Can Good Design Be Scientific? A Critique of Ben McAllister

Recently, I read The “science” of good design: A dangerous idea by Ben McAllister. In the article, McAllister argues that design cannot be reduced to a strict scientific formula. He critiques the idea of “scientism,” or the belief that design decisions can always be solved objectively through research. According to McAllister, people in the business world often justify creative decisions by simply saying “the research,” which immediately shuts down discussion and limits further ideation or any debate. I agree with many parts of his argument because creativity and human emotion cannot be fully measured through data alone. However, I also think he slightly underestimates the importance of research in design.

One aspect of McAllister’s argument that stood out to me was his discussion of creativity as something subjective and difficult to quantify. Humans are not purely logical, so design cannot function like a mathematical equation with one correct answer. I saw this idea reflected in my own experience watching the documentary about Nam June Paik in my Interactive Art course. Paik was known for creating highly avant-garde artwork that used chaotic visuals, experimental sound design, and particularly unconventional uses of television screens, which initially felt confusing and disorienting to audiences. At the time, many people disliked or misunderstood his work because it challenged traditional ideas of art and media. If his art had been judged solely through research or audience approval, it may never have been considered valuable. Instead, Paik became influential because his work relied on intuition, experimentation, and creative risk-taking. This supports McAllister’s idea that innovation often comes from breaking away from predictable, research-driven solutions.

At the same time, I do think research is an important part of the design process and should inform design decisions. In my Web and Mobile design course, we discussed concepts such as usability, accessibility, credibility, desirability, and findability. These principles are important because they help designers understand how users interact with a product or experience. Especially in User Experience (UX) design, research can reveal accessibility issues or confusing navigation that designers may not notice on their own. Research allows designers to create for the larger community and population.

Overall, I think McAllister has a point, but I also think the strongest design comes from balancing research with creativity. Research should guide design decisions, but it should not completely control them. Good design is not created solely through data or solely through artistic intuition. Instead, it comes from combining evidence-based thinking with experimentation, emotion, and personal creative judgment.

Key words: Research, Design, User Experience, Nam June Paik, Scientific, Scientism

Design and Psychology: Building Strong Client Relationships With Trust

Through the AIGA chapter at Elon University, I had the opportunity to hear Amy Pruitt, a brand strategist and designer, discuss the psychology of running a creative business. Her talk opened a new way of thinking about design, especially when it comes to working with clients.

In this talk, Amy outlined her typical client process. She emphasized that trust is the most important part of any client relationship. Without it, everything starts to fall apart. Even if the client has already paid, a lack of trust leads them to second-guess every little thing you do as a designer. It made me realize how much small details matter. Clients are constantly reading you, from how you present yourself to how you communicate. Even something as simple as being late or unprepared can affect how much they trust you.

Her process was also interesting because it focuses on staying in control while still making the client feel heard. She structures everything, from upfront pricing to clear steps in the project, so there is no confusion. One thing that stood out was how much she values communication. She emphasized that once the client has expressed what they are looking for, it is important to say it back to them so that both the designer and the client are on the same page. 

She also introduced us to her “magic hour,” where she presents final designs from color palette to using mockups with an explanation of her creative choices. This helps clients fully visualize the work rather than just imagine it, making decisions easier and more confident. It connects back to psychology, making the process feel real and tangible. 

Overall, her biggest message was to be authentic and not try to please everyone. You cannot control how everyone perceives you, but you can control your process and how you show up. That balance between structure and authenticity seems to be what makes her successful.

Keywords: Design Psychology, Business, Graphic Design, AIGA, Process

Exploring the Design Details of the Seagull Method Café Menu in Lisbon

This is the menu at Seagull Method Cafe, a small hole-in-the-wall place in Lisbon, Portugal. When I first saw it, I knew I had to take a picture of it so I could reference it later. What fascinated me most about it was its simplicity and the red used. The hand-drawn illustrations, sporadically placed on the front of the menu, feel very human and relatable. This style is also very trendy right now, and for good reason. It is simple and eye-catching without being overwhelming. Additionally, the café itself was very cute and picturesque, which definitely enhanced the experience.

In class, we were asked to think about what senses our object of interest invokes, like sight, smell, taste, touch, and hearing. The first thing I notice visually is the deep red, which makes it feel elevated instead of loud, and then the illustrations that decorate the menu and seem almost random. They are cute, simple, and slightly anthropomorphic. Also, the grid system is very clear, with three columns and no strict rows. There is a lot of information, but it still feels simple thanks to a strong typographic hierarchy that uses both serif and sans-serif fonts. The titles are in all caps, red, and serif, while the body text is smaller, black, and easier to read. Being in the restaurant also added to the sensory experience. It smelled like breakfast, even though it was technically lunchtime, and the space was filled with coffee, which enhanced the laidback and relaxing atmosphere. 

I do wonder about the design process behind it. Were the illustrations created specifically for this menu, or were they reused from something else? Additionally, I know there has been an increased use of Canva due to its accessibility. So I wonder whether this is just a Canva template or was truly made from scratch. 

Key words: Menu, Design, Graphic Design, Senses, Lisbon, Cafe, Simplistic,