大多数商业领袖都明白设计至关重要，但很少有人知道如何使设计系统化，从而实现可持续的创新和成功。

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设计系统 101 

白雪公主设计系统（the Snow White Design System）是 frog 早期最知名的作品之一。 1994年，颇具标志性的 Apple IIc 推出时，这套系统定义了整个新兴个人电脑行业的美学标准，苹果和乔布斯也随之名声大噪。 然而，乔布斯是极少数派的商业领袖， 而 Snow White 将他独特的诠释作一个系统——一个允许苹果公司所有人协同执行的体系。 在那时，只有最具开拓精神并以设计为中心的企业才能理解设计系统的意义与它所带来的商业价值。 如今，无论规模大小，任何寻求产品创新的公司或组织，其长久运作都与设计系统密切关联。
如今的商业形势让企业领袖们不得不相信：设计在数字产品和服务，以及赢得用户关注和忠诚度上，至关重要。 即便如此，对于设计系统的认知仍然未被普及——在组织内部设计团队规模扩大并实现设计运营（DesignOps） 时，人们对设计系统仍然存在根本性的认知偏差。 如何在庞大而复杂的数字世界中，将组织的设计能力转化作设计哲学的实际体现，并为成功的设计运营的实践奠定基础——这便是设计系统所提供的解决方案。
 
<h2>什么是设计系统？</h2>
一个成熟的设计系统是一个由资产、工具、人员和流程构成的生态体系，在这个体系中，这些组成部分协同运行，促进产品与平台之间和谐，提高用户信心和对该体系的熟悉度，并为您的组织提升运作效率。 例如，在软件设计领域，前端是用户和潜在买家体验和理解产品价值的第一个触点。 设计系统的主要目的和价值是通过帮助组织管理创造有凝聚力的、连贯的数字体验，应对期间遇到各种庞杂的，并呈现一个完美的前端。
 
<h3>作为蓝图，它绘制一致的客户体验</h3>
如果当企业能在每个接触点都提供轻松和个性化的客户服务，他们就成功了。 如果要在最小化边际成本的情况下做到这一点，企业往往需要一整个系统，这个系统允许针对特定用户类型或客户体验旅程的数字产品在主流平台(web、 iOS、 Android)上被访问。 然而，现实中，运营和协作成本往往随着新产品或新平台的出现呈指数增长，这使得创新停滞不前。 通过投资和开发一个设计系统，企业团队能够有效管理开发成本，心无旁骛，全心投入围绕客户需求的创新，实现在每个渠道呈现用户所需的各种体验。
 
<h3>作为产品，它为生产更好的产品提供解决方案</h3>
无论你所在什么行业，生产什么产品，打造卓越的用户体验是一项团队工作。 对于规模化运营的组织来说，成百上千的设计师或开发人员可能在任何时间需要实现打磨产品和服务的灵活合作。 设计系统通过集中关键的协调成本来帮助大型集团的多项跨部门协作。 通过建立系统和参数，确保用户体验的一致性和连贯性，设计系统允许团队专注于为用户创造提供最有价值的各项功能。 这种优化协作提高了产品面市场的质量和速度，使得产品的评测周期能够更快地体现价值，并帮助组织做出更好的由数据驱动的决策。
 
<h2>那么，如何创建一个设计系统？</h2>
不同企业往往有不同的需求与目标，为企业创建的设计系统也往往具有多样性。 虽然成熟的设计系统创建过程有明确的阶段性，成功的设计系统从相同的总体因素出发开启构思，每个组织从无到有地创建一套属于自己的成熟完整的设计系统，整个过程往往是有机而独特的，这与其自身文化和企业愿景密切相关。
 
<h3>设计系统的开发阶段</h3>
在我们与客户的合作中，我们观察到了关于设计系统成熟度的三个不同阶段。 在布局组织自己的设计系统之前，确定当前所处的阶段是至关重要的第一步。
<img decoding="async" loading="lazy" class="aligncenter wp-image-21348 size-large" src="https://wp.frog.co/wp-content/uploads/2021/03/21-Marketing-Design-Mind-DesignSystems101-trifinity-04-1024x434.jpg" alt="" width="640" height="271" srcset="https://frogdesign.nyc3.digitaloceanspaces.com/wp-content/uploads/2021/03/05213450/21-Marketing-Design-Mind-DesignSystems101-trifinity-04-1024x434.jpg 1024w, https://frogdesign.nyc3.digitaloceanspaces.com/wp-content/uploads/2021/03/05213450/21-Marketing-Design-Mind-DesignSystems101-trifinity-04-300x127.jpg 300w, https://frogdesign.nyc3.digitaloceanspaces.com/wp-content/uploads/2021/03/05213450/21-Marketing-Design-Mind-DesignSystems101-trifinity-04-768x326.jpg 768w, https://frogdesign.nyc3.digitaloceanspaces.com/wp-content/uploads/2021/03/05213450/21-Marketing-Design-Mind-DesignSystems101-trifinity-04-1536x652.jpg 1536w, https://frogdesign.nyc3.digitaloceanspaces.com/wp-content/uploads/2021/03/05213450/21-Marketing-Design-Mind-DesignSystems101-trifinity-04-2048x869.jpg 2048w" sizes="(max-width: 640px) 100vw, 640px" />
第一期：想象 
对于大多数企业来说，拥有一个完美设计系统的第一步是创造一个好的产品。 在这个阶段，我们要能够比竞争对手更高效地解决用户问题。 一旦你抓住了产品优势与市场痛点的契合点，你就能预见市场对该产品的需求大幅增长。 需求是设计系统的必要性和可行性的验证。
第二阶段：实现 
一旦你有了一个成功的产品，它的用户体验就能“模块化”它的组成部分。 这些体验型建筑模块是构造用户界面（UI）框架的基础，可以像乐高积木一样实现重组，以建立新的产品与体验。 一旦用户体验（UX）被模块化，这些组件可以被“工业化”集成到现有的设计和开发工作流程中实现提效。 当模块化和工业化完成后，就形成了一个设计系统的雏形。
第三阶段：规模化 
最后是阶段中，设计、产品和开发团队共同参与并规模化这个设计系统，以支持其他团队开发新产品和功能的工作。
最成功的企业或组织会系统地衡量他们的设计体系，考虑关键维度，比如该设计系统的总目标、与其相关的人才和工具、联系人才和工具的流程与结构，企业或组织的自身文化，以及如何衡量结果的方式等。
 
<h2>一个帮助实现规模化成功的系统</h2>
当企业有效地利用这种方法时，他们就能够形成对业务考量和设计流程的统一性。 设计系统为大规模的产品设计的提供“自动化”的工作流程，该工作流程由模块化工具支持，将设计无缝地集成到产品的开发生命周期中。
随着产品的发展，与之相关的设计系统也该随之迭代。 组织可以通过持续的治理流程以及质量、价值和版本控制来增强整个系统，以确保设计系统为可持续的创新和成功奠定基础。

Sean Rhodes

Albert Dang

Authors

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It's no longer sufficient to focus investment primarily in content—to win in the Attention Economy, you must also develop a strategy that provides consumers with a differentiated experience

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音视频平台如何赢得内容竞赛？（英）

By this point in the streaming wars, it&#8217;s clear that content is one of the largest investments streaming companies are making. However, it is not sufficient to simply invest primarily in content. For direct to consumer companies looking to win in the attention economy, you must develop a strategy that provides consumers not only with compelling content, but with a <a href="https://info2.frog.co/winning-in-the-attention-economy" target="_blank" rel="noopener">differentiated experience.</a>
Why is it challenging to compete on content alone? The answer lies in understanding content beyond the bounds of the traditional media landscape. To understand the strategic role of content investment in the pursuit of consumer attention, streaming competitors should consider it in regard to these four dimensions: ability to invest, quality, quantity and price.

Apple and Amazon, the two most valuable players in the streaming sector, can outspend the competition with little impact on their ability to run their core businesses. In 2019 they invested $6B each on content alone—more than every one of their competitors combined. They can place many different content bets, knowing some will be flops and some will become hits like The Morning Show and Fleabag, which lock consumers into the product ecosystems that generate the majority of their revenue. This ability to create value from the huge, lucrative non-streaming segments of their businesses gives them a major advantage over any competitor trying to compete on the basis of content alone.
Owners of existing platforms and devices also have huge advantages in scale and access. There are 1.5B active Apple devices in the world, which provide both a seamless audience access point for AppleTV+ and the opportunity to leverage access to customer data for strategic investment and development. AT&#038;T is counting on a similar dynamic with its new streaming platform HBO Max, recently announcing that video streamed through the service will not count against users’ data limits. By attracting new mobile subscribers and reducing churn, the move could generate billions.

Ability to Invest

HBO is a perennial and undisputed innovator when it comes to quality content. Because it is supported by subscribers rather than advertisers, it can create some of the most boundary-pushing, unique and innovative content in the history of media companies. The approach has resulted in HBO winning an outsized number of Emmys nearly every year, a strong indicator of its ability to consistently and successfully navigate the risky business of creating great content. The challenge, however, is that HBO’s content appeals to a relatively small potential audience, and an even smaller segment of that potential audience is willing to pay the subscription fee for the service. They have the highest quality content, but even with huge hits like Game of Thrones, they don’t have the scale of audience or engagement to dominate the attention economy.

Quality

Netflix has taken a different approach, instead positioning itself as the industry leader in content quantity. As a percentage of its overall budget, Netflix spends more on content than any of its streaming rivals, and it has increased its content budget 35% year-over-year since 2015. While Netflix does have some HBO-quality tent poles such as Stranger Things, they’ve remained invested in quantity over quality. Why? Because when media companies move to develop their own D2C models, Netflix loses access to their catalogs. They fill the gap with their own broad catalog of content, designed to appeal to the largest, most diverse global audience possible. With 183M global subscribers and a <a href="https://finance.yahoo.com/news/netflix-market-cap-surpasses-disney-123801623.html">$158B market cap</a>, the strategy appeals to consumers and Wall Street alike.

Quantity

Many streaming services built by existing tech companies can essentially offer content for free: Amazon Prime Video is included for free with every Prime membership, and Apple offers a free year of AppleTV+ to new iPhone users. As described above, they can afford these free bundling offers because they lock users into their sphere of more lucrative products and services. Streaming competitors without these supporting ecosystems can’t underwrite costs in the same way.
With the rise of Attention Challengers in social media and gaming, however, all streaming services have been forced to reckon with a powerful economic fact: it’s hard to compete with free. Social media content platforms like YouTube, TikTok and Instagram all provide free and virtually infinite streams of user-generated content, which both boosts user engagement and costs the companies nothing to produce. Instead of investing in content production, these social media companies have invested in technology—like algorithms for identifying and curating the best content or helping brands target users in sophisticated ways. While these business models are similar to classic TV business models in that they rely on advertisers, their reach and scale are much larger and their distribution costs far lower than anything in traditional media.
Finally, “Freemium” Attention Challengers like Fortnite push the price-to-value ratio even further. Players can play Fortnite for free on nearly any device or console, enabling a massive global user base. Monetization occurs through in-game purchases and add-ons such as character skins, custom outfits and emotes (in-game gestures and dances). These add-ons tap into players’ emotional desire for self-expression and creativity, allowing them to be whoever and whatever they want in virtual space. <a href="https://www.businessofapps.com/data/fortnite-statistics/#:~:text=According%20to%20analytics%20firm%20SuperData,a%20total%20of%20%24109.8%20billion).">70% of Fortnite’s 250M users</a> have made in-game purchases averaging $85 each, illustrating again the power of experience differentiation in the attention economy. 
 
<h3>Embracing the golden age of content</h3>
We’re now living in the golden age of content and entertainment. Between streaming, gaming and social media, consumers have never had so many options. While the content arms race and streaming competition has fueled the fires of the Attention Economy, it has also made one-dimensional investments in content less and less efficient in the fight to win a space in consumers&#8217; media diet. With Attention Challengers continuously expanding the boundaries of digital experiences, streaming video providers have no choice but to think beyond content and to boldly invest in experience differentiation.

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Learn more about how to win in the Attention Economy by designing exceptional experiences.

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Sean Rhodes is a leader with a passionate belief in the power of design, technology and business to shape the world we want to live in. His focus has been building world-class teams and environments for multi-disciplinary collaboration that delivers creativity and productivity for product and service design.

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frog 五十年来的创新历程让我们相信，设计运营早已融入我们的设计 DNA 当中。

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什么是设计运营 (DesignOps) ？

过去十年中，我们的许多客户将设计作为核心能力来投资，以促进组织的成长和创新。随着设计团队的扩张，他们对 &#8220;设计运营 (DesignOps)&#8221; 的需求也逐渐增长。对 frog 来说，设计运营并不新鲜。作为一个由数百名高度协作的设计师、技术人员以及策略师组成的全球团队，frog 天生具备设计运营的 DNA。在长达 50 年的创新历程中，设计运营帮助我们将数百种产品和服务成功推向市场。
作为一种以人为本的团队管理方法，设计运营可以帮助企业提高创造力和影响力。frog 在这方面经验丰富，为各行各业的客户提供了面对不同企业和消费者的产品和服务，帮助他们在内部建立、扩大和完善设计能力。许多 frog 成员甚至被聘请为诸多行业的领先企业发展设计运营 ，包括 Salesforce，Fitbit，Uber，InVision，Youtube，AirBnB，USAA 和 Microsoft 等。
frog 将设计运营视为数字化转型、设计思维、客户体验和敏捷产品交付的关键点之一。我们认为助力各种规模企业成功的，不是标准化的方法，而是各部分的组织协作。设计语言系统（DLS）是这种组织协作的纽带之一，它使设计团队的产出更佳，在大型项目中保持一致性，并提高设计的质量和速度。frog 很早就意识到设计系统的价值。实际上，早在 1984 年，我们就为 Apple 创建了第一个设计系统 — SnowWhite 设计语言，帮助 Apple 树立了产品卓越的标准，从而奠定了他们忠实的用户基础。
尽管现在借助软件就可以实现快速迭代和扩张，frog 在设计系统方面的经验对于打造成功设计的重要性并未减弱。过去 20 年中，frog 建立了超过 30 个设计语言系统，帮助客户获得了巨大的回报。1998 年，我们帮助戴尔设计了大获成功的电子商务网站；2011 年，我们帮助通用电气建立了支持工业物联网应用的设计系统，在第一年就使生产率提高了 100％， 并节省了 3000 万美元的开发成本。2014 年，我们与 Intuit 合作创建了 Harmony 设计系统，用于 Quickbooks 的再设计和云端支持。这使得他们的利润增长了 30％，NPS 得分提高了 2 倍；2017年，我们帮助保时捷建立的设计系统，推动了 Porsche Connect 和 Porsche Offroad Precision 本地应用程序的成功；去年，我们利用工具和运营方法，简化了数字服务的设计和交付流程，帮助我们的创业客户 Alto 在 12 个月内实现从纸上概念到想法落地。Alto 于 2019 年 1 月在美国达拉斯面市，并在之后顺利获得两轮共 1,450 万美元的融资。
frog 的使命是用设计推动商业变革。我们的设计运营服务对于客户的成功尤为重要，因为它能够释放企业中的设计力量。我们热爱创造，也热衷于帮助客户将新产品和服务推向市场。更重要的是，我们的设计不仅仅满足于当下，更要保证客户的长远利益。通过对产品开发中涉及的人员、工具和协作的全盘考虑，我们的设计运营方法不仅可以帮助客户快速进入市场，而且可以帮助他们建立持久的消费者关系。

肖恩·罗德斯（Sean Rhodes）是一位行业领导者，致力于建立跨学科协作的一流团队和环境，以提高产品和服务设计的创造力和生产力。他坚信设计、技术和商业将塑造我们想要生活的世界。

阿尔伯特·丹（Albert Dang）通过策略、设计和技术相结合的实践，使新产品和服务落地，从而帮助客户完成创新。作为设计技术总监，他致力于推动 frog 的设计技术实践发展。

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