Good Design Principles: examples for Design & Technology students

To evaluate the success of a design, we must be familiar with the principles of ‘good’ design. In other words, we must have some understanding of what makes a design successful. While personal preferences play a role in how someone responds to a product, there are several universal principles that help us evaluate whether a design is ‘good.’

What are the principles of good design?

At its core, good design solves problems effectively. The first question in evaluating any design is thus: “How well does this serve its intended purpose and meet the needs, wants, or values of the user?” A beautifully crafted chair that is uncomfortable to sit in fails at its primary function, just as a visually striking website that is difficult to navigate falls short of its intended goals.

In seeking to understand how to evaluate a design, students often turn to the 10 Principles for Good Design posed by Dieter Rams – one of the most influential industrial designers of the 20th century, who oversaw the design of hundreds of products, from radios and record players to calculators and household appliances.

Dieter Rams’ 10 Principles for Good Design:

Good design is innovative: An innovative design is one that pushes boundaries and provides an inventive solution – but not just for the sake of novelty. Innovation should improve the product’s function or user experience in meaningful ways. Sometimes innovation means developing entirely new solutions; at other times it might mean refining existing designs so they work better.
Good design makes a product useful: A product should serve its intended purpose and user/s exceptionally well. Design choices should enhance functionality rather than hinder it. It is worth noting that a design that works perfectly in one situation may fail completely in another – thus understanding the needs of the user and situation is vital. Good design requires a deep understanding of its users – including ergonomic concerns. Designs must also be appropriate for the environment and circumstances in which they’ll be used.
Good design is aesthetic: Beauty matters. A product should be pleasing to look at and use, with visual elements serving a purpose. This can involve discussion of gestalt design principles – fundamental rules of visual perception that explain how humans naturally organize visual information to create visual hierarchy, organise information, and create balanced compositions. These ideas are closely linked to the CRAP design principles. CRAP is an acronym for Contrast, Repetition, Alignment, and Proximity – popularized by Robin Williams in her book The Non-Designer’s Design Book.
Good design makes a product understandable: This means users should ideally be able to interact with a product without needing a manual. Think of a door handle that naturally indicates whether to push or pull. These ideas are expanded by professor and cognitive scientist Don Norman in his popular book The Design of Everyday Things, which explains why it is advantageous for designers to make user interactions with a product more intuitive and rewarding and less irritating – considering the feedback received when trying to work out how to use a product. Bruce Tognazzini also created an influential set of principles for interaction design called First Principles of Interaction Design, developed from his experience at Apple and elsewhere, which focus on practical guidelines for creating usable interfaces. Examples of these principles include: anticipation (systems should anticipate user needs and provide information/tools before users request them); autonomy (users should feel in control of the system); defaults (systems should provide sensible defaults but make them easy to change); and learnability (easy for learn while still being efficient for expert users). These ideas also align with human centred design principles, which involves putting the needs, behaviors, and experiences of users at the centre of the design process – developing a deep understanding of the people you’re designing for. (Our article about the iterative design process discusses this in more detail, describing the advantages of observing user behaviour, listening to user stories, and experiencing their challenges firsthand rather than making assumptions about what users need. Our iterative design process article also references Bruce Mau’s design principles, which he sets out in his Incomplete Manifesto for Growth, which introduces an approach to creative thinking and problem solving that emphasises a rapid and exploratory process.)
Good design is unobtrusive: Rams felt that a good design should fade into the background, without distracting the user – such as a good chair that you forget you’re sitting in because it’s so comfortable.
Good design is honest: For example, a product shouldn’t pretend to be more than it is or deceive users about its capabilities. This can include authenticity of materials – such as avoiding plastics that are designed to look like metal, and so on.
Good design is long-lasting: Both physically and aesthetically, a good design should endure. However, it is worth noting that lifespan often needs to be appropriate for the circumstances. This is discussed in more detail in our article about built-in obsolescence.
Good design is thorough down to the last detail: Every aspect, even the smallest elements, should be carefully considered and serve a purpose. Nothing should feel like an afterthought or compromise.
Good design is environmentally-friendly: Sustainability and ethical considerations are becoming increasingly central to good design. This includes environmental impact, accessibility, and long-term societal effects. A well-designed product should aim to minimise environmental impact through materials, manufacturing, and longevity – such as ensuring it is repairable and recyclable where possible.
Good design is as little design as possible: This is a reference to the popular “less is more” phrase (coined by architect Ludwig Mies van der Rohe) which means that good design focuses on the essentials and removes everything unnecessary or superfluous. This approach encourages minimalism, simplicity, and clarity – the removal of unnecessary complexity. This principle also links to the idea that “form follows function” (coined by architect Louis Sullivan and popularised by the Bauhaus movement) – whereby every element has a clear reason for existing and contributes to the overall functionality. For example, a coffee mug’s handle isn’t just decorative – it serves the essential function of allowing safe handling of hot liquids. This doesn’t meant that aesthetic elements cannot be included, but suggests that function be the primary consideration, with a priority upon practicality and purpose over unnecessary ornamentation or decoration.

Barcelona Chair by Mies van der Rohe — The Barcelona Chair by Ludwig Mies van der Rohe (designed 1929) embodies the concept of “less is more.” The chair is crafted from curved planes of sleek chrome-plated steel with two leather cushions. The design is absent of unnecessary ornamentation or decorative elements: every component serves a purpose. The clean lines and reduced form make the chair versatile enough to work in almost any setting, from corporate lobbies to private homes – combining elegant simplicity with luxurious comfort. Originally designed for the German Pavilion at the International Exposition in Barcelona, the chair has become one of the most recognized and influential pieces of 20th-century furniture design and is associated with both Bauhaus and Modernism.

Dieter Rams’ Principles for Good Design are worth studying because they focus on fundamentals rather than passing trends – addressing enduring questions about what makes design effective across time. Familiarity with these principles can help you analyse and critique designs effectively.

It is worth noting, however, that these principles should not be treated as rigid rules and may not be appropriate in all circumstances. For example, Rams’ principles came from his work designing consumer products for everyday use. “Unobtrusive” design often makes sense in this context, because these products are usually meant to integrate seamlessly into daily life. Yet, there are numerous examples where obtrusive design is necessary and optimal. Consider, for example:

Concert posters that need to grab attention in a crowded visual environment
Warning signs that must be immediately noticeable
Branding for a youth-oriented product that a client wishes to be bold and distinctive
Graphic design that aims to challenge and provoke
Fashion design that seeks to be intentionally dramatic and attention-grabbing

There are also occasions where ornamentation and decorative detail is desired by consumers. For example, Art Nouveau was an intensely decorative art and design style that embraced organic, flowing lines and natural motifs – and were highly desired and valued by users for their beauty and craftsmanship.

art nouveau chair by Hector Guimard — This pearwood and leather Art Nouveau chair, designed by Hector Guimard in 1898, celebrates organic, decorative forms. The wooden frame features sinuous, flowing lines that evoke natural forms like vines or stems, with curved legs and a arched backrest adorned with subtle carved details. While this aesthetic stands in apparent contrast to Dieter Ram’s minimalist principle that “good design is as little design as possible,” the chair illustrates that design principles must be understood within their cultural and functional context. In the case of Art Nouveau furniture, the decorative elements were integral to the movement’s philosophical aim of bringing natural beauty and artistry into everyday objects. This suggests that Ram’s principle, while powerful for many modern applications, shouldn’t be treated as a universal truth – sometimes elaborate design elements can be just as valid as minimalist approaches.

Rather than universal laws that are applicable in every circumstance, these principles are better thought of as guidelines that are dependent on context and purpose.

Overall I think that Dieter Rams’ principles are great as a starting point. They’re excellent guiding principles if you’re a young person just starting out in design. Rams actually created these principles for his students when he first started teaching. They were never meant to be these immutable truths.
– John Mauriello, Industrial designer and adjunct professor of industrial design at California College of the Arts

Successful design can be boldly attention-grabbing or quietly unobtrusive, complex or minimal, cutting-edge or traditional. The measure of its success lies not in adherence to fixed, universal rules but in how well it serves its purpose and users, while contributing positively to the world.

Amiria Gale

Amiria has a Bachelor of Architectural Studies, Bachelor of Architecture (First Class Honours) and a Graduate Diploma of Teaching. She is a CIE Accredited Art & Design and Design & Technology Coursework Assessor. Amiria now teaches Art, Design & Technology at ACG Parnell College.