A Designer's Research Manual

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A Designer’s Research Manual

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RESEARCH + PROCESS

All designers are familiar with the

creative process, but incorporating

research methods into the

practice of visual communication

presents new challenges. This

chapter takes a closer look at how

designers integrate research and

process, document their fi ndings

systematically, and articulate the

value of their investigations to

both clients and peers.

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Chapter Two: Practicing Research Driven Design

Sometimes simple but often complex, the “process”

used by graphic designers and their respective

studios varies widely.

Whether the project is print, interactive, or three-

dimensional in nature, designers use an established

set of procedures to create innovative solutions

to communication problems. Many studios offer

their methods as proprietary services, noting the

value that process adds in the otherwise intangible

medium of creativity.

The graphic design process, as traditionally defi ned,

is modeled around the physical creation of a single

artifact: an annual report, a website, a poster, a

logo, a brochure, and so on. As such, the process is

inevitably project-oriented as well as linear—

it starts with research and progresses through concept

development, prototype, production, and delivery.

Historically, the research phase begins with a review

of a client’s internal documents, interviews with key

personnel or customers, and/or competitor analysis.

These actions help a designer better understand

an organization’s goals and determine strategy and

direction. Though these forms of preliminary research

are invaluable to a project’s success, they are but an

early step in its creation.

Research, as defi ned in this book, does not merely

initiate the process but rather augments it by

integrating systematic investigation into each phase of

a project’s development. The research-driven design

process also depends on assessment, or summative

evaluation, which is undertaken throughout the course

of (or even at the end of) a project. This allows the

designer to reconsider assumptions gleaned from

preliminary research. Using this data, the designer may

opt to make adjustments to a design either before or,

in certain situations, after production. This process

of reevaluation creates a culture of consultation. As a

result, research-driven designers can engage in long-

term relationships with their clients, acting as strategic

business partners rather than service providers

assigned to singular commissions.

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A Designer’s Research Manual

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Research Concept Development Prototyping Design + Production Assessment

(Analytical) (Creative) (Analytical) (Creative) (Analytical)

Commission Completion

Research Concept Development Prototyping Design + Production

(Analytical) (Creative) (Analytical) (Creative)

Commission Completion

Top

Design is often viewed as a

linear process. It begins with

formative research—defi ne

the problem—then progresses

through concept development,

prototype, production, and

delivery. Process, as depicted

here, focuses on the creation of

a singular artifact or campaign.

Above

Applying research methods

or data in multiple phases

of the design process allows

the designer to redefi ne

preliminary assumptions about

a project. While this model may

involve more iteration during

development, better-informed

design decisions more often

lead to successful outcomes.

By adding an assessment phase

to the process, the designer

can track the successes and/or

shortcomings of a project. This

summative consultation is yet

another service designers can

offer to their clients, and it may

help build ongoing relationships,

profi table to both parties.

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