Overview

This textbook introduces design students to key principles of three-dimensional form, bridging aesthetics and practical design objectives. It explores how we see and what it is that characterises visually appealing and satisfactory design. Written by an experienced designer, educator and researcher, The Aesthetics of Industrial Design equips students with the knowledge and understanding of how aesthetically superior design is distinct from lesser work. It explains the key principles and concepts they can incorporate into their own designs, encourages readers to investigate and experiment with real design problems and enables them to verbally communicate their design intentions. The book prompts readers to critically reflect on their work and surroundings. Through numerous clear examples and illustrated case studies, which are guided by cognitive science and the application of aesthetic theory, the book brings together the basic aspects of design as form-giving. It explores the balance of function, material and appearance in detail and explains the reasons for common aesthetic faults and how to avoid them. Aimed at undergraduate- and postgraduate-level students within the design fields, this book reveals the secrets to aesthetically successful products that readers can take from education into future practice.

Full Product Details

9781032024196

Table of Contents

Reviews

This book covers a wide range of issues which are important for the future of design. The fact that the author gives tasks throughout the book is a helpful feature. I appreciate that the author encourages discussions when things don't easily fall into categories or are more complex so there are no simple answers. I believe this book which attempts to merge theory and practice is important to publish. It gives us all a possibility to discuss the complexity of such an undertaking and start discussions about how we formulate basic aesthetic principles that are free from judgement and when value judgements are made that apply principles in specific design processes. - Cheryl Akner-Koler, Professor, Department of Design, Interior Architecture and Visual Communication / Industrial Design, University of Arts, Crafts and Design, Stockholm, Sweden. A much needed and highly lucid exposition of the thought and technique behind successful industrial design for students of this and allied professions. Endearingly opinionated and idiosyncratic in places, the book offers a path from professional philosophy to thoughtful execution of high class industrial design work. Useful exercises and debating points are provided for the benefit of tutors and students alike. - Peter Barker, Head of School, Design + Communication, Plymouth College of Art, UK. This book is a brilliant example of why Kurt Lewin was right in stating that there is nothing as practical as a good theory (1943). Through a row of examples of good, functional, robust, aesthetically appealing and beautiful design as well as design mistakes and bad designs , the author, associate professor Richard Herriott from Design School Kolding takes us through theories about visual perception, constrains, lines, surfaces and curvature, product semantics and craftmanship and discusses the implications of these theories for design. Even if some of the theories are complicated reading, Herriott takes the reader by hand and illustrates the theoretical concepts and terms via reference to examples from real world design, models and drawings. The book covers an impressive number of ideas and invites the reader to think about and re-think design as well as reflecting upon the role of the designer in the now-a-days design practice. Doing this, the book is a great vehicle for designers aiming to create and analyse objects that are aesthetically pleasing and for others to understand the science of forms and the building blocks of good design. - Lene Tangaard, Rector of the Kolding Design School, Denmark. Disagreeing with Richard Herriott is a source of great pleasure. Not because standing at the opposing end during an argument lends one a feeling of superiority - far from it - but because few people can make a point the way Richard does. His immense knowledge provides him with references that are, at the very least, curiously entertaining and at best enlightening. His intellect then allows Richard to process these select references in highly original a manner. I'm delighted that this book provides many people with the opportunity to sneak a peek into Richard Herriott's singular mind. They may agree or disagree with what they find - but they will certainly be all the wiser for it. - Christopher Butt, writer and design critic, founder of Auto-Didakt and Design Field Trip.

This book covers a wide range of issues which are important for the future of design. The fact that the author gives tasks throughout the book is a helpful feature. I appreciate that the author encourages discussions when things don't easily fall into categories or are more complex so there are no simple answers. I believe this book which attempts to merge theory and practice is important to publish. It gives us all a possibility to discuss the complexity of such an undertaking and start discussions about how we formulate basic aesthetic principles that are free from judgement and when value judgements are made that apply principles in specific design processes. - Cheryl Akner-Koler, Professor, Department of Design, Interior Architecture and Visual Communication / Industrial Design, University of Arts, Crafts and Design, Stockholm, Sweden A much needed and highly lucid exposition of the thought and technique behind successful industrial design for students of this and allied professions. Endearingly opinionated and idiosyncratic in places, the book offers a path from professional philosophy to thoughtful execution of high class industrial design work. Useful exercises and debating points are provided for the benefit of tutors and students alike. - Peter Barker, Head of School, Design + Communication, Plymouth College of Art, UK This book is a brilliant example of why Kurt Lewin was right in stating that there is nothing as practical as a good theory (1943). Through a row of examples of good, functional, robust, aesthetically appealing and beautiful design as well as design mistakes and bad designs , the author, associate professor Richard Herriott from Design School Kolding takes us through theories about visual perception, constrains, lines, surfaces and curvature, product semantics and craftmanship and discusses the implications of these theories for design. Even if some of the theories are complicated reading, Herriott takes the reader by hand and illustrates the theoretical concepts and terms via reference to examples from real world design, models and drawings. The book covers an impressive number of ideas and invites the reader to think about and re-think design as well as reflecting upon the role of the designer in the now-a-days design practice. Doing this, the book is a great vehicle for designers aiming to create and analyse objects that are aesthetically pleasing and for others to understand the science of forms and the building blocks of good design. - Lene Tangaard, Rector of the Kolding Design School, Denmark Disagreeing with Richard Herriott is a source of great pleasure. Not because standing at the opposing end during an argument lends one a feeling of superiority - far from it - but because few people can make a point the way Richard does. His immense knowledge provides him with references that are, at the very least, curiously entertaining and at best enlightening. His intellect then allows Richard to process these select references in highly original a manner. I'm delighted that this book provides many people with the opportunity to sneak a peek into Richard Herriott's singular mind. They may agree or disagree with what they find - but they will certainly be all the wiser for it. - Christopher Butt, writer and design critic, founder of Auto-Didakt and Design Field Trip The human brain is a mystery. Barely developed since mankind evolved itself into this peculiar world, we still react on basic instincts and pre-coded assumptions. We think we know, but we don't. We think we're in control, but we're not. So we need to learn. And of all our senses, our visual perception is our least reliable. Richard Herriot has created a fantastic book that enlightens us and opens our mind to understand better how our brain acts and reacts on our visual surroundings, such as form, function, design and visual perception in general. In a well ridden and richly illustrated piece, he guides us through various elements in modern design such as the human visual system, the complexity in form and function, how we look at and understand shapes and form etc. Starting with the already known theories, Richard Herriot describe and discusses the complexity and compromises we make daily in our visual world. Wisdom and knowledge mixed with simple illustrations and easy to use exercises. It's a must read for everybody working with visual art forms, teachers, designers, photographers, architects, artists etc, a need to read for everybody interested in how our brain works when it comes to visual perception - and a nice to read for everybody else that just want to know. A welcoming and necessary book in a time where everything runs so fast that we tend to forget what we already know. - Kare Birk, teacher in Furniture, Space and Products; Scandinavian Design College, Denmark

This book covers a wide range of issues which are important for the future of design. The fact that the author gives tasks throughout the book is a helpful feature. I appreciate that the author encourages discussions when things don't easily fall into categories or are more complex so there are no simple answers. I believe this book which attempts to merge theory and practice is important to publish. It gives us all a possibility to discuss the complexity of such an undertaking and start discussions about how we formulate basic aesthetic principles that are free from judgement and when value judgements are made that apply principles in specific design processes. - Cheryl Akner-Koler, Professor, Department of Design, Interior Architecture and Visual Communication / Industrial Design, University of Arts, Crafts and Design, Stockholm, Sweden A much needed and highly lucid exposition of the thought and technique behind successful industrial design for students of this and allied professions. Endearingly opinionated and idiosyncratic in places, the book offers a path from professional philosophy to thoughtful execution of high class industrial design work. Useful exercises and debating points are provided for the benefit of tutors and students alike. - Peter Barker, Head of School, Design and Communication, Plymouth College of Art, UK This book is a brilliant example of why Kurt Lewin was right in stating that there is nothing as practical as a good theory (1943). Through a row of examples of good, functional, robust, aesthetically appealing and beautiful design as well as design mistakes and bad designs , the author, associate professor Richard Herriott from Design School Kolding takes us through theories about visual perception, constrains, lines, surfaces and curvature, product semantics and craftmanship and discusses the implications of these theories for design. Even if some of the theories are complicated reading, Herriott takes the reader by hand and illustrates the theoretical concepts and terms via reference to examples from real world design, models and drawings. The book covers an impressive number of ideas and invites the reader to think about and re-think design as well as reflecting upon the role of the designer in the contemporary design practice. Doing this, the book is a great vehicle for designers aiming to create and analyse objects that are aesthetically pleasing and for others to understand the science of forms and the building blocks of good design. - Lene Tangaard, Rector of the Kolding Design School, Denmark Disagreeing with Richard Herriott is a source of great pleasure. Not because standing at the opposing end during an argument lends one a feeling of superiority - far from it - but because few people can make a point the way Richard does. His immense knowledge provides him with references that are, at the very least, curiously entertaining and at best enlightening. His intellect then allows Richard to process these select references in highly original a manner. I'm delighted that this book provides many people with the opportunity to sneak a peek into Richard Herriott's singular mind. They may agree or disagree with what they find - but they will certainly be all the wiser for it. - Christopher Butt, writer and design critic, founder of Auto-Didakt and Design Field Trip The human brain is a mystery. Barely developed since mankind evolved itself into this peculiar world, we still react on basic instincts and pre-coded assumptions. We think we know, but we don't. We think we're in control, but we're not. So we need to learn. And of all our senses, our visual perception is our least reliable. Richard Herriot has created a fantastic book that enlightens us and opens our mind to understand better how our brain acts and reacts on our visual surroundings, such as form, function, design and visual perception in general. In a well ridden and richly illustrated piece, he guides us through various elements in modern design such as the human visual system, the complexity in form and function, how we look at and understand shapes and form etc. Starting with the already known theories, Richard Herriot describe and discusses the complexity and compromises we make daily in our visual world. Wisdom and knowledge mixed with simple illustrations and easy to use exercises. It's a must read for everybody working with visual art forms, teachers, designers, photographers, architects, artists etc, a need to read for everybody interested in how our brain works when it comes to visual perception - and a nice to read for everybody else that just want to know. A welcoming and necessary book in a time where everything runs so fast that we tend to forget what we already know. - Kare Birk, teacher in Furniture, Space and Products; Scandinavian Design College, Denmark This book covers a wide range of issues which are important for the future of design. The fact that the author gives tasks throughout the book is a helpful feature. I appreciate that the author encourages discussions when things don't easily fall into categories or are more complex so there are no simple answers. I believe this book which attempts to merge theory and practice is important to publish. It gives us all a possibility to discuss the complexity of such an undertaking and start discussions about how we formulate basic aesthetic principles that are free from judgement and when value judgements are made that apply principles in specific design processes. - Cheryl Akner-Koler, Professor, Department of Design, Interior Architecture and Visual Communication / Industrial Design, University of Arts, Crafts and Design, Stockholm, Sweden A much needed and highly lucid exposition of the thought and technique behind successful industrial design for students of this and allied professions. Endearingly opinionated and idiosyncratic in places, the book offers a path from professional philosophy to thoughtful execution of high class industrial design work. Useful exercises and debating points are provided for the benefit of tutors and students alike. - Peter Barker, Head of School, Design and Communication, Plymouth College of Art, UK This book is a brilliant example of why Kurt Lewin was right in stating that there is nothing as practical as a good theory (1943). Through a row of examples of good, functional, robust, aesthetically appealing and beautiful design as well as design mistakes and bad designs , the author, associate professor Richard Herriott from Design School Kolding takes us through theories about visual perception, constrains, lines, surfaces and curvature, product semantics and craftmanship and discusses the implications of these theories for design. Even if some of the theories are complicated reading, Herriott takes the reader by hand and illustrates the theoretical concepts and terms via reference to examples from real world design, models and drawings. The book covers an impressive number of ideas and invites the reader to think about and re-think design as well as reflecting upon the role of the designer in the contemporary design practice. Doing this, the book is a great vehicle for designers aiming to create and analyse objects that are aesthetically pleasing and for others to understand the science of forms and the building blocks of good design. - Lene Tangaard, Rector of the Kolding Design School, Denmark Disagreeing with Richard Herriott is a source of great pleasure. Not because standing at the opposing end during an argument lends one a feeling of superiority - far from it - but because few people can make a point the way Richard does. His immense knowledge provides him with references that are, at the very least, curiously entertaining and at best enlightening. His intellect then allows Richard to process these select references in highly original a manner. I'm delighted that this book provides many people with the opportunity to sneak a peek into Richard Herriott's singular mind. They may agree or disagree with what they find - but they will certainly be all the wiser for it. - Christopher Butt, writer and design critic, founder of Auto-Didakt and Design Field Trip The human brain is a mystery. Barely developed since mankind evolved itself into this peculiar world, we still react on basic instincts and pre-coded assumptions. We think we know, but we don't. We think we're in control, but we're not. So we need to learn. And of all our senses, our visual perception is our least reliable. Richard Herriot has created a fantastic book that enlightens us and opens our mind to understand better how our brain acts and reacts on our visual surroundings, such as form, function, design and visual perception in general. In a well ridden and richly illustrated piece, he guides us through various elements in modern design such as the human visual system, the complexity in form and function, how we look at and understand shapes and form etc. Starting with the already known theories, Richard Herriot describe and discusses the complexity and compromises we make daily in our visual world. Wisdom and knowledge mixed with simple illustrations and easy to use exercises. It's a must read for everybody working with visual art forms, teachers, designers, photographers, architects, artists etc, a need to read for everybody interested in how our brain works when it comes to visual perception - and a nice to read for everybody else that just want to know. A welcoming and necessary book in a time where everything runs so fast that we tend to forget what we already know. - Kare Birk, teacher in Furniture, Space and Products; Scandinavian Design College, Denmark

Author Information

Richard Herriott is Associate Professor in Design for People and Industrial Design at Design School Kolding in Denmark.

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