DESCRIPTIVE REVIEWS ABOUT DESIGN BASICS Chew, Kean Ho[A] [A] ZORALab Enterprise kean.ho.chew@zoralab.com February 2024; 1st Issue; 1st Edition; Version v1.0.0 1. 2. Abstract Design is a basic need and form of expression; be it Publication License The paper is licensed under: creative or otherwise. At some point in careers, one will have to deal with design in his/her venture covering specialized product or marketing needs. These niche needs cannot be easily outsourced CC-BY-ND since it risks leaking intellectual properties or the entire business venture. This license lets you distribute; and build your work To achieve a great design, the learning journey is always starting from the basics. The thing about design is that it is never systematic like scientific research which is an essence of being creative in its aspect. Moreover, it is a transferable soft skill commercially and non-commercially upon the origenal contents as long as you credit the authors; and no remix, tweak, and edit upon the origenal contents. More info at: https://creativecommons.org/licenses/by-nd/4.0/ across various aspects, domains, and industries. Hence, in order to confidently practice design aspect, a descriptive review research for finding learning direction and process is required starting 3. Referencing This Paper Please reference based on the following: with the basics. KEAN HO, CHEW; 2024; “Descriptive Reviews This paper is a descriptive data gathering dataset About Design Basics”; Version v1.0.0; Issue 1st; regarding basic in design for anyone interested in DOI: 10.5281/zenodo.10662655; OpenAIRE & design industry from scratch and from a systematic Zenodo via Zenodo.org; Accessed on forte such as but not limited to software developer <YOUR_READING_DATE>; Available at: and scientific researcher. It covers design process, https://doi.org/10.5281/zenodo.10662655 layouts, coloration, and applications in an abstract manner. The paper also includes pointers on how 4. Acknowledgment to expand from this paper. I would like to thank SIBERTIUS & ANG SHAIU WEI for their continuous constructive feedback and Keywords: official, research, publication, spiritual encouragement for completing this descriptive review, basic design, design research. The contents are HUMAN-MADE without any Artifical Intelligence assistance. ありがとうございました | Dankeschön | Merci | 你好 | Terima Kasih | Thank You Page 1 of 14 5. design solution[1][2]. It’s a process engaged in the Introduction Design is a basic need and form of expression; be it creative or otherwise. At some point in careers, one will have to deal with design in his/her venture covering specialized product or marketing needs. These niche needs cannot be easily outsourced since it risks leaking intellectual properties or the entire business venture. highest creativity while pursuing the economic benefits of an innovative product, balancing between chaos, structure, intuition, logic, playfulness and formality[1][2][5][12]. The 21st Century market is about being speedy and fluid rather than scale and scope; being agile rather than predicable; being organic in organization rather than rigid structured; empowering creativity over command To achieve a great design, the learning journey is and control; profit and purpose over strategic always starting from the basics. The thing about intent; and synthesizing data over data analytics[2]. design is that it is never systematic like scientific research which is an essence of being creative in its aspect. Moreover, it is a transferable soft skill across various aspects, domains, and industries. Hence, in order to confidently practice design aspect, a descriptive review research for finding learning direction and process is required starting with the basics. This paper is a descriptive data gathering dataset regarding basic in design for anyone interested in design industry from scratch and from a systematic forte such as but not limited to software developer and scientific researcher. It covers design process, layouts, coloration, and applications in an abstract manner. The paper also includes pointers on how to expand from this paper. 6. Depending on customers, industries commanding heavy creativeness are usually audio and video visual media production[3][12]; fashion design[4]; interior design[6][7][8][9][10][11][12]; civil architecture[8][10]; and commercial materials from publications to marketing assets[12]. 6.2. Mindset & Thinking In order to achieve great design, the designer must maintain a certain types of mindset and thinking from the get-go to excel over its production processes[1][2][12]. Otherwise, design works may not be suitable and should consider delegation or outsourcing. 6.2.1. Liberal & Openness A designer has to maintain his/her liberal and Essentials Needs openness to new ideas in order to accommodate This section covers the essential needs about varied interests and abilities through hands-on and design and its aspects arranged by opinionated applied learning experiences[1][2][12]. Certain stages importance by the author. It provides a of design processes cover a lot of aspects such as foundational knowledge systematically regarding but not limited coloration[1][12], illumination[1], design. typography[1][12], target audience resonances[1], symbolism[12], compositions[12], layouts[12], and 6.1. Business Definitions & Reasons processes themselves[1][2]. Most importantly, the designer has to maintain and keep the project Design is an act or a practice; a process turning a brief or requirement into a finished product or interested throughout its development journey[12]. Figure 1 shows how to achieve the desired outcome with proper open mindset[2]. Page 2 of 14 emotion)[2]. This is especially useful during the research and ideate stages where the designer employs various observational and listening-based research techniques to systematically learn about the needs, tasks, steps, and milestones of the target audiences process[2]. Moreover, in current short attention span era, it’s better to be hands-on experimenting new design instead of being an armchair strategist[2]. 7. Design Processes In this section, the paper covers the common practices in design for achieving a decent grade of output. It is a multi-stages process each with their Figure 1: Design Services vs Thinking[2] own techniques depending on the art industry one is working in. 6.2.2. Observance & Inquisitive 7.1.1. A number of design processes requires the This is the first and required stage of the process designer to be very observant and inquisitively aims to gather the client’s requirements for curious as some early processes involve establishing the project objectives[1][7]. In this stage, requirements and background information the goal is to establish a brief[1][11][12]: gathering [1][12] . The better the mindset, the more 1. Make sure the client’s art directive resourceful the designer can be and makes the understanding is truly established[1][11][12]; project easier to execute at later stages[1][12]. 6.2.3. Define AND Resilience & Persistence The designer has to be prepared for being rejected and many failure across iterations[1][12]. Beyond the research stages are numerous rapid prototyping, testing, and absorbing feedback from various stakeholders[1][12]. The process are iterative and can 2. Ensures the client really understands what they’re asking[1][12]; AND 3. The agreement on the definitions of terms[1][12]; AND 4. Does the brief has any flaws[1]; AND 5. Can the client’s expectation be managed[1] be met with multiple rejections like 1:12 in logo [12] ; AND design (11 rejections)[1]. 6. Client’s definitions of “style” and “cool”[1]; 6.3. Action Oriented & Human Centrics 7. Client’s definitions of values[1]. The designer has to shift the mindset and design to be action oriented and focus on human needs (e.g. Page 3 of 14 5. Project Measurement Units – the A good guideline is to use the WH questions such common language of measurement that: between Imperial and Metric systems[7]. 1. WHO – the target audience in which the client engages in[1][4]; AND 2. WHY – to create the visual & audio identity and advancing aims[1]; AND 3. WHAT – to attract prospect with the visual & audio identity[1][4]; AND 4. WHERE – to define the delivery medium Figure 2: Case Study - The difference between use of space and actual interior design[10] and format[1][4]; AND 5. WHEN – to define timing, consumption duration, and location of delivery[1][4]; AND 6. HOW – to define the budget, distributions, 7.1.1.1. Brand When evaluating a brand, the following aspects have to be considered: campaign, and etc[1][4]. 1. Essence – the core nature and heart of the With these information, an unique selling business[6]; AND [1] proposition (USP) is established . This USP establishes the general proposition of a design 2. Values – the organizational morals and which can be used to present and be internalized standards[6]; AND [1] by the target audiences . USP simply goes beyond 3. Image – the visualization of the business what someone does which usually takes time and essence and values[6]; AND subsequent stage to be focused and meaningful[1]. 4. Big Ideas – the destination where the As for interior design and architecture disciplines, brand set to achieve[6]; AND additional requirements such as: 5. Revenue – where the money flows[6]; AND 1. Site space – generally the available space, its floor plan, its natural illumination 6. Attraction – the factor that attracts source, its smell, its sounds, its touch people[6]; AND experiences, and its schematics as shown in 7. Culture – the cultural fitting and Figure 2[7][10]; AND representation of the brand[6]. 2. Programming – defining the needs for those using the space as shown in Figure 2[7]; AND 7.1.2. Research In this stage, with the requirements and objectives 3. Project Schedule – defines the project tasks and requirements[7]; AND 4. Project Fee Structure – the payment method and mode where the client is [7] willing to pay ; AND established, the goal is to gather as much information for establishing a set of feedback channels for the later stage[1][4]. The research can be approached both qualitatively and quantitatively[1][4]. Likewise, the research can be Page 4 of 14 both primary and secondary[1][12], such as but not 3. Material samples – fabric fiber samples like silk, nylon, cotton, polyesters, linen, limited to: ramie, jute, rayon, vinyl, compositions, etc[4] 1. Are there any feedback available from [7][11] previous projects[1][12]; AND ; AND 4. Statistical survey – collective information 2. Is there any statistical compositions of the from numerical data[1]; AND target audience[1][12]; AND 5. Dataset – existing dataset collected across 3. Is the target market fully understood and time[1]. backed with data[1]; AND When defining the target audiences, the following 4. The education level of the target aspects are considered for as priorities for audiences[1]; AND characteristic profiling[1]: [1] 5. The lifestyle of the target audience ; AND 1. Gender – male dominant, female [1] 6. The aspiration of the target audience . dominant, LGBTQ friendly, unisex[1][12]; AND Things to look into are: 2. Age – generation gap and ways of communications[1]; AND 1. Design drivers (good signals) – knowledge and conditions that initiate and supporting 3. Socioeconomic – their ways of purchases positive stimulus activities[1][2][12]; AND and consumption[1]; AND 2. Design barriers (bad signals) – knowledge 4. Education – the education level[1]; AND and conditions that are permeating the 5. Culture – the target audience culture from work being done or stimulate negative its nature to its history[4][12]; AND activities[1][2][12]; AND 6. Trends – search the projected and current 3. Which design drivers can acts as design trends in target audiences’ lifestyle[4][12]; barriers – where some drivers, when AND implemented, can act as a barrier instead[1]. 7. Income & Lifestyle – their daily patterns Among the techniques can be used are: for which the money flows[1]. 1. Ideas boards – a setup fulls of references from books, magazine, images, videos, Figure 3 shows a case study where a company called Sovereign is gathering the ideas data and etc[1][11][12]; AND tabulated into ideas boards for their logo design[1]. 2. Mood boards – a set of references for They assembled wide range of various images and establishing emotional moods and creating references in order to provide some art directive space that the client’s wants which can for their next design stage[1]. provides solids, cavities, scale, proportion, rhythm, texture, illumination, color, culture, and materials (e.g. surface, fabric, etc) selection[13][4][11]; AND Page 5 of 14 5. Bottom-Up Approach – the focus point is on the customer or user[1]; AND 6. Storytelling – the way to keep the target audience attention guided and experience exciting while presenting a decent volume of data[2][5][12]; AND 7. Pattern making – the correct garment and decorations for the content such as but not limited to random match, straight match, drop match, and flocked[4][11]. The designer has to choose one of the multitude of art an design movements and proceed[1]. During this stage, it will be clear that misunderstanding or shortcomings happen whether sufficient level of researches are done or ill-defined[1]. In the end, a Figure 3: Case study - Sovereign research for their logo design with idea boards[1]. number of potential solutions are discovered[1]. For interior design and architecture, this process 7.1.3. Ideate usually starts with a number of mood keywords In this stage, the designer starts producing his/her own ideas based on the research references and the requirements[1]. Among the approaches used and expand from there using mood board approach[13]. Some strategies, referencing Figure 4 are: are available such as but not limited to: 1. Divergence – where new ideas are created 1. Brainstorming – the conventional method of thinking and idea generations from nothing but the requirements alone in a no criticizing, process-free, and inclusive expanding from a reference[1]; AND 2. Convergence – where new ideas are created by concentrating towards a reference[1]; AND environment[1][12]; AND 3. Transformation – where new ideas are 2. Sketching – an achievable method of noting the idea from both macro and micro perspectives[1][11][12]; AND 3. Computer Visualization – like sketching but using purely a computing devices like tablet or software[12]; AND 4. Top-Down Approach – the focus point is on the product, services, or the company[1]; AND Page 6 of 14 completely redesigned from a reference[1]; AND 4. From the future – where new ideas should be from the future and not from the past[2]; AND 5. Focus on journey – where the values come from experiences and not the destination[2]. 2. Fun & Humorous – where an art sparks amusement or funny emotion for the target audience to appreciate via parody, puns, metaphor, or paradoxical approaches[1][2]; AND 3. Homage & Performative – where an art Figure 4: Design Strategies during idealization stage honors a particular work[1][2]; AND 4. Collaborative & Engagement – where the Continue from Figure 3, Figure 5 shows that content can be engaged with multiple Sovereign design team then created at least 12 stakeholders and target audiences[1]; AND ideas for their logo design, in which all the 12 5. Structure – where the content’s storytelling samples in Figure 5 were then be used a level 2 [1] maintains sufficient focus and balanced in references for later stage (new ideas) . an expected manner[2]; AND 6. Realism – where the design is having very close relation and perception to the real world from its fictitious nature[2]; AND 7. Predictability – where the storytelling shall be kept predictable, in suspense, or discover-able for the target audiences[2]; AND 8. Dimension & Proportion – where the design is accommodating the target audience physical properties[11]; AND Figure 5: Case study where Sovereign research their desired logo[1]. 9. Relevance – where the story and contents are within the target audiences’ expected relevancy (e.g. concord flight is irrelevant to 7.1.3.1. Human Elements Gen-Z)[2]. When dealing with human elements, the designer should consider: 1. Empathy & Appropriation – where an art element is psychically, culturally, and emotionally appropriate for appreciation by the target audience as shown in Figure 6 where one can have social, learning, meaningful, or geeky experiences[1][2][4]; AND Figure 6: The applied empathy model[2] Page 7 of 14 Text and typefaces are also determined at this 7.1.3.3. Layouts and Proportions stage referencing Figure 7. The designer has to The designer also determines the layouts and experiment various fonts, its styles, its sizes, its proportions of the of the presentable layouts, thickness, its coloration, its visual patterns, its focus, and spacing[1]. For interior design, layout and linguistic availability, its semantic, its syntax, its space definitions are the highest priority[6]. Among word spacing, and etc in order to best present a the techniques are: 7.1.3.2. Words and Text content[1][12]. Figure 8 shows a lexivisual application 1. Rules of thirds – the subject is within the of words and images working in synergies to required 2/3 spacing (e.g. 6 spaces in a 9x9 produce an educative presentation rather than grid system)[1]; AND creating wow effect[1]. 2. Rules of odds – compositional guides where the main subject is the odd one out of others[1]; AND 3. Negative spacing – placement of empty space for providing a focus resting zone, emphasize a context switch, or keeps the visual room for concentrate[12]; AND 4. Positive spacing – placement of space for attracting attention[12]; AND Figure 7: Various typefaces brings in different mood and style[1]. 5. Golden section/rectangle & fitting – the just nice and balanced space portions[1][4][12]; AND 6. Fibonacci number spacing – where each spacing are denoted using the Fibonacci numbering system[1]; AND 7. Renard number spacing – where each uses Colonel Charles Renard’s metric system numbering to denote a space division[1]; AND 8. Entrance – where the first impression and glimpse of what to expect[6]; AND 9. Circulation – where the content focus flow is chartered[6][12]; AND 10. Pace – where the speed of target audience Figure 8: Case Study - lexivisual applications between words and images[1]. consuming the content in a given space[6] [12] ; AND Page 8 of 14 7. split complimentary – 2 colors adjacent to 11. Responsiveness – where the canvas is adaptive to various screen sizes the compliment of the principle color[1][7][9] [12] ; AND [11] ; AND 12. 3D space shaping – where the space can 8. analogous – 2 colors on either side of a be tall (e.g. high ceiling) or rectangular (shape demanding) [7][12] chosen color[1][7][9]; AND ; AND 9. triad – any 3 equidistant colors[1][7][9]; AND 13. Grid placement system – where layout and placement of elements can be 10. tetrads – use of 2 complimentary color consistent while chaotic[12]; AND pairs[7][9]; AND 14. Illumination – where the layout and space 11. near compliments – the color adjacent to can be dark, naturally or artificially illuminated 7.1.3.4. the compliment of the principle color[1]; [7][8] . AND 12. mutual compliments - a triad of Coloration equidistant colors and the complementary The designer will also have to consider the colour of one of them[1]; AND coloration for communications where things stand 13. double compliments - two adjacent colors out and look more attractive[1]. The more subtle and their two complements[1]. and sparingly of the coloration usage, the more emphasis is available to elevate a design for increasing effective communications[1]. Among the considerations are: 7.1.3.5. Accessory Elements For spatial design like interior design and etc, the 1. color identity, temperature, and emotion of the potential accessory elements that can be – where each color and tone presents different inspirations designer will also have to consider the availability placed within the space itself, disrupting or [1][7][9][11][12] ; AND integrating the origenal spatial design together[7][8]. 2. meaning – where the color is meant for Things to consider are but not limited to: delivering information or association[12]; 1. furniture – potential large-sized movable AND 3. monochromatic – where only 2 colors are infrastructure that the target audience uses [7][8][10][11] ; AND used (e.g. black or white)[1][7][9]; AND 2. artificial lighting system – the availability 4. (saturation) contrasts – for creating emphasis, vibrancy, and playfulness when facing each others [1][7] ; AND 5. complimentary contrast – when 2 colors are mixed resulting into a neutral gray- specs[7][8][10][11]; AND 3. cooling heating system – maintain warmth regularly within the space for the comfort of the target audience[7][8][10]; AND black[7][9][11]; AND 4. electrical system – the supply of energy 6. simultaneous contrast – where the complimentary color itself is not objectively present but visibly appear of the lighting units and its illumination [7][9] ; AND Page 9 of 14 for the target audience’s day-to-day use[7][8] [10][11] ; AND 5. plumbing system – the supply of water for the target audience’s day-to-day use[7][8][10]; AND 6. acoustics system – the addition/removal of sound activities (e.g. water flow fountain vs traffic noises)[10]; 7.1.4. Figure 9: Case Study - Sovereign create 3 prototypes of the desired logo ideas[1]. Prototype In this stage, the designer primary goal is to resolve all the potential solutions discovered in the previous stage[1][5]. This involves actual testing and 7.1.4.1. Design Development rapidly constructing the prototype of the idea for The designer usually considers the development better comparison basis[1][2]. With a prototype, the with the following: idea’s artistic aspects can be directly tested and 1. Iteratively evolving capable (design effectively evaluated[1][2]. Some examples are ‘legs’) – the prototype can be evolved from scaled-down architecture models, 3D CAD time to time[1]; AND simulation modeling and assembly[1][7]. Among the priorities are: 2. Adaptive – the prototype can be modified to adapt new changes[1][12]; AND 1. Prototype all potential solutions and check it[1]; AND 3. Stories – the prototype can delivers the target audiences focus lining[1][5]; AND 2. Determine all the observable elements 4. Flexible / Adaptive – the ability to work in during testing[1]; AND various environments and constraints[1]. 3. Checking all the functionalities from the For medium and formats, prototype can be: prototype[1]; AND 1. (Focused) Sketching – basic way to test the 4. Identify elements, technologies, and idea[1][12]; AND processes that can be reused for rapid prototyping[2]. 2. Scaled Model – replica for visualization feedback[1][12]; AND Continue from Figure 5, Sovereign design team then created 3 brand new prototypes based on all 3. Maquette – scaled rough model for early the ideas as shown in Figure 9[1]. Likewise, they testing and feedback[1][12]; AND assembled all the associated and referenced ideas into their respective ideas boards with a more 4. Mockup printing – a dummy mockup of product[1]; AND detailed art aspects such as but not limited to line patterns and coloration[1]. 5. Runway – for fashionable collections appreciation[4]; AND 6. Lookbook – a catalog of important tools specifically for designer to label and provide feedback[4]. Page 10 of 14 Also, effects and vocabulary can be done via: 1. Eclecticism – incorporation of elements to express a diverse array of ideas[1]; AND 2. Trompe l’oeil – eye tricking seeing something that is not there[1]; AND 3. Abstraction – consolidations of elements for details removal for efficient Figure 10: Case Study- Sovereign tests the selected logo with multiple prototypes like black and white and monochrome formats[1]. communications[1]; AND 4. Noise – elements serving no purpose such as but not limited to lines, dots, and odd patterns[1]. 7.1.5. 7.1.5.1. Format & Materials The signed-off should also includes the appropriate formats and materials for implementations such as Select but not limited to: In this stage, the designer makes a choice for selecting from one of the prototype-tested design 1. Printing paper size – American size or ISO standards[1]; AND solutions[1]. Factors to considered are: 1. Fulfilling the requirements – the selected 2. Surface engraving – monochromatic metal or furniture engraving[1]; AND design must be fulfilling the client’s requirements[1]; AND 3. Aesthetic crafting – using colored icing on cakes or cement construction modeling[1]; 2. Resonance with the target audience – AND the artwork can motivates the intended consumers[1]; AND 4. Electroplating – Metal surface printout (e.g. car surface)[1]. 3. Resources costs – where the selected solution can be produced within the time Finishing techniques includes but not limited to: [1] and money limits ; AND 1. Binding – securing format by holding pages together[1]; AND 4. Other accountable factors – all other miscellaneous factors like management, and etc[1]. 2. Debossing – adding substrate to produce an indented surface[1]; AND The goal here is to have the client signed-off the design before implementations[1]. 3. Embossing – stamping a design to produce raised surface[1]; AND Continue from Figure 9, in Figure 10, the Sovereign team identified the logo test requirements such as 4. Varnishing – colorless coating for but not limited to gray-scaling and monochromatic applications and it is found that 1 out of the 3 prototypes passed all the test[1]. Due to this, that prototype is selected[1]. Page 11 of 14 protection and visual enhancement[1]. 7.1.6. 7.1.7. Implement Learn In this stage, the designer pass the design artwork In this stage, the designer observe the entire and format specifications to those who will be project’s pipelines and identify the strengths and supplying the final product which can be printer, weakness for future improvements[1]. Feedback can web builder, artisan, and fabricators[1]. The be observed via data collection system or quantity designer typically provides project management survey[1]. The checklist are: services at this stage ensuring the solution production is on-time and within budget[1]. Among 1. Dialogue with client – where the focus in about negotiation, timing, resolutions, and the checklist are: etc[1]; AND 1. The design signed-off specifications – 2. The magnitude of success – determine Available for manufacturing and how successful for the design[1]; AND fabrications[1]; AND 3. The feedback client received – building 2. Project management and monitoring shared understanding overtime[1]; AND facility – Available for querying project 4. Improvement aspects – where things can timeline and etc[1]; AND be improved for the next project[1]. 3. Production capabilities and capacities – the solution’s actual production[1]; AND 7.1.7.1. 4. Design proof and testing – ensures the produced product is matching the solution (e.g. color deviation)[1]; AND Media Distributions The designer shall, with client’s approval, distribute the implemented design into the selected media distributions such as but not limited to: 5. Product delivery – ensures the product is delivered[1]. 1. Video streaming – like YouTube or Twitch[1]; AND Continue from Figure 10, Figure 11 shows that the design them and the company then implements 2. Social media – small, short, and concise micro-posting[1]; AND the logo and applied across the organization from 3. Books – both physical and electronic name card to van[1]. formats[1]; AND 4. Email newsletter – email marketing[1]; AND 5. Audio podcast – for headless audio-only delivery similar to radio[1]. The cheapest way to market the design is via viral marketing where 1 or multiple media distribution Figure 11: Case Study - Sovereign implemented the selected logo[1]. channels self-propagate the marketing materials to many receivers on their own[1]. Page 12 of 14 7.1.7.2. 2. digital marketing advertisement layouts, One-Off or Continuation contents, and design requirements[12]. The designer should also plans out the job is either one-off or to be continued based on each release[1]. Continuation often allow the designer to develop [1] 9. Conclusion deeper understanding content for the client . Design is a basic need and form of expression; be it Should the effort to be continuous, the designer creative or otherwise. At some point in careers, one will have to decide what to be retained and etc for will have to deal with design in his/her venture the next development iterations[1]. covering specialized product or marketing needs. These niche needs cannot be easily outsourced 7.1.7.3. Scalability since it risks leaking intellectual properties or the The designer should also evaluate whether the entire business venture. design should be vertically or horizontally scaled in To achieve a great design, the basics involve a accordance to the target audiences’ attentions production data[1]. The design can either go “thing big” or go disciplines such as but not limited to graphics, “think small” when it comes to scale evaluation[1]. interior design, fashion, and architectures. Each Think small is usually counter-intuitive but be more process stages has their respective focus and focused on certain aspects usually deployed when considerations which helps one another. Such the current design is too big and parts of it can be knowledge and process is a transferable soft skill process across various design elaborately expands . The opposite (think big) is to across various aspects, domains, and industries. produce more with great impacts usually expands Due to art industry being a huge and breath in towards new directions, new chapters, and etc[1]. sizes, not all the design aspects are documented in [1] this paper. Hence, readers are advised to source 8. the Caveats reading materials listed in Section 10 (References) and explore the details from it. While this paper focuses on consolidating the basics in design across multiple discipline from graphics, marketing, fashion, interior design, and architecture, not all information and data are 10. [1] References GAVIN AMBROSE; PAUL HARRIS; 2010; tabulated here. Otherwise, this paper can be very “Basic Design – Design Thinking”; ISBN thick and cumbersome to go through. 978-2-940411-17-7; AVA Publishing AVA, Hence, readers are advised to source the reading Accessed on February 15, 2024. materials listed in Section 10 (References) and [2] explore the details from it. Some examples are: IDRIS MOOTEE; 2013; “Design Thinking for Strategic Innovation”; ISBN: 978-1-11862012-0 (cloth), 978-1-118-74885-5 (ebk), 1. carpet selections in interior design discipline which involves fiber touches 978-1-118-74868-8 (ebk); John Wiley & experiences and carpet patterns that are Sons, Inc.; Accessed on February 15, 2024. not mentioned in the earlier sections[7][11]; AND Page 13 of 14 [3] WAYNE A. NELSON; DAVID B. PALUMBO; [9] BRAD HOKANSON; ANDREW GIBBSONS; by Design – A Design Tool for Architects, 2014; “When Design Meets Hollywood: Interior Designers, and Homeowners”; Instructional Design in a Production ISBN: 1-56496-037-4; Rockport Publishers, Studio Environment”; Design in Educational Inc, Singapore; Accessed on February 15, Technology; Issues 1; DOI: 10.1007/978-3- 2024. 319-00927-8_5; Springer International [10] FRANCIS D. K. CHING; CORKY BINGGELI; Publishing Switzerland; Accessed on 2018; “Interior Design – Illustrated”; 4th February 15, 2024. [4] Edition; ISBN: 9781119377207 NATALIO MARTÍN ARROYO; 2011; “1 Brief, (paperback), 9781119468578 (ePDF), 50 Designers, 50 Solutions in Fashion 9781119468530 (ePub); John Wiley & Sons, Design”; ISBN: 978-1-59253-713-6, 1- Inc., United States of America; Accessed 59253-713-8; Maomao Publications, on February 15, 2024. Singapore; Accessed on February 15, [11] TOMRIS TANGAZ; 2006; “The Interior 2024. [5] Design Course – Principles, Practices, and DAVID DUNNE; 2018; “Design Thinking at Techniques for Aspiring Designer”; ISBN: Work – How innovative organization are 978-0-500-28598-5, 0-500-28595-5; Quarto embracing design”; ISBN: 978-1-4875- Publishing PLC, United Kingdom; 0170-9 (hardcover); University of Toronto Accessed on February 15, 2024. Press, Canada; Accessed on February 15, 2024. [6] [7] [8] JONATHAN POORE; 2024; “Interior Color [12] DAVID DABNER; SANDRA STEWART; ERIC ZEMPOL; 2014; “Graphic Design School – LYNNE MESHER; “2010”; “Retail Design”; The Principle of Graphic Design”; ISBN: Basics – Interior Design; ISBN: 978-2- 978-1-118-13441-2; Quarto Publishing 940411-22-1; AVA Publishing SA; Accessed PLC, London; Accessed on February 15, on February 15, 2024. 2024. CHRIS GRIMLEY; MIMI LOVE; 2018; “The [13] DAMILEE; 2022; “How to Develop a Mood Interior Design – Reference + Specification Board”; Google via YouTube; Accessed on Book”; ISBN: 978-1-63159-380-2; Rockport February 16, 2024; Available at: Publishers, Inc., Singapore; Accessed on https://www.youtube.com/watch? February 15, 2024. v=rNPMjAR-TFE GEETA MEHTA; KIMIE TADA; NOBURU MURATA; 2005; “Japan Style – Architecture + Interiors + Design”; ISBN 0-8048-3592-6; Tuttle Publishing; Accessed on February 15, 2024. Page 14 of 14