLab actually spins this as an advantage to clients - while the competition spends two thirds of their time on options that will never see the light of day, Smashlab puts all of their efforts into one well-crafted solution. It might be a tough sell, but it kind of makes sense. And it's not without precedent, design legend and branding icon Paul Rand famously employed this tactic in his heyday.
IN CONCLUSION
Of course there's much more to "The Design Method" than these few bullet points. It's a book filled with strong personal opinions and insights from the front lines that will challenge your preconceptions of what a designer can and should be. It's the type of book that any creative professional could benefit from reading, even if only to serve as a reminder to get your process ducks in a row. Now go read some books, and maybe become a better designer in the meantime.
"The Design Method" is the design project framework employed by Karjaluoto's SmashLab in Vancouver, BC. While it's certainly not practical to take another studio's process and apply it wholesale to your agency, there are always insights to be gained by taking a peek into how others approach a design problem and applying them to your own methods.
Here are a few such points from "The Design Method" that I found particularly interesting:
ARTISTS VS. VISUAL COMMUNICATORS
Many designers, particularly inexperienced designers feel that graphic design is more akin to fine art than it really is. In fact the best, most successful designs are simply the ones that successfully communicate the client's message to the right audience using the correct visual language. Stay away from design trends and excessive ornamentation, instead strip it down and focus only on what conveys your message to the target audience. It's not about making something that caters to your personal design tastes, it's about making something that speaks to the end user.
THE PHASES OF "THE DESIGN METHOD"
The four stages of Karjaluoto's method include Discovery, Planning, Creative and Application. Like a funnel, these stages become increasing more focused leading to the final solution to the problem prescribed by the client. The present day role of the graphic designer is a lot broader than just making pretty pictures, in fact the entire first half of the process occurs before the pencil even touches paper and the creative magic begins. By finding out everything you can about the client, their product/service, and their target market early in the process, you make things a lot easier on yourself when it comes time to generate the ideas and the artwork.
THE CREATIVE BRIEF
Once the discovery and planning stages are complete it's essential to condense all that information into a clear and concise document that will serve as the foundation for the creative team during the rest of the project: the creative brief. Get the what, who, why, where, and when all out onto a single page document that can be referenced and used to rationalize creative choices both internally and in client presentations. Having a well-thought-out creative brief is indispensable. You're going to go back to it over and over and it'll make every step of the creative and application stages easier and keep you on track.
PRESENT ONLY ONE SOLUTION
This probably sounds like complete madness to you, and it's obviously not going to work for everyone, but it's core to "The Design Method" concept. SmashLab actually spins this as an advantage to clients - while the competition spends two thirds of their time on options that will never see the light of day, Smashlab puts all of their efforts into one well-crafted solution. It might be a tough sell, but it kind of makes sense. And it's not without precedent, design legend and branding icon Paul Rand famously employed this tactic in his heyday.
IN CONCLUSION
Of course there's much more to "The Design Method" than these few bullet points. It's a book filled with strong personal opinions and insights from the front lines that will challenge your preconceptions of what a designer can and should be. It's the type of book that any creative professional could benefit from reading, even if only to serve as a reminder to get your process ducks in a row. Now go read some books, and maybe become a better designer in the meantime.
February 18, 2023
Karajaluoto does not mince words when it comes to decrying poor design practice and outlining his ideas of how we all should work. I was able to glean a great deal from his experiences and processes. The book explains many of the issues I have encountered as a designer.
CHAPTER 1
Much of my frustration and resentment (of the scope of my projects, my clients’ input, and the limited extent of my design opportunities) have resulted from these myths. I categorize the myths into two main groups: what design is and what a designer is. I have found that design books, blogs, and videos teach many of these myths. Several of the myths feed the trend of backward design methodology that says to get novel designs, one must start with that goal in mind, and the effectiveness of the design will inevitably follow. Karjaluoto turns this on its head: Make an effective design the goal, and novelty will follow if necessary to the design’s effectiveness. Understanding this relieves a ton of pressure I have been putting on myself and my work.
Having a proper perspective on my role as a designer is freeing. Although it embarrasses me, I admit I had fallen for the “Designers are smarter than their clients” myth. In my experience, this attitude introduced combativeness and undermined collaboration in my client relationships. Obviously, I have some work to do to reorient my mindset on both design and designers.
Two of the author's metaphors are particularly relevant to this reorientation. As a "backstage worker," my role is to facilitate the communication of my client's message, rather than draw attention to myself or my skill (image 1). In my "tourist-like role," my job is to use my design knowledge in concert with my clients' industry-specific knowledge to further their interests (image 2). Based on the insightfulness of this first chapter, I expect this book to be highly applicable to my design practice.
CHAPTER 2
I see where people could get sucked into the form-versus-function vortex. In the context of a design's objectives, beauty (aesthetics, artistry, or whatever we want to call it) is often necessary to fulfill a design’s purpose. The differentiation is that artistry in and of itself is not the goal of a design. Something well-designed will, by definition, have the artistry necessary for that design’s effectiveness.
For example, an invoice will be artistic to the extent that such artistry matches the business’s style (based on its desired position in the market, etc.) and facilitates, rather than impedes, the communication of billing and payment details. In contrast, a concert poster may be more “artistic” while fulfilling its objectives of catching the eye of passersby, being memorable, and delivering event and ticket information.
Having said that, I question whether the statement that “ugly but functional pieces will still find use” is accurate. Can “ugly” be separated from “poorly designed” in any meaningful way? I doubt it.
Another statement that caught my attention is, “Design seems like it’s about ideas, but it’s actually about facilitating actions.” True! I cannot point to a single thing I have designed for a client that was not intended to make some action possible, more straightforward, or more likely. Clients wouldn’t need a designer if they didn’t want to generate actions.
And finally, this sentence needs to be underlined three times: “When you think critically and seek out more viable possibilities for clients, your role is elevated to that of a trusted advisor.” I stumbled into this role of “trusted advisor” in my current company, thanks partly to my boss, who had the patience to mentor a newbie graphic designer with zero experience. Also, I am highly motivated to identify the purpose of a thing or process and how to improve it. This trait facilitates the diagnosis necessary for effective design. (It's also really great for overthinking and rewriting emails. *sigh*)
CHAPTER 3
While reading the section on asking questions, I realized that being a designer is a bit like being a classical sculptor. Asking questions is our way of fleshing out what the design should look like in the same way that a sculptor removes material to seemingly reveal the sculpture hidden within the piece of rock or wood. By the time the plethora of a designer’s questions have been answered, enough “material” has been removed that the nascent solution can be seen. This metaphor was only confirmed by this sentence at the end of the chapter: “Design is a search for natural form and is an evolving process."
The section on organizing information hit as pertinent in a critically mundane sort of way. Meaning, it is so necessary to everything I do as a designer, that it is both remarkably important and a daily expectation. For instance, last week I was hired to design a wine list for a direct-to-consumer wine supplier that imports exclusive wines from Argentina. The practicalities of a wine list mean presenting a spreadsheet’s worth of information clearly and accessibly. Each entry must include the wine’s producer, region, name, type, and price and be linked to the coordinating specification sheet. All of this must be communicated in a sophisticated way appropriate to the supplier’s high-end, exclusive product. Disorganization is not sophisticated, nor is it clear, accessible, or likely to result in sales. Organization of information is key to design.
CHAPTER 4
Karjaluoto’s call to pursue and present a single concept is refreshing and rings true for me. In my early years at my current job, I fell into the trap of iterating multiple design options for a project. Often the client would choose either the weaker of the designs or, as Karjaluoto calls it, they would attempt to “Frankenstein” two or more concepts together. From there, I had to argue against a monster I had helped create. It was extremely frustrating!
Finally, I realized that I should present only the design I felt was strongest. Occasionally a client vetoes this, and I have to reset and try again. Oftener than not, they love it, and we proceed with either zero edits or very few minor edits (usually to the copy).
Unfortunately, that practice hadn’t wholly carried over to my freelance projects. Having read this chapter, I will consistently implement the single concept with intention and be prepared to tout its value to all my clients from now on.
CHAPTER 5
While reading chapter 5, I was struck again by how Karjaluoto takes extreme ownership of the design process. My job isn't restricted to making things pretty, but to thinking critically about each client's needs and how they can best be met. In my company, we call this the difference between fiduciary and functionary service. In fact, this is such a huge part of our business model and company culture that my boss had me design a poster contrasting the differences between these two attitudes.
This sentence made me feel totally called out, “Assumptions are easy to make, but their usefulness is often of no value.” This is so true, and I have a story to prove it. I was recently hired by a construction company to update their service area map to look more professional. I mistakenly assumed that I knew their goals for the project and the information they would like their potential customers to get from the map. I asked for file specifications and that type of thing, but I didn’t ask for the purpose, because I thought I knew what it was.
I’m now on the fourth or fifth iteration (I’ve lost count) of this map that should have taken maybe an hour to make. The poor client and I are both frustrated by the back-and-forth. Today we had a phone meeting and I finally asked the questions I should have asked at the beginning of the project. So I have (hopefully) learned the hard way to ask questions even about aspects of the project that seem obvious. I have yet to run across a client who thought I was too thorough or too interested in their business in the discovery phase.
CHAPTER 6
I found the various planning tools interesting, but I wish Karjaluoto had modeled how a graphic design project would appear in each tool. Since I don't have experience with UI/UX, website, app, or interaction design, I had difficulty applying his recommendations to a static design perspective. As a graphic design major, I'm looking forward to getting some hands-on practice with these tools in future classes. However, I appreciated the content strategy portion because I can more clearly see how that intersects with branding and campaign design. Even so, he needed to provide a clear example of what it looks like in use. I'll have to do outside research to fill in some holes. If you have any good resources for learning about these tools and strategies, please share!
While the planning strategies seem useful when appropriate, my biggest moment of agreement was when Karjaluoto decried "shadow planning." I also noticed this in the Netflix "Abstract" episode on Paula Scher. (Great episode, by the way! She is a legend. Also, did anyone notice the interview with Ellen Lupton, author of our Graphic Design Thinking: Beyond Brainstorming book?) She complained about New York City designers appropriating her original styles and treatments for their projects. Besides the fact that this "leads to limited and derivative work," it also seems like an ethically poor practice. Similarly, I've wondered about the wisdom of spending a lot of time perusing design magazines and showcases. When the AIGA upholds work as a breakthrough, designs like that pop up all over.
I agree with Karjaluoto that the motivation for "shadow planning" probably stems from fear. Knowing that a design or campaign "worked" for another company can seem like a safe solution when faced with a scary, high-stakes project. But it's gross, and there's still no guarantee it will work a second time. Meanwhile, that designer has hung a neon sign saying, "I totally ripped this off another (better) designer because I couldn't come up with anything myself." By the way, I'm preaching to myself here because I've been guilty of this, especially a few years ago when I was starting out. The planning stage is about doing the groundwork so that derivative design isn't part of the equation. Also, I recognize that design is impossible in a vacuum; however, derivative work is obvious, like visual plagiarism.
CHAPTER 7
I have learned from every chapter in this book, but this one was plain fun to read. Building two sets of boards for tone and style is such a helpful idea. I’ve confused clients when they've interpreted an image I’ve chosen for tone as indicating a style choice and vice versa. Having two separate boards would drastically eliminate that confusion.
Even though the goal is to eventually present one concept, the idea generation portion of the creative stage should produce a plethora of ideas. I’ve had this internal motto for my art and design for about a year: Don’t be precious. I tend to obsess over finessing which can block me from finishing a project or exploring other ideas. Focusing on quantity over quality helps break through this personality block to creativity.
The talking-someone-through-it tip works like a charm. Sometimes I even succeed in doing it on my own: I’ll explain the idea (or essay, etc.) out loud to thin air which helps me look at it differently. Sometimes I voice-record myself too, so that I don’t have to try to remember every idea as it comes.
Over the last three chapters, I’ve had a recurring thought: the designer devoting this much time and effort before even building assets must be pretty spendy to hire. A designer can’t afford to devote days to research and planning if the invoice does not reflect that cost. How idealistic is Karjaluoto’s time-intensive process compared to real-world projects and deadlines? Although, I suppose clients with larger businesses are necessarily better at planning ahead. Small-time clients tend to be a bit last minute, in my experience.
CHAPTER 8
Part of what I had hoped to learn in a graphic design degree program was how to persuade clients that the logo does not, in fact, need to be larger. You may imagine my disappointment when Karjaluoto says in this chapter that because "the client's desires always overpower those of the audience… you might always need to make the logo bigger." I suppose I need to accept that this client/audience struggle is inherent in graphic design and choose a different battle.
I appreciated the section on iteration. Before reading it, I thought I was crazy for saving so many versions of my work. Although, my method is different from what the author recommends. Rather than save each iteration in its own file (which requires opening a bunch of separate files to compare them), I duplicate the spread or artboard within the document, name it in sequence, and proceed. If I make some radical change, then I will save a new document and create its iterations within that file. Doing this keeps similar iterations together and me organized.
I was surprised when Karjaluoto said, "Some designers feel that production is beneath them—a necessary, but boring, step." Production is quite possibly my favorite part of the design process! I finally get to see what I designed on a computer take form in the real world. Whenever possible, I like to take a hand in the production, such as painting the logo on an 8' x 12' wall in my office lobby or hand-stamping logos in gold ink on black wine bags. (That took two strings with 50 clothes pins and 100 bags hanging to dry for three days in my living room, right in front of the TV— twice.) I love paper, foil, cork, fabric, and paint samples. Talking a client through textures and materials seems to come more naturally than pitching my design choices made on the computer.
Speaking of materials, I also thought it strange that he left material selection to so late in his process. I've done this several times and paid the consequences in apologies when I had to redesign something or when the client had to pay more than we both expected. I've learned to get materials chosen before I mock up the final design. That way I have time to redirect. Also, there's not much more frustrating than taking what you feel is an excellent 5" x 7" design and having to "tweak" it to fit paper that is an inch narrower and three inches longer. That's not tweaking. Often it means starting over so the original design doesn't look smashed into the wrong size container.
CHAPTER 9
Having defined roles that both parties agree on will help avoid unnecessary combativeness throughout the design process. It would also encourage respect for each other's varying expertise. And it will set the client up for success by framing their role as one that "identifies problems, not preferences." I've often had clients tell me their favorite color or a choice that would appeal to them when they do not represent the target audience. I've tried to repel this feedback by reiterating the importance of the audience. However, beginning the client/designer relationship by agreeing on these roles would help avoid that discussion. Instead, the client and I would have an accurate expectation of our different, complementary roles.
The thrill of the unveil is, frankly, a thrill I could do without. Keeping the client abreast of a project's progress through regular updates would remove some of the hyper-criticism and undue stress of presenting and getting approval for the final deliverables. Of course, omitting the unveil requires dedication to frequent, informative communication. Neglecting this imperative practice will likely make clients feel unconfident in either my guidance or the project's direction— if not both. On top of the angst this causes, a lack of confidence certainly does not make for repeat business or word-of-mouth referrals.
CHAPTER 10
My experience with workflow, file structure, and naming conventions is limited. As the sole in-house graphic designer for an independent real estate brokerage, my workflow can afford to be flexible. Approval for these template-based projects (using templates I created years ago and update every so often) is only needed for listing-specific content changes. When I have one of these template-based drafts ready for review, I email a low-resolution PDF requesting edits or approval. Only when I receive final approval (and “final” here does actually mean final) do I upload the high-resolution document. I learned long ago that uploading draft files can lead to office personnel (who are not involved in the approval process) to print whatever files they come across as they move quickly from task to task. To eliminate the possibility of accidental printing of the low-resolution, unapproved version, I don’t upload any drafts to the shared server. I also notify office staff when a particular document is ready for printing. On my system, I keep one version of a template-based project, overwrite it with new edits as they are sent to me, and upload the final to a “Working Files” folder within the property’s marketing folder. The nomenclature is based on real estate terminology, so ours reads “Client Last Name Property Street Address Document.” When we need a new version of something after a year or so, I either delete the old (for small updates) or move it to a "Previous Versions" folder (for extensive updates or complete redesigns).
As an adult college student, I was gratified to read that Karaluoto doesn’t consider design the “domain of the young.” It feels like the designer persona in culture is a young, edgy 20-something killing it out of the gate. I’ve wondered if I have a legitimate place in this field. (Imposter syndrome means nothing, of course.) I’m not saying a young designer can’t do great work, but it reassured me to see this opinion from an experienced (and older) designer.
CHAPTER 1
Much of my frustration and resentment (of the scope of my projects, my clients’ input, and the limited extent of my design opportunities) have resulted from these myths. I categorize the myths into two main groups: what design is and what a designer is. I have found that design books, blogs, and videos teach many of these myths. Several of the myths feed the trend of backward design methodology that says to get novel designs, one must start with that goal in mind, and the effectiveness of the design will inevitably follow. Karjaluoto turns this on its head: Make an effective design the goal, and novelty will follow if necessary to the design’s effectiveness. Understanding this relieves a ton of pressure I have been putting on myself and my work.
Having a proper perspective on my role as a designer is freeing. Although it embarrasses me, I admit I had fallen for the “Designers are smarter than their clients” myth. In my experience, this attitude introduced combativeness and undermined collaboration in my client relationships. Obviously, I have some work to do to reorient my mindset on both design and designers.
Two of the author's metaphors are particularly relevant to this reorientation. As a "backstage worker," my role is to facilitate the communication of my client's message, rather than draw attention to myself or my skill (image 1). In my "tourist-like role," my job is to use my design knowledge in concert with my clients' industry-specific knowledge to further their interests (image 2). Based on the insightfulness of this first chapter, I expect this book to be highly applicable to my design practice.
CHAPTER 2
I see where people could get sucked into the form-versus-function vortex. In the context of a design's objectives, beauty (aesthetics, artistry, or whatever we want to call it) is often necessary to fulfill a design’s purpose. The differentiation is that artistry in and of itself is not the goal of a design. Something well-designed will, by definition, have the artistry necessary for that design’s effectiveness.
For example, an invoice will be artistic to the extent that such artistry matches the business’s style (based on its desired position in the market, etc.) and facilitates, rather than impedes, the communication of billing and payment details. In contrast, a concert poster may be more “artistic” while fulfilling its objectives of catching the eye of passersby, being memorable, and delivering event and ticket information.
Having said that, I question whether the statement that “ugly but functional pieces will still find use” is accurate. Can “ugly” be separated from “poorly designed” in any meaningful way? I doubt it.
Another statement that caught my attention is, “Design seems like it’s about ideas, but it’s actually about facilitating actions.” True! I cannot point to a single thing I have designed for a client that was not intended to make some action possible, more straightforward, or more likely. Clients wouldn’t need a designer if they didn’t want to generate actions.
And finally, this sentence needs to be underlined three times: “When you think critically and seek out more viable possibilities for clients, your role is elevated to that of a trusted advisor.” I stumbled into this role of “trusted advisor” in my current company, thanks partly to my boss, who had the patience to mentor a newbie graphic designer with zero experience. Also, I am highly motivated to identify the purpose of a thing or process and how to improve it. This trait facilitates the diagnosis necessary for effective design. (It's also really great for overthinking and rewriting emails. *sigh*)
CHAPTER 3
While reading the section on asking questions, I realized that being a designer is a bit like being a classical sculptor. Asking questions is our way of fleshing out what the design should look like in the same way that a sculptor removes material to seemingly reveal the sculpture hidden within the piece of rock or wood. By the time the plethora of a designer’s questions have been answered, enough “material” has been removed that the nascent solution can be seen. This metaphor was only confirmed by this sentence at the end of the chapter: “Design is a search for natural form and is an evolving process."
The section on organizing information hit as pertinent in a critically mundane sort of way. Meaning, it is so necessary to everything I do as a designer, that it is both remarkably important and a daily expectation. For instance, last week I was hired to design a wine list for a direct-to-consumer wine supplier that imports exclusive wines from Argentina. The practicalities of a wine list mean presenting a spreadsheet’s worth of information clearly and accessibly. Each entry must include the wine’s producer, region, name, type, and price and be linked to the coordinating specification sheet. All of this must be communicated in a sophisticated way appropriate to the supplier’s high-end, exclusive product. Disorganization is not sophisticated, nor is it clear, accessible, or likely to result in sales. Organization of information is key to design.
CHAPTER 4
Karjaluoto’s call to pursue and present a single concept is refreshing and rings true for me. In my early years at my current job, I fell into the trap of iterating multiple design options for a project. Often the client would choose either the weaker of the designs or, as Karjaluoto calls it, they would attempt to “Frankenstein” two or more concepts together. From there, I had to argue against a monster I had helped create. It was extremely frustrating!
Finally, I realized that I should present only the design I felt was strongest. Occasionally a client vetoes this, and I have to reset and try again. Oftener than not, they love it, and we proceed with either zero edits or very few minor edits (usually to the copy).
Unfortunately, that practice hadn’t wholly carried over to my freelance projects. Having read this chapter, I will consistently implement the single concept with intention and be prepared to tout its value to all my clients from now on.
CHAPTER 5
While reading chapter 5, I was struck again by how Karjaluoto takes extreme ownership of the design process. My job isn't restricted to making things pretty, but to thinking critically about each client's needs and how they can best be met. In my company, we call this the difference between fiduciary and functionary service. In fact, this is such a huge part of our business model and company culture that my boss had me design a poster contrasting the differences between these two attitudes.
This sentence made me feel totally called out, “Assumptions are easy to make, but their usefulness is often of no value.” This is so true, and I have a story to prove it. I was recently hired by a construction company to update their service area map to look more professional. I mistakenly assumed that I knew their goals for the project and the information they would like their potential customers to get from the map. I asked for file specifications and that type of thing, but I didn’t ask for the purpose, because I thought I knew what it was.
I’m now on the fourth or fifth iteration (I’ve lost count) of this map that should have taken maybe an hour to make. The poor client and I are both frustrated by the back-and-forth. Today we had a phone meeting and I finally asked the questions I should have asked at the beginning of the project. So I have (hopefully) learned the hard way to ask questions even about aspects of the project that seem obvious. I have yet to run across a client who thought I was too thorough or too interested in their business in the discovery phase.
CHAPTER 6
I found the various planning tools interesting, but I wish Karjaluoto had modeled how a graphic design project would appear in each tool. Since I don't have experience with UI/UX, website, app, or interaction design, I had difficulty applying his recommendations to a static design perspective. As a graphic design major, I'm looking forward to getting some hands-on practice with these tools in future classes. However, I appreciated the content strategy portion because I can more clearly see how that intersects with branding and campaign design. Even so, he needed to provide a clear example of what it looks like in use. I'll have to do outside research to fill in some holes. If you have any good resources for learning about these tools and strategies, please share!
While the planning strategies seem useful when appropriate, my biggest moment of agreement was when Karjaluoto decried "shadow planning." I also noticed this in the Netflix "Abstract" episode on Paula Scher. (Great episode, by the way! She is a legend. Also, did anyone notice the interview with Ellen Lupton, author of our Graphic Design Thinking: Beyond Brainstorming book?) She complained about New York City designers appropriating her original styles and treatments for their projects. Besides the fact that this "leads to limited and derivative work," it also seems like an ethically poor practice. Similarly, I've wondered about the wisdom of spending a lot of time perusing design magazines and showcases. When the AIGA upholds work as a breakthrough, designs like that pop up all over.
I agree with Karjaluoto that the motivation for "shadow planning" probably stems from fear. Knowing that a design or campaign "worked" for another company can seem like a safe solution when faced with a scary, high-stakes project. But it's gross, and there's still no guarantee it will work a second time. Meanwhile, that designer has hung a neon sign saying, "I totally ripped this off another (better) designer because I couldn't come up with anything myself." By the way, I'm preaching to myself here because I've been guilty of this, especially a few years ago when I was starting out. The planning stage is about doing the groundwork so that derivative design isn't part of the equation. Also, I recognize that design is impossible in a vacuum; however, derivative work is obvious, like visual plagiarism.
CHAPTER 7
I have learned from every chapter in this book, but this one was plain fun to read. Building two sets of boards for tone and style is such a helpful idea. I’ve confused clients when they've interpreted an image I’ve chosen for tone as indicating a style choice and vice versa. Having two separate boards would drastically eliminate that confusion.
Even though the goal is to eventually present one concept, the idea generation portion of the creative stage should produce a plethora of ideas. I’ve had this internal motto for my art and design for about a year: Don’t be precious. I tend to obsess over finessing which can block me from finishing a project or exploring other ideas. Focusing on quantity over quality helps break through this personality block to creativity.
The talking-someone-through-it tip works like a charm. Sometimes I even succeed in doing it on my own: I’ll explain the idea (or essay, etc.) out loud to thin air which helps me look at it differently. Sometimes I voice-record myself too, so that I don’t have to try to remember every idea as it comes.
Over the last three chapters, I’ve had a recurring thought: the designer devoting this much time and effort before even building assets must be pretty spendy to hire. A designer can’t afford to devote days to research and planning if the invoice does not reflect that cost. How idealistic is Karjaluoto’s time-intensive process compared to real-world projects and deadlines? Although, I suppose clients with larger businesses are necessarily better at planning ahead. Small-time clients tend to be a bit last minute, in my experience.
CHAPTER 8
Part of what I had hoped to learn in a graphic design degree program was how to persuade clients that the logo does not, in fact, need to be larger. You may imagine my disappointment when Karjaluoto says in this chapter that because "the client's desires always overpower those of the audience… you might always need to make the logo bigger." I suppose I need to accept that this client/audience struggle is inherent in graphic design and choose a different battle.
I appreciated the section on iteration. Before reading it, I thought I was crazy for saving so many versions of my work. Although, my method is different from what the author recommends. Rather than save each iteration in its own file (which requires opening a bunch of separate files to compare them), I duplicate the spread or artboard within the document, name it in sequence, and proceed. If I make some radical change, then I will save a new document and create its iterations within that file. Doing this keeps similar iterations together and me organized.
I was surprised when Karjaluoto said, "Some designers feel that production is beneath them—a necessary, but boring, step." Production is quite possibly my favorite part of the design process! I finally get to see what I designed on a computer take form in the real world. Whenever possible, I like to take a hand in the production, such as painting the logo on an 8' x 12' wall in my office lobby or hand-stamping logos in gold ink on black wine bags. (That took two strings with 50 clothes pins and 100 bags hanging to dry for three days in my living room, right in front of the TV— twice.) I love paper, foil, cork, fabric, and paint samples. Talking a client through textures and materials seems to come more naturally than pitching my design choices made on the computer.
Speaking of materials, I also thought it strange that he left material selection to so late in his process. I've done this several times and paid the consequences in apologies when I had to redesign something or when the client had to pay more than we both expected. I've learned to get materials chosen before I mock up the final design. That way I have time to redirect. Also, there's not much more frustrating than taking what you feel is an excellent 5" x 7" design and having to "tweak" it to fit paper that is an inch narrower and three inches longer. That's not tweaking. Often it means starting over so the original design doesn't look smashed into the wrong size container.
CHAPTER 9
Having defined roles that both parties agree on will help avoid unnecessary combativeness throughout the design process. It would also encourage respect for each other's varying expertise. And it will set the client up for success by framing their role as one that "identifies problems, not preferences." I've often had clients tell me their favorite color or a choice that would appeal to them when they do not represent the target audience. I've tried to repel this feedback by reiterating the importance of the audience. However, beginning the client/designer relationship by agreeing on these roles would help avoid that discussion. Instead, the client and I would have an accurate expectation of our different, complementary roles.
The thrill of the unveil is, frankly, a thrill I could do without. Keeping the client abreast of a project's progress through regular updates would remove some of the hyper-criticism and undue stress of presenting and getting approval for the final deliverables. Of course, omitting the unveil requires dedication to frequent, informative communication. Neglecting this imperative practice will likely make clients feel unconfident in either my guidance or the project's direction— if not both. On top of the angst this causes, a lack of confidence certainly does not make for repeat business or word-of-mouth referrals.
CHAPTER 10
My experience with workflow, file structure, and naming conventions is limited. As the sole in-house graphic designer for an independent real estate brokerage, my workflow can afford to be flexible. Approval for these template-based projects (using templates I created years ago and update every so often) is only needed for listing-specific content changes. When I have one of these template-based drafts ready for review, I email a low-resolution PDF requesting edits or approval. Only when I receive final approval (and “final” here does actually mean final) do I upload the high-resolution document. I learned long ago that uploading draft files can lead to office personnel (who are not involved in the approval process) to print whatever files they come across as they move quickly from task to task. To eliminate the possibility of accidental printing of the low-resolution, unapproved version, I don’t upload any drafts to the shared server. I also notify office staff when a particular document is ready for printing. On my system, I keep one version of a template-based project, overwrite it with new edits as they are sent to me, and upload the final to a “Working Files” folder within the property’s marketing folder. The nomenclature is based on real estate terminology, so ours reads “Client Last Name Property Street Address Document.” When we need a new version of something after a year or so, I either delete the old (for small updates) or move it to a "Previous Versions" folder (for extensive updates or complete redesigns).
As an adult college student, I was gratified to read that Karaluoto doesn’t consider design the “domain of the young.” It feels like the designer persona in culture is a young, edgy 20-something killing it out of the gate. I’ve wondered if I have a legitimate place in this field. (Imposter syndrome means nothing, of course.) I’m not saying a young designer can’t do great work, but it reassured me to see this opinion from an experienced (and older) designer.
July 8, 2014
I was asked to review this book some time ago. Unfortunately, I started it later than I planned due to school and the last semester workload. But finally, had some time to read it once all my projects got finished.
So here's my review:
In a nutshell, this is still very much an educational book. It's almost a textbook, but not the one's we've come accustomed to as those big bulky things we had to lug around.
That being said, I actually really enjoyed reading this book. It was straightforward and said things how they were, no sugarcoating or anything. The approach was direct and like a big brother/sister that tells you how the reality of the graphic design career is, rather than a counselor who sugar coats it and gives you an illusion of what the career may entail.
I also enjoyed that it backed up what my graphic design professor said about the industry. It didn't present a career in graphic design as this creative endeavor many going into the field seem to believe it is. Instead, it let's us know that the purpose of graphic design is to communicate a clear message and the message is more important than the visual aesthetics of the design. Throughout the book, it reminds us of the true purpose of design and how to be successful or at least know how to lead with that approach.
I give it three stars because, although it was good and provided great information, in the end, it is still very much a textbook.
So here's my review:
In a nutshell, this is still very much an educational book. It's almost a textbook, but not the one's we've come accustomed to as those big bulky things we had to lug around.
That being said, I actually really enjoyed reading this book. It was straightforward and said things how they were, no sugarcoating or anything. The approach was direct and like a big brother/sister that tells you how the reality of the graphic design career is, rather than a counselor who sugar coats it and gives you an illusion of what the career may entail.
I also enjoyed that it backed up what my graphic design professor said about the industry. It didn't present a career in graphic design as this creative endeavor many going into the field seem to believe it is. Instead, it let's us know that the purpose of graphic design is to communicate a clear message and the message is more important than the visual aesthetics of the design. Throughout the book, it reminds us of the true purpose of design and how to be successful or at least know how to lead with that approach.
I give it three stars because, although it was good and provided great information, in the end, it is still very much a textbook.
December 14, 2017
It's hard to read a book where the author comes across as very arrogant. Also, the author repeats himself with different wording throughout the entire book. I gave it 2 stars because the author set up a nice framework for design process thinking; but, frankly, it isn't anything I haven't heard before.
June 14, 2022
اگر ستاره های واگویی این کتاب را بشماریم قطعا بیشتر از پنجتاست... کل این کتاب این جمله است.طراحی همان هنر نیست. و این جمله چندین و چندبار بیان شده است.
تلاش کتاب در استفاده از شکل برای روشنگری قابل ستایش است ولی به وضوح ناموفق بوده است. شکلهای نا به هنگام که نه تنها نمیتوان اتصال آنها به متن را فهمید، بلکه توضیحات شکل هم چندان به شکل مربوط نیست.
تلاش کتاب در استفاده از شکل برای روشنگری قابل ستایش است ولی به وضوح ناموفق بوده است. شکلهای نا به هنگام که نه تنها نمیتوان اتصال آنها به متن را فهمید، بلکه توضیحات شکل هم چندان به شکل مربوط نیست.
May 9, 2018
This book is very wordy for an art design book -- making it hard to read. I wish the author moved some stuff around and included more illustrations. But it has some useful stuff.
December 2, 2022
This is a good book to read, if you want to have an idea about starting a creative business, or at the same time you want to improve your creative process.
January 24, 2024
A good book outlining the process and commitment needed to achieve mastery in the business of design. This is a gem for solo practitioners and micro agencies.
May 21, 2014
I really wanted to love this book, but I wasn't really its target audience. As a graphic design teacher, I might consider recommending this book to students interested in starting their own design studio (particularly a small commercial studio looking to establish a strong client base with long term contracts). But as a freelance designer, I found the book visually unappealing (granted, I did select the eBook rather than the printed copy...so it may have looked better in print) and far too anecdotal overall. Also, I would have strongly recommended titling this book The smashLAB Method instead, as the existing title falsely gives the impression that this book is about the creative process. This book is not about the creative process, but rather, provides one designer's suggestions for how to successfully work with clients based on his experience running a small design studio in Vancouver, Canada.
Once you get into it, this book does provide some solid advice for inexperienced designers looking to establish their own studio. However, had I been the editor for this book, I would have recommended introducing the chapter "Introducing The Design Method" far earlier than page 59 (and some of the best information isn't offered until you're almost done with the book). Rearranging some of the chapters (or perhaps eliminating several passages within them entirely) would have improved the navigation of Karjaluoto's "design method" significantly.
I was torn on the rating for this book. The key bits of information/advice the book attempts to provide young designers are certainly worth a four or five star rating, but the journey getting to those gems is heavily obstructed by bland graphics (often placed on the page out of sequence with the text leading up to those images) and filled with rambling thoughts and redundant arguments. Although the author made it abundantly clear that his intent with the book's design was function over visual appeal, the design ultimately interfered with my ability and interest in reading the book. So unless you are a member of this book's very specific target audience (new designers seeking advice for working with clients based on one studio designer's experience at a small firm), this book is probably not worth your time.
Once you get into it, this book does provide some solid advice for inexperienced designers looking to establish their own studio. However, had I been the editor for this book, I would have recommended introducing the chapter "Introducing The Design Method" far earlier than page 59 (and some of the best information isn't offered until you're almost done with the book). Rearranging some of the chapters (or perhaps eliminating several passages within them entirely) would have improved the navigation of Karjaluoto's "design method" significantly.
I was torn on the rating for this book. The key bits of information/advice the book attempts to provide young designers are certainly worth a four or five star rating, but the journey getting to those gems is heavily obstructed by bland graphics (often placed on the page out of sequence with the text leading up to those images) and filled with rambling thoughts and redundant arguments. Although the author made it abundantly clear that his intent with the book's design was function over visual appeal, the design ultimately interfered with my ability and interest in reading the book. So unless you are a member of this book's very specific target audience (new designers seeking advice for working with clients based on one studio designer's experience at a small firm), this book is probably not worth your time.
December 11, 2014
This book was give to me by the author/publisher, and quite honestly I dragged my feet on reading it (mainly because I wasn't in the mood for this kind of book at the time). I opened it up recently and was blown away by how chocked-full of information it was. The book essentially outlines exactly how Eric and his team run their agency, smashLAB, based on years of experience. Any design professional who runs their own studio or who is in any kind of leadership role at their agency would be wise to read this book. It is written in a way that is incredibly easy to read, and Eric gives lots of examples to illustrate his points. I'm currently running my small studio in a very similar way, but I still got plenty out of the book to apply to my own work. Plus, the way Eric words things is so clear and straightforward, I'll be swiping some of his explanations to use with my own clients. I'll be putting this book on my must-read list for other designers looking to start or improve their design agency.
Although this book was given to me, I was not paid for my review and the thoughts above are completely my own.
Although this book was given to me, I was not paid for my review and the thoughts above are completely my own.
April 21, 2014
In the same way Mike Monteiro's Design Is a Job taught us how to work with clients, The Design Method teaches us how to be effective designers.
As someone who is only a few years into the field, I found Eric’s advice invaluable. Ever since reading his book, I have used his approach with clients and have been amazed at how smoothly things have gone. Despite having a similar approach as him, I never knew how to explain it clearly to clients. For example, his rationale on executing only one design direction would have saved me hours of agony in previous projects.
Eric articulates what I could never put my finger on and gives designers ammo as to why it works. Each page is filled with practical advice: my copy is completely marked up and dogeared.
I definitely think this book is worth reading if you fear creative blocks or find yourself intimidated by the thought of breaking down a giant client project. At the very least, Eric will make you laugh with his wit and charm.
As someone who is only a few years into the field, I found Eric’s advice invaluable. Ever since reading his book, I have used his approach with clients and have been amazed at how smoothly things have gone. Despite having a similar approach as him, I never knew how to explain it clearly to clients. For example, his rationale on executing only one design direction would have saved me hours of agony in previous projects.
Eric articulates what I could never put my finger on and gives designers ammo as to why it works. Each page is filled with practical advice: my copy is completely marked up and dogeared.
I definitely think this book is worth reading if you fear creative blocks or find yourself intimidated by the thought of breaking down a giant client project. At the very least, Eric will make you laugh with his wit and charm.
September 26, 2013
Eric karjaluoto has a very engaging and entertaining style of communication. I highly recommend taking a look at the design articles on his blog, his first book "Speak Human" and his latest book "The design method".
Much like the writing on Eric's blog: ideasonideas.com, his first two books have the same humour and creativity I have enjoyed as an over the pond long time subscriber to his posts. A thought provoking and personal writing style that uses straight forward language makes for easy reading.
A large part of the first first chapters can be summed up in the following statement
"Your value as a designer isn't limited to the designs you create; it's in facilitating a process that can lead your clients to fruitful, and profitable, insights." p44
Much of the book has strong ideas, strong statements and strong personal insights and this book is aimed at those looking to challenge personal mindsets on what a designer should be.
Top stuff
Much like the writing on Eric's blog: ideasonideas.com, his first two books have the same humour and creativity I have enjoyed as an over the pond long time subscriber to his posts. A thought provoking and personal writing style that uses straight forward language makes for easy reading.
A large part of the first first chapters can be summed up in the following statement
"Your value as a designer isn't limited to the designs you create; it's in facilitating a process that can lead your clients to fruitful, and profitable, insights." p44
Much of the book has strong ideas, strong statements and strong personal insights and this book is aimed at those looking to challenge personal mindsets on what a designer should be.
Top stuff
April 1, 2014
As a developer, it's nice to see the design process broken down as a logical and ordered process, rather than some sort of mystical and romantic art that only "creatives" can possibly understand.
About 95% of the book can be easily applied to development rather than just design. Design specific topics of course are discussed throughout, but the book doesn't really get into specifics like mood boards till page 135 of 210. It's similar for development, you have to do a lot of work like Discovery or Planning before you can get to the Development phase (well, depending on how Agile you want to be).
Overall, an excellent book for designers and developers alike to de-mystify the concept of Design.
About 95% of the book can be easily applied to development rather than just design. Design specific topics of course are discussed throughout, but the book doesn't really get into specifics like mood boards till page 135 of 210. It's similar for development, you have to do a lot of work like Discovery or Planning before you can get to the Development phase (well, depending on how Agile you want to be).
Overall, an excellent book for designers and developers alike to de-mystify the concept of Design.
July 14, 2014
This is an extremely SMART and practical read. Reading the what-not-to-dos is good, but what makes this book stand out is that there is actual plan and strategy that gets you to the what-TO-dos. Even as designer and knowing all about design principles I got a ton of Ahas out of this book. I think any designer creating their own business or even a creative team should give this a read if they want to skip the frustrations of working with clients and start off with a plan and strategy to take on clients business.
July 26, 2020
Una lectura obligada para todo los diseñadores. No importa si recién comienzan o hace décadas que ejercen. Incluso tampoco importa la rama del diseño ejerzan; el método que plantea sirve para cualquier disciplina de diseño.
El método que plantea es bajado a tierra, simple, humano y sin todo ese glamour que le han agregado los diseñadores rock stars. Incluso al principio se toma un capitulo para destrozar de forma contundente y categórica todos esos mitos que rodean al diseño y al ejercicio del mismo.
En fin. Leanlo.
El método que plantea es bajado a tierra, simple, humano y sin todo ese glamour que le han agregado los diseñadores rock stars. Incluso al principio se toma un capitulo para destrozar de forma contundente y categórica todos esos mitos que rodean al diseño y al ejercicio del mismo.
En fin. Leanlo.
December 9, 2015
This book is supposed to be for graphic designers but I would actually recommend it to anyone doing any creative project. When Eric writes "client" you could very well replace it with "boss", "audience", etc.
I am not a graphic designer myself and I am surprised that apparently not many in this sector practice the basic rules of project management, which is what Eric's book is about. Order and discipline are so important!
One of the thing I liked most is that there are concrete practical examples for putting order in your creative process.
A book to reread!
I am not a graphic designer myself and I am surprised that apparently not many in this sector practice the basic rules of project management, which is what Eric's book is about. Order and discipline are so important!
One of the thing I liked most is that there are concrete practical examples for putting order in your creative process.
A book to reread!
August 6, 2015
Great book on the design method. Eric has this no-nonsense way of writing. This book isn't overly graphical and it was never meant to be. So you're not going to find that here. Eric's book is about helping you become a successful designer. After finishing the design method, I find myself reevaluating my own method and seeing how it stacks up. If you're a designer/developer/freelancer I would add this book to your reading list. It's well worth it.
September 19, 2013
Quite simply, The Design Method lays out a straightforward and logical process to deliver better work for clients. It's helped me refine and strengthen my own process. If you're involved in marketing, communications, or design--especially for external clients--read this book.
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