What is "Design Is Storytelling" by Ellen Lupton about?

*Design Is Storytelling* explores how designers can use narrative techniques to create compelling graphics, products, and experiences. The book presents tools like narrative arcs, psychological perception principles, and the "rule of threes" to help designers build empathy, convey action, and guide users through dynamic journeys. It reframes design as a storytelling medium where elements like logos or layouts become narrative devices.

Who should read "Design Is Storytelling"?

This book is essential for graphic designers, UX/UI professionals, educators, and students seeking to amplify their work’s emotional impact. It’s also valuable for marketers and writers who want to integrate visual storytelling into their projects. Lupton’s practical frameworks cater to both beginners and experienced practitioners.

Is "Design Is Storytelling" worth reading?

Yes, for its actionable insights into merging narrative and design. Lupton translates complex concepts like storyboarding and narrative psychology into accessible techniques, supported by visual examples. It’s particularly useful for those creating user-centered experiences or seeking fresh approaches to visual communication.

What are the key concepts in "Design Is Storytelling"?

- **Narrative arcs**: Applying story structures (exposition, climax, conclusion) to design sequences. - **Rule of threes**: Using trios (e.g., "beginning-middle-end") to create satisfying patterns and surprises. - **Spatial storytelling**: Guiding users through physical/digital spaces using paths and signifiers. - **Emotion-driven design**: Leveraging visuals to build empathy and convey values.

How does "Design Is Storytelling" apply to user experience (UX) design?

Lupton shows how UX designers can craft intuitive journeys by treating interfaces as narratives. For example, structuring apps as "scenes" where users explore content, or using visual cues (like color transitions) to signal progress through a "climax" and resolution. This approach turns usability into engagement.

What is the "rule of threes" discussed in the book?

The rule uses three-part structures to create rhythm and payoff in design. Like writers, designers can list elements in trios (e.g., "life, liberty, and pursuit of happiness") where the third item subverts expectations for memorability. This technique builds satisfaction in interactions, from microcopy to layout compositions.

How does Ellen Lupton define the relationship between form and storytelling?

Lupton argues that every design element—typography, color, spacing—functions as a narrative device. A logo’s shape might imply motion (action), while a sparse layout creates tension (rising action). She emphasizes integrating language and form, where visuals don’t just support text but *are* the story.

What design frameworks does the book provide?

- **Storyboarding**: Planning user journeys as visual sequences. - **Empathy mapping**: Connecting user emotions to design choices. - **Narrative evaluation**: Auditing a project’s storytelling power through pacing and payoff. These tools help designers move beyond aesthetics to create resonant, purpose-driven work.

Design is storytelling

Ellen Lupton

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Overview of Design is storytelling

In "Design Is Storytelling," Ellen Lupton brilliantly reframes design as narrative art. This Cooper Hewitt-published gem transformed design education nationwide, proving visuals don't just look pretty - they build empathy and guide action. Even its vibrant layout demonstrates how color and typography create immersive journeys.

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Chapter 1

The Art of Storytelling Through Design: Where Creativity Meets Communication

Design is not just about solving problems-it's about telling compelling stories that resonate with human experience. Ellen Lupton's groundbreaking work has transformed how we understand the intersection of design and narrative, earning praise from creative luminaries like Milton Glaser and Stefan Sagmeister. The book has become required reading in design programs worldwide, from RISD to Central Saint Martins, precisely because it bridges the gap between technical design skills and emotional storytelling. What makes this perspective so revolutionary is that it shifts design from a purely functional discipline to an expressive art form that communicates values, principles, and ideas. When you encounter the iconic New York City subway signage system, you're not just finding your way-you're experiencing a narrative about civic order, reliability, and the human condition in all its complexity.

Chapter 2

Design as Temporal Experience: How Stories Unfold Through Space and Time

Every design creates an experience that unfolds over time, forming a narrative journey unique to each user. Whether navigating a building, scanning a poster, or flipping through a book, we experience design temporally - moving through sequences that shape our understanding and emotional response. Just as authors craft narratives with carefully structured plots, designers orchestrate experiences with intentional sequences and rhythms. Buildings guide us through changing spaces that reveal themselves gradually, from the initial approach to the final destination. Posters direct our gaze across visual elements in a choreographed dance of typography, imagery, and white space. Books lead us page by page through a journey of discovery, with each turn revealing new information and building upon previous knowledge. These temporal experiences follow recognizable patterns that echo storytelling structures. Gustav Freytag's five-part narrative structure-exposition, rising action, climax, falling action, and denouement-provides a framework that applies remarkably well to design experiences. Consider how this plays out in everyday experiences: unwrapping a gift builds anticipation through texture and packaging (rising action), reveals the surprise inside (climax), and concludes with appreciation and emotional connection (denouement). Digital interactions follow similar arcs, from login screens to completion confirmations, creating micro-narratives within larger user journeys. The power of these narrative structures lies in their ability to create meaningful tension and resolution that engages users on both cognitive and emotional levels. When designers understand these patterns, they can craft more satisfying user journeys that feel complete and purposeful. For example, a museum exhibition might begin with an introductory gallery (exposition), gradually introduce more complex themes (rising action), present a powerful central artifact or revelation (climax), explore implications (falling action), and conclude with a reflective space (denouement). By mapping the rising and falling action of an experience, designers can identify where to place moments of discovery, challenge, and reward to create emotional engagement that resonates long after the interaction ends. This applies across scales - from the macro journey of exploring a city to the micro interaction of opening an app. Restaurant designs often employ this understanding by creating distinct zones that transition from entrance to bar to dining room, each with its own character but contributing to a cohesive narrative. Similarly, successful retail environments guide customers through carefully choreographed sequences that build desire and satisfaction through product discovery and purchase completion. These temporal considerations become increasingly important in our digital age, where user experiences must maintain engagement across multiple touchpoints and time scales. Whether physical or digital, the most memorable designs are those that understand and harness the power of narrative progression to create meaningful, coherent experiences that unfold naturally over time.

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Chapter 3

The Hero's Journey: Transformative Experiences in Physical and Digital Spaces

The circular hero's journey pattern appears across cultures and stories-from ancient myths to modern blockbusters-and offers a powerful framework for designing transformative experiences. This pattern begins when a hero leaves ordinary life, crosses a threshold into the unknown, faces challenges, and returns transformed. This archetypal journey isn't just for epic tales; it's embedded in retail experiences, museum exhibitions, and digital interfaces. IKEA stores brilliantly embody this framework, functioning as modern labyrinths that guide shoppers through a controlled journey. The showroom serves as the threshold to a new world, the marketplace presents challenges and choices, and the warehouse represents the final trial before returning to ordinary life with newfound treasures. The one-way path creates a narrative that unfolds sequentially, with moments of surprise and discovery built into the experience. Similarly, exhibition designers use spatial storytelling to guide visitors through transformative journeys. They create thresholds that signal departure from everyday life, challenges that engage visitors intellectually or emotionally, and conclusions that offer resolution before returning to the outside world. Digital experiences can also follow the hero's journey pattern. Consider how different service designs create contrasting customer journeys: Chipotle invites active participation as customers direct their meal creation, while McDonald's positions customers as passive waiters for a predetermined outcome. Each approach creates a different narrative, with Chipotle casting customers as heroes of their own culinary adventure and McDonald's offering the comfort of a familiar, predictable experience.

Chapter 4

Visualizing Experiences: The Power of Storyboards and Triads

Storyboards help designers visualize sequential experiences, condensing complex narratives into concise image sequences that show beginnings, middles, and ends. Unlike linear processes, satisfying storyboards convey transformation through winding paths with conflicts and resolutions. Industrial designer Mengyan Li used storyboards to identify problems for cyclists, depicting emotional situations like a cyclist unable to board a bus with her bike. These visual narratives revealed opportunities for design interventions that might otherwise remain invisible. The rule of three creates particularly satisfying patterns with unexpected twists. From "life, liberty, and pursuit of happiness" to three-step product instructions, triads help users perceive processes as manageable and memorable. Casper mattress subway ads cleverly used three-panel stories with humorous twists to engage commuters. Breaking information into threes serves as a memory aid and creates a natural story arc with beginning, middle, and end. When presenting choices to users, limiting options to three can prevent decision paralysis while still offering meaningful variety. This principle works across contexts-from product instructions to marketing campaigns-because it balances simplicity with sufficient options. The third element often provides the unexpected twist that makes the pattern memorable, following the classic comedy structure of setup, setup, punchline. The visual nature of storyboards and the cognitive efficiency of triads combine to create powerful tools for designers to plan, communicate, and refine experiences before implementation. These approaches transform abstract concepts into concrete sequences that can be evaluated, shared with stakeholders, and improved through iteration.

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Chapter 5

Planning for Multiple Futures: Scenarios and Design Fiction

Scenario planning helps organizations imagine possible futures without claiming to predict them. Military strategist Charles W. Taylor's "cone of plausibility" visualizes how present conditions expand into multiple futures-probable outcomes based on current trends, preferable futures requiring innovation, and wildcard possibilities that could disrupt everything. This approach acknowledges that the future isn't singular but consists of multiple possibilities influenced by our actions today. A scenario matrix takes this concept further by mapping two critical variables on an x/y axis to generate four distinct future scenarios. When the struggling Metro Museum of Regional Art plotted "Attendance" against "Mission," they discovered four potential futures ranging from maintaining traditional exhibitions to creating hands-on experiences with citizen experts. By naming each quadrant with a compelling phrase, the museum could more easily discuss complex possibilities and ultimately choose a direction that aligned with both their values and practical needs. Design fiction uses speculative products and prototypes to anticipate future trends or propose visionary solutions. Like science fiction writers, designers observe current technology and society to imagine possible futures-both utopian and dystopian. Gary Shteyngart's novel Super Sad True Love Story and the TV series Black Mirror amplify present trends to predict future developments. These fictional scenarios create safe spaces to explore potential consequences of emerging technologies and social trends. Tools like "The Thing from the Future" card deck generate random design prompts through "reverse archaeology," stimulating conversations about sustainability by working backward from imagined future objects. This approach frees designers from present constraints and encourages bold thinking about how design might shape-or be shaped by-future conditions.

Chapter 6

The Emotional Dimension: How Design Shapes Feelings

Why do we choose one product over another? While practical considerations matter, our emotional responses often drive decisions. Products change how we feel, with our relationships to them shifting over time. From the anticipation of unboxing a new device to the satisfaction of mastering its features, these emotional journeys shape our perception and loyalty to brands. Designers must consider not just the immediate experience but how users will anticipate, engage with, and remember it throughout the product's lifecycle. Robert Plutchik's emotion map, inspired by color theory, identifies eight primary emotions that, like colors, can mix to create secondary emotions. These primary emotions - joy, trust, fear, surprise, sadness, disgust, anger, and anticipation - form the foundation of human emotional experience. Each primary emotion varies in intensity-from extreme states like "loathing" to milder forms like "boredom." Complex emotions emerge from combinations: "awe" blends "terror" and "amazement," while "love" mixes "joy" and "trust." For instance, the satisfaction of completing a task in a well-designed app combines elements of joy and anticipation, while the frustration of encountering a system error might blend anger with surprise. This nuanced understanding helps designers move beyond simplistic "happy" or "sad" approaches to address the full emotional spectrum. Don Norman's framework divides user experience into three overlapping layers that work together to create meaningful interactions. The visceral layer handles immediate reactions to form, color, texture, and sound - like the sleek feel of a smartphone or the satisfying click of a well-designed button. The behavioral layer encompasses physical responses or actions, such as the intuitive swipe gestures that have become second nature in mobile interfaces. The reflective layer engages with memories and associations, such as how a product might remind us of past experiences or align with our self-image. These layers mirror storytelling's beginning-middle-end structure, showing how design experiences unfold over time and build lasting relationships with users. The peak-end rule, identified by psychologist Daniel Kahneman, reveals that people judge experiences based on their most intense moments and endings rather than the overall average. This principle has profound implications for experience design. For example, a lengthy customer service call might be remembered positively if it ends with a successful resolution and personal touch, despite initial frustration. Experience designers capitalize on this by creating positive endings, such as applying discount codes at checkout, sending confirmation emails with unexpected bonuses, or including delightful micro-interactions in completion screens. Hotels often use this principle by ensuring the checkout process is smooth and memorable, sometimes offering complimentary services or farewell gifts. This psychological insight explains why a difficult experience with a positive resolution can be remembered more favorably than a consistently mediocre one, challenging designers to carefully orchestrate emotional peaks and endings in their user journeys.

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Chapter 7

Mapping Emotional Journeys: From Fairy Tales to User Experiences

Kurt Vonnegut revolutionized our understanding of storytelling by proposing that stories can be graphed as emotional lines moving between states of misery and ecstasy. His groundbreaking analysis identified several predictable emotional patterns, including the universal "Man in the Hole" (where a character starts in a good position, falls into trouble, then climbs back out) and the classic "Boy Meets Girl" (happiness, followed by conflict-driven misery, returning to heightened happiness). These patterns appear consistently across cultures and centuries, suggesting fundamental human emotional rhythms that experience designers now leverage in their work. Emotional journey maps have become essential tools for identifying both pain points and moments of delight in user experiences. The Cinderella fairy tale, when reimagined as a modern customer journey, perfectly illustrates these principles. The story begins with Cinderella's baseline dissatisfaction (rated 2/10), then introduces the transformative Fairy Godmother app. This digital solution creates an AI-powered wardrobe transformation, earning perfect satisfaction scores (10/10) through features like augmented reality dress fitting and automated accessory matching. However, user satisfaction plummets dramatically at midnight when the time-limited trial expires, dropping to 1/10. The journey's resolution comes through innovative problem-solving: the Fairy Godmother platform's lost-and-found feature uses blockchain technology to verify the glass slipper's ownership, leading Cinderella to establish a successful 3D-printed shoe business, demonstrating how negative experiences can transform into entrepreneurial opportunities. Exhibition design firm Solid Light has pioneered sophisticated emotional engagement mapping techniques for museum experiences. For the American Civil War Museum project, creative director Ben Jett developed multi-layered visualization tools: heat maps showing emotional intensity zones (using colors from cool blues for contemplative areas to hot reds for high-impact moments), and bubble diagrams illustrating thematic connections between exhibits. These tools helped designers create purposeful emotional rhythms, such as placing intense battle recreations adjacent to quiet memorial spaces, and guided resource allocation toward high-impact areas like interactive personal story stations and immersive environmental designs. The most effective emotional journeys incorporate carefully orchestrated contrasts that mirror natural human emotional patterns. Successful designs might pair moments of high challenge (like complex problem-solving tasks) with corresponding rewards (achievement unlocks or visual celebrations), or balance intensive learning periods with playful discovery zones. Research shows that experiences with varied emotional intensities - rather than maintaining consistent engagement levels - create stronger memory formation and higher likelihood of return visits. This principle applies across domains, from theme park design to educational software, where deliberate emotional pacing can increase user retention by up to 40%. By understanding and intentionally crafting these emotional arcs, designers can create experiences that not only satisfy immediate user needs but also build lasting emotional connections that encourage repeated engagement and positive word-of-mouth sharing. The key lies in balancing dramatic moments with recovery periods, ensuring that each emotional journey concludes with a sense of achievement or resolution that leaves users eager to return for more.

Chapter 8

Co-creation and Empathy: Designing With and For Users

Co-creation involves designers working directly with users to understand contexts and develop solutions. These collaborative activities range from evaluating existing products to generating new ideas, helping designers build empathy with users unlike themselves. Unlike traditional focus groups that merely evaluate existing concepts, participatory design engages users as creative partners. Empathy enables designers to understand users' perspectives. Designer Deborah Adler demonstrates this by shadowing nurses to improve medical packaging. When redesigning a urinary catheter package, she noticed nurses discarded patient education materials, so she transformed them into attractive cards printed on luxurious paper. This simple change made the information more valued by patients, families, and nurses alike. Engineering professors Eric Lima and Alan Wolf brought their prototype automatic cat feeder to industrial design firm Prime Studio. The team conducted extensive user research, including an online survey with 400 cat owners and in-person focus groups. These sessions revealed crucial insights: users wanted a device for daily use (not just for vacations), worried about their cats' emotional responses to the machine, and desired features like voice messages and confirmation photos. The research helped designers understand that the machine needed to be compact enough for everyday kitchen use, clean, and convenient. Personas are archetypal users that help design teams imagine how different people will experience their products or services. Unlike stereotypes, well-crafted personas have specific goals, behaviors, values, and quirks based on observations of real people. Effective personas include characteristics like demographics, specific interests, and resources or obstacles. They're most valuable when paired with scenarios-short narrative sketches showing how different personas might accomplish specific goals in different ways.

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Chapter 9

The Sensory Experience: How We Perceive and Interact With Design

Perception is an active, dynamic process where our senses are driven by action and pattern-seeking. Our understanding of the world at any moment is shaped by our intentions. As we move through space and time, our perception works like filmmaking-our eyes function as cameras combining numerous still images to register motion and depth. We intuitively predict what will happen next based on previous "frames," what cognitive scientists call "optic flow." The gaze is a powerful instrument of active searching and communication. Looking is an active process that can convey desire, dominance, or curiosity. Our gaze naturally gravitates toward points of intrigue-potential sources of danger or delight that mark embedded stories in our environment. Eye-tracking research reveals how our gaze moves across images and interfaces-typically following reading patterns (left-to-right for Latin alphabet readers) but drawn to faces, eyes, and relevant content while actively avoiding advertisements and generic stock photos. Gestalt principles explain how our brains convert floods of sensory data into distinct objects or "percepts." We naturally organize visual information into meaningful patterns-clusters of dots become faces, clumps of letters become words, and dashes on a roadway define paths. Key Gestalt principles include: proximity (closely spaced elements form groups), similarity (elements with the same color or shape group together), common fate (elements that change simultaneously form a group), figure/ground ambiguity (white spaces can read as either foreground or background), and closure/continuation (we mentally close gaps in regular shapes or strong lines). Affordances are design elements that trigger action. Some are accidental (a window ledge becoming a coffee cup rest), others instinctive (avoiding high cliffs), and many are learned over time. Digital interfaces borrow imagery from physical objects, using shadows and highlights to make buttons and menus seem real and invite interaction. Designers create both physical affordances (levers, buttons) and digital ones that guide users through intuitive interaction.

Chapter 10

Multisensory Design: Beyond the Visual

Multisensory design expands beyond vision to incorporate all senses, recognizing that we experience the world through our full range of perceptual faculties. From coffee drinking to showering, our experiences combine taste, smell, temperature, texture, sound, and language to create rich sensory encounters. Designers orchestrate these experiences through materials, shapes, colors, and textures that guide users' actions and enhance their sensations. Coffee cups tell stories through both physical interaction and visual branding. The Starbucks paper cup with its cardboard sleeve versus Dunkin' Donuts' Styrofoam cup represent different brand experiences and values. Each communicates through materials, temperature, weight, and mouth-feel alongside logos and graphics. The Dunkin' Donuts cup's foam texture and cooler touch contrasts with Starbucks' premium positioning, showing how multisensory elements contribute to brand perception even as materials change for sustainability reasons. Color profoundly influences our perception of taste and flavor. Without visual cues, distinguishing between similar flavors becomes difficult, as demonstrated by jellybeans eaten with eyes closed. Studies show color intensifies our sensory response-yellow enhances lemon scent perception, while brown amplifies caramel. Wine tasting experiments reveal how deeply color affects perception: when white wine was dyed red, experts described it using entirely different vocabulary, showing the power of visual cues to transform sensory interpretation. Behavioral economics reveals how humans often make decisions based on impulses, gut feelings, or habits rather than rational analysis. People tend to pick middle options, accept defaults, and consume more from larger portions. While these insights can be powerful design tools, designers must use them ethically, avoiding "dark patterns" that trick users. As Brian Wansink's food research shows, even subtle design choices can significantly impact behavior-from portion sizes affecting consumption to color variety influencing perceived taste.

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Chapter 11

The Language of Design: Words as Design Elements

Words are powerful design elements that express brand personality and point of view, as demonstrated by notable examples across industries. Under Armour's CEO Kevin Plank famously insisted on using "compete" rather than "participate," reflecting the brand's aggressive, performance-driven ethos. Similarly, Apple's choice of simple, confident language like "Think Different" and "It just works" communicates their commitment to elegant innovation. These language choices shape emotional responses and brand perception across all design contexts. From product names to building signage, websites to presentations, every word choice carries weight. Consider how Nest's thermostat interface uses friendly, conversational prompts like "We noticed you like it cooler at night" instead of technical language, creating an approachable personality. Building signs can transform from mere directional tools to storytelling elements - compare "Exit" to "Adventure Awaits" at a theme park entrance. Digital interfaces particularly depend on precise language choices, where a single word can determine whether users feel welcomed or confused. Writing for design requires specific techniques to maximize impact. Concrete language creates immediate understanding - instead of "seating options," specify "hand-stitched leather armchairs and streamlined barstools." Active voice puts users in the story: "You'll craft your perfect playlist" versus "Playlists can be created." Strong verbs energize design descriptions: "The interface springs to life" rather than "The interface appears." Show-don't-tell principles transform abstract concepts into vivid experiences: rather than stating "The space is welcoming," describe "Warm wood tones and soft lighting guide you inside." The storytelling approach to design weaves together three essential dimensions: action, emotion, and sensation. Action encompasses user participation and transformation - how people interact with and are changed by the design. Emotion charts the psychological journey, from initial impression through various mood states to final resolution. Sensation addresses both visual organization and multisensory engagement, considering how design elements affect all five senses. This three-dimensional framework elevates design beyond mere problem-solving into creating rich narrative experiences. A coffee shop design might guide customers through a story arc: the inviting aroma draws them in (sensation), the careful choreography of ordering and preparation builds anticipation (action), while thoughtful spatial design and messaging create moments of discovery and delight (emotion). By viewing design through the lens of storytelling, practitioners can craft experiences that resonate deeply with users' innate narrative instincts. Whether designing a product interface, retail space, service journey, or brand communication, storytelling principles provide a robust toolkit. The tension and resolution of a well-crafted story, the transformation of characters, and the richness of sensory detail combine to create designs that forge lasting connections with users.

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Key Themes in Design is storytelling

narrative arc design
user journey mapping
temporal experience design
spatial storytelling
emotional engagement strategies

Quotes from Design is storytelling

Design is not just about solving problems-it's about telling compelling stories.
Every design creates an experience that unfolds over time.
The most memorable designs harness the power of narrative progression.
Storyboards help designers visualize sequential experiences.
Triads help users perceive processes as manageable and memorable.

Characters in Design is storytelling

Ellen LuptonAuthor and design educator
Gustav FreytagCreator of the five-part narrative structure
Milton GlaserCreative luminary and designer
Stefan SagmeisterCreative luminary and designer

About the Author

Ellen Lupton, a renowned graphic designer, curator, educator, and bestselling author, explores the intersection of narrative and visual communication in Design Is Storytelling. As the Betty Cooke and William O. Steinmetz Design Chair at MICA and curator emerita at Cooper Hewitt, Smithsonian Design Museum, Lupton draws on 30+ years of design expertise to examine how storytelling shapes user experiences. Her influential works like Thinking with Type and Graphic Design: The New Basics are essential texts in design education globally.

A recipient of the AIGA Gold Medal (2007) and Fellow of the American Academy of Arts & Sciences (2019), Lupton pioneers accessible design frameworks used by institutions and professionals worldwide. Design Is Storytelling reflects her signature approach of translating complex ideas into actionable methods, extending her impact beyond academia into mainstream design practice.

Her books have been translated into multiple languages and collectively sold hundreds of thousands of copies, solidifying her legacy in contemporary design discourse.

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Chapter 7

Design is storytelling

OverviewOverview of Design is storytelling

One book. Many ways to hear it.

The Art of Storytelling Through Design: Where Creativity Meets Communication

Design as Temporal Experience: How Stories Unfold Through Space and Time

See every word as you hear it

The Hero's Journey: Transformative Experiences in Physical and Digital Spaces

Visualizing Experiences: The Power of Storyboards and Triads

Get more out of Design is storytelling

Planning for Multiple Futures: Scenarios and Design Fiction

The Emotional Dimension: How Design Shapes Feelings

See every word as you hear it

Mapping Emotional Journeys: From Fairy Tales to User Experiences

Co-creation and Empathy: Designing With and For Users

Get more out of Design is storytelling

The Sensory Experience: How We Perceive and Interact With Design

Multisensory Design: Beyond the Visual

See every word as you hear it

The Language of Design: Words as Design Elements

You made it to the end of Design is storytelling

Key Themes in Design is storytelling

Quotes from Design is storytelling

Characters in Design is storytelling

About the Author

Download Summary of Design is storytelling

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FAQs About This Book

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Part of a Learning Plan

design！

design early career

Design leadership on social

Discover more

1,000,000+ curious minds.

1,000,000+ curious minds.

One book. Many ways to hear it.

The Art of Storytelling Through Design: Where Creativity Meets Communication

Design as Temporal Experience: How Stories Unfold Through Space and Time

See every word as you hear it

The Hero's Journey: Transformative Experiences in Physical and Digital Spaces

Visualizing Experiences: The Power of Storyboards and Triads

Get more out of Design is storytelling

Planning for Multiple Futures: Scenarios and Design Fiction

The Emotional Dimension: How Design Shapes Feelings

See every word as you hear it

Mapping Emotional Journeys: From Fairy Tales to User Experiences

Co-creation and Empathy: Designing With and For Users

Get more out of Design is storytelling

The Sensory Experience: How We Perceive and Interact With Design

Multisensory Design: Beyond the Visual

See every word as you hear it

The Language of Design: Words as Design Elements

You made it to the end of Design is storytelling

Users also liked

Part of a Learning Plan

design！

design early career

Design leadership on social

Discover more

Overview of Design is storytelling