There are certain design principles you can apply to this like composition, hierarchy, color theory, and so on, but to the regular consumer, it’s the gestalt of all your design decisions that ultimately makes an emotional connection. We know emotion is so much of what drives purchasing behavior so the more nebulous goal of visual design is often pulling those levers in just the right ratio to elicit a desired connection to your product.

ven something as foundational as increasing white space in your design can instantly improve a customer’s perception of your brand’s worth when it’s done intentionally.

almost all clients agree that they need better look and feel in their digital experience, that they are looking to add some type of emotional signal that’s missing. But when it comes time to accept changes that address those problems, I’ve had several instances where clients are resistant to solutions that depart too significantly from what they’re already comfortable with. Usually that reservation is overcome when I correlate the visual changes to the ways in which the user experience is improved and the resulting impact on business performance. There will be also times when a client expresses to us that they’ve never been satisfied with their brand or website and they point to competitors that evoke certain emotional qualities that they are aspiring to capture. In those cases it’s quite rewarding to be able to translate those more nebulous feelings into concrete terminology that gives us specific visual principles to bring in or improve on.

By Katharine Schwab4 minute ReadOver the last year, Ideo’s philosophy of “design thinking“–a codified, six-step process to solve problems creatively–has come under fire. It’s been called bullshit, the opposite of inclusive design, and a failed experiment. It’s even been compared to syphilis.Ideo as an institution has rarely responded to critiques of design thinking or acknowledged its flaws. But at the Fast Company Innovation Festival, Ideo partner and leader of its Cambridge, Massachusetts, office Michael Hendrix had a frank conversation with Co.Design senior writer Mark Wilson about why design thinking has gotten so much flack.“I think it’s fair to critique design thinking, just as it’s fair to critique any other design strategy,” Hendrix says. “There’s of course many poor examples of design thinking, and there’s great examples. Just like there’s poor examples of industrial design and graphic design and different processes within organizations.”Part of the problem is that many people use the design thinking methodology in superficial ways. Hendrix calls it the “theater of innovation.” Companies know they need to be more creative and innovative, and because they’re looking for fast ways to achieve those goals, they cut corners.“We get a lot of the materials that look like innovation, or look like they make us more creative,” Hendrix says. “That could be anything from getting a bunch of Sharpie markers and Post-its and putting them in rooms for brainstorms, to having new dress codes, to programming play into the week. They all could be good tools to serve up creativity or innovation, they all could be methods of design thinking, but without some kind of history or strategy to tie them together, and track their progress, track their impact, they end up being a theatrical thing that people can point to and say, ‘oh we did that.'”

“If you make something rigid and formulaic, it could absolutely fail,” he says. “You want to rely on milestones in the creative process, but you don’t want it to be a reactive process that loses its soul.”

“There is a real need to build respect for one another and trust in the safety of sharing ideas so you can move forward,” Hendrix says. “Knowing when to bring judgments is important. Cultures that are highly judgy, that have hierarchy, that are rewarding the person who is the smartest person in the room, don’t do well with this kind of methodology.”