On October 9, 2013 frog founder Hartmut Esslinger will publish his new book Keep It Simple – The Early Design Years of Apple, an insider’s account of the origins of Apple’s iconic products and brand. In this abridged chapter of “Keep It Simple,” Esslinger recalls his first meeting with Steve Jobs and how this encounter eventually led to “one of the most successful and influential alliances between a designer and an entrepreneur in the history of consumer technology.” We invite you to read this chapter and share your thoughts.
In October 2013 frog founder Hartmut Esslinger will publish his new book Keep It Simple – The Early Design Years of Apple, an insider’s account of the origins of Apple’s iconic products and brand. “Keep It Simple” is the story of Steve Jobs’ quest in the early 1980s to bring a radically new design language to the historically desert-dry sensory experience of computer technology. This process started with the so-called “Snow White” project, a design competition won by frog. Eventually, Snow White would change the trajectory of the company’s future, and redefine the way we think about consumer electronics and technology today. We invite you to read an abridged chapter from Hartmut Esslinger’s new book.
The first product I designed for frog hit market this year. Just two years ago I was in design school. Just last year I was an intern. And now my work is out there. As an industrial designer, seeing a product that I worked on in stores and even more importantly, in the hands of people enjoying it, is an enormous thrill.
The following is the introduction to Design Forward: Creative Strategies for Sustainable Change by frog’s founder Hartmut Esslinger. The book will be released on Feburary 16, 2013 and is available for pre-order now.
After a long career with frog — the design agency I founded in 1969 — and as a creative consultant for some of the world’s best and most successful entrepreneurs, executives, and companies, I wrote my first book, A Fine Line — How Design Strategies Are Shaping the Future of Business. In that book, I focused on the corporate side of the business-design alliance and outlined why Strategic Design is most successful when it is an integral part of a company’s innovation and business strategy. Due to both the business focus and the limited space, A Fine Line wasn’t as complete as many would have wished, and I fielded many questions about organization and process in the field of design and in the working relationship between business and design. Because A Fine Line was published in German, Chinese, Japanese, and Korean, the feedback was — and still is — global in nature. I used the questions, comments, and criticism that I received about my first book as my motivation for writing Design Forward as well as for structuring the information I offer within it.
A major takeaway of the recent Samsung/Apple patent dispute: Physical objects have retained their power in the digital age. The battle wasn’t centered so much on technical innovations but design patents--specifically, the physical look of the iPad versus that of the Samsung Galaxy Tab.
Smartphones, laptops, and tablets are very much like ships from the colonial days of the past. Then, the countries with the best merchant navies dominated the seas and, as a result, became the richest and most powerful nations in the world. Today, we have shifted from shipping physical goods to digitally transmitting services and media, and companies with the best vessels control the digital trade.
Yet smartphones, tablets, and laptops are more than just vessels and delivery mechanisms for digital content. In the digital age, physical devices also serve as emblems of the complex, software-based goods and services they bring to life. In a world of ever-shifting software and application development, these symbols offer a sense of permanence and consistency. For many technology firms, iconic physical devices have replaced corporate logos as the primary representations of brand identity. Familiar artifacts, like Apple’s iPhone, serve as functional, usable, three-dimensional trademarks, simultaneously expressing the ecosystem, content, and brand values in one powerful statement.
One of the questions I get asked most often is from engineers looking to break into design. It’s usually along the lines of:
“I’m working as an engineer at a company on really technical aspects of projects and I don’t feel creatively challenged. I’d like to get more involved on the front end design side working at a design and innovation firm like frog. What should I do?”
Making the transition from hardcore mechanical engineering specialist to design engineer generalist is a tough one, but it is doable if you are really dedicated to making it happen. Luck has a lot to do with it, but here are a few tips based on my personal experience and the experience of people I’ve worked with.
Last week was the culmination of a 16-week Industrial Design junior level class from the California College of the Arts (CCA). The class was divided into two groups with two different subject areas for the students to choose from. Myself, Max Burton from frog and Karson Shadley from Shape Field Office taught a segment on ‘wearable sound’ and Chris Luomanen of Thing-Tank and Rob Swinton from Huge Design taught a segment on ‘personal mobile safety.’ To enhance the level of realism and to develop connections with the local professional design community, we held the final presentation of the students’ work at frog design in our San Francisco studio and Lunar‘s head office in Potrero Hill with many local industrial design professionals as guest critics.
The course is intended to emulate a real-life design project. Students go through the entire design process from choosing an end user and discovering opportunity areas through design research. They then go onto concept exploration, sketching, model-making, 3D CAD and rendering and final presentation. We put an equal emphasis on problem solving and a rigorous design process as we did on the final physical form factor. In today’s competitive marketplace for industrial design it is essential that students demonstrate their capacity for original-thinking and problem-solving skills as well as the high mastery of skills that are fundamental to be a successful industrial designer.
As designers we enjoy figuring out new ways of interacting with the world around us. Clients often come to us with raw, just-invented technologies, and we help add a human perspective. New technologies prompt new forms, and we look for meaning in form. A product’s personality is the sum expression of the content it delivers, the function it performs, the behavior it elicits, and the aesthetic it portrays.
Ever since the birth of the bicycle nearly two hundred years ago, designers, builders, and manufacturers have been inspired to evolve this two-wheeled mode of transportation. The motorcycle developed as an offshoot, and it too continues evolving through inspired technological advancement. Today we are facing the normalization of electric vehicles, and are looking at this technology to once again create a distinctive influence on state of two-wheeled transportation design. The introduction of new technologies often serves as an impetus for industrial designers to rethink the design of familiar archetypes.
Having been in San Francisco for nearly a year, I was excited to head back to Switzerland this Autumn and revisit my roots. In October the Alps are still free of snow and the grass is a lush green. An ideal time to explore the Confederation Helvetica.