Monday, November 11, 2013

SERVICE DESIGN: THE MOST IMPORTANT DESIGN DISCIPLINE YOU'VE NEVER HEARD OF

http://blogs.forrester.com/kerry_bodine/13-10-01-service_design_the_most_important_design_discipline_youve_never_heard_of

SERVICE DESIGN: THE MOST IMPORTANT DESIGN DISCIPLINE YOU'VE NEVER HEARD OF

Today is the first annual Customer Experience Day! There’s a growing number of professionals who are dedicated to making great customer experiences — and today is a day to celebrate their work. Today I’d also like to celebrate the role of design in helping customer experience (CX) pros create those experiences. It's not graphic design, interior design, or industrial design — but the lesser-known field of service design. You may not have heard of service design yet, but I’d argue that it’s the most important design subspecialty in the business world today.
What is service design? Its purview includes the design of interactions that span time and multiple touchpoints. Service design is sometimes easiest to grasp when contrasted with product design. Product designers create tangible things: tennis shoes, teapots, and tablet computers. Service designers create intangible experiences: the series of interactions that you have as you book a flight, pay a bill, get a driver’s license, or go to the doctor. Service designers also design the behind-the-scenes activities that enable those experiences to be delivered as planned.
I hope you can see from the description above why service design is critical to customer experience. So why is service design such an obscure field? Andy Polaine, Lavrans Løvlie, and Ben Reason sum it up nicely in their book Service Design: From Insight To Implementation — “It is because many services are almost invisible that nobody takes care to design them.” Indeed, it’s obvious that tennis shoes, teapots, and tablets need to be designed. Yet many CX pros skip directly to managing the customer experience via measurement and governance programs — and give little thought to actively designingexperiences in the first place. In fact, Forrester recently surveyed 100 customer experience professionals and found that only 15% consistently follow a defined customer experience design process when they create new interactions or improve existing ones.
So why is service design so important? We’ve entered a new business era that Forrester calls the age of the customer — a time when focus on the customer matters more than any other strategic imperative. Service design provides a toolset and framework that enable companies to truly understand their customers and engage with them in meaningful ways — ultimately driving profits, cost savings, and competitive differentiation.
If you’d like to learn more about service design, I’d encourage you to check out some of my previous blog posts:
I’d also encourage you to attend a service design or customer experience conference where you can dig deeper and connect with the design community. I’ll be speaking at:

This post is part of the Customer Experience Professionals Association's Blog Carnival “Celebrating Customer Experience.” Check out posts from other CX bloggers and learn how you can participate   online or in person  in Customer Experience Day.

inspiration

http://inspiration.ivomynttinen.com




Wednesday, November 6, 2013

Service Design: RKS Design


cAir - redefining air travel for families from RKS Design on Vimeo.

cAir (pronounced “care”) is a service design concept that eases the burden of air travel for families, making the journey more enjoyable for everyone. A proactive initiative by the strategic design consultancy RKS, cAir was a venture built organically from the ground up. They architected a new flying experience based on the real-life challenges of family travelers, a stark departure and inspiration for an industry traditionally focused on efficiency.
Learn more about cAir rksdesign.com/project#cair

http://www.rksdesign.com/assets/images/documents/RKS_Portfolio_Download.pdf

Tuesday, October 15, 2013

Image Size for Contents

Image Width: max 744px (100ppi)

Image Height: max 1022px (100ppi)

----------------------------------------

Make a space on top margin
<p align="left" width="0" height="40%">
<img src="about.jpg"/></p>

Text-Indent

<html>
<head>
<style type="text/css">
p {text-indent:50px;}
</style>
</head>
<body>

<p>In my younger and more vulnerable years my father gave me </p>

</body>
</html>

Convert smart quotes


How to Convert quotation InDesign to Dreaweaver automatically?

1. copy Content Texts in InDesign
2. paste special into Dreamweaver HTML documents



Characters in HTML

Thursday, October 10, 2013

Kindle HTML


HTML Tags

HTML Basic - 4 Examples [Headings, Paragraphs, Links, Images]
http://www.w3schools.com/html/html_primary.asp
HTML Image <img /> Tag
http://www.w3schools.com/tags/tag_img.asp
HTML <tt> <i> <b> <big> <small> Tags
http://www.w3schools.com/tags/tag_font_style.asp
HTML Subscript <sub> and <sup> Tags
http://www.w3schools.com/tags/tag_sup.asp
HTML "blockquote" Tag
http://www.w3schools.com/tags/tag_blockquote.asp
HTML <a> name Attribute (TOC) and Links
http://www.w3schools.com/tags/att_a_name.asp
http://www.w3schools.com/html/html_links.asp
CSS TEXT-INDENT 
http://www.w3schools.com/cssref/pr_text_text-indent.asp


Page "Height"
<p align="left" height="70%" width="0">


HTML Character-sets:
http://www.w3schools.com/tags/ref_entities.asp


NUMBER NAME   DESCRIPTION
" &#34; &quot;   quotation mark
' &#39; &apos;   apostrophe 
& &#38; &amp;   ampersand
© &#169; &copy;   copyright
&#160; &nbsp;   non-breaking space
@       &#64     at Symbol

Page break:    <mbp:pagebreak/>


HTML <meta> Tag [Describe metadata]
http://www.w3schools.com/tags/tag_meta.asp


XHTML 1.0 Reference [Ordered by Function]
http://www.w3schools.com/tags/ref_byfunc.asp

Kindle HTML tags
http://kindleformatting.com/book/files/KindleHTMLtags.pdf


Inspiration: Louis Vuitton presents











http://www.youtube.com/user/LOUISVUITTON?feature=watch

Wednesday, September 25, 2013

New Typeface: Book Covers






http://www.jessicahische.is/obsessedwiththeinternet/andhasnewsforyou/brioche-a-new-typeface

book cover archive

http://bookcoverarchive.com/

http://bookcoverarchive.com/publisher/penguin_books_ltd


kindle resources

Kindle Reading Apps
http://www.amazon.com/gp/feature.html?ie=UTF8&docId=1000493771#

KDP Tools and Resources
https://kdp.amazon.com/self-publishing/help?topicId=A3IWA2TQYMZ5J6

Kindle Plugin For Adobe InDesign_PublishingGuidelines
http://kindlegen.s3.amazonaws.com/KindlePluginForAdobeInDesign_PublishingGuidelines.pdf

How to Publish
https://kdp.amazon.com/self-publishing/help?topicId=A37Z49E2DDQPP3

What I learned when publishing a book to the kindle
http://sprott.physics.wisc.edu/pickover/kindle-guide.pdf

Other Resources:
http://www.idsystem.cz/kindle/

E-Book Cover Pencil + Computer Sketches

Emily McNally:







Project 1 resources

Copyright Term and the Public Domain in the United States
http://copyright.cornell.edu/resources/publicdomain.cfm

Prize-winning Books Online
http://onlinebooks.library.upenn.edu/prize.html

---------------------------------------------
Good amount of words for e-Book:

200~250 words/single page + 50pages.

Tuesday, September 10, 2013

Pentagram: Mohawk Paper





Mohawk Connects the Dots

Mohawk Logo, Before and After
Established in 1931, Mohawk, a fourth-generation family-owned business, is the largest privately owned manufacturer of fine papers and envelopes for commercial and digital printing in North America. Mohawk employs over 580 people and operates three paper machines in two mills in upstate New York and two converting facilities in New York and Ohio, with warehouses around the U.S.. Popular paper brands under Mohawk’s portfolio include Superfine, Navajo, Via, Beckett, and Strathmore. Last week Mohawk announced a major reinvention of their business to “thrive in today’s digital world” and today marks the launch of a snazzy new website designed by Hydrant and developed by Avatar, as well as the introduction of a new identity designed by Pentagram partner Michael Bierut and associate partner Joe Marianek.
Disclaimers: I worked for Michael Bierut at Pentagram. When I worked there I worked on Mohawk projects. Joe Marianek sometimes contributes to Brand New. Mohawk is an advertiser on UnderConsideration (starting in May). I know many of the people involved in the brand/marketing side of Mohawk. In other words, I have so much conflict of interest writing this review that you would think my pockets are lined with cash. But after six years of writing reviews I believe I have established I am fair. Lastly, all the visual assets arrived last night and there is no contributing writer up at 5:00 am, like me, to cover this identity on the same day it launches. Anyone who finds a problem with all this: deal with it.
The launch of MohawkConnects.com is the customer’s first introduction to Mohawk’s vibrant new brand designed by Pentagram, Mohawk’s primary branding agency for more than two decades. Michael Bierut, who leads the Mohawk brand team at Pentagram said, “The logo is a monogram for the name Mohawk. It’s based on the letter M, but it’s also constructed to evoke the papermaking process and the printing process, both of which involve paper going around cylinders,” he said.

The logo also speaks to the basic idea of connection, which is what Mohawk paper is designed for, “Whether it’s for a small book of photos featuring your niece and nephew or for a giant global corporation — it’s about communication,” said Bierut.
— Press Release
Mohawk
Mohawk
Mohawk
The old logo, also designed by Pentagram in 2002, was an attractive wordmark based (or perhaps purely, I can’t remember) on W.A. Dwiggins’ Metro. Nothing fancy but nothing earth-shattering either. The new “M” icon seems to take its cue from the open-legged “M” in Metro to create a lively visual element that manages to capture many of the press release talking points, from connectivity to paper-making. To me, it looks a tad more like a commercial printing company logo than a paper company because of the cylinder approach and the color overlays — it’s not an altogether bad thing, since a big bulk of Mohawk’s paper goes through big ass printers. The icon is attractive and punchy, for lack of a better word and, in contrast to the previous logo, takes prominence over the company name, now subtly typeset in House Industries’ Chalet. I’m not convinced if it needed to be set in all lowercase — the icon already conveys friendliness and the uppercase “M” would have balanced out nicely with the “k” in the end. The icon looks best when it’s in multiple colors as opposed to a single hue and definitely better than the single-color, stroke version which starts to look more like something out of a kids toy box. Nonetheless, the logo is a charming new asset to deploy anywhere from paper reams to the web.
As a bonus, the logo animates well and it even has a sound mnemonic. See it (and hear it) here.
Mohawk
Display type: Chalet, all caps only.
Mohawk
Text type: Sentinel.
Mohawk
Mohawk
Mohawk
Ream.
Mohawk
Mohawk
Mohawk
New Mohawk Product Selector by Michael McGinn Design Office. Photos by Alex Tobin.
Mohawk
Mohawk
Mohawk
In application the logo proves to be a playful element that can be blown up big really nice and it makes those color overlays stand out. The use of the medium weight of Chalet doesn’t feel like it works very well with the big bold patterning. It tries to take on a spare European feel but, to me, it starts to look cheap and generic and, instead of creating a pleasant contrast, it goes against the all lowercase use of Chalet in the logo. Overall, there is good potential in the identity and there are dozens if not hundreds of applications to experiment and take the elements in different directions (perhaps even elevating Sentinel  to more of a display use).

http://new.pentagram.com/2012/04/new-work-mohawk/

Landor Case Study: Bardot

Bardot
Branding the world’s sexiest confection
Bardot’s brand positioning is in its own territory: sensual ice cream.



Advanced Ice Cream Technologies, a boutique ice cream purveyor from Mexico, came to Landor with dreams of sharing its artfully crafted ice cream bars with America. The artisan, iced confectionery is delicious, and our job was to make the whole experience a beautiful one.
Tasked with creating the identity and guided by our strategy, we positioned the brand in a category of its own, transforming ice cream from something usual to sensual. We crafted a name, identity, and design system that conveys the unparalleled decadence of the product, creating a sense of luxury, sensuality, and desire.
Meet the world’s sexiest confection: The most decadent gelato robed in graphic fantasy.










Resource from:

http://landor.com/#!/work/case-studies/bardot/


News:
http://www.cbs8.com/story/18937567/bardot-raising-the-bar

BARDOT
http://www.bardotbars.com/

Why Design: Herman Miller

http://www.hermanmiller.com/microsites/whydesign/02/index.html

Tuesday, August 27, 2013

E Book Research

Due by Sep. 1 (M).

1. Kindle vs. iPad (Katie)
2. E-Ink vs. Color Display (Lauren)
3. History (Tori)
4. E-Book Cover Design vs. Book Cover Design (Megan)
5. Positive aspects vs. Negative aspects (Blair, Jay)
6. Interactive Books and Textbooks for portable devices (Morgan)

Requirements:
  • Using presentation tools: PowerPoint, Keynotes, or PDF
  • You may include texts, images, sounds, and videos
  • Title Page (Title and researcher names)
  • Credits (bibliography)

Sunday, August 25, 2013

How to make a book with Steidl

http://www.steidl.de


Steidl is a German-language publisher, an international publisher of photobooks, and a printing company, based in Göttingen, Germany.
The company was started by Gerhard Steidl (b. 1950). Gerhard Steidl's impetus for a career in printing came when, as a teenager, one of his photographs was used in a poster advertising a production of Brecht's Mann ist Mann. The printing company did what the boy thought was a poor job; he suggested printing the sheet twice, the company agreed to do so in order to get rid of him, and his idea worked fairly well.[1]
Gerhard Steidl still heads the company and indeed is in charge of the production of every book. He endeavours to follow the preferences of the particular photographer for layout, paper, and binding, and insists on working with paper, because of the importance of the feel of the book and the difference between backlighting and reflected light. Printing, binding and all other work is done within a four-storey house on Düstere Strasse in Göttingen.[1]
The number of titles produced by Steidl is unusually large for an art publisher: about three hundred a year.[1]
Gerhard Steidl produces special editions, but prefers what he calls "'democratic books' or more 'prêt à porter' books", books that can freely be reprinted if the demand for them is sufficient.[1]
http://en.wikipedia.org/wiki/Steidl

Bound for Glory by New York Times Magazine