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Brayden Dunstan

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Cube Industrial Design

Product design and development - Sydney, Australia and Shenzhen, China. We create innovative new products in home-wares, electrical appliances, sporting products, electronic equipment, packaging, and healthcare. Providing industrial design and product engineering services to industrial and commercial clients. Cube specialises in the design of plastic moulded components and has links to Chinese manufacturers of plastic injection mouldings and toolmaking.

Design services available range from development of the initial concept through 3D CAD and prototypes. And from there to tooling and production supervision. Cube can supply virtual product presentation as photorealist renderings, movies and animations. Prototypes and models are produced by various rapid prototype methods and CNC machine processes.

Cube has had several international patents granted on behalf of our clients for unique designs and R&D of mechanical solutions and has received many design awards over the years including Australian Design Award - Design of the Year, Red Dot (Germany), Good Design Award (USA)

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Cube Industrial Design - Product Design - Sydney Australia - Shenzhen China

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Cube Industrial Design Product design and development - Sydney, Australia and Shenzhen, China. We create innovative new products in home-wares, electrical appliances, sporting products, electronic equipment, packaging, and healthcare. Providing industrial design and product engineering services to industrial and commercial clients.

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Design Kit is IDEO.org’s platform to learn human-centered design, a creative approach to solving the world’s most difficult problems.

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The 12 units in the Disruptive Design Methodology synthesize a broad range of thinking and doing skills and tools, including systems thinking, gamification and game theory, ethics and empathy, life cycle thinking, research strategies, applied systems intervention, cognitive and behavioral sciences, ideation and creative problem solving, and sustainable production.

Each of these learning modules fit together to form the practice of Disruptive Design, which is the applied approach to designing creative interventions for positive social change.

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Disruptive Design Method - LEYLA ACAROGLU

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A method of activating positive social and environmental change that embraces complexity, applies systems thinking and advances sustainable solutions to the worlds biggest problems. Think of an amped up design thinking approach mixed with systems change tools and driven by achieving a circular and s

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Critical Alphabet – By Lesley-Ann Noel PhD

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Ableism is discrimination and social prejudice against people with disabilities or who are perceived to have disabilities. Ableism characterizes persons as defined by their disabilities and as inferior to the non-disabled.
Ableism is systematic, the institutional devaluing of bodies and minds deemed deviant, abnormal, defective, subhuman, less than… Ableism is violence.

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SWOT Analysis: Exploring Innovation and Creativity within Organizations

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Innovation and creativity are considered by many strategists a key factor of business success and prosperity. However, only one from six ideas achieve the

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Balance in visual communication refers to the arrangement of components on two sides of a seen or implied vertical axis. There are two ways to balance a composition.

Asymmetrical balance is where the two sides of a composition are balanced, yet are not mirrored. In order to achieve balance off centre different sized components are given more or less visual weight. Visual weight is increased of decreased by changing on or more of; tone, colour, size or proximity to the central axis. Visual communications employing asymmetrical balance create a more dynamic composition and are suited to purposes where audiences are encouraged to interact with the design.

Balance in communication design may also refer to components set either side of the horizontal axis. This will involve the broader study of composition and includes grid layout, random layout, radial balance, spiral balance, triangular composition.

Balance in industrial and environmental design will involve the physical balance of a stucture.

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Design elements and principles for visual communication

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Balance in visual communication refers to the arrangement of components on two sides of a seen or implied vertical axis. There are two ways to balance a composition. Asymmetrical balance is where the two sides of a composition are balanced, yet are not mirrored.

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Thinking like a designer can transform the way organizations develop products, services, processes, and strategy. This approach, which is known as design thinking, brings together what is desirable from a human point of view with what is technologically feasible and economically viable. It also allows people who aren't trained as designers to use creative tools to address a vast range of challenges.

IDEO did not invent design thinking, but we have become known for practicing it and applying it to solving problems small and large. It's fair to say that we were in the right place at the right time. When we looked back over our shoulder, we discovered that there was a revolutionary movement behind us.

About this site

This design thinking site is just one small part of the IDEO network. There's much more, including full online courses we've developed on many topics related to design thinking and its applications. We fundamentally believe in the power of design thinking as a methodology for creating positive impact in the world-and we bring that belief into our client engagements as well as into creating open resources such as this.

At IDEO, we're often asked to share what we know about design thinking. We've developed this website in response to that request. Here, we introduce design thinking, how it came to be, how it is being used, and steps and tools for mastering it. You'll find our particular take on design thinking, as well as the perspectives of others. Everything on this site is free for you to use and share with proper attribution.

(From 2008-2018, designthinking.ideo.com was the home of IDEO's design thinking blog, written by our CEO, Tim Brown. You can find that blog here.)

Design thinking in context

We live and work in a world of interlocking systems, where many of the problems we face are dynamic, multifaceted, and inherently human. Think of some of the big questions being asked by businesses, government, educational and social organizations: How will we navigate the disruptive forces of the day, including technology and globalism? How will we grow and improve in response to rapid change? How can we effectively support individuals while simultaneously changing big systems? For us, design thinking offers an approach for addressing these and other big questions.

There's no single definition for design thinking. It's an idea, a strategy, a method, and a way of seeing the world. It's grown beyond the confines of any individual person, organization or website. And as it matures, its history deepens and its impact evolves. For IDEO, design thinking is a way to solve problems through creativity. Certainly, it isn't a fail-safe approach; nor is it the only approach. But based on the impact we are seeing in our work, the relevance of design thinking has never been greater.

Design thinking today

Design thinking is maturing. It's moving from a nascent practice to an established one, and with that comes interest and critique. People are debating its definition, pedigree, and value. As a leading and committed practitioner of design thinking, IDEO has a stake in this conversation-and a responsibility to contextualize its value in the present moment and, importantly, in the future.

We've learned a lot over the years, and we'd like to share our insights. We've seen design thinking transform lives and organizations, and on occasion we've seen it fall short when approached superficially, or without a solid foundation of study. Design thinking takes practice; and as a community of designers, entrepreneurs, engineers, teachers, researchers, and more, we've followed the journey to mastery, and developed maps that can guide others.

Designer's mindset

At IDEO, we are a community of designers who naturally share a mindset due to our profession. Our teams include people who've trained in applied fields such as industrial design, environmental architecture, graphic design, and engineering; as well as people from law, psychology, anthropology, and many other areas. Together, we have rallied around design thinking as a way of explaining design's applications and utility so that others can practice it, too. Design thinking uses creative activities to foster collaboration and solve problems in human-centered ways. We adopt a "beginner's mind," with the intent to remain open and curious, to assume nothing, and to see ambiguity as an opportunity.

To think like a designer requires dreaming up wild ideas, taking time to tinker and test, and being willing to fail early and often. The designer's mindset embraces empathy, optimism, iteration, creativity, and ambiguity. And most critically, design thinking keeps people at the center of every process. A human-centered designer knows that as long as you stay focused on the people you're designing for-and listen to them directly-you can arrive at optimal solutions that meet their needs.

Anyone can approach the world like a designer. But to unlock greater potential and to learn how to work as a dynamic problem solver, creative confidence is key. For IDEO founder David Kelley, creative confidence is the belief that everyone is creative, and that creativity isn't the ability to draw or compose or sculpt, but a way of understanding the world.

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IDEO introduces design thinking, how it came to be, how it is being used, and steps and tools for mastering it.

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World of WearableArt Up Close | Ao KākahuToi - Kia Tata Featuring 38 works of wearable art from around the world, World of WearableArt - Up Close showcases the most breath-taking creations from New Zealand's very own World of WearableArt. Discover the jaw-dropping detail and unconventional creativity of wearable art.

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Product design is a response to changing needs and seeks to improve the quality of life through the design of creative, innovative and sustainable products. For VCE Product Design and Technology, students assume the role of a designer-maker by identifying a real need, problem or opportunity that is then articulated in their design brief. This opportunity is then investigated and informed by research to aid the development of solutions, in the form of physical, three-dimensional products.

The students address relevant product design factors in their briefs and articulate the expected quality of finish for their products. The drawings and scheduled production plans reflect a thorough consideration of a range of product design factors. The products and design folios, which are comprised of production work, care labels or instructions, and product evaluations, address Outcome 3 of Unit 3 and Outcomes 2 and 3 of Unit 4.

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Product design is a response to changing needs and seeks to improve the quality of life through the design of creative, innovative and sustainable products. For VCE Product Design and Technology, students assume the role of a designer-maker by identifying a real need, problem or opportunity that is then articulated in their design brief.

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Product design is a response to changing needs and seeks to improve the quality of life through the design of creative, innovative and sustainable products. For VCE Product Design and Technology, students assume the role of a designer-maker by identifying a real need, problem or opportunity that is then articulated in their design brief. This opportunity is then investigated and informed by research to aid the development of solutions, in the form of physical, three-dimensional products.

The students address relevant product design factors in their briefs and articulate the expected quality of finish for their products. The drawings and scheduled production plans reflect a thorough consideration of a range of product design factors. The products and design folios, which are comprised of production work, care labels or instructions, and product evaluations, address Outcome 3 of Unit 3 and Outcomes 2 and 3 of Unit 4.

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Product design is a response to changing needs and seeks to improve the quality of life through the design of creative, innovative and sustainable products. For VCE Product Design and Technology, students assume the role of a designer-maker by identifying a real need, problem or opportunity that is then articulated in their design brief.

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Design Excellence

REBORN by HoMie is an entirely unique concept that satisfies all fundamental criteria for good design. It is deeply functional, unisex, clothing. It is aesthetic, collections frequently selling out within 20 minutes. It is extremely high-quality, hand-made in Melbourne. And it is made with rare levels of sustainability, created out of pre-loved or unsold garments that would otherwise have gone straight to landfill. In addition to its environmental sustainability, it employs young people affected by homelessness or hardship to manufacture garments, with profits going to further projects that support young people affected by homelessness or hardship.

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REBORN by HoMie transforms garments destined for landfill into desirable one-off pieces, raising money for charity and saving them from landfill. Pre-loved, or unsold garments are hand-cut, sewn, and altered in Melbourne, creating unique pieces that encourage a radical rethinking of the industry.

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Solpod demonstrates good design:

Functionality: the first economically, redeployable rooftop solar solution; enabling renters access to the benefits of solar;

Safety: moving 80% of person-hours from working at heights to a safe factory floor;

Quality: industrialising solar install by pre-fabricating pods rather than assembling every component on the rooftop;

Sustainability: expanding solar market to renters, and enabling reuse rather than scrapping.

This globally significant innovation was delivered by an interdisciplinary team of Victorian based designers, which encompassed industrial design, wind tunnel testing, structural and electrical engineering, manufacturing and full scale prototypes.

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Solpod is a prefabricated 10-panel pod, involving two wings of 5 solar PV panels each. The pods are assembled in a quality controlled factory, flat-packed on a pallet, trucked to site, craned into position with the wings unfolding into an A-frame.

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The Farm is the multi-tray worm farm, re-imagined from the ground up to improve worm well-being and productivity. Designed and made in Melbourne, the Farm is perfectly suited for smaller households with limited space who want to reduce their food waste impact.

The Farm serves a whole new market segment for design conscious gardeners. Through it we are furthering our mission to encourage every Australian to reduce their food waste to landfill, whilst inspiring them to nurture their gardens and grow their own food, and ultimately, by creating greener and healthier urban ecosystems, nurturing the planet itself.

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The Farm is the multi-tray worm farm, re-imagined from the ground up to improve worm well-being and productivity. Designed and made in Melbourne, the Farm is perfectly suited for smaller households with limited space who want to reduce their food waste impact.

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A designer reusable coffee cup made for cafes, home users & on-the-go coffee drinkers. Huskee Cup features coffee husk as a raw material.

Reduce waste with our reusable coffee cups

Our reusable coffee cups are as sophisticated as they are sustainable. Huskee Cup is a revolutionary product which has been invented to help reduce the waste that the coffee industry produces each year. Over 500 billion takeaway cups pile up in landfill each year. As a result, it's become our mission to be part of the effort to help fix this issue.

Our reusable cup isn't any ordinary cup. This is because we have used coffee husks as a raw material to make the cup. This is an organic waste material that is produced at the milling stage of coffee production. Thus by supporting the Huskee Cup, you're helping us to recycle hundreds of tonnes of waste from the production of coffee.

The features and benefits of our coffee cup

Our cup is both durable and sustainable with many great features and benefits. Not only is it great for the reduction of waste, but it's also a very practical cup designed to impress.

Non-toxic and easy to clean

The HuskeeCup is a non-toxic (BPA Free) coffee cup that is dishwasher friendly and easy to clean. We have designed this cup with cleanliness in mind. As a result, this means there's nowhere for the leftover residue to hide when you've given it a good wash. Additionally, we make sure that no dangerous materials or chemicals are used in the process to get the coffee husks.

Reusable coffee cup with lids and saucers

We've designed a universal lid and saucer that fits all sizes of HuskeeCup. These have been made from the same sustainable material we use in our cups. Additionally, if you're a cafe, these universal lids & saucers stack securely and neatly. Thus reducing the storage space needed for your cups.

Beautifully designed with comfort in mind

Not only has our cup won multiple design awards, but it's also comfortable to hold. Which is due to its heat reducing design and grip-able exterior. Our cup is globally recognized for its beautiful unique design.

HuskeeSwap for cafe's & coffee drinkers on-the-go

To help solve the issue of single-use takeaway cups. We've created a global community of cafes and coffee drinkers who swap and exchange our reusable takeaway coffee cups. This help's alleviate waste and also makes life much easier. Every time a customer orders a coffee, they will receive it in a new freshly cleaned cup. No more forgetting to clean your cup or leaving it at home in the sink. You can buy our reusable coffee cup easily from our online store.

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Reusable Coffee Cups | Award Winning Design | HuskeeCup

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A designer reusable coffee cup made for cafes, home users & on-the-go coffee drinkers. Huskee Cup features coffee husk as a raw material. Our reusable coffee cups are as sophisticated as they are sustainable. Huskee Cup is a revolutionary product which has been invented to help reduce the waste that the coffee industry produces each year.

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Designers Australia Awards - Presented By Design Institute of Australia

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PLACE
spaces we live, work, play.

e.g Architecture, Interiors, Placemaking, Landscape, Wayfinding, Environmental Design
view shortlisted designers

USE
things we use.

e.g Industrial Design, Product Design (Furniture and Lighting Design, Homewares, Home Appliance, Fashion and Textile Design, Jewelry and Metalsmithing, Digital and Electronics)
view shortlisted designers

INTERACT
what or who we interact with.

e.g Graphic Design, Exhibition Design, Digital Media, Visual Communications, Digital Experience, Game Design
view shortlisted designers

Entry is open to designers aged 18 years and over who are current members of the Design Institute of Australia.

Only projects completed between 1 July 2019 - 31 December 2020 are eligible to be provided as evidence in your application.

Entrants must be Australian citizens or permanent residents.

Evidence and material submitted may demonstrate a commitment and an exceptional contribution to one or more of the following:

■ PLACE - spaces we live, work, play.

e.g Architecture, Interiors, Placemaking, Landscape, Wayfinding, Environmental Design

May address ethical design and sourcing, wellbeing, designing for diversity, regenerative design, energy conservation, corporate social responsibility

* USE - things we use.

e.g Industrial Design, Product Design (Furniture and Lighting Design, Homewares, Home Appliance, Fashion and Textile Design, Jewelry and Metalsmithing, Digital and Electronics)

May address ethical design and sourcing, circular economy and product stewardship, regenerative design, automation, advanced materials, additive manufacturing

▴ INTERACT - what or who we interact with.

e.g Graphic Design, Exhibition Design, Digital Media, Visual Communications, Digital Experience, Game Design

May address ethical design, i.e avoidance of dark patterns, accessibility to all, integration of AI, cross-platform experience, application of Internet of Things (IOT).

The jury is comprised of design professionals and experts who have been selected to represent the wide range of design disciplines acknowledged in the Designers Australia Awards program.

A Jury Chair is appointed by the DIA to oversee each judging session, as is a moderator. Both representatives will be members of the DIA.

Judging takes place over two rounds, Shortlisting and Judging.

Shortlisting

The five DIA state committee representatives from the jury shortlist the entry pool. The shortlisting process considers the eligibility of the entry based on the details in the application form and if evidence meets the overall criteria.

Judging

Working as one panel, the jury members judge all shortlisted entries against the criteria in each category. This round will determine the commendations and winners at both the state and national level.

All decisions made by the jury are final and binding in the Designers Australia Awards program.

* Early Bird Entry $115 + GST (7 January - 7 February 2021) Promo code EarlyBird2021

* Entry $155 + GST

* DIA Membership $295

* Early Bird - payment required to start entry, modifications can be made and entry submitted until 18 March 2021.

** Ineligible submissions will be refunded, minus an administration fee of $55

*** Requests to withdraw an entry can be made by contacting awards@design.org.au up until close of entries date (18 March 2021), entries cannot be withdrawn after this date. The entry fee will be refunded minus an administration charge of $55.

* Before submitting an entry please read the TERMS & CONDITIONS →

* Register and pay.

* Once you have started your entry it can be saved 'in progress' and returned to prior to submission.

* A tax invoice will be generated upon completion of entry.

* We recommend that you collate the entry information and pre-prepare your answers in a document before cutting and pasting your answers into the online entry form.

* To ensure anonymity during judging, no names of applicants or collaborating parties may appear on images or supporting materials.

Download Entry Requirements →

The Designers Australia Awards focuses not just on the resolved design outcome, but on the process a designer employs in order to achieve a quality design.

Entries will be considered against the following criteria.

1) Designer's Profile

2) Work synopsis

3) Overarching criteria

4) Category specific criteria

Overarching Criteria

CONCEPT
How did you add value to the brief?

DESIGN PROCESS
How did your design process improve or change the expected outcome?

REALISATION
How did the realisation consider authenticity, diversity, equality, inclusivity, community and the environment?

Category Specific Criteria
Evidence and material submitted may demonstrate a commitment and an exceptional contribution to one or more of the following:

■ PLACE
Ethical design and sourcing, wellbeing, designing for diversity, regenerative design, energy conservation, corporate social responsibility etc...

● USE
Ethical design and sourcing, circular economy and product stewardship, regenerative design, automation, advanced materials, additive manufacturing etc...

▴ INTERACT
Ethical design, service design evolution, ecosystems thinking, avoidance of dark patterns, accessibility to all, integration of AI, cross-platform experience, application of IoT etc...

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Designers Australia Awards - Presented By Design Institute of Australia

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The Designers Australia Awards brings together Australia's broad design community to celebrate ethical, innovative, impactful design - highlighting and honouring work defined by quality. Focusing on the design process as much as the outcome, each accoldae considers how the designer's work responds t

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JavaScript seems to be disabled in your browser. For the best experience on our site, be sure to turn on Javascript in your browser.

FREE SHIPPING ON ORDERS WITHIN AUSTRALIA OVER $90, T&C's APPLY. Deliveries may be impacted by Aus Post delays.

It started in a Melbourne cafe with a simple idea: keep it and use it again. When siblings Abigail and Jamie Forsyth started a café business in Melbourne in 1998, disposable cups were entering the public landscape; the signifier of a busy professional life and a vibrant independent coffee scene.

People purchase KeepCups because they love the way they look and feel, and continue to use them because they form a positive habit.

Individual action drives change

Never doubt that a small group of committed citizens can change the world: indeed it's the only thing that ever has.

Margaret Mead
Cultural Anthropologist

2020 a turning point

As a society we're at a critical juncture, sliding over the precipice. We're in a climate emergency, on track to 4-6 °C temperature rise when we need to limit warming to 1.5°C.

In the wake of Covid-19 the world is likely to reduce emissions by 5% in 2020, but this only underscores the scale of the problem - at least 45% reduction in annual emissions is required to stay below 1.5°C.

Single-use plastics accelerate climate change and jeopardise progress toward the Paris climate agreement. In 2015, the last published count, 148 million tonnes of single-use packaging was produced in the world, less than 9% was recycled and up to 12% of it burned - compounding emissions impact.

Let's debunk two myths.

Myth 1: Single-use equals sterile
This basic misunderstanding of food safety has again gained traction during Covid-19, despite medical professionals the world over coming out in support of reuse. When KeepCup first launched, this misunderstanding of food safety was such a barrier to reuse that we got a letter of legal advice to share with cafes confirming that reusables are supported by the health and safety regulations and a letter from then Victorian Premier John Brumby, endorsing KeepCup and the positive impacts of reuse on our health and the environment.

Reuse can and does continue safely, with clean hands and a clean KeepCup (remember your lid). Learn more >

Myth 2: Convenience culture is consumer driven
This myth is perpetuated by Big Plastic and the large corporates responsible for much of the world's single-use packaging waste, who claim to "just be giving customers what they want." In ten years, the activism of individuals and organisations has demonstrated that convenience at the cost of the planet is not actually what people want - we want better choices.

Thinking beyond growth

Covid-19 provides unparalleled opportunity to pivot to a post growth economy. This won't happen via business as usual with the odd tweak here and there. This is transformational change. This is about circular systems that remove waste and keep materials in play for as long as possible. It's about behaviour change, a reversal of hyper consumption to refocus on reducing, reusing and repairing. It's a shift to 100% renewable energy. It's about protecting biodiversity and committing to leave the few remaining wild places protected. And it's all interconnected. We view our role in this through the four lenses below.

Looks like you're browsing from United States, but you are currently looking at the AU site, change to your local store?

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KeepCup started with one simple idea: keep it and use it again. 12 years on, KeepCup reusers divert around 8 billion single-use cups from landfill each and every year.

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In today's buzzing world, electrical lights aren't just found in globes anymore, but from screens and phones too. With all of these shiny products it's hard to believe that 1.1 billion people still live without access to electricity. Living without access to readily available light has a huge impact on people's lives. Imagine trying to do your homework or run your business without being able to see your hand in-front of your face! Without light, everyday activities become very limited and even dangerous. Light is a necessity we often take for granted.

Little Sun is a portable solar lamp created by artist Olafur Eliasson. This pretty and easy to carry source of light harnesses energy from the sun and can emit light for up to 50 hours at a time. For us, this could be a sustainable night light to read to, or a super handy tool when our torch dies on a camping holiday. However, in areas where there is no access to electricity, the Little Sun can change they way people live their lives. It can allow families to make dinner together, study and socialise. It could be a light that allows someone to deliver a baby safely or perform an emergency medical procedure. The idea behind the Little Sun is to try and increase the access to sustainable, long-lasting light, especially in areas where there is no light available.

Photo by Nicky Angunwa

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In today's buzzing world, electrical lights aren't just found in globes anymore, but from screens and phones too. With all of these shiny products it's hard to believe that 1.1 billion people still live without access to electricity. Living without access to readily available light has a huge impact on people's lives.

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biodigrable sequins. It gave me the change of working within 2km radius location to adapt and build my colours, base and technique.

All the colours are created from natural sources such as flowers, earth, planets and vegetables showing the variation from season to season but also giving a chance to be able to physically pick your colour palette.

These Bio sequins not only focus on sustainable fashion and textiles but revolutionising the supply chain of locally made fabrics.

FUTURE BIODEGRADABLE FASHION / HOW IT WORKS.

I worked and experimented over the last 5 years i have been able to adapt the material from a solid to a silicon quality with endless possibilities from weaving, joining, interlocking, dry molding etc.
Bioplastic is a material that looks and feels like a plastic but is made wholly from biological material such as algae, seaweed and other natural resources.
The Bioplastic I make is made of food that has been thrown away and / or discarded.

Samples of different types of colours and material bases from nature to show variations of colours and wood to incorporate into the biofabrics.

The Bio-fabrics samples displayed are sequins developed from local flowers to create a sustainable embellishment alternative. Each one hand cut, hand made and home grown to show the future of Biocouture.​​

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biodigrable sequins. It gave me the change of working within 2km radius location to adapt and build my colours, base and technique. All the colours are created from natural sources such as flowers, earth, planets and vegetables showing the variation from season to season but also giving a chance to be able to physically pick your colour palette.

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One winner in the Sustainable Design or Initiative category will be awarded a $2000 cash prize. Up to two commendations will also be awarded.

The Sustainable Design + Initiative category will accept submissions for products, concepts, ideas and community initiatives with positive environmental outcomes that have been created in the past three years - between January 1st 2018 and April 27th 2021.

Applications will be shortlisted by The Design Files team. Shortlisted entries will be assessed by two expert judges, on the following criteria :
Potential for fulfilment of the brief / project objective
Originality - something we haven't seen before, something invented from scratch.

Visual Appeal - beauty, boldness, aesthetic appeal. (assessed for designed products only)

Function - how well does the product / project identify and provide solutions for the desired functional outcomes?

Sustainability - how well does this project or product contribute to positive environmental outcomes, with specific consideration of the environmental impact of any manufacturing or building processes, management and reduction of waste, water and energy consumption, and assessment of positive environmental or community outcomes.

Visionary thinking - does this project push boundaries, does it achieve something bigger than the intended commercial outcomes?
Bonus points will be awarded to projects with pro bono or community focussed outcomes, and/or projects limited by an unusually tiny budget.

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The Design Files Awards - Sustainable Design or Initiative

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One winner in the Sustainable Design or Initiative category will be awarded a $2000 cash prize. Up to two commendations will also be awarded. The Sustainable Design + Initiative category will accept submissions for products, concepts, ideas and community initiatives with positive environmental outcomes that have been created in the past three years - between January 1st 2018 and April 27th 2021.

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The 'Urchin Corals' installation brings to the surface two ecological problems in the ocean - in Port Phillip Bay in Victoria and the Great Barrier Reef in Queensland. The installation consists of 3d printed corals from the shells of the Purple sea urchin (Heliocidaris erythrogramma) and the Black sea urchin (Centrostephanus rodgersii) blended with biopolymers. The corals are accompanied by two underwater films made in collaboration with Tom Park, underwater photographer and film maker.
In Port Phillip Bay in Victoria and many other places in the world, due to anthropogenic reasons including climate change, sea urchins are exploding in numbers. They eat their way through the seaweed habitats until only an underwater desert remains. In many parts of the Port Phillip Bay this has already happened. At the Great Barrier Reef a more known disaster in unfolding. The increasingly frequent high temperatures are leading to coral bleaching and eventually to the death of corals.

While the underwater films show the remaining beauty in these two locations and the reality of the declining areas, the 3d printed corals are a snapshot into a research project on material properties of sea urchin shells and possible manufacturing techniques and geometries. The work has led to and inspired further material research we are currently undertaking for coral restoration purposes, as part of the Reef Restoration and Adaptation Program for the Great Barrier Reef.

Credits:
Urchin Corals 2020
Photogrammetry and 3D-models of the Montipora and Pocillopora sp.: by The Hydrous
3D-models Acropora sp.: Pirjo Haikola
Research and production assistant: Javier de Urquijo Isoard
Research partner and supply of the Heliocidaris erythrogramma sea urchins: Fletcher Warren-Myers and Sustainable Aquaculture Laboratory - Temperate and Tropical (SALTT), School of BioSciences, The University of MelbournePolymer processing support: Mike Allan, RMIT Chemical and Environmental Engineering, School of Design, College of Design and Social context, RMIT University, National Gallery of Victoria, Melbourne

Calcifiers of Change (VIC) 2019
Film by: Tom Park
Research partner: Fletcher Warren-Myers and Sustainable Aquaculture Laboratory - Temperate and Tropical (SALTT), School of Biosciences, University of Melbourne
Vessel and crew: RMIT Underwater Club and Qing Hong Loh, Chris Peterson, Jack McQuinn
Film locations: Port Phillip Bay and Mornington Peninsula, Victoria, Australia

Calcifiers of Change (QLD) 2021
Film by: Tom Park
Vessel and logistics: Coral Sea Dreaming
Film locations: Great Barrier Reef, Queensland

Feature image: Sean Fennessy

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'Urchin Corals' and underwater films NGV 2020 Triennial

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The 'Urchin Corals' installation brings to the surface two ecological problems in the ocean - in Port Phillip Bay in Victoria and the Great Barrier Reef in Queensland. The installation consists of 3d printed corals from the shells of the Purple sea urchin (Heliocidaris erythrogramma) and the Black sea urchin (Centrostephanus rodgersii) blended with biopolymers.

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Lettuce Eat explores food waste and throw away culture through a series of plates developed and designed from dehydrated lettuce. The pieces act not to discourage an impermanent sense of consumption, but rather, encourage consumption of 100 per cent sustainable and natural single use objects, while removing the need for plastic alternatives.

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Lettuce Eat explores food waste and throw away culture through a series of plates developed and designed from dehydrated lettuce. The pieces act not to discourage an impermanent sense of consumption, but rather, encourage consumption of 100 per cent sustainable and natural single use objects, while removing the need for plastic alternatives.

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"Using my Gecko Traxx for the first time was a super amazing feeling. This was the first time ever I was able to push all the way down the water myself and walk with my wife on the beach. The sand was very soft and it was just like pushing uphill, hard but totally doable."

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Past student work... sustainable society 

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Past student work... sustainable society 

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The Nail it

"The Nail It", is a tool that has been originally designed to assist the hammering of nails into an object. We have invented this tool to help people who have limited or no use of their fingers, that suffer from sever arthritis or people who have Parkinson tremors.

Our design process took many directions however we discovered that this particular design had multi-functional uses. For example, it can help with placing a credit card into an ATM, pick up small objects or even hold a small object into place.

Our original inspiration came from our Engineering teacher who had an amputated thumb and found fiddly task quite difficult to carry out. Mr. Knight told us that holding a nail and hammering it into an object was quite challenging and often frustrating as it was something he had to do quite regularly.

As the creators of "The Nail It", both Nima Yahyaabady (Year 7) and myself Aidan Mansell (Year 9) put our heads together and design a simple and cost effective solution to Mr. Knight's problem.

Our main objective to entering this competition was to invent an object that could ultimately make people's daily tasks easier. Along the way we learnt about the complexity of design and functionality and with every hurdle are grew more decisive in our task. We hope that you find "The Nail It" to be an adaptive device that can be used effectively therefore making tasks that some of us might take for granted and little bit easier for people who struggle.
How To Hold
You can hold the "The Nail It" between your index and middle finger or between you thumb and index finger (as the image displays above)
How To Print
Best results

Resolution:0.20

PLA

Infill: 100% (Must have infill at 100% or print will not properly work)

resize to your best personal fit

large hands +15%

Thankyou

Aidan and Nima

Download the design's source files for use on your own 3D printer.
CC - Attribution

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the nail it - a simplistic nail guide for anyone.

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The Nail It - A simplistic nail guide for anyone. @ Pinshape

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The Nail it "The Nail It", is a tool that has been originally designed to assist the hammering of nails into an object. We have invented this tool to help people who have limited or no use of their fingers, that suffer from sever arthritis or people who have Parkinson tremors.

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The amount of plastic waste being produced due to the Coronavirus Pandemic is shocking. Despite reusable alternatives, billion's of face masks are being used each month; these are often ending up in landfill or littering our environment.

The Veil Stool is made from over 4,000 discarded disposable face masks collected from the streets of London during the Coronavirus pandemic. On collection, the face masks were disinfected with ozone spray and quarantined in sunlight for 4 weeks. The stool was created on an experimental discovery that 3-ply face masks can be spun into a soft yarn as well as being melted into a dense polypropylene structure.

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The amount of plastic waste being produced due to the Coronavirus Pandemic is shocking. Despite reusable alternatives, billion's of face masks are being used each month; these are often ending up in landfill or littering our environment. The Veil Stool is made from over 4,000 discarded disposable face masks collected from the streets of London during the Coronavirus pandemic.

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Last Updated on February 2, 2022

This article contains a collection of sketchbook pages from art students around the world, including those who study IGCSE / GCSE Art, A Level Art, VCE Studio Arts, NCEA Level 3 Scholarship, and IB Visual Art. Many of the sketchbook pages shown below are from projects that achieved full marks. These examples illustrate the wide range of possible approaches to sketchbook content, annotation, and page layout.

You may be interested in our new book: Outstanding High School Sketchbooks. This book has high-resolution images so that fine details and annotation are clear, making it an excellent resource for students and schools. Learn more!

Examples of great art sketchbooks

This sketchbook page collection features work from students who specialize predominantly in drawing, painting, mixed media, and Fine Art. The examples cover a wide range of presentation techniques and layout styles. It is worth remembering that these represent only a fraction of what is possible.

These International GCSE Art sketchbook pages were created by Nikau Hindin, while at ACG Parnell College, Auckland, New Zealand. This page includes first-hand observational drawings of a still life arrangement and a handmade flax (harakeke) flower, made by Nikau. You may wish to view Nikau's full A* IGCSE Coursework project (98%) or her AS Coursework project (awarded 100%). Larger file sizes of Nikau's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This A* sketchbook was completed by Emilya Swan, while studying A Level Fine Art at Godalming College, Surrey, England. The left-hand page includes a copy of work by Leonard Baskin; the right-hand page contains experimentation with a wide range of media, including pencil on tracing paper and old book pages, Quink ink and bleach, spirit markers, ink and pen, fineliner and oil pastel. Emilya's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

These sketchbook pages were produced by Kate Powell, while studying at North Halifax Grammar School, West Yorkshire, England. Kate gained A* in OCR GCSE Art as a Year 9 student (two years younger than is expected) and A* for A Level Art in Year 12 (one year younger than expected). She achieved full marks (100%) for A Level Photography, in Year 13. You may wish to read about how Kate launched her career while at high school.

This sketchbook page was completed by Annie Loh, while studying Edexcel GCSE Art and Design at Sha Tin College, Hong Kong. This page references the work of artist Stephen Conroy. Annie gained 100% (A*) for this qualification.

These sketchbook pages exploring the human figure were completed by Chloé Zinn, while studying National Senior Certificate at Rustenburg High School for Girls, South Africa. The right-hand image is a mixed replica of an illustration by Kaethe Butcher, completed using masking tape, gouache paint, tracing paper, fine liner, and crumpled magazine paper. A larger file size of the left-hand sketchbook page can be viewed in our publication: Outstanding High School Sketchbooks.

This A Level Art sketchbook page contains drawings of visual analysis of a sculpture by Bernard Meadows. This project was completed by William Govoni, Bedford School, England. More of William's artwork can be viewed in our guide to preparing an art portfolio for college or university.

These graphite paper drawings were part of a sketchbook exercise completed by Jenny Ha, while studying AS Level Graphic Design (A*) at ACG Parnell College, Auckland, New Zealand.

These two International GCSE Art sketchbook pages by Rhea Maheshwari, ACG Parnell College, Auckland, New Zealand, analyzing the work of Jim Dine. Rhea achieved an A* grade. More of Rhea's sketchbook pages (larger file sizes) can be viewed in our publication: Outstanding High School Sketchbooks.

This A Level Art sketchbook page is by Daisy Wrigley, completed while studying AQA A Level Art & Design (Fine Art) at St. Mary's Catholic High School. Investigating the work of Crystal Neubauer, this sketchbook page explores a wide range of media, including ribbon, maps, book pages, parcel tape, corrugated cardboard, tissue paper, fabric, paper towel, charcoal, stitching, and acrylic. Daisy gained 98% (A*) for her final A Level Art grade. More of Daisy's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This is part of a Process Portfolio by Enrico Giori, completed as a part of IB Visual Arts at St. Louis School of Milan. Enrico was awarded Level 7, obtaining full marks in all three components of the course. You may wish to view more of his IB Visual Art project or his CIE IGCSE Art exam or IGCSE Coursework project (A* Grade). Some of Enrico's sketchbook pages can also be viewed in our publication: Outstanding High School Sketchbooks.

This Edexcel AS Level Textile Design sketchbook page is by Halima Akhtar, completed while studying within the Woldingham School Art Department, UK. Halima achieved 95% for her AS Exam and 100% for her AS Coursework (A*). She also gained 100% for A Level Fine Art. This sketchbook page references the work of Naum Gabo and contains drawings in pencil and fineliner pen, photographs of a paper sculpture and a polyprint carving. You may wish to view more from Halima's outstanding AS/A2 textiles projects. Some of Halima's sketchbook pages can also be viewed in our publication: Outstanding High School Sketchbooks.

These A* A Level Art sketchbook pages were created by Nettle Grellier, St. Edward's School, Oxford, England. Nettle currently runs workshops for art students while travelling around Europe in her studio on wheels.

An A Level Art sketchbook page by Ruth Beeley, St George's School, Hertfordshire, England. Using 'modrock' (a plaster of paris bandage) and glue to create raised areas, with other mixed mediums such as wire, ink and Biro pen, Ruth adds detailed drawings over a chaotic ground. You may wish to view more of Ruth's 100% A Level Art Coursework project.

Sketchbook pages completed as part of a VCE Studio Arts folio by Australian high school student Heesu Kim. Heesu writes about the project: "I want to create a narrative-like line of work that illustrates the process of birth and innocence to slow corruption and finally death of soul. For me, the 'death of soul' is when our minds are shaped to fit the norms of society and cut to think only in the values that it presents. This process both starts and finishes at high school. Ultimately the conclusion is thousands of machine-like individuals, fresh and ready to become slaves to the system. I talk to my friends and see peers that conclude their whole lives and future based on how high their ATAR score is, who adopt dreams that their parents decide for them, dreams that make more money, instead of following their real passion. I'm aware of it but accept it myself as there is no other choice but to. So subtle and complete is the control over us that we embrace it, actively acknowledge to it, and at the same time still suffer emotionally under it."

This Francis Bacon study was completed by Stefan Iyapah, while studying A Level Art at Beal High School, Redbridge, England. In his own words, Stefan "broke out of a timid and controlled way of working and became heavily influenced by the emotion-filled paintings of Francis Bacon which encouraged me to use color experimentally and loosely".

A sketchbook page by Louis Trew from Bideford College, Devon, England.Louis achieved the best equal result in 2011 for his A Level Art submission (AQA). In this sketchbook page (exploring the work of graphic illustrator Russ Mills) every splash of paint, every pen line and every torn piece of background material is placed with care. Even in a page that contains multiple elements, the composition of the page as a whole is important. Louis demonstrates superb technical skill, with the ability to place, balance and integrate items in a harmonious layout.

This eye-catching sketchbook page by Iona Judd includes dripped white spirit (mineral turpentine) through oil paint. Triangles are cut out, with black stitching used to define the human form.

This sketchbook page was completed by Year 12 student Stenelee Taminaya, while studying at St Francis Xavier College, Australia, taught by Damien Veal. Beautiful pencil and biro drawings of hearts and lungs are inspired by images of preserved food in jars.

These expressive sketchbook pages are by Lina Abu Sita, completed while studying AS Art and Design at the British international school Doha College, Qatar. The gestural, painterly experiments combine a range of mixed media, including collage, acrylic paint, oil pastel, and trial various compositional approaches.

These two A* sketchbook pages were completed by Rhea Maheshwari, as part of her IGCSE Art Coursework project at ACG Parnell College, Auckland, New Zealand. This section of work was derived from observational drawings of a still life arrangement of shells in flax (harakeke) bags. The sketchbook page on the left features composition studies created from digital manipulations of her own scanned drawings. More of Rhea's sketchbook pages (larger file sizes) can be viewed in our publication: Outstanding High School Sketchbooks.

These rich, textural mixed media pages are part of an A Level Art project by Ellie Green, while studying at Graveney School, London, England (awarded A*). The work shows clear first-hand sources and a personal response to local environment: shells, feathers, rope, and coastal landscapes. The pages include drawings and collage using a range of mixed media, with the repetition of blue and brown colors visually linking different parts of the page together.

These sketchbook pages are by Hojeong Bonnie Park, completed while studying Edexcel A Level Art and Design at Colombo International School, Sri Lanka. Bonnie explored the exam topic, 'Inside, Outside, In Between,' using a still-life theme, analyzing the artwork of Juan Sánchez Cotán. Bonnie gained 100% (A*) for her final grade. More of Bonnie's beautiful sketchbook pages can be viewed in in our publication: Outstanding High School Sketchbooks.

This GCSE Art and Design sketchbook page is part of an exam unit by Alisha Khanna from Highclare School, UK. This sketchbook page analyzes the work of Andy Warhol, and includes a range of media including colored pencil, crayon, and corrugated cardboard. Alisha gained 94% for her GCSE Art exam. More of Alisha's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This sketchbook page was completed by Heather Louise Thomas, while studying Edexcel GCE Art, Craft and Design at St Edmund Campion Catholic School, UK. This page analyzes the artwork of Terry Flannery and contains highly detailed colored pencil replications of Flannery's work. Heather achieved A* overall. Some of Heather's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This is an AS Level Fine Art sketchbook by David Wasserman, from Monks' Dyke Tennyson College, England. Referencing the work of M.C. Escher, this page explores reflections upon curved surfaces, such as a glistening eyeball, and a shiny Christmas bauble. Photographs of work in progress have been included, documenting drawings at different stages of completion.

This A Level Art sketchbook page contains pen drawings from life at a string ensemble practice in a music hall, exploring ways of capturing the movement of the violin. This project was completed by William Govoni, while studying at Bedford School, England.

This NCEA Level 3 Scholarship Printmaking workbook exemplar by a high school student in New Zealand. It provides a great example how second-hand imagery can be seamlessly integrated with your own photographs, written documentation and analysis. This student looks at architectural abstraction and references the work of Gordon Matta-Clark and Young Ae Kim. More information about this project can be viewed at NZQA.

These sketchbook pages were completed by Manisha Mistry, as part of her A* IGCSE Art Coursework project, ACG Strathallan, Auckland, New Zealand. You may wish to view more of Manisha's 98% IGCSE Art project, which explored natural forms, such as shells, seaweed and fish.

These sketchbook pages are by Elliswg, a high school student studying at a Sixth Form college in Derby, UK. Exploring portraiture, the sketchbook pages contain a thorough and competent investigation of emotion and facial expression, sketched using a range of drawing mediums.

This A Level Art sketchbook page was completed by John Hui, while attending St John's College, Portsmouth, England. The page includes detailed investigation of eyeballs, mouth infections and diseases, working from a combination of first and second-hand images.

These sketchbook pages are by Sabrina Syed, completed as part of her IB Visual Arts Diploma, at the International School of Geneva, ISG La Châtaigneraie, Switzerland. These pages analyze the work of Leonardo da Vinci and Auguste Rodin and contain a variety of media, including collage, ink pen, felt pen, graphite pencil, water-soluble colored pencil, and tracing paper. Sabrina was awarded the highest grade (level 7) for IB Visual Arts. Some of Sabrina's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

An A Level Art sketchbook page by Lucy Luu. At its essence, a sketchbook page should provide insight into a student's ideas and intentions, as well as revealing the influence of other artists. This A Level Art sketchbook page is beautiful in its simplicity: devoid of all superfluous decoration, it shows a dedicated and committed student learning a technique from artist Jonathan Yeo and then carefully applying this to original artwork.

This A* sketchbook page was completed by Hania Cho, while studying A Level Painting at ACG Strathallan College, Auckland, New Zealand. This page examines the work of Claude Monet. You may also wish to view Hania's A* IGCSE Coursework project.

These sketchbook pages are part of an IB Visual Arts project by Wing Yung Ng, completed while studying at Sha Tin College, Hong Kong. Wing Yung Ng gained the highest grade (level 7) for this project. Wing Yung Ng is one of many students from Sha Tin College with work in our publication: Outstanding High School Sketchbooks.

These sketchbook pages were created by two different students. The image on the left was created as part of a Higher Level Investigation Workbook (IWB) by Naomi Ng, completed as part of the IB Visual Arts Diploma Programme at Sha Tin College, Hong Kong. You may wish to view more of Naomi's IB Visual Arts project, which was awarded Level 7. This right-hand AS Art sketchbook page by Charlotte Taylor shows the visual investigation of hands: drawing from a range of angles and in a range of different mediums. Charlotte has worked over scraps of lined note paper (some with maths equations left on them) with meticulous, detailed pen drawings, developing familiarity with the human form.

This A Level Art sketchbook page by Robyn Yeang from Queen's College London, UK, commands the attention of the examiner, without superfluous decoration, enlarged headings or busy page layouts.

This is part of a 98% A* IGCSE Art and Design Coursework project by Sarah Loh, completed while studying at ACG Strathallan College, Auckland, New Zealand. In this sketchbook page, Sarah has produced observational drawings of shells, line drawings and printmaking experiments. You may wish to view Sarah's AS Coursework project.

These sketchbook pages by Allison Ho were completed as part of IB Visual Arts at Sha Tin College, Hong Kong. These pages include composition development and critical analysis of work by Ian Murphy. Allison achieved the highest grade for IB Visual Arts (level 7). Larger file sizes of some of Allison's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This sketchbook page was completed by Heather Louise Thomas, while studying Edexcel GCE Art, Craft and Design at St Edmund Campion Catholic School, UK. Inspired by the work of Jessica Drenk, Heather created porcelain shells, decorating these with tissue paper and power towel soaked in porcelain slip. She then added patches of color to the textural surfaces, contrasting with the areas of satin and gloss glazes. Heather achieved A* overall. Some of Heather's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This sketchbook page is by Rebecca Fawdry, completed while studying Edexcel GCSE Art and Design at West Island School, Hong Kong. (You may wish to follow WIS Art Department on Pinterest). This sketchbook page includes critical analysis of work by artists Ian Murphy and Emily J. Hay. A range includes a range of media has been used, such as graphite pencil, ink pen, marker pen, tissue paper, tracing paper, and newspaper. Rebecca was awarded 100% (A*) for GCSE Art, and is one of many students featured in our publication: Outstanding High School Sketchbooks.

These Edexcel A Level Art sketchbook pages are from a Grade A* student project from Steyning Grammar School, UK. These sketchbook pages are two of many excellent examples shared by the school on the SGS Art Department Pinterest profile.

This Edexcel GCSE Art and Design (Fine Art) sketchbook page is by Sophie Blow, completed while studying at the Frances Bardsley Academy for Girls, UK. This page shows analysis of a portrait, with original interpretation, using graphite pencil, colored pencil, and acrylic paint. Sophie gained 93.5% (A*) for GCSE Art.

This AQA GCSE Art and Design sketchbook page is by Genevieve McGechie, taught by Kate Ash at Christopher Whitehead Language College and Sixth Form, UK. This page explores the work of Timothy Hyunsoo Lee, and includes a range media such as watercolor, acrylic paint, colored pencil, and graphite pencil. Genevieve gained an A* for GCSE Art.

These sketchbook pages by Allison Ho were completed as part of IB Visual Arts at Sha Tin College, Hong Kong. These pages include critical analysis of work by a range of artists, including Michael Shapcott and Zhong Biao. Allison achieved the highest grade for IB Visual Arts (level 7). Larger file sizes of some of Allison's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

These sketchbook pages are from an OCR GCSE Art and Design project by Annie Richardson, Hall Park Academy, UK. These pages show composition experiments in the style of Matthieu Bourel, developing and refining ideas towards the final piece. Annie gained A* (100%) for GCSE Art.

Need more art sketchbook ideas?

This article is part of a series showcasing and celebrating outstanding sketchbooks by students, artists and designers. You may also be interested in viewing our other sketchbook resources:

This sketchbook collection is continually updated. Please bookmark this page so that you can return to it when needed! If you would like to submit your own sketchbook page for inclusion, please contact us. 🙂

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Art Sketchbook Ideas: Creative Examples to Inspire Students

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Looking for art sketchbook ideas? This article showcases excellent high school sketchbooks - inspiration for the student and teacher.

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Brayden Dunstan

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Brayden Dunstan

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Good Design Australia | Good Design Awards

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Good Design Australia is an international design promotion organisation responsible for managing the annual international Good Design Awards and other signature design events. With a proud history dating back to 1958, we remain committed to promoting the importance of design and it’s role in creating a better world.

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Meet Victorian Premier's Design Award Communication Design judge: San San Truong

San San Truong may be new to her role as Victorian Premier's Design Award (VPDA) judge for the Communication Design category, but she brings a wealth of personal knowledge and professional expertise - both here and overseas - to her position and is truly passionate about elevating the understanding of communication design and celebrating the extraordinary contributions of Victorian creatives to the field.

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Established by the Victorian Government in 1996, the Victorian Premier's Design Awards are an opportunity to highlight and celebrate local design capability.

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During their studies Max Hochstenbach and Guido Lok discovered that many of their former projects had been covered with a layer of dust. They decided to bring those old ideas back to life through their platform StudentDesign. They reach more than 300.000 international designers nowadays.

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Design thinking is a methodology which provides a solution-based approach to solving problems. It's extremely useful when used to tackle complex problems that are ill-defined or unknown-because it serves to understand the human needs involved, reframe the problem in human-centric ways, create numerous ideas in brainstorming sessions and adopt a hands-on approach to prototyping and testing. Learning about the five stages of design thinking will empower you and allow you to apply the methodology to your work and solve complex problems that occur in our companies, our countries, and across the world.
Design thinking is a non-linear, iterative process that can have anywhere from three to seven phases, depending on whom you talk to. We focus on the five-stage design thinking model proposed by the Hasso Plattner Institute of Design at Stanford (the d.school) because they are world-renowned for the way they teach and apply design thinking.

What are the 5 Stages of the Design Thinking Process

The five stages of design thinking, according to the d.school, are:

Let's dive into each stage of the design thinking process.

Stage 1: Empathize-Research Your Users' Needs

Empathize: the first phase of design thinking, where you gain real insight into users and their needs.

The first stage of the design thinking process focuses on user-centric research. You want to gain an empathic understanding of the problem you are trying to solve. Consult experts to find out more about the area of concern and conduct observations to engage and empathize with your users. You may also want to immerse yourself in your users' physical environment to gain a deeper, personal understanding of the issues involved-as well as their experiences and motivations. Empathy is crucial to problem solving and a human-centered design process as it allows design thinkers to set aside their own assumptions about the world and gain real insight into users and their needs.

Depending on time constraints, you will gather a substantial amount of information to use during the next stage. The main aim of the Empathize stage is to develop the best possible understanding of your users, their needs and the problems that underlie the development of the product or service you want to create.

Stage 2: Define-State Your Users' Needs and Problems

Define: the second phase of design thinking, where you define the problem statement in a human-centered manner.

In the Define stage, you will organize the information you have gathered during the Empathize stage. You'll analyze your observations to define the core problems you and your team have identified up to this point. Defining the problem and problem statement must be done in a human-centered manner.

For example, you should not define the problem as your own wish or need of the company: "We need to increase our food-product market share among young teenage girls by 5%."

You should pitch the problem statement from your perception of the users' needs: "Teenage girls need to eat nutritious food in order to thrive, be healthy and grow."

The Define stage will help the design team collect great ideas to establish features, functions and other elements to solve the problem at hand-or, at the very least, allow real users to resolve issues themselves with minimal difficulty. In this stage, you will start to progress to the third stage, the ideation phase, where you ask questions to help you look for solutions: " How might we encourage teenage girls to perform an action that benefits them and also involves your company's food-related product or service?" for instance.

Stage 3: Ideate-Challenge Assumptions and Create Ideas

Ideate: the third phase of design thinking, where you identify innovative solutions to the problem statement you've created.

During the third stage of the design thinking process, designers are ready to generate ideas. You've grown to understand your users and their needs in the Empathize stage, and you've analyzed your observations in the Define stage to create a user centric problem statement. With this solid background, you and your team members can start to look at the problem from different perspectives and ideate innovative solutions to your problem statement.

There are hundreds of ideation techniques you can use-such as Brainstorm, Brainwrite, Worst Possible Idea and SCAMPER. Brainstorm and Worst Possible Idea techniques are typically used at the start of the ideation stage to stimulate free thinking and expand the problem space. This allows you to generate as many ideas as possible at the start of ideation. You should pick other ideation techniques towards the end of this stage to help you investigate and test your ideas, and choose the best ones to move forward with-either because they seem to solve the problem or provide the elements required to circumvent it.

Stage 4: Prototype-Start to Create Solutions

Prototype: the fourth phase of design thinking, where you identify the best possible solution.

The design team will now produce a number of inexpensive, scaled down versions of the product (or specific features found within the product) to investigate the key solutions generated in the ideation phase. These prototypes can be shared and tested within the team itself, in other departments or on a small group of people outside the design team.

This is an experimental phase, and the aim is to identify the best possible solution for each of the problems identified during the first three stages. The solutions are implemented within the prototypes and, one by one, they are investigated and then accepted, improved or rejected based on the users' experiences.

By the end of the Prototype stage, the design team will have a better idea of the product's limitations and the problems it faces. They'll also have a clearer view of how real users would behave, think and feel when they interact with the end product.

Stage 5: Test-Try Your Solutions Out

Test: the fifth and final phase of the design thinking process, where you test solutions to derive a deep understanding of the product and its users.

Designers or evaluators rigorously test the complete product using the best solutions identified in the Prototype stage. This is the final stage of the five-stage model; however, in an iterative process such as design thinking, the results generated are often used to redefine one or more further problems. This increased level of understanding may help you investigate the conditions of use and how people think, behave and feel towards the product, and even lead you to loop back to a previous stage in the design thinking process. You can then proceed with further iterations and make alterations and refinements to rule out alternative solutions. The ultimate goal is to get as deep an understanding of the product and its users as possible.

Did You Know Design Thinking is a Non-Linear Process?

We've outlined a direct and linear design thinking process here, in which one stage seemingly leads to the next with a logical conclusion at user testing. However, in practice, the process is carried out in a more flexible and non-linear fashion. For example, different groups within the design team may conduct more than one stage concurrently, or designers may collect information and prototype throughout each stage of the project to bring their ideas to life and visualize the problem solutions as they go. What's more, results from the Test stage may reveal new insights about users which lead to another brainstorming session (Ideate) or the development of new prototypes (Prototype).

It is important to note the five stages of design thinking are not always sequential. They do not have to follow a specific order, and they can often occur in parallel or be repeated iteratively. The stages should be understood as different modes which contribute to the entire design project, rather than sequential steps.

The design thinking process should not be seen as a concrete and inflexible approach to design; the component stages identified should serve as a guide to the activities you carry out. The stages might be switched, conducted concurrently or repeated several times to gain the most informative insights about your users, expand the solution space and hone in on innovative solutions.

This is one of the main benefits of the five-stage model. Knowledge acquired in the latter stages of the process can inform repeats of earlier stages. Information is continually used to inform the understanding of the problem and solution spaces, and to redefine the problem itself. This creates a perpetual loop, in which the designers continue to gain new insights, develop new ways to view the product (or service) and its possible uses and develop a far more profound understanding of their real users and the problems they face.

The Take Away

Design thinking is an iterative, non-linear process which focuses on a collaboration between designers and users. It brings innovative solutions to life based on how real users think, feel and behave.

This human-centered design process consists of five core stages Empathize, Define, Ideate, Prototype and Test.

It's important to note that these stages are a guide. The iterative, non-linear nature of design thinking means you and your design team can carry these stages out simultaneously, repeat them and even circle back to previous stages at any point in the design thinking process.

References & Where to Learn More

Herbert Simon, The Sciences of the Artificial (3rd Edition), 1996.

d.school, An Introduction to Design Thinking PROCESS GUIDE, 2010.

Gerd Waloszek, Introduction to Design Thinking, 2012.

Images

Hero Image: © Daniel Skrok and the Interaction Design Foundation, CC BY-NC-SA 3.0.

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The 5 Stages in the Design Thinking Process

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The Design Thinking process is a human-centered, iterative methodology that designers use to solve problems. It has 5 steps-Empathize, Define, Ideate, Prototype and Test.

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The voice of professional designers in Australia.

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The SCAMPER method helps you generate ideas for new products and services by encouraging you to ask seven different types of questions, which will help you understand how you can innovate and improve existing products, services, problems and ideas. Here, you'll learn how to use the method. SCAMPER is surprisingly easy to start using and very efficient in innovation and ideations sessions.
SCAMPER Method

SCAMPER refers to a series of thought sparkers or provocations which help you to innovate on an existing product, service or situation by looking through different lenses. There are seven provocation lenses in the SCAMPER method:

How to Use SCAMPER

First, take an existing product or service. It could be an existing product, service or idea which you want to improve or which could be a great starting point for future development.

Then, simply go down the list and ask questions regarding each of the seven elements. Please see our step-by-step guide below.

Apply the questions to values, benefits, services, touch points, product attributes, pricing, markets and essentially any other related aspect you might be able to think of that has relevance to your ideation needs.

Look at the answers that you came up with. Do any of the answers stand out as viable solutions? Could you use any of them to create a new product, or develop an existing one?

Take the good ideas and explore them further.

Example - McDonald's
Author/Copyright holder: rob_rob2001 . Copyright terms and licence: CC BY-SA 2.0 McDonald's would come to be a larger-than-life household name; it may seem hard to see in the 21st century, but the philosophy behind its 'formula' revolutionised the old style of restaurant experience.
Take, for example, McDonald's founder, Ray Kroc. As he's already done all the hard work, it's now easy for us to identify some of the ideas he used in the SCAMPER method:

Put to other uses: Selling restaurants and real estate instead of just simply hamburgers.

Eliminate: Letting customers serve themselves and thereby avoiding the use of expensive waiters.

Rearrange: Having customers pay before they eat.

Step-by-step Guide

Substitute
Author/Copyright holder: Teo Yu Siang and Interaction Design Foundation. Copyright terms and licence: CC BY-NC-SA 3.0
Overall, the question to think about here is this: What can I substitute or change in my product, problem or process? You should think about substituting part(s) of your product or process for something else.

Guiding questions:

Use these instead of starting with: 'I can ...'

Combine
Author/Copyright holder: Teo Yu Siang and Interaction Design Foundation. Copyright terms and licence: CC BY-NC-SA 3.0
The overall question to think about here is: How can I combine two or more parts of my product, problem, or process so as to achieve a different product, problem, or process to enhance synergy? Creative thinking involves combining previously unrelated ideas, products, or services in order to create something new and innovative.

Guiding questions:

Adapt
Author/Copyright holder: Teo Yu Siang and Interaction Design Foundation. Copyright terms and licence: CC BY-NC-SA 3.0
Overall, the question you need to think about is: What can I adapt in my product, problem, or process? Think about which parts of the product or process you could adapt so as to solve your problem.

Guiding questions:

Modify (Also Magnify and Minify)
Author/Copyright holder: Teo Yu Siang and Interaction Design Foundation. Copyright terms and licence: CC BY-NC-SA 3.0
Overall, the question you need to focus on is this: What can I modify or put more or less emphasis on in my product, problem, or process? Can I change the item in some way? Can I change meaning, colour, motion, sound, smell, form, or shape? It's time to magnify or exaggerate your idea, product, problem, or process-or to minify it. These questions will give you new insights about which components are the most important ones. Think about changing part or all of the current situation or product. Alternatively, distort the product in an unusual way.

Guiding questions:

Put to Another Use
Author/Copyright holder: Teo Yu Siang and Interaction Design Foundation. Copyright terms and licence: CC BY-NC-SA 3.0
The overall question to consider here is this: How can I put the thing to other uses? What are new ways to use the product or service? Can I reach out to other users if I modify the product? Is there another market for the product? It's time to work out how you may be able to put your current product or idea to other uses and purposes.

Guiding questions:

Eliminate
Author/Copyright holder: Teo Yu Siang and Interaction Design Foundation. Copyright terms and licence: CC BY-NC-SA 3.0
Your overall question to consider here is: What can I eliminate or simplify in my product, design, or service? Think of what might happen if you were to eliminate, simplify, reduce, or minimise parts of your idea. If you continue to trim your idea, service, or process-you can gradually narrow your challenge down to that part or function that is most important.

Guiding questions:

Rearrange
Author/Copyright holder: Teo Yu Siang and Interaction Design Foundation. Copyright terms and licence: CC BY-NC-SA 3.0
Overall, you have to ask yourself this question: How can I change, reorder, or reverse the product or problem? What would I do if I had to do this process in reverse?

Guiding questions:

What can I rearrange in some way - can I interchange components, the pattern, or the layout?

Can I change the pace or schedule?

What would I do if part of your problem, product or process worked in reverse?

I can rearrange what in what way such that this happens?

Historical Background

Alex Osborn, the originator of the brainstorming method, originally came up with many of the questions used in the SCAMPER technique. However, it was Bob Eberle, an education administrator and author, who organised these questions into the SCAMPER mnemonic.

The Take Away

The SCAMPER method helps you generate ideas for new products and services by encouraging you to ask seven different types of questions, which will help you understand how you can innovate and improve existing products, services, problems and ideas. SCAMPER is an acronym formed from the abbreviation of: Substitute, Combine, Adapt, Modify (Also magnify and minify), Put to another use , Eliminate, and Reverse. SCAMPER is a lateral thinking technique which challenges the status quo and helps you explore new possibilities.
You can download and print the template where we've described the best practice for the SCAMPER method:
References & Where to Learn More

Hero Image: Author/Copyright holder: Damgood AVLien. Copyright terms and licence: CC BY-SA 2.0

SCAMPER - Improving Products and Services.

Luciano Passuello, Creative Problem Solving with SCAMPER
SCAMPER at CreatingMinds.org

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Scamper: How to Use the Best Ideation Methods

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The SCAMPER method helps you generate ideas for new products and services by encouraging you to ask seven different types of questions, which will help you understand how you can innovate and improve

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5 Exercises To Help You Learn To Draw Perspective

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Jorge Paricio is an adjunct professor of Industrial Design at the Rhode Island School of Design (RISD), and author of Perspective Sketching, Freehand and Digital Drawing Techniques for Artists & Designers by Rockport Publishers.

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plywood "product design" "product designing" "industrial design" "industrial designing" designer "product designer" "industrial designer" id "id sketch" "des...

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If your design work has reached a plateau and you're struggling to unlock the next level, this channel will give you the tools and confidence to give your work the 'wow' factor. Whether you need your portfolio to get you into design school, or you're lacking the confidence to apply for your dream job, you'll find everything you need right here.

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An important part of the design and development process is testing the materials you plan to use - this can, for example, ensure the materials are strong or durable enough for the task. Testing is also used as a method of quality control to ensure that products are safe and fit to be marketed.

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CLICK HERE FOR INDEX PAGE
THE TIME CHART
V. Ryan © 2001-2010

PDF FILE - CLICK HERE FOR PRINTABLE PLANNING SHEET

A Time Chart is a way of planning your project. Below is a simple grid and the stages of the design process are listed down the left hand side. As part of your project you need to show how much time you intend to spend on each section of the project. Included is a key which shows the amount of time that each unit represents. When you devise your time chart you may wish to include all the sections involved in research or add sections that apply to your individual project.

ANOTHER EXAMPLE TIME CHART

FURTHER INFORMATION

The time chart shown above is a basic layout. When attempting a graphics project you will need to draw it in a more imaginative way.
1. The example shows the stages/pages of design listed on the left hand side. You may decide to set the stages out in a different way. However, you still need to list all pages/stages.
2. On your time chart you must clearly show how much time has been allocated to each stage.
3. Consider including a key which states the time each stage on the chart represents. On the example the key is at the top (1 UNIT = ONE HOUR)
4. Consider including additional pages/stages that only apply to your project. This may apply especially to the research section of your project.
5. Keep the pages/stages to between 25 - 30 in number.
6. You may want to leave blank areas for pages/stages that you may include later. For example, You may be considering making a small model near the end of the project. One page could be set aside for photographs of its construction.
7. It is possible to produce two time charts. The first will represent the designing and the second the manufacturing and all the stages of making. If this is the case, the designing time chart can be drawn early in the project and the manufacturing time chart near the end.
8. The time chart must be easy to follow. Keep the layout simple but add colour and shade to enhance it.
9. If you have been told that there are a limited number of hours for your project - the total hours represented on your time chart should add up to this.

SUGGESTIONS

A. On paper list all the pages / stages you intend to include in your design folder.
B. List all the stages of manufacturing, if you know them at this stage. You may wish to have one stage representing all the aspects of making (as seen on the example above).
C. Look at examples of time charts as these may give ideas regarding the layout of your chart
D. Complete your homework on time. Do not fall behind as you may find it impossible to catch up.

CLICK HERE FOR FURTHER EXAMPLES OF TIME CHARTS

CLICK HERE FOR TIME CHART EXERCISE

CLICK HERE FOR TIME CHART EXERCISE

Plan a time chart for a project of your choice. Remember to allow time for each section of the project.

CLICK HERE FOR DESIGN PROCESS INDEX PAGE

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CLICK HERE FOR INDEX PAGE THE TIME CHART V. Ryan © 2001-2010 PDF FILE - CLICK HERE FOR PRINTABLE PLANNING SHEET A Time Chart is a way of planning your project. Below is a simple grid and the stages of the design process are listed down the left hand side.

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In December 1980, Ettore Sottsass met with a group of designers with the aim to create a new design collective (where a group of artists or designers create work together under one name). Everyone went away in order to come up with ideas, and three months after their initial meeting, the group met again, this time bringing over a hundred drawings with them!
A Unique Style
Although many people ridiculed their work, the Memphis group were groundbreaking. Their use of clashing colours, haphazard arrangements and brightly coloured plastic laminate was previously unseen. At the time, objects were usually designed to be functional, not decorative. Memphis changed this with a more creative approach to design, where they poked fun at every day objects by designing them in a way that was unusual.
A Revival
Many people called the Memphis group a fad, and said that it wouldn't last. In a way, this was true as the group went their separate ways after six years together. Their work continued to be overlooked for a long time, but that has changed recently.

One of the members of the Memphis group, Nathalie Du Pasquier, collaborated with Danish company HAY to create Memphis-esque patterned bags in 2013. A year later, she designed a collection for the fashion company American Apparel. Elsewhere in fashion, Memphis' work has served as the inspiration for fashion collections by designers such as Dior and Missoni.

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Visy Product Catalogue
Find the right packaging solution

Our Product Catalogue is designed to make it easy to find the right packaging solution to meet your needs for a wide range of industries including beverage, dairy, fruit & produce, meat, non food and packaged food.

Visit Product Catalogue Now ×

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Visy Product Catalogue Find the right packaging solution Our Product Catalogue is designed to make it easy to find the right packaging solution to meet your needs for a wide range of industries including beverage, dairy, fruit & produce, meat, non food and packaged food. Visit Product Catalogue Now ×

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90% of our clothes are thrown away long before they need to be, due to our culture of 'fast fashion' and outdated laundry habits. It's time for a change. To prolong the lives of our garments and respect the environment, partners from the fashion and appliance industry joined forces to launch the Care Label Project and introduce a new notion in fabric care: 'Don't Overwash'.

Don't Overwash means inviting customers to wash less, and at 40°C degrees or less. AEG has invited fashion houses globally, including selected NJAL designers to implement the awareness campaign within their garments. So far 18,200 styles of clothing have been updated with the new label that will help consumers to detach themselves from outdated fabric care habits. In 2016 AEG and NJAL selected a handful of designers from their community to launch an exclusive collection of designer garments for 2017 campaign, with lab tested care advice and a modern fabric guide. The initiative is a long-term collaboration aiming to deliver smarter washing technologies and fabrics, that can create a new sensitivity towards fabric care. The goal is for consumers to shop less, better and take care of their investment pieces so that they can be worn more than just one season.

"Suppliers are putting Dry Clean Only on the labels because they don't want to take any responsibility if the garment is ruined." Doriane van Overeem, fashion designer

AEG conducted an international study, which came to the conclusion that a third of the consumers find care labels confusing, yet follow them. Meanwhile designers are lacking both time and infrastructure to do the proper laundry testing, and therefore add inaccurate instructions to their garments in order to avoid being responsible for any damage created during the washing process. The result is an overuse of Dry Clean Only.

"A garment should live a lifetime, and that is only possible if you care for it the right way." Tim Labenda designer and International Woolmark Prize winner

Four films featuring a selection of today's most interesting emerging designers on NJAL are launched to open people's eyes on the most misleading care labels: Dry Clean Only with Doriane van Overeem, No Tumble Dry with Tim Labenda, Hand Wash Only with Clara Martin, and Temperature with Blackhorse Lane Ateliers.

The Care Label Project is a project that follows The Next Black, a film produced by AEG to create awareness and interest in fabric care, which in itself is a vital component in decelerating fashion and making it more sustainable. Besides NJAL, The Care Label project counts on crucial support from fellow industry partners such as The Woolmark Company and Fashion Revolution.

Over the past year AEG has closely worked with selected emerging designers and global powerhouses such as Woolmark Prizewinner Tim Labenda, Doriane van Overeem, Clara Martin, Adidas and Blackhorse Lane Ateliers, who have all been testing AEG's products and updated care habits, in order to realise that modern technology can care for the most delicate fabrics in a satisfactory way. The garments that have been used for these tests are all included in the project's own fashion collection - the Care Label Collection, complete with care advices ensuring a long-living piece of clothing.

"Aftercare of clothes has a great impact on both the longevity of clothes and the environment. However, our care habits have not changed in a very long time, even though we now have modern technologies that can prolong the life of both our clothes and the environment, if used correctly", says Ian Banes, Senior Vice President, Laundry at AEG

The following NJAL Designer have been chosen to closely collaborate with AEG to launch the Care Label Project:

| David Catalán, Porto
| Doriane Van Overeem, Brussels
| Clara Martin, London
| Jonathan Christopher Homme, Rotterdam
| Marit Ilison, Tallinn
| Noèlia Aranda, Barcelona
| O! Waste, Copenhagen
| Stine Ladefoged, Copenhagen
| StudioWinkler, Berlin
| Tim Labenda, Berlin
Download the AEG Care Label Lookbook here.

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What is the Care Label Project and Why You Should Care?

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To change the way we care for our clothes - prolonging their lives and learning how to respect the environment - NJAL is proud to partner with AEG in launching the Care Label Project.