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Local Designers Speak Out on User Experience and Intellectual Property


The Oregon chapter of the AeA recently sponsored a roundtable discussion, “Protecting the User Experience: When Look and Feel is the IP.” The panel included strategic advisor Chris Tacy of Pop Art, designer Nick Oakley of Intel, IP attorney Julianne Davis of Nike, and designer Harry McVicker of White Electronic Designs. The discussion was moderated by Joe Makuch, who is an IDSA member and an intellectual property attorney at Marger Johnson & McCollom.

Here's a sampling of the issues the participants grappled with.

What is design?
o Creating differentiation.
o Making sure the product is usable to the customer.
o Enabling customers to experience the product.
o Giving meaning to a technology.
o Creating an incarnation so that when people touch it seems real - they can grasp and understand it.
o Design can be embodied in obvious things that meet the eye -- like the wheel on an Ipod -- just as much as design can be reflected in something less tangible -- like a website. Craislist.com and angieslist.com are great examples.
o It's the entire experience from the very front end to the very back end - from the experience of the employees bringing it to market, to the customer seeing the ad, to shopping, to picking it out, to buying it, to opening it, to using it for the first time, to the user interface, to the customer service.

What defines design language?
o It's just a tool that helps define the species of design.
o It helps us to recognize the product, to identify and categorize its elements.
o It extends from graphic to tactile to visual - it covers all the senses.
o It's not just describing the overall form, it's about the emotional content of what you want the user to experience.

What makes a good design?
o It must apply to the real world. It must be usable and appealing to the market.
o In many cases, it solves a problem.
o It must work within the related constraints, whether they're about size, energy usage, manufacturing limitations, price point or whatever.
o Good designers use the constraints to the benefit of the design.

How are designs created?
o Hard work, research, iterative testing, reviewing existing designs.
o The process is both solitary and collaborative.
o Each designer develops his/her own signature style that's both functional and visual.
o Some enlightened companies are sending designers off to remote locations - like the jungle -- for two weeks at a time to get inspired by colors, nature, people, and the experience. They come back with wild inspirations. The process grows as an image in their head. It comes together and evolves.
o Sometimes design is not a flash of inspiration, though, it's the result of concerted research. And, it's often not the big ideas, but the little details that really make the difference.

How is the design function integrated into today's companies?

o For years, design has been involved at the very end of the product development process.
o Designers have fought hard to be involved at earlier stages in the process.
o Designs are always developed within constraints. The struggle is a healthy part of the process.
o The most design-centric companies know their brand and their own unique design-functionality personality so well, that it's easy to decide which products to focus on and bring to market because all other ideas fall by the wayside.

What is the value of patenting designs?
o The value is less about the money you can make and more about protecting an experience. You must protect it from being copied by a competitor, and from the resulting experience being compromised.
o Although some companies think that with short product lifecycles they'd rather put their money into developing the next generation product than into patenting, they don't necessarily realize the hazards of not patenting.
o One hazard is becoming a victim of foreign knock-offs. Even if the U.S. company has moved on to other products, the knock-offs being manufactured and sold overseas still undercut the U.S. company's sales and market share. And because of their lower quality, knock-offs also dilute the brand image.
o Companies that decide not to patent also risk losing ownership over design elements that carry over into the next generations of products.
o Because the costs of innovating designs are so much higher than the costs of copying designs, companies that don't seek protection for their designs may find that it's tough to justify the cost of creating innovative designs.

How does the process of patenting designs work?

o It's important to integrate the people who design with the people who obtain the patents. Companies who take this seriously are beginning to make the patent process part of research and development - not part of the legal department. They all sit and work together from the beginning.
o Smart companies not only incentivize employees to file for IP protection, they encourage them to make note of every element of their inventions that might be patentable - everything that is unique and protectable.
o Sometimes, a patenting strategy is specifically designed to combat copyists - to focus on patenting all elements of design incorporated in products that will be alluring to the copyists. Patenting the entire product and all elements of the design is important because copyists often combine elements of various products into a single product, claiming it is unique.
o Acknowledging that designs change so quickly, the U.S. Patent and Trademark office is making a concerted effort to examine and issue design patents more quickly than they used to. Ideally, it now takes about seven months, but it can be up to a year.
o Some companies think that designs are not worth patenting because they've already moved on to a new product by the time the patent issues. In reality, if the company works on patenting as soon as the idea is generated, the patent can be issued right about the time the product goes to market.

Article contributed by Joe Makuch, Intellectual Property Attorney, Marger Johnson & McCollom - www.techlaw.com


 
©2009 IDSA Oregon Chapter