Go-along
Accompany someone as they do something in their own setting, like shopping, and ask questions along the way.
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Explore the atlasAccompany someone as they do something in their own setting, like shopping, and ask questions along the way.
What an object lets you do, and whether you can tell at a glance.
Looking at a problem in four layers, from what the news says to the myths that sustain it.
Comparing how others solve the same thing, to learn from their successes and mistakes.
Measures a product's environmental impact over its whole life, to know where to act when designing.
Breaks a task down into goals and subgoals, with the plan that says in what order they're done.
Breaking a problem into parts, listing options for each and combining them to find ideas.
Look at how a similar problem is solved in another field and transfer the idea.
The first number we see shapes the ones that come after.
Joins anthropological research and design to intervene and co-create, not just observe.
A tree-shaped map that links the outcome you want with people’s needs, ideas and tests.
Organizes, labels and connects content so people find what they are looking for.
Reviewing a site or app against accessibility guidelines to find what excludes someone.
Losing something hurts more than gaining it pleases.
Imagining the future you want and walking back to today to see which steps lead there.
Writing ideas in silence and passing the sheet on so someone else can build on them.
The mental effort a task demands from a memory that can only hold a few things at once.
An intensive multi-day workshop where design teams and affected people propose and review together.
The dizziness, nausea or discomfort caused by some headset or moving-image experiences.
Someone poses as a customer to experience and evaluate the service as it is actually delivered.
Designing together with the people who will live with the result, with tools so they can create too.
Designs technology spread across everyday objects and spaces, connected and almost invisible.
From today, possible, plausible, probable and preferable futures open up.
We treat money differently depending on where it comes from or what we set it aside for.
A complete process that goes from observing people at work to designing and testing the product.
A line from the real world to the fully virtual; mixed reality is everything in between.
We stick with something just because we have already paid for it.
One explains why things happen; the other, how much and to how many. They complement each other.
Rethinking an offering by asking what to eliminate, reduce, raise and create.
Signs, things, actions and systems: four places from which to approach the same problem.
Three criteria for judging an idea: people want it, it can be built and it can be sustained.
Tackling open problems the way design does: understanding people, ideating and prototyping.
Organizes people, processes and tools so a large design team works well.
A map of arrows that shows how some things push others until they form circles.
Innovation isn’t just the product: ten types, from the profit model to brand and engagement.
Defines and looks after a project’s visual style and coordinates the people who produce it.
Eighteen guidelines for designing AI products, ordered by the moment of use.
Designs so that people with disabilities can perceive, use and understand a product.
Uses algorithms as a design tool to explore forms that are hard to imagine by hand.
Designs image-and-sound pieces for screens, deciding how the two combine to communicate.
Making design decisions based on the best available research, and measuring their effects afterward.
Designing systems around the tasks and abilities of the people who use them, testing early and often.
Designing from the needs, context and participation of the people who will use something.
Designs so that products and materials stay in use instead of ending up in the trash.
Designs the touchpoints between citizens and democracy: voting, paperwork, getting informed.
Chooses a product's color, material and finish so it looks, feels and lasts as intended.
Designs with computational processes: rules, data and simulations that generate and evaluate forms.
Designs conversations with systems, such as voice assistants and chatbots, so they feel natural.
Objects that question how we live with technology, instead of selling it.
Designs apps for the phone: small screens, fingers, and use in a hurry and on the move.
Designs how people find what they are looking for in a product, from the search box to the results.
Decides what content people need and in what form, based on what they need to do.
Designs the spaces where a service is delivered, because they affect customers and employees.
Designs stores and sales spaces to guide people, show the product and create an atmosphere.
Designs what a person goes through and remembers when using something, starting with the reason to use it.
Tells a story in space with objects, texts, images and a path through them.
Designs the light of a space so it can be seen, moved through easily and has the intended atmosphere.
Organizes and presents information so it is understood and used well: charts, signs, instructions.
Designs how a product responds to what the person does: actions, feedback and behavior.
Designs what the person sees and touches on a screen: controls, text, hierarchy and states.
Designs interior spaces so they work, are pleasant to live in and convey what they should.
Designs the rules and challenges of a game so that playing it creates the intended experience.
Designs furniture that supports the body, organizes space and can be made viably.
Designs garments and accessories: from fabric and shape to the collection that reaches people.
Applies design to how an organization creates value, delivers it and makes money from it.
Designs a product’s packaging, which protects it, makes it stand out in the store and is used at home.
Applies design to creating and improving public policy, based on citizens' experience.
Draws the letters of a typeface family so they work together when reading.
Designs the credit sequences of films and series, which set the tone and introduce the story.
Designs to drive long-term societal change toward more sustainable futures.
Designs the form, interior and use of cars, buses, trains, bicycles and other vehicles.
Designs what characters wear in theater, film, TV, opera and dance to show who they are.
Designs devices worn on the body, such as watches or bands, for a body that moves.
Designs books, magazines and newspapers, in print and on screen, so they read well.
What we feel when we see and use an object changes how we judge it, how much we use it and whether we keep it.
Designs the space of a performance, with its set, light, costumes and objects, with the audience in mind.
Designs how people experience and move through a space, indoors or outdoors.
Designs objects from possible futures to ask questions, not to sell them.
Writes rules that generate many variants of a form, instead of drawing just one.
Arranges images, type and space to communicate a message to a specific audience.
Designs the graphic communication of a place: signs, lettering, graphics and themed décor.
Designs what you feel through touch when using a device, mostly vibrations, to inform without looking.
Designs so that as many people as possible can use something, starting from those left out.
Designs mass-produced objects: how they work, how they are used and how they look.
Designs for all the senses at once, not just sight: what is seen, heard, touched and smelled.
Designs how an organization works inside: structure, processes, incentives and people.
Designs how we use, understand and correct products powered by artificial intelligence.
Designs products and services used by children and teenagers, with their age in mind and often with them.
Innovates by changing what a product means, not just its technology or its features.
Applies the design of products, services, spaces and communication to caring for health.
Designing with the people affected as full partners, not just as informants.
Goes beyond reducing harm: it aims for designs that help restore living systems.
One website that adapts to any screen size, from phone to computer.
Taking into account the values of everyone affected throughout the design of a technology.
Brings together systems thinking and design to intervene in complex social problems.
Designs with the environmental and social impact of what is produced in mind, from start to finish.
Designs fabrics and prints: their structure, feel, color and how they are made.
Seven principles for designing products and spaces almost anyone can use, without adapting them.
Designs websites that are understood at first glance and work on any screen.
Designs websites and digital services that use less energy, without losing usefulness or accessibility.
Designs virtual, augmented and mixed reality experiences, where the interface fills the space around you.
Show the essentials first and keep advanced options for when someone asks for them.
Open up and narrow down twice: first to find the right problem, then the solution.
Reduces a product’s environmental impact at every stage of its life, starting when it’s designed.
Studies how we really decide, with biases and shortcuts, rather than as the rational model predicts.
We do something more readily when we see that many others already do it.
Faced with three options, we tend to choose the middle one.
We believe most people think and choose as we do, more than is really the case.
What we see several times ends up appealing to us more, even if we don’t know why.
We value what is already ours more.
What looks beautiful to us also seems easier to use, even when it isn't.
We value what we helped build more highly.
Dates that mark a beginning encourage us to start new habits.
An option nobody wants makes another one look better.
What stands out among similar items is remembered better.
The same information, told as a gain or as a loss, changes the decision.
A long, open conversation with one person to understand their experiences and motives.
Studies how people fit with what they use: the body, the mind and how work is organized.
Four steps to see how much an organization uses design: from not at all to strategy.
Continuously looking for signals of change outside your field to anticipate what may come.
Plans what content to create, how to publish it and who maintains it over time.
Aligns the experience of a digital product with business goals before designing screens.
Studies design itself: what it is, how designers think and what kind of knowledge they produce.
Explores possible and desirable futures to decide better today, without claiming to predict.
Spending time in people’s world to understand their daily life and culture from the inside.
The tangible side of an intangible service: objects and spaces that show the service exists.
Designs how a person experiences their relationship with a company, before, during and after buying.
Applies design to the relationship between people and the organization they work for.
Designs what the audience of a sports event goes through, from getting into the stadium to leaving.
Shows objects from a fictional world as if they were ordinary, to make a change believable.
The state of total concentration that appears when the challenge matches our skill.
Brings food and design together: what we eat, how it is served and how we experience eating.
What the person sees of the service, and everything that happens behind it to make it work.
Growth, collapse, setting limits or transformation: four stories of the future.
Turns a future into something you can see, touch and walk through.
Organizes design within a company: teams, processes, budget and its link to strategy.
We try harder the closer we are to the goal.
A moderated conversation with a small group to learn their opinions and how they influence each other.
Studies how we use computers and how to design them to fit our abilities.
Materials for people to make something, such as a collage, and express what is hard to put into words.
We judge how likely something is by how easily it comes to mind.
Ten general rules for reviewing an interface and finding usability problems.
Studies how design has changed over time and what objects say about the society that made them.
Designs how a car's screens and controls are used without taking attention off the road.
Designs a brand’s visual and verbal system: logo, colors, typography, tone and usage rules.
Observing and asking people questions while they do their work, in their own setting.
Creates new services or deeply changes existing ones, with methods from design and management.
A new interpretation about people, based on what was observed, that opens design opportunities.
Designs systems used through voice, gestures, touch and screen, using whichever works best at each moment.
Designs interfaces in which digital information is touched and moved with physical objects.
Observing a place from another field that shares something with your problem, to see it with fresh eyes.
Detecting and explaining changes in society, culture and consumption before they become widespread.
Researches with people to understand their reality before designing, and makes sense of what it finds.
Researches how customers, employees and other actors experience a service, in order to redesign it.
Understanding what progress a person seeks in a situation and what they “hire” a product for.
A map of a person's path through a service, with what they do, use and feel at each step.
Acting out a future situation with simple objects to come up with and test a product or service.
Designing with the communities most affected, to share what design gives and takes more fairly.
Designing in short cycles of hypothesis, testing and learning, as a team and with little documentation.
Applies human-centered design to law, so that contracts and legal procedures can be understood.
Building models with LEGO bricks to think through a question as a group and tell what they mean.
The farther away and smaller something is, the longer it takes us to point at it.
The more options there are, the longer we take to choose, though each new option adds less time.
We expect a site to work like the ones we already know, because we spend more time on them.
Every task has an amount of complexity that cannot be removed, only moved.
Leads design teams and brings design into leadership decisions.
Checking whether what you offer responds to what a type of customer is trying to do, suffers and wants.
A sheet with nine blocks to see, on one page, how a project creates value and sustains itself.
What people say about their behavior does not always match what they do.
Value doesn't come inside the product: it is created by using it, together with whoever offers it.
Testing a system that doesn't exist yet, with a hidden person acting as the machine.
Drawing who can influence a project or be affected by it, and how they relate to each other.
Drawing all the actors in a service and what they exchange, to see the whole system.
A sheet that sorts what a person says, does, thinks and feels, so the team understands them together.
Laying out what the person will do from left to right, with what is needed below, to plan each release.
Studies what makes services distinctive and how they are managed and delivered.
Consulting experts over several rounds of questionnaires, showing them the group’s answers each time.
Five kinds of metrics to measure the experience of a digital product and know whether a change improves it.
Small single-task moments, such as flipping a switch, designed piece by piece.
How a screen will look, with real colors, type, images and text, but without interaction.
Five gaps between what customers expect from a service and what they get, and where they arise.
A behavior happens when motivation, ability and a prompt come together.
Classifies a product's features by how they change the satisfaction of the people who use it.
The idea we form of how something works, which we use to predict what will happen.
A board of images, colors and textures that sets the tone of a project before designing it.
Designs how a brand moves: animated logos and motion rules so it can be recognized on screen.
Designs how what we see on screen moves: titles, brands, audiovisual pieces and interfaces.
Uses motion in interfaces to make clear what changes and where each thing comes from.
Tells a story with data, deciding how much the author guides and how much the reader explores.
Changing how options are presented changes what we choose, without banning anything.
We tend to stick with whatever comes preselected.
Seven facets of a good user experience, beyond whether the product is easy to use.
Designs that exploit how we decide to get you to do something you didn't want to.
The reference standard so that people with different disabilities can use a website or app.
Imagining several plausible futures to make decisions that hold up in all of them.
The feeling of really being in a virtual place, even though you know you aren't there.
Six shortcuts that make us say yes without much thought, from reciprocity to scarcity.
We see groups and whole shapes, not loose pieces: what is close, similar or continuous joins up.
Fifteen traits shared by services that work, for reviewing one from end to end.
Protecting personal data from the first sketch, with the most private option already set.
Designs whole digital products and decides with product and engineering what to build and how to measure it.
Living firsthand what it would be like to use something, with a simple setup, before building it.
A technology that doesn't exist yet, shown working inside a fiction.
Checks whether people can find things in a site's menu, using only the names and no design.
Designs publications made for screens: e-books, digital magazines and reading on the web.
Every moment a person meets the service, through another person, an object, or a screen.
The places in a system where a small change can produce a big effect, from shallowest to deepest.
We decide with limited information, time, and attention: we settle for something good enough.
Walking through a task step by step as a newcomer would, to see where they'd get lost.
Rehearsing a service or a space with a small model and figures that walk through each step.
We remember the most intense moment and the ending, not how long it lasted.
Researching by designing: prototypes are used to generate knowledge, not just products.
Organizes what research at scale needs: participants, tools, permissions and what was learned.
An invisible structure of columns and margins that organizes everything on a page or a screen.
Going out to experience services firsthand to observe what works and what does not.
Reviewing an idea as a group, everyone from the same angle at once, switching angles in stages.
A map of the service that shows both what the person experiences and what makes it possible.
Designs the complete experience of a service: what the person sees and what makes it possible.
We seek out and believe what confirms what we already think.
Bad things weigh more and are remembered more than good things of the same intensity.
We prefer things to stay as they are.
Organizing, grouping, and interpreting research until patterns and opportunities emerge.
We think in two ways: one fast and intuitive, the other slow and deliberate.
The set of shared components, rules, and criteria a team uses to build its interfaces.
Designs the mix of products and services that meets a need, instead of selling more things.
A pack of open-ended tasks that people complete on their own in daily life and send back.
Showing many ideas as storyboards, one after another, to see which ones meet a real need.
Five days to go from an important problem to a prototype tested with real customers.
A ten-statement questionnaire that gives a 0 to 100 score for how easy something is to use.
Technology that informs without demanding attention, staying in the periphery until it is needed.
What truly motivates us is what lets us choose, makes us feel capable and connects us with others.
We value gains and losses relative to a reference point.
Watching real people attempt tasks with the product to find out where they get stuck.
A card game for imagining objects from possible futures and talking about them.
Chooses and sets type so that a text reads well and conveys the right tone.
A framework for talking about change with three curves: what works today, what's coming and the transition.
Cross-checking several sources, methods, or perspectives to confirm what was found.
How well specific people achieve what they want with a product, without extra effort.
Also talking to people at the extremes to see needs the average hides.
Designs what it is like to use a digital product, so it is useful, easy to understand, and pleasant.
Studies the people who use a digital product to decide what to design and check whether it works.
Writes the words of an interface: buttons, notices, errors, and forms.
Turns data into charts that can be read accurately, choosing well how to encode each value.
Designs interfaces that are used by speaking, with no screen or almost none.
Each person spreads a few dots among the ideas, and the most voted ones move forward.
Helps people orient themselves and find their way in a place.