The Future of Product Design Jonathan Follett The Future of Product Design by Jonathan Follett Copyright © 2015 O’Reilly Media, Inc All rights reserved Printed in the United States of America Published by O’Reilly Media, Inc., 1005 Gravenstein Highway North, Sebastopol, CA 95472 O’Reilly books may be purchased for educational, business, or sales promotional use Online editions are also available for most titles (http://safaribooksonline.com) For more information, contact our corporate/institutional sales department: 800-998-9938 or corporate@oreilly.com Editor: Angela Rufino Production Editor: Melanie Yarbrough Copyeditor: Octal Publishing May 2015: Interior Designer: David Futato Cover Designer: Randy Comer Illustrator: Rebecca Demarest First Edition Revision History for the First Edition 2015-05-15: First Release 2015-06-17: Second Release See http://oreilly.com/catalog/errata.csp?isbn=9781491928172 for release details The O’Reilly logo is a registered trademark of O’Reilly Media, Inc The Future of Product Design, the cover image, and related trade dress are trademarks of O’Reilly Media, Inc The cover image is “3-D printing,” by CuriosityII, via Wikimedia Com‐ mons While the publisher and the author(s) have used good faith efforts to ensure that the information and instructions contained in this work are accurate, the publisher and the author(s) disclaim all responsibility for errors or omissions, including without limitation responsibility for damages resulting from the use of or reliance on this work Use of the information and instructions contained in this work is at your own risk If any code samples or other technology this work contains or describes is sub‐ ject to open source licenses or the intellectual property rights of others, it is your responsibility to ensure that your use thereof complies with such licenses and/or rights 978-1-49193-824-9 [LSI] Table of Contents The Future of Product Design A Product Design Renaissance The Evolution of Product Design Part Hello, Market! Part Growth and the Difficulties of Production in Volume Part Product as Dialogue Part Design for End-of-Life Conclusion Companies, Products, and Links 16 20 22 23 vii CHAPTER The Future of Product Design Jonathan Follett A Product Design Renaissance The world is changing The lines between software and hardware blur; fresh approaches to manufacturing reduce the time from idea to market; and new smart objects and systems herald our connected future.1 A product design renaissance might be on its way, but despite all this potential and promise—or maybe because of it—the ride could well be a bumpy one The human aspect of the equation remains the x-factor And, how we work together as participants in this product revolution, both as people and as organizations, will play a key role in the outcome There’s never been a better time to be a product designer, although there’s also perhaps never been a more confusing time, either Today, the combination of emerging technologies and powerful new resources and methods—from open source reference designs to crowdfunding—are democratizing innovation, compressing the design cycle, and reshaping the relationship between consumer and product If the amalgam of user experience (UX), software, indus‐ trial, material, and engineering design had a name, it would proba‐ For a fabulous overview and vision of this universe and the technical trends driving it, check out the report “Building a Solid World” by O’Reilly editors Mike Loukides and Jon Bruner bly be product design—although it’s likely that product designers themselves wouldn’t agree on it In this report, we’ll examine from a product designer’s perspective the ways in which these changes are disrupting design and the prod‐ uct lifecycle as well as considerations for people and companies looking at new ways of approaching product innovation and cre‐ ation This is not an all-encompassing overview; rather, it’s a snap‐ shot of a rapid evolution, as seen from the trenches of product design Is This the Third Industrial Revolution? Twenty-first century product design is being disrupted by factors both cultural and technological The confluence of crowdsourcing, new manufacturing methods, and other emerging technologies has set the stage for what we might call a Third Industrial Revolution In a prescient article2 on the next wave manufacturing phenomenon, The Economist postulated the following: the cost of producing much smaller batches of a wider variety, with each product tailored precisely to each customer’s whims, is falling The factory of the future will focus on mass customization and may look more like weavers’ cottages than Ford’s assembly line In this new revolution, economies of scale and the mass production required to reach these are replaced by the efficiency and leverage of highly targeted, rapidly developed, and, hopefully, less wasteful products that retain an artisanal value for the consumer Manufacturing for the mass market will no doubt remain for the many products that have a universal appeal, but for those items that truly intersect with our unique needs—that seem to have our per‐ sonal imprint in them—these individualized products will grow and flourish in a new period of craftsmanship at scale In this burgeoning new era, the designer’s understanding of the user will be paramount—an in-depth comprehension that goes beyond typical use cases, workflows, or trite personas and begins to resem‐ ble something more like a relationship that grows over time This understanding of the user DNA will drive product personaliza‐ tion And we’re not talking personalization in a trivial way, such as http://www.economist.com/node/21553017 (accessed April 20, 2015) | Chapter 1: The Future of Product Design printing a child’s name on a toy, or a family’s photo on a coffee mug; this new personalization will be the creation of objects that fit into our daily lives with impeccable ease For example, for the busy par‐ ent perhaps a set of connected home appliances that help to measure the overall nutrition, caloric intake, from freezer to refrigerator, to oven for each family member’s meals; or for the avid athlete, custom training gear that adheres to changing body measurements and adjusts over time The “return to craftsmanship” will be transformative economically, as well Research from McKinsey Global Institute indicates that by 2025, additive fabrication alone could have an impact of $550 bil‐ lion3 as it changes forever the manufacturing industry Add this to the trillions of dollars of market disruption for the Internet of Things (IoT), robotics, and so on, and we can begin to appreciate the scale of change that is coming Reshaping the world If past is indeed prologue, we must come to terms with the fact that although the emerging technologies of the Second Industrial Revo‐ lution—from the automobile to electric power—reshaped the world, they did so in many ways that were negative as well as positive From rampant pollution to the abuse of our planet’s natural resour‐ ces, the environmental consequences that are the Second Industrial Revolution’s legacy remain critical areas with which we must con‐ tend Fast forward to the twenty-first century: If we consider the massive number of new objects that a product renaissance—propelled by the IoT and 3D printing—could bring, introducing millions of new things into our world, it’s clear we must also consider design not just for mass adoption, but also for mass decline and return to the stream of natural resources Everyone can sketch on a napkin How are new products imagined, created, tested, and produced? Generally speaking, this was once the purview of specialized profes‐ sionals, backed by large companies, who had the resources and knowledge to invest in time-consuming R&D cycles, complex man‐ Disruptive technologies: Advances that will transform life, business and the global economy A Product Design Renaissance | ufacturing lines, long supply chains, and expensive marketing and distribution And even though there were certainly plenty of upstart startups and disruptors, these were far from the norm Emerging technologies are not just changing what’s being made or how fast it’s being developed, they’re also changing who is capable of making it The ambitious entrepreneur who understands an audi‐ ence—the young mother who has an idea for improving products for her baby or the coffee fanatic who can see the future of special‐ ized brewing—are enabled to move their ideas from mind to reality, from napkin sketch to use by an appreciative audience And, as these technologies evolve and mature, we can expect more democratiza‐ tion to come The Evolution of Product Design The powerful interplay between innovative use of new technologies and creative methods for working collaboratively is transforming product design New Ways of Working Sometimes, we forget that we are still, relatively speaking, in the first moments of the information age, saddled with the legacy structures of the industrial past These structures continue to govern and guide our interactions—from societal to organizational to interpersonal— despite being relics of a bygone era As such, we are still discovering how to organize our efforts together when it comes to knowledge work, whether that be scientific discovery, engineering, design, or otherwise But we are making progress As the creative class discovers and implements new forms of collab‐ oration around ideas and information, it opens new opportunities for building objects in both the digital and physical worlds And, if building on the work of others is crucial to innovation and human advancement, the speed at which this work is disseminated and reused is also a critical factor What the age of information has given us is the ability to stand on the shoulders of others, taking advantage of their efforts, to build new work, ideas, and even funding in real time | Chapter 1: The Future of Product Design tory to work with you If you get this right, you can build a really strong foundation and create a successful company But, if you get it wrong, then it’s like death by a thousand cuts, and it’s very, very dif‐ ficult to recover,” says Scott Miller, Dragon’s CEO Dragon is on the forefront of manufacturing service innovation, making the process as transparent as possible and helping compa‐ nies select factories from a comprehensive network of service pro‐ viders, such as the one shown in Figure 1-3 Figure 1-3 Factory workers in China assemble circuit boards (Photo courtesy Dragon Innovation) Part Growth and the Difficulties of Production in Volume | 11 “More often than not, you’re not going to find them doing a web search, because it’s very difficult to know who’s good and who’s not good At Dragon, we’ve got a database of a couple hundred factories we’ve worked with and are constantly expanding that,” Scott explains The Request-for-Quote process For the product designer, understanding the ins and outs of putting together a Request for Quote (RFQ) can be intimidating As a part of an RFQ package, the team at Dragon recommends that you have three to five factories bid on your work so that you can have a strong basis for a line-by-line pricing comparison The first part of the RFQ consists of a document describing the product, company, and team, as well as the key areas in which they’re looking for assistance from the factory If you’re a startup, this document can be crucial because reputable factories in the Far East work with substantially larger customers, making money when shipping products in volume, not in short runs It’s critical in the RFQ, therefore, that a startup illustrate for potential manufacturing partners the opportunity that comes from working with them The second part of the RFQ is the Bill of Materials (BOM), which specifies all the component parts and quantities needed to construct the end product The BOM is critical for having insight into the cost of everything that’s going into a product, as well as being able to make comparisons between different factories The third part is the all-important schedule As Scott explains, “Once you’ve got that, you go visit the factories [Figure 1-4], start to figure out who’s good to work with, the capability of the team things like that Then, finally, you’ll come back and the apples-toapples comparison to understand the key cost drivers, and then how they line up, based on your visit Having gone through that process, a company is in a great position to pick a factory.” 12 | Chapter 1: The Future of Product Design Figure 1-4 The factory floor (Photo courtesy Dragon Innovation) “At Dragon, we’re always agnostic on where our customers build The only thing we care [about] is that they succeed Because we build a lot of consumer electronics, China often makes sense; but if you’re doing lower volume—say, under 5,000 units, as a rough guideline—the United States makes tremendous sense,” adds Scott “What we typically see, if you contrast the United States and China, in China, everything is very vertically integrated So you’ve got the molding, the SMT [Surface-Mount Technology] for the circuit board, the quality testing, and the pack-out all in one facility Whereas in the United States, it tends to be more fragmented You may work with a molding shop to the injection molded parts, and then a different circuit board shop to put together your PCBAs, and then a different house to the final assembly You just struc‐ ture the RFQ in a manner that’s conducive to that, but the process is exactly the same.” As product designers, it’s important that we understand how manu‐ facturing processes work, how they could change in the future, where there are risks, and where there’s room for greater efficiency However, with outsource manufacturing this can be difficult to because the industry lacks transparency In the future, we could ben‐ efit from software tools that enable products to move through the Part Growth and the Difficulties of Production in Volume | 13 process more predictably But for the time being, it might very well be that service innovation, like that provided by Dragon, will be the driver of disruption David meets Goliath: Achieving Innovation Speed for Enterprise Companies With emerging technologies moving more quickly than ever, it can be hard to steer a large vessel, such as an enterprise organization, to take advantage of them For larger companies that already have an established product port‐ folio and are seeing innovation happening at the grassroots level, the ability to utilize crowd-sourcing or rapid prototyping might still be problematic The question comes down to this: when is it appropri‐ ate to retool a product process when you’ve got standard operational procedures that make money for you today? The ambiguity that can come with experimentation is always scary and potentially costly And, there are many aspects of innovation process that don’t match up with the large company production methods optimized to one thing really well According to Dragon’s Scott Miller, “When it comes to product design and development, the biggest thing on the minds of the CEOs of larger companies is: ‘How to get an enterprise to go faster? How we get the speed of an entrepreneur to innovate and stay on top of things?’ Their biggest concern is how they innovate more quickly It’s certainly a challenge If you look at what it takes to move the needle for a big company versus a small one, it’s a tremendous amount of volume When you that, there’s a lot more risk, that it’s very difficult to fail fast to succeed sooner.” Risk Taking and the Enterprise Enterprise companies don’t want to lose out on opportunities because they can’t take risks; they need new ways to evaluate innova‐ tive ideas and make good decisions about developing their products To solve this dilemma, innovating in small bites, by acquiring start‐ ups or forming incubators—where employees can have greater free‐ dom to experiment outside the regular organizational structure—is a reasonable strategy For example, the Boston area is a hotbed of 14 | Chapter 1: The Future of Product Design large-company innovation lab activity, from CVS, Johnson & John‐ son, Staples, Verizon, and others Small Pilots In the past, starting the manufacturing of a new product in signifi‐ cant volume always required an enormous leap of faith Unsurpris‐ ingly, the result was that many projects never saw the light of day—a difficult outcome for product designers, indeed For even the largest of companies it can be understandably difficult to justify occupying a manufacturing facility and initiating a 100,000-unit run when you lack all but the most basic of market validation However, in contrast today, as large companies recognize the impor‐ tance of rapid innovation, they’re finding ways to run smaller pilot programs—manufacturing 5,000 to 10,000 units in order to get a full understanding of the product/market fit By testing products in the market at a small scale and gathering data quickly, companies can make informed decisions about whether they should scale-up manufacturing If a company gets the signal that there’s strength to a product line, they can ramp up to full-scale production rapidly Developing Infrastructure The product landscape is changing as Fortune 500 companies begin placing their bets on emerging technologies At the 2015 Consumer Electronics Show (CES), Samsung announced its focus on the IoT and the connected home This might have seemed like a big bet for the tech giant The bigger play, however, might not be in the way Samsung changes people’s interactions with their home appliances, entertainment, and living environments, but rather in how the com‐ pany creates the infrastructure that binds it all together The IoT itself still lacks a solid infrastructure, which might still be years from being developed “While the Internet itself is accessible, there remains a huge gap between the devices that we create and get‐ ting to the Internet,” says Ben Salinas, a designer and engineer at emerging technology consultancy, Involution Studios “WiFi net‐ works require a lot of power to connect to and are inconsistent They’re not universal We see a lot of devices tethering to a phone to use that Internet connection That still has issues.” Salinas continues, “If you’re one of these small companies that are building a product for less than a few million dollars, you probably Part Growth and the Difficulties of Production in Volume | 15 are playing with the frameworks that larger companies, like Sam‐ sung, Apple, and Microsoft, have already created.” When it comes to emerging technologies, for entrepreneurs and smaller companies, the opportunities lie in bringing products to market quickly, even if you’re playing on someone else’s network or using someone else’s infrastructure For the larger companies, mak‐ ing that network, driving the standards, and owning the ecosystem are the big plays in the long term Part Product as Dialogue We are approaching a moment when product lifecycle maturity does not preclude further innovation; rather, it provides a platform for it In the past, companies have dealt with mature product lines—those with wide adoption but minimal growth—by adding more features and attempting to find new uses and audiences to rejuvenate them Of the many places in the product development and manufacturing lifecycle that can be disrupted, this could be one of the most signifi‐ cant Emerging technologies, especially the bevy of connected machines promised by the IoT, offer an opportunity for companies to not only regularly update, but also analyze usage data returning from these connected machines—making mass customization on a user level possible This data-driven interplay between company and consumer, between user and designer, might begin to alter the prod‐ uct lifecycle to resemble more of an ongoing flow If data flow goes both ways—a conversation between designer and user, rather than a speech—the product represents a living relation‐ ship and is never fully completed Rather than think about a finished product, as designers we should also incorporate into our thinking how a company can be hyper-responsive to users of its products Connected devices and the IoT offer great potential for creating ongoing dynamic interaction For example, consider a product such as a washing machine that can respond to energy cycles; variables, such as the speed and pattern of agitation, and the amount and tem‐ perature of water can be customized based on our personal usage patterns Through this, the relationship that we have with our wash‐ ing machine changes, and the decisions that the designer and the manufacturer make about which wash cycles to push to us become valuable touchpoints in an ongoing conversation 16 | Chapter 1: The Future of Product Design A Tale from the Trenches: Making LEO, The Maker Prince LEO, The Maker Prince is a book by Carla Diana (a Smart Design fellow and New York Times contributor) that celebrates emerging technology, inspiring young designers with a creative message, made possible by 3D printing LEO, a visitor from space who you can see in Figure 1-5, prints 3D models based on sketches that are created by the book’s narrator The imaginative tale can truly become real for readers, as designs of the characters are available for them to 3D print, along with various accessories, from musical instruments to a planter to a chess set Figure 1-5 LEO, The Maker Prince (Photo courtesy Carla Diana) But where the book really shines, at least from a design standpoint, is as an example of a product as dialogue Readers share their works on the book’s website and Diana makes ongoing adjustments to the designs based on input from them So, the book in some sense, is always being updated, and Diana is having a conversation with the book’s readers through the medium of a physical product One reason Diana created a children’s book about 3D printing was to put virtual objects such as those in Figure 1-6 out in the world as an experiment to see who downloaded them, why they downloaded them, and what they did with them “That was a fascinating moment Part Product as Dialogue | 17 for me,” says Diana, “because I felt like, ‘Wow, you could have never done this before.’” “People commented to me about some of the prints They said, ‘Oh, this particular part grows more successfully for me standing upright.’ I worked as hard as I could to try to get the objects to print as well as they would with a typical FDM at-home printer That was a really interesting moment for me, too, because I felt like, ‘Oh, I can try this and I can just change the file.’” Figure 1-6 All of the characters from the book can be 3D printed (Photo courtesy Carla Diana) “I did that because I am envisioning this future where it comes to distribution: A designer, manufacturer, entrepreneur no longer has to think about, ‘Okay, well how many parts of this I have to make and where does it get warehoused? Where does it get distributed and what retailers is it going to? There’s that whole dream of the streamline distribution and I think it’s very realistic,” states Diana enthusiastically A Tale from the Trenches: Understanding Consumer Decision Making How does a company know when it’s time to place a bet on emerg‐ ing technologies? 18 | Chapter 1: The Future of Product Design “I think disruption for disruption’s sake will never win,” says Ellen DiResta, a strategic design advisor for companies like Sanofi and Becton Dickinson, and former Managing Director for innovation consultancy Design Continuum DiResta goes on to say, “Every single client I have, I always love the moment when I say to them: ‘Nobody wants your products No one wants to buy an extra thing Nobody wants to think about your stuff The people who think the most about your products are you guys That’s it You have to give them something You have to enable them to something If you don’t know what that is, and you’re busy just focused on your thing, you will miss the mark eventually.’” The relationship between the designer and the user of products is becoming ever closer Understanding the intrinsic motivations of the population engaged with your company is paramount to facili‐ tating those relationships going forward In many instances, compa‐ nies base their product portfolios and their future plans on emerg‐ ing technologies and how they expect those technologies to evolve But the product-based relationship you have with your customers can be deeper and potentially longer standing DiResta suggests that companies need to avoid being seduced by the functionality of a potentially disruptive technology; instead, they need to ask, “How can these capabilities better enable our custom‐ ers?” At the same time, the product designer needs to understand the full extent of a technology’s capabilities, because from this knowledge, she can help define the desired user experiences Companies can err by going too far in the opposite direction, as well —expecting consumers to tell them what to and what to design When, in reality, the motivators driving a consumer’s choices might be something that they’re not ever going to be aware of, let alone be something that they can articulate Decision Motivators “When I worked with a housewares company, I was interviewing women at home who had kids in school One lived in a very depressed area and another person lived in Wellesley, Massachu‐ setts, which is very affluent,” DiResta elaborates “They had very similar values Their choices were very different because their means and their circumstances were very different Part Product as Dialogue | 19 The woman in Wellesley sent her kids to public school, because she grew up so privileged and isolated and segregated She felt like she lived in a bubble She wanted her kids to have a chance to be more normal Wanted and picked Wellesley and had a very, very nice house—but by her background standards, very modest—because she wanted her kids to be normal.” “The other woman home-schooled her kids, because she felt that the school in town was just bad Her house was not that great, but she said, “I can’t send my kids to this school and expect them to ever get out of this town.” DiResta continues, “So you would say they are very, very different But the way they made decisions and how they chose, if you reversed the two people, they would be making the same choices as each other The values that those products or services had to speak to had to be the same.” The disruptive technologies that will be the most successful will enable people to what they want to from the beginning—just in better ways that fit with their changing context “That’s really what Apple did,” DiResta says “Nobody wants to interact with tech‐ nology Apple provided technology in a way that you can work through technology to the things you want to do.” Part Design for End-of-Life Sooner or later, a product will reach the end of its useful life As overall usage declines, a company will gradually reduce support for it, and eventually “sunset,” or phase-out, that product If one of the natural outcomes of a Product Renaissance will be a great many new products imagined and brought into the world, designers will increasingly need to be concerned about the entirety of the product lifecycle including its decline, and perhaps most important, with what happens to the product after people are no longer using it Although we as designers might not like to admit it, the fact is that design and pollution are inexorably connected The design activities in which we engage at the beginning of the product lifecycle inevita‐ bly create positive or negative environmental outcomes at its end-oflife To effect positive outcomes, we can and should ask: “What are the considerations for sustainability and environmental impact?” 20 | Chapter 1: The Future of Product Design This is not a new idea in design; rather, it is one whose time has come The Design for Environment (DfE) program, put in place by the United States Environmental Protection Agency (EPA) as far back as 1992, includes as a part of its toolkit the lifecycle assessment (LCA), “a systems-based approach to quantifying the human health and environmental impacts associated with a product’s life from ‘cradle to grave’.” Today, using software tools such as thinkstep’s GaBi, designers can complete a product lifecycle assessment to determine its carbon, water, and overall environmental footprint, along with resource and energy efficiency for its manufacturing and usage We can select materials that are environmentally friendly early in the manufacturing process, because recently there has been great inno‐ vation in materials such as biodegradable plastics From a recycling standpoint, the biggest opportunity might lie in Design for Disassembly (DfD), making electronic products much easier to separate into their core components—from circuit boards to metal and plastic parts—and sending each of these into their appropriate recycling streams Perhaps one day, hopefully in the not-too-distant future, we will have printed circuit boards (PCBs) designed for easy component removal, minimizing the need for des‐ oldering and exposure to heavy metals Design for Remanufacturing (DfR) is a similar strategy that strives to remove durable components of a product at the end of its lifecyle, reprocess them, and use them once again in a newly created item Even though this kind of design for a product’s end-of-life—whether it be for disassembly and recycling or remanufacturing—does take more effort, there is a tremendous opportunity here for product designers to take responsibility for and control of the aspects of the product lifecycle that were overlooked during previous eras For both startups and large companies alike, this systemic view of prod‐ uct design is worth remembering, when encountering the pressures to release something quickly and just get a product on the shelf On-Demand Production In the future, we can also consider that there might be no need to phase out products if manufacturing can be generated on demand and the price for creating individual versions is low Today the print- Part Design for End-of-Life | 21 on-demand segment of the publishing industry ensures that books with an audience will never go out of print The digital files for any book can be stored in the cloud until a customer orders it, at which point the book is printed, bound, and shipped It’s not hard to imag‐ ine a similar scenario for more complex products There are already 3D printing platforms today, such as Shapeways, for creating simple objects on demand In a similar way, distributed manufacturing is becoming reality as crowdsource services such as 3DHubs give mak‐ ers access to an extensive local network of 3D printers We can imagine how distributed fabrication for business might be accom‐ plished with such a system: add together enough 3DHub providers in an area and you could quickly complete a modest run, depending on the availability of the network Conclusion In this evolving world of emerging technology and product creation, designers who can create objects that are both compelling to the consumer and within the bounds of manufacturing capabilities will be exceptionally valuable Understanding your materials—what they can and what they can tolerate—is key, be they plastics and met‐ als or pixels and code With such an understanding, product design‐ ers can offer their insight, not only to envision future products, but also to think about the process for getting there How we approach product design and the evolving product life‐ cycle? Here, inspired by Dieter Rams, the influential industrial designer known worldwide for his landmark product designs for Braun and Vitsoe, we’ll conclude with three principles for good product design in this brave new world of emerging technologies: Good product design serves as an enabler for people To make a product useful and understandable, our understand‐ ing of the user must be of primary importance Good product design is innovative in process Drawing on new ideas for working together—from crowdsourc‐ ing to open source reference designs—we can stand on the shoulders of others to create better products 22 | Chapter 1: The Future of Product Design Good product design is environmentally friendly As we design, we must take into account end-of-life planning that enables disassembly, recycling, and even remanufacturing Companies, Products, and Links Throughout this report, we’ve discussed a variety of companies and products to illustrate important concepts in and approaches to product design for emerging technologies Table 1-1 lists these com‐ panies and products, ordered alphabetically, along with relevant links to further information Table 1-1 List of companies discussed Product Company Link 3DHubs 3DHubs http://www.3dhubs.com Arduino Arduino http://www.arduino.cc Fusion 360 Autodesk, Inc http://fusion360.autodesk.com GaBi thinkstep http://www.thinkstep.com GitHub GitHub, Inc http://www.github.com GrabCAD GrabCAD http://www.grabcad.com MakerBot MakerBot Industries, LLC http://www.makerbot.com/ OnShape OnShape, Inc http://www.onshape.com Roomba 880 iRobot Corporation http://www.irobot.com/For-the-Home/ Vacuum-Cleaning/Roomba Shapeways Shapeways, Inc http://www.shapeways.com SolidWorks Dassault Systèmes SolidWorks Corp http://www.solidworks.com Tessel Technical Machine http://www.tessel.io Upverter Upverter, Inc http://www.upverter.com Companies, Products, and Links | 23 About the Author Jonathan Follett is a principal at Involution Studios where he is a designer, business lead, and internationally published author on the topics of user experience and information design His most recent book, Designing for Emerging Technologies: UX for Genomics, Robotics, and the Internet of Things (O’Reilly) was pub‐ lished in December 2014 He is also a co-author of Beautiful Data: The Stories Behind Elegant Data Solutions (O’Reilly) Over the past decade, Jon has written for online and print publications including A List Apart and UX Matters Throughout his 15-year design career, Jon has contributed to beauti‐ ful, usable software for enterprise, healthcare, and emerging tech‐ nology clients, from the Fortune 500 to the market leaders of the future Jon is a classically trained pianist who dreams of one day having a family rock band with his two sons Find him on Twitter at @jonfollett Acknowledgements The universe of possibilities presented by emerging technologies, from the IoT to robotics to additive fabrication, is vast and intimi‐ dating but also inspiring Product design is changing so quickly that there can be no shame in admitting that even those of us closest to it can only guess where it’s going The designers, engineers, and product folks who were kind enough to talk with me and inform and refine my thinking for this report include Drew Carlton, Carla Diana, Jeff Champagne, Ellen DiResta, Craig Mauch, Jon McKay, Scott Miller, and Ben Salinas I couldn’t have put this together without them As usual, the O’Reilly Media editorial team was fantastically suppor‐ tive Both Mary Treseler and Angela Rufino have pushed me to articulate the promise I see in the design field of the twenty-first century I should say, as well, that my wife Jen tolerates my late night writing binges, of which she has supported more than her fair share Let’s make something great ... a critical initial market for their new product ideas Crowdfunding also limits the amount of money you need to recoup from R&D, or, at least, it gives you the opportunity to find that initial... Technology] for the circuit board, the quality testing, and the pack-out all in one facility Whereas in the United States, it tends to be more fragmented You may work with a molding shop to the... product lifecycle maturity does not preclude further innovation; rather, it provides a platform for it In the past, companies have dealt with mature product lines—those with wide adoption but