We want to shift the conversation away from design focused on an end product, and instead, design as a process that could be open to a wide variety of participants. Nowadays, we tend to call that approach participant design or co-design.

The designer doesn’t have all the good ideas. Design experts have some good ideas, but many people likewise have creative ideas. So, how do you use the product design process to leverage all of those people who might be interested? They might be stakeholders in this product development process and might be able to envision possibilities that you would never see.

Sometimes we don’t know the situation well enough or we’re just getting to understand it a bit. Some people with brilliant ideas come from a different cultural background or a different language experience or a different religious orientation. Individuals from varied perspectives can offer unique perspectives that contribute to product design education. Whatever the source, it seems that the more interesting and innovative ideas are incubated outside of our heads rather than internally.

For me, the starting point is getting to know a context, a situation, a community. That might come through interviews or book and Internet research. Sometimes creativity emerges through convening community groups or listening to those who express their needs and goals.

Let’s say you are designing a new vacuum cleaner. You may have a great idea for how it should work. But you may be able to come up with much better ideas if you talk to consumers who use vacuum cleaners all the time, either residentially or commercially. Internet surveys and questionnaires along with product reviews often provide information that can best be interpreted by online product design education.

Maybe cleaners in the hotel industry, for instance, are using a vacuum cleaner all day long, and they are the actual experts. One of the things that can be incredibly valuable is to reframe this source of insight and expertise.

We tend to think of experts as people with big credentials and fancy titles or certificates from great universities or from favored consultancies. But an 11-year-old girl who lives in a neighborhood where you may be managing a project who rides her bicycle around is an expert about her sphere of activity. She has learned things that someone with a Harvard degree is never going to know.

Similarly, a hotel employee who cleans rooms for a living is going to understand much more about the essential parts of a vacuum cleaner than an industrial designer who comes to that project brand new with a college degree.

So, how do we find those practical experts? Not the experts with great credentials but those with everyday experience? Let’s look to the people who use our products every day, who encounter the strengths and weaknesses during each use, and who deal with the frustrations of a product’s flaws or limitations each time they switch it on. They’re the ones who are going to offer helpful ideas and the truest knowledge of something you may not know much about.

Prototyping is an essential part of our job, and it is not always what we all think about. Prototyping doesn’t necessarily require a machine or a 3D printer. I always tell my team that the first rapid prototyping machine they must use in their project is a printer. It is effective because you start designing on the screen, which can be very challenging. It’s a challenge because as soon as you get into CAD, you sometimes keep the notion of proportion, but you lose the notion of scale.

For example, I have had designers repeatedly create 3D printing. The day they take it out of the machine, they look at it and say, oh, my god, this is big! It is for such reasons that a simple print is actually a great way to prototype your project rapidly. As you get into your process and refine it, maybe you will decide to cut and form the shape. Based on the print you have done, maybe you get to a point where you’re going to 3D print. It means in particular situations, 3D printing can still be a necessity.

Usually, in 3D printing, you might prefer to keep it maybe not to the last stage but the later stage of the product development process. There is a good reason behind this claim. It’s when you have already refined your design quite a lot, and you’re nitpicking the proportion and specific detail. In this case, you really want to make sure that your surface transition is proper and so forth. These are some of the fundamentals everyone in product design education must learn. Also, it must include online product design education.

When I speak about 3D printing, that’s 3D printing in plastic. We also do 3D printing in metal, which is slightly different. It is different because we don’t need metal to evaluate or shape an interface. When we use 3D printing in metal, we use what we call DMLS. It is usually to print a production part, which makes it very expensive. In such cases, it becomes rare.

We have one line of products in which their production is of that approach, but they may all cost you almost as much as it costs. It’s a little bit specific and for a particular market, and it’s also interesting. Once you are comfortable with all the plastic 3D printing technologies that are available, making that last leap to print in production is not that difficult. It’s just one more step.

A particular type of research that UX design professionals typically do is called generative research. In this type of research, designers will often engage their end users to come up with UI ideas or solutions.

One thing you can do to practice generative research is to have each person you interview come up with their “perfect solution.” Draw it out with them. Ask them where the search bar should go or what the buttons on the screens should do.

Do not feel limited to what is actually possible. Have your testers dream big and imagine big. Ask them what they want to get to, what they would like to see, and what they would like to actually do. “The point of this is not necessarily to go out and design exactly that, but to understand, what the motivators are behind that, and to spark some ideas within yourself,” says UX design educator Daniel Holtzman.

The idea behind generative research is to co-create. Instead of thinking about what users need or listening to what they think they need, it is to sit down with them and ask them their biggest challenges. If you had a magic wand and could do anything, how would you solve their challenges? Ask them to draw this solution for you or build it from very simple prototyping materials.

Any UX workshop that you do with your users which involves the co-creation of a solution will be 100% more powerful. This is because your users have all the answers. “They know. They are there every day with their challenges in the settings that they are, in the cultures that they are,” states UI design professional Rinat Sherzer. Asking your users to help you design a solution will bring out ideas that you could never have thought of.

One of the most significant lessons that you should take away from your online UX design education is not to solve for someone, but to solve with them. Listen to the stories, then let them imagine a solution. Let them draw, act out, or prototype the solution. Through these responses, many new challenges will arise, and you will always get their perspective. You can then go and refine, iterate, and work with their prototypes. Getting users’ points of view and co-creating with them is priceless.

The mark of success in your online UX design education is having the ability to translate insights into designing equitable, inclusive products. It is especially important for everyone on your UI design team to be on board and in the room throughout the entire design process. This way, everyone will understand why the insights you are focusing on are important.

For visual and UX design, you should try to have a mindset of intersectional identity. What does this mean for your product? For example, let’s say you are designing a mental health product for communities of color to be matched with therapists of color. What imagery do you think about? What language would be important?

What features would such an app need to have? Let’s say some users might not speak English as a first language. These people should be able to select an option in a form that would match them with a therapist speaking their first language and thus better speaking to their needs. It is important for each feature in your UI to be implemented into wireframing, mockups, and the visual design process.

UX professionals also need to be thinking about how different people would react to the products they engage with. This is the reason why intersectionality is so important.

Continuing with our example, you are trying to make a product tailored for people of color. You have the imagery down and feel like the result is inclusive; perhaps pictures of people of color are included in the marketing materials.

However, you may test the app on a user over 60, who might not see themselves using the product. Simply saying “let me get a bunch of people of color in the materials” may exclude age, gender, or other important components of intersectional identity. To ensure that everyone truly feels seen, it is important to have each component in your mind as you design.

There are a lot of different techniques to use when looking at product development. The various techniques go beyond product design and development. We call the type of research that we do “generative research.” We call it “generative” because it’s not necessarily about quantified research. In quantified research, we can have access that can inspire thoughts and ideas. For this reason, it is necessary to make such techniques part of product design education. It means including it in online product design education too.

We’re interested in inspirations that allow us to look at problems differently. In this case, we are trying to surround ourselves within project spaces. Frequently, and for the longest time, it’s been boards on a wall. More recently, that’s turning into more virtual project spaces, where it’s possible to modify things much more.

Most importantly, we’re trying to immerse ourselves and surround ourselves with inspirations. We immerse ourselves in these inspirations that allow us to look at a problem holistically and get at specific insights. Sometimes, that comes from detailed ethnographic research, where we spend time with people in their homes so that we can understand the tasks that they’re doing. Also, we may be looking at the whole context around using a specific kind of device or technology.

Many times, we are also pulling inspiration from similar products and trends. Again, we are looking at the culture of how people live. Often, we’re designing for different cultures, sometimes in other countries.

At the same time, there’s culture and subculture. You can define it in very narrow slices as you’re looking at who you’re trying to connect to within a brand. In this case, we’re trying to create a very holistic picture as much as possible through imagery. It is often on the wall through notes and quotations from people who we might speak to within a culture or subculture. As we do this, we are looking specifically at some technologies. You can use these technologies in parallel with what we’re designing toward.

We work to get those things together into territories. Then, we might look to design within and try to create personas around the person who we’re designing toward. We want to connect those personas to real things that we see in real life with real people as much as possible.

We try hard not to fall back on our predisposed way of thinking about the person’s identity. We want to get outside of ourselves. We want to have empathy toward the life of the person who we’re designing toward. In this effort, you dive in and look for solutions that can help the identified persons.

“A product design project begins a number of different ways,” says Alicia Tam Wei. “Sometimes it’s about something that annoys you. Sometimes it’s about something that’s a big dream of yours. Sometimes it’s about something that you wish existed. It’s often kind of like the ultimate wish fulfillment.”

Stephanie Mantis states, “I think it’s important to figure out why you’re doing something. So for me, oftentimes, my product development starts with a need, be it functional and physical, or emotional and more personal.” “First,” she continues, “identifying what am I trying to do and why, is an amazing place to start. If it’s your problem, it’s probably somebody else’s problem. And if your solution works for you, it probably works for somebody else.”

Mantis further explains, “When I graduated college, I kind of looked around my apartment, and I was like, ‘Oh, you’re a college graduate like maybe it’s time to upgrade some of your choices and fixtures.’ One of those things were my necklace racks, which at the time were literally thumbtacks in the wall. You know, there’s five or six of them. I said, ‘You can do better than this.’ I happened to have a collection of small plastic animals on my bookshelf. I looked at them, and I said, ‘Sorry guys, but I’m going to cut your heads off and mount them to a piece of wood.’ That kind of touch upon what was happening at the time with an animal trophy trend. And that’s how my first product post-graduation was born. And that is the pack rack.”

Online product design education reiterates the importance of producing an organic and believable product. “It became this sort of organic situation where I’ve had this problem and decided to make my own solution. Over the course of time, I refined that solution so that it would be producible, and scalable, and sellable,” Stephanie Mantis concludes.

With product design, we start by trying to understand user needs and behaviors. Once we have this important information, we then move on to the ideation stage of product development.

The ideation process usually takes place in a workshop. We gather a bunch of people in a very specific room or other type of physical space for a condensed period of time to brainstorm problem solutions and other ideas. It’s critical to select a very good mix of people for a great ideation session. We never concentrate exclusively on designers or technology-focused people. Instead, we select a cross-functional team of people who can think about the product topic from all types of different angles.

An ideation workshop team is normally composed of people who pursued a formal product design education, received hands-on training and possess extensive professional experience. If you don’t think you can afford to spend the time or money pursuing a degree in this field, you should consider an online product design education.

The double diamond ideation product design process starts as literally a drawing of two diamonds sort of placed next to each other. It’s a process diagram that explains the ideation methodology. It’s also known in product development as the design method.

Double Diamond Basics

We start with divergent thinking in the first diamond. We broaden ideas related to discovering insight into a problem and defining a focus area from one outside tip of the diamond to the other. In the second diamond, we develop and deliver potential solutions.

You’re not trying to think about the exact thing that you want to design but everything around it. No idea is a bad idea when you’re using this process. Your goal is to have ideas converge by taking all of the ones that you’ve written down and narrowing the list by placing them into groups of ideas that make sense together by category or theme.

The design process is really, really cool because you go through this a couple of times so that the ideas in the double diamond diagram are diverging, converging, diverging, and converging again. This process works because you’re really thinking out of the box. The diagram also promotes good discipline so that you can narrow down and focus on the things that you’re supposed to focus on.

Product Design Education

You can learn about the double diamond process and other ideation workshop tools with a formal online product design education. Formal training covers this and many other important product design and development processes that you need for a successful career.

Steph Mantis gives this advice on product design education: “Once you have a rough sketch and you’re starting to know the direction you’re moving in, you want to start thinking about materials. You want to start thinking about ‘How do I refine this?’ And ultimately, you want to think about ‘How am I going to communicate this to my fabricators, and my audience?'”

She goes on to explain, “If you can communicate it to your fabricators really clearly, you can use a number of tools. It can be auto-card; it can be solid works. I’ve designed stuff where I just put together a mood board. I say, ‘Like this, not like that.’ And I give that to a factory, and it communicates enough for them to get to the next sketch, which then comes back to me so I can critique that.”

Mantis makes it clear that at the end of the day, it’s about how you are communicating this idea of yours. You can use various tools for product design and product development. Pinterest, for example, is great for mood boarding. The Internet itself is a plethora of images that you can easily just start pulling out and organizing. It’s a source of online product design education. She personally likes things like Google Drive to organize concepts and uses spreadsheets to start her sourcing and pricing. Steph says she also likes Keynote.

“I think Keynote is really easy,” she continues. “It’s an Apple-based product. It comes on every Mac product basically. It’s cloud-driven, so it’s super easy to pull presentations together, share them, edit them, get them on your phone, get them on a tablet, get them on a desktop.”

In regards to ethical issues, the most important thing is to be very, very sensitive. When we go out and interview people, we want to really understand the world. Because human beings are very complex creatures, our world sometimes is very vulnerable.

What I would always recommend when you interview someone is to be hypersensitive to where they are and look at their body language either when they’re closing up, when they’re opening up, when they’re looking away, when they’re looking straight at you, when their eyes open up with excitement, etc. If we see them closing up, it means that we’re touching something that is sensitive there.

This is really where our ethics come into the picture. Do we want to probe them more and push them towards more answers, or is this enough information for us and do we want to back up? The idea is to really respect whoever you’re interviewing and observe what they’re not saying, and be sensitive about when you’re going to explore further.

In your online UX design education, it’s important to keep the method of your research at the forefront of your mind. Your UX and UI decisions are based on these interviews, and it’s important that the UX design and UI design data you gather are collected in ethical ways.