To see the other types of publications on this topic, follow the link: Creative design.
Dissertations / Theses on the topic 'Creative design'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Creative design.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Yu, Shasha. "Facilitating a Creative Growth Mindset: A Creative Process that Integrates Gameplay with Maketools." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587417280180723.
Full text
2
Sun, Kun. "Computer-aided creative mechanism design /." [S.l.] : [s.n.], 1994. http://library.epfl.ch/theses/?nr=1271.
Full text
3
Arrington, Kyle. "Sustainable Polymers Through Creative Design." Diss., Virginia Tech, 2018. http://hdl.handle.net/10919/96220.
Full textAbstract:
Plastics have changed the world of materials due to their high durability, low price, low density, and ease of processing. Unfortunately, the majority of plastic goods produced are discarded instead of recycled, leading to a massive accumulation of plastic waste in landfills and natural habitats. To decrease the impact of plastic waste, sustainable materials and synthetic methods are needed. This dissertation focuses on new strategies for developing renewable and degradable polymers with minimal energy input as well as new methods to blend legacy polyolefins with renewable polymers. The first half of the dissertation focuses on synthesizing polymers using light while the second section focuses on combining traditional polyolefins with renewable polymers.
Photo-mediated polymerizations are an attractive alternative to traditional thermal polymerizations due to their ease of setup and the spatiotemporal control afforded by light. Using LED lights also affords a synthetic technique that requires little energy input, thus decreasing the overall environmental impact of the material. In this work, coupling LEDs with a trithiocarbonate allowed for the synthesis of many different polymers and topologies. Bottlebrush polymers synthesized with light afforded molar masses in excess of 11 million Da without the oligomerization of the bottlebrush polymers. These bottlebrush polymers were then used to make reversibly crosslinkable adhesives, allowing for a new example of recyclable adhesives.
The second half of the dissertation focuses on developing sustainable polymers using ring-opening metathesis polymerization (ROMP) to combine the properties of polyolefins with renewable polymers. First, polyketones synthesized by ROMP were developed for their potential use as photodegradable polymers. This initial study probed the synthesis of different polyketone monomers and the properties of their respective polymers. Next, a photodegradable and biodegradable thermoplastic elastomer (TPE) was synthesized that incorporated a ketone containing polybutadiene (PB) flanked by polylactide (PLA). The thermomechanical properties were controlled based on the relative length of each block while the rate of photodegradation was controlled by the mol% of ketone incorporated into the PB block. Finally, ABA triblock copolymers of cellulose derivatives and polyolefins were developed for their uses as compatibilizers for blends. With the addition of as little as 1 wt% of the ABA triblock copolymer, the respective blends showed large impPHD
4
De, Maci Lola De Julio. "Curriculum design in creative writing." CSUSB ScholarWorks, 1995. https://scholarworks.lib.csusb.edu/etd-project/1012.
Full text
5
BOWERS, ROBERT SIDNEY EARL. "MANAGING CREATIVITY FOR PRODUCTIVITY: RATIONALE, DESIGN AND PROGRAMS (INNOVATION, CREATIVE, INVENTION, INNOVATE, CREATION)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/188177.
Full textAbstract:
This study presents an operational definition of creativity within the contexts of business, school and community. A design for the strategic management of creativity is developed. Suggestions are made for programs to increase effectiveness in the use of creative skills. Creativity has been viewed in the past as something that happens rather than deliberate activity directed to specific goals. Numerous studies have failed to find a significant relationship between measurements of creative skills and intelligence as delimited by IQ tests and other measures of performance. Creativity can be distinguished as a category, process and quality of intelligence, and both can be defined in qualitative and theoretical terms. Models are constructed in the study to classify creativity. The components of the creative act can be tracked. A model sets parameters and categories for investigations to permit variation of content in a relatively stable sequence of steps. The sequence can be extracted as a method to process ideas from any discourse.
6
Edwards, David Clive. "Creative design of evolutionary neural networks." Thesis, Heriot-Watt University, 2007. http://hdl.handle.net/10399/2011.
Full text
7
Foex, Michel Frederic. "A creative journey: architecture for design." Thesis, Virginia Polytechnic Institute and State University, 1995. http://hdl.handle.net/10919/53396.
Full textAbstract:
Through man-made canyons of skyscrapers, across the Midwest plains, lies a grid of highways and humanity. America, perhaps more than anywhere, displays the imposition of man's artifacts upon the landscape.
It is the birthplace of Learjets, Mustangs and Coca-Cola, of Levis and Harley-Davidsons. These objects have helped define America, its culture and attitudes, yet nowhere is the spirit and enthusiasm of their creators celebrated or remembered. We recall the battles and explorations of the Pioneers to the West, but not those who forged a passage across a cultural and design wilderness to establish these icons.
It is this journey, with its trials and tribulations, that I wish to celebrate and honour in my thesis project. I intend to create spaces which enable the process of design to be illustrated and communicated to many more than those directly involved with it, to those who employ the final outcome so often with little regard to this journey, and to help them participate in the excitement and energy inherent to any creative process.Master of Architecture
8
Candy, Linda. "Creative knowledge work and interaction design." Thesis, Loughborough University, 1998. https://dspace.lboro.ac.uk/2134/6992.
Full textAbstract:
The main aim of the research presented in this thesis is to inform the design of interactive computer systems for supporting creative knowledge work. Research into creativity and knowledge work has been explored and used to develop a criteria modelling approach. The particular contribution of the author's work is the drawing together of that research and applying the findings to interaction design. The publications were selected on the basis of how well they represent the main outcomes of the work. The journey from prescribing system requirements and design goals to framing the system design process in terms of evaluation criteria may be traced through the papers presented. Interest in creativity and the role of computer technology in creative tasks has recently increased. A number of national initiatives have been set in motion in the LJK, beginning in December 1996 with the Initiative for National Action on Creative Technologies, the Creative Media Initiative: Technology Foresight, Department of Trade and Industry, National Endowment for Science and Technology in the Arts (NESTA) and the People and Computers Programme, of the Engineering & Physical Science Research Council (EPSRC). Thus, the author's involvement in creativity research and computer support is proving to be timely. Amongst her recent initiatives is Creativity and Cognition, an international symposium which brings together creative people in the arts with technologists and scientists. The thesis is divided into three parts : themes and outcomes, methodology and case studies. A criteria-based modelling approach is presented which has evolved from earlier models that represent key elements of creativity and knowledge work. A model of creative knowledge work is proposed and categories of criteria identified. Underpinning the main outcomes are the case studies which were carried out in industry/academic collaborative projects. The findings were considered in relation to other studies. The thesis presents an approach to computer systems design and development that directly links the requirements definition to the application of evaluation criteria. These criteria are based upon the characteristics of the cognitive style and working practices of creative knowledge workers.
9
Karlsson, Stefan. "A Norm Creative Perspective : Understanding users through norm creative theories." Thesis, Umeå universitet, Institutionen för informatik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-154776.
Full textAbstract:
There is a saying that we should not attempt to fix what is not broken, but we cannot afford to stick tothat mindset if we want to be able to design products and services that matter to the user. We shouldbroaden our views, explore new things and see what we can learn from them and use that knowledge toexpand on our existing methods. In recent years there have been a lot of work regarding how normsinfluence us to act and feel in certain ways, what if the knowledge behind norms could be utilized withindesign? To answer this question a study was conducted where two so called norm creative methodswere tested in a series of focus groups to see what potential the methods held in regard to improvingexisting methods or serve as basis for the creation new methods within user research.
10
Lerdahl, Erik. "Staging for Creative Collaboration in Design Teams." Doctoral thesis, Norwegian University of Science and Technology, Faculty of Engineering Science and Technology, 2001. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-71.
Full textAbstract:
Many design projects in industry require close collaboration between different actors in companies. Furthermore, due to globalisation and increased competition, companies have a growing need to quickly develop new innovative concepts and products. In this respect it is important to study how creative collaboration in design teams in the early phases of the design process may be stimulated and improved. The main objective of this thesis has been to develop models, tools and methods that stimulate and improve such collaboration. Factors involved in the staging for creative collaboration has been studied, and models, tools and methods have been developed. The empirical material was collected through in-depth interviews of company employees and design consultants. Furthermore, material was collected through action research in a new innovation course at NTNU in Trondheim and in 3 industrial cases.
Initially, three conceptual models are proposed and used as a background in the thesis.These models are visualised graphically. The first model proposes that the creative process is an ongoing cycle moving through order and chaos. The second model proposes that design is a creative activity in a dialectic tension. The third model, which is called the vision-based model, proposes that any product may be related to four levels of abstraction: the spiritual, the contextual, the principal and the material levels. All three models can function as tools for discussion and shared understanding in a team. In the innovation course the vision-based model functioned as a supporting tool for creative collaboration in the concept development process.
Further, the physical arrangement of space for creative collaboration in design teams has been studied. Two major concepts are proposed: Flexible project space and activity zones. The concept of activity zones, where different zones in the workspace are connected to different activities and modes of thinking, has been implemented in a specific case. The general conclusion is that conscious arrangement of space is one of the factors that may improve creative collaboration.
Results from the interviews show the need for a shared innovation level and focus in design team for good collaboration. It is concluded that participants in a team have different roles and perspectives and in this regard the concept of flexible role structure and the use of role-play are proposed for improving collaboration. The use of scenario play and mental visualisation exercises as tools in the concept development process have also been studied and tried out in courses and in specific industrial cases. The conclusion is that such exercises have both process and problem related effects and can help to improve creative collaboration in design teams.
Based on indicated limitations in existing methodology this thesis proposes finally, as the main contribution, a vision-oriented methodology for the early phases of the design process. It is divided into two stages: a vision-based and a specification-based stage. The vision-based stage has focus on user experience and applies visions, rather than specifications, as guidelines in the early phases of the concept development. Two types of visions are proposed in this stage: Goal visions and provocative visions. In the provocative visions elements of the goal visions are drawn to the extreme through fantasy scenarios. The methodology also integrates the physical arrangement of space and the use of scenario play, storytelling and mental visualisation exercises. It emphasises the extensive use of associative images and qualitative keywords. It also proposes the use of events, such as conceptual workshops and milestones, during the development process. Furthermore the methodology applies the vision-based model, with four levels of abstraction, as a supporting tool. Parts of the methodology (the vision-based stage) has been tried out and evaluated in the innovation course.
It is concluded that the methodology can help to improve creative collaboration in design teams, especially for projects that have a conceptual orientation and a focus on user experience. With an initial focus on visions it is argued that a design team may more easily create a shared understanding. Furthermore, with the active integration of
play and work with visions the methodology seems to be more process oriented, motivating and engaging than traditional methodology. It also integrates the active use of the body and senses and helps to avoid initial mental fixation to existing solutions. It is emphasised that it is important that the methodology is adapted to the specific company setting.
11
Bill, Amanda Elizabeth. "Creative girls: fashion design education and governmentality." Thesis, University of Auckland, 2009. http://hdl.handle.net/2292/4234.
Full textAbstract:
This thesis is concerned with creativity as an object of educational governance and a category of subjective identification. It studies a ‘creativity explosion’ in higher education in New Zealand, focusing on how fashion design students are being mobilized as subjects of creativity through ‘joined up’ modes of governance and technologies of educational choice. Using a poststructural ethnographic ‘methodology’ I explain how, from the late 1990s, models of educational governance began to appear dysfunctional and unable to deliver the attributes and capacities expected of citizens in a knowledge economy. I argue that creativity gained significance as a result of new ways of ‘thinking culture and economy together’. Neoliberal rhetorics representing creativity as flexible human capital and a generic, transferable skill needed by workers in the new economy, were articulated with liberal humanist notions about creativity, which are commonly understood and performed through the social categories of art. All kinds of individual and institutional actors took advantage of these shifting opportunity structures to position themselves with ‘creative’ identities. Within various cultural organisations, including universities, moves to strengthen a liberal agenda and retain creativity as a form of ‘arts knowledge’ with high cultural capital, rubbed up against counter-hegemonic strategies to enlist and develop more universal concepts about creativity as a collaborative endeavour, vital to new forms of capitalist enterprise. By historicising the context in which a new ‘normative doctrine’ of creativity has emerged, and by treating its theorisation as culturally performative, I develop the position that fashion design graduates, as ‘creative girls’, are highly productive performers in the new categories of cultural economy. However I argue that the creative girl occupies a subject position fitted to after-neoliberalised social and economic arrangements, not because she is shaped by neoliberal ideologies, but because she is made up by techniques and tactics of an ‘after-neoliberal’ governmentality. This demonstrates the mutual constitution of ‘creative economy’ and ‘creative persons’ and underlines the fact that despite after-neoliberal ambitions for managing education, there can be no simple cause and effect relation between higher education and economic performance.
12
BENZ, IDA ELISABETH. "INNOVATIVE DESIGN: TRANSRELATIONAL MANDALA OF CREATIVE APPROACHES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=27494@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Esta pesquisa trata da relação do design com a inovação. Como o design é uma atividade multidisciplinar e complexa que transita entre ciência e arte, entender esta relação pode ser de grande auxilio na atual discussão por novos paradigmas, enquadramentos teóricos e metodológicos que buscam um avanço no conhecimento sobre a inovação. As peculiaridades do design em relação a outras áreas ligadas a inovação - principalmente sua característica ambígua de abranger tanto um aspecto abstrato de conceber/projetar/atribuir quanto um aspecto concreto de registrar/configurar/formar - dificulta a compreensão do papel do design em relação a inovação por estudiosos e profissionais externos à atividade. E ao unir a objetividade da ciência com a subjetividade das artes, o design enfrenta dificuldades em se encaixar no sistema vigente da lógica clássica. Por isso, esta pesquisa adota como questão norteadora se: A relação da inovação com o design pode ser melhor entendida usando-se teorias que ampliem os paradigmas da ciência, como é o caso da teoria da transdisciplinaridade? Como será demonstrado ao longo da pesquisa os três pilares sob os quais a teoria da transdisciplinaridade se baseia - i. a física quântica e os níveis de realidade; ii. a complexidade; e iii. a lógica do terceiro incluído – se adéquam melhor aos processos projetuais e a lógica abdutiva do design. A pesquisa teve como objetivo geral avaliar o papel dos conceitos da teoria da transdisciplinaridade no aspecto abstrato e no aspecto concreto do design em relação a inovação. Os objetivos específicos foram levantar os conceitos de inovação nas ciências, nas artes e no design, estabelecer da relação do design com a inovação, criar uma diferenciação dos conceitos de inovação pelo design e design inovador, além de apresentar e avaliar abordagens criativas baseadas na teoria da transdisciplinaridade que possam servir de auxilio no processo criação de design inovador. Para tanto a pesquisa foi dividida duas partes. A primeira é uma pesquisa exploratória de cunho transdisciplinar a partir de dados coletados por levantamento bibliográfico e documental e a segunda é uma pesquisa aplicada, onde foi proposto um modelo baseado no uso de uma multiplicidade de abordagens criativas visando alcançar-se uma pluralidade de resultados. Para a validação deste modelo é realizada uma análise de mais de cento e setenta peças selecionadas sob o rótulo de design inovador em seis edições bianuais de um concurso de design de joias, onde pode-se concluir que a multiplicidade de abordagens já vem sendo utilizada inconscientemente por diversos designers e que a proporção do número de combinação de abordagens por peça usados nas joias vencedoras é significativamente maior do a apresentada no conjunto das peças selecionadas nos concursos.
This study approaches the relationship between design and innovation. Since design is a complex multidisciplinary activity that moves between science and art, understanding this relationship can be of great aid in current discussion for new paradigms, theoretical and methodological frameworks which seek an advance in understanding of innovation. The peculiarities of design compared to other areas related to innovation - especially its ambiguous feature including both an abstract aspect of to conceive/project/ascribe as a concrete aspect of registering/configure/form - hinders the understanding of the role of design in relation to innovation by scholars and professionals outside to this activity. And, by joining the objectivity of science with the subjectivity of art, design faces difficulties to fit into the classical logical system. Therefore, the guiding question for this study was: The relationship between innovation and design can be better understood by using theories that expand the paradigms of science, such as the theory of transdisciplinarity? As it will be demonstrated throughout the study the three pillars upon which the theory of transdisciplinarity is based - i. quantum physics and levels of reality, ii. complexity, and iii. the principle of the included middle.- are more suitable to the projectual processes and the abductive logic of the design. The general objective of this study is to evaluate the role of the concepts of the theory of transdisciplinarity in the abstract aspect and the specific aspect of design in relation to innovation. The specifics objectives were gather concepts of innovation in science, arts and design; to establish the relationship between design and innovation; to create a differentiation of the concept of innovation by design and innovative design; besides presenting and evaluating creative approaches based on the theory of transdisciplinarity that may provide assistance in the process of creating innovative design. For these reason the study was divided into two parts. The first part is an exploratory research with a transdisciplinary nature based on data collected through bibliographic and documentary survey and the second is an applied research, where a based on the use of a multiplicity of creative approaches aiming to achieve a plurality of results was proposed. To validate these model an analysis of over one hundred and seventy pieces selected under the label of innovative design in six editions of a biennial Brazilian national jewelry design competition was released, which one can conclude that the multiplicity of approaches has already been used by many designers (purposefully or not) and that the proportion of the number of combination of approaches used per piece by the winning jewelries are significantly higher than the average of all selected pieces in all editions.
13
Henriques, Carissa. "Modes of Participation: Co-creative Approaches to the Design Process." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1716.
Full textAbstract:
This project explores the notion of participation within the graphic design and problem-solving process. Through projects using generative tools and collaboration, I explore ways to instigate controlled participation from designers and non-designers. I observe and document how the methods and means of participation affect the creative process during these projects.
14
Olson, Stephanie E. "Igniting my Creative Process." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/87.
Full textAbstract:
This art-based research study will examine creativity and the creative process during the production of a cohesive body of work. The author’s auto-ethnographic reflections of her creative process were recorded, and analyzed. The artist/teacher/researcher will provide conclusions based on her art production and self-reflection.
15
Blatter, John Henry. "Creative Insubordination." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1825.
Full textAbstract:
In today’s lexicon a ‘Daily Constitutional’ usually refers to a daily walk. But in actuality, a ‘Daily Constitutional’ is something that one does on a daily basis that is beneficial to one’s constitution or healthful(1); and one’s constitution being the aggregate of a person’s physical and psychological characteristics(2). With this definition, the daily constitutional refers to any daily activity that improves a person’s physical or mental health. At various stages in my life I may have understood my constitutional to be any number of things and it was not until I came into my own did I truly discover my Daily Constitutional, the creative process. In the following thesis I will be covering my thoughts and opinions on the creative process as well as my role of Artist in a larger art community. The thesis consists of six chapters, each being a letter I wrote for Daily Constitutional, A Publication for the Artist’s Voice as the Editor-in-Chief. I created the Daily Constitutional in 2005 in order to provide my contemporary colleagues with an opportunity to once again have a voice in the art world. The publication is entirely submission based with an international open call. Each semi-annual issue is created out of the submissions received and composed by a rotating panel of six artists and has been ongoing throughout my tenure at Virginia Commonwealth University. The mission of the publication is to provide an outlet and forum for the individual Artist’s voice, rather than the cacophony that is the art world at large (galleries, critics, curators, museums, patrons and finally the artists themselves). To provide a place to express, exchange and discuss, without interpretation, the artist’s opinions, ideas and discoveries within one’s practice. This publication can only be made possible, through a collaboration of individual Artists.(3) This document was created with Adobe InDesign CS2. 1. “constitutional.” Dictionary.com Unabridged (v 1.1). Random House, Inc. 03 May. 2009. . 2. “constitution.” Dictionary.com Unabridged (v 1.1). Random House, Inc. 03 May. 2009. . 3. “Mission Statement,” Daily Constitutional, A Publication for the Artist’s Voice, 2005-09, http://www.dailyconstitutional.org/mission_statement.html
16
Ciolfi, Felice Marianela. "Supporting expert creative practice." Thesis, Université Paris-Saclay (ComUE), 2018. http://www.theses.fr/2018SACLS544/document.
Full textAbstract:
Cette thèse porte sur la conception d'outils numériques interactifs pour les professionnels du design graphique et de la chorégraphie contemporaine. Ces praticiens utilisent des principes et des méthodes personnels qui contraignent et guident leur processus créatif. Je soutiens que, pour construire des logiciels puissants permettant d’étayer leurs pratiques, nous devons les laisser définir et manipuler leur propre ensemble de contraintes créatives. Je présente deux outils qui illustrent cette approche. StickyLines offre des représentations visuelles des contraintes d’alignement et de distribution d’objets graphiques afin de mieux répondre aux besoins des utilisateurs. Knotation permet aux chorégraphes d'esquisser leurs idées et de les rendre interactives, en leur permettant de représenter des contraintes, du mouvement ou une combinaison. Je montre que, bien que leur produit créatif soit de nature fondamentalement différente, le processus créatif de ces professionnels peut être abordé avec une stratégie commune: permettre aux utilisateurs de créer des substrats interactifs qui articulent contenu et contraintesThis thesis focuses on the design of interactive digital tools for professionals in graphic design and contemporary choreography. These practitioners employ personal principles and methods that constrain and guide their creative process. I argue that to build powerful software tools to support their practice, we need to let them interactively define and manipulate their own set of creative constraints. I introduce two tools that illustrate this approach. StickyLines provides visual representations of alignment and distribution constraints in layout design to better match users’ needs. Knotation allows choreographers to sketch their ideas and make them interactive, letting them represent constraints, movement, or a combination. I show that although their creative product is fundamentally different in nature, these professionals’ creative process can be addressed with a common strategy: Allowing users to create interactive substrates that articulate content and constraints
17
Bolus, Oriole Mphumelelo. "Design thinking : shaping the way industrial design business models create, deliver and capture value." Thesis, Cape Peninsula University of Technology, 2016. http://hdl.handle.net/20.500.11838/2462.
Full textAbstract:
Thesis (MTech (Industrial Design))--Cape Peninsula University of Technology, 2016.The purpose of this Master’s Thesis is to explore the application of Design Thinking as a valuable resource to any organisation, in this studies case the business model. Furthermore, it seeks to describe how the concept of ‘Design Thinking’ is shaping business models in the context of industrial design. By developing a language for and a description of these intersections and interdisciplinary roles. Consensus regarding the concepts of Design Thinking and the business model still needs development since this emerging area has become more established. An applied contextual research approach inevitably paints a new picture using the concepts and will also develop a language to assist design education, researchers and entrepreneurs in the industrial design praxis. The competitive advantage of any business is now driven even more by the intersection between different fields and disciplines. At this intersection exists the opportunity to understand the relationship between Design Thinking (a methodology that is grounded in industrial design) and the business model (a global concept for the logic of business) to help decision makers develop more sustainable pathways for design entrepreneurship. This research also addresses aspects of the changing role of industrial design and devotes the findings to the creative industries in South Africa. The research was conducted using a qualitative methodology, taking an applied context case study approach. Data were gathered from industry experts and three core cases: Thingking (design-maker consultants), Research Unit (a leather and luxury apparel company) and Nomanini, (provider of mobile solutions in the electronic domain).
18
Howard, Thomas James. "Information management for creative stimuli in engineering design." Thesis, University of Bath, 2008. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492242.
Full textAbstract:
This thesis describes research carried to investigate the role of creative stimuli in the engineering design process. The research was cross-disciplinary bringing findings and perspectives from cognitive psychology to engineering design. The theoretical work undertaken has produced a model to represent how information can be made to work effectively as creative stimuli, inspiring creative ideas that in turn affect the design outputs produced through the creative design process. By combining participation action research with an observational audit, the information-use profiles were constructed for the innovation hub within the associated case company. These gave details of the types of projects and tasks undertaken by the case company; the designers working on them, and most importantly the information being used during design activities. It was shown that over 50% of the information uses recorded were working on diagrammatic representations, predominantly using CAD and imaging software. In this thesis it is shown that information captured, documented and stored by a company can be used as a useful source of creative stimuli. A tool was proposed to retrieve this information in a guided manner to support creative idea generation in industrial brainstorm sessions. The evidence suggested that introducing any of the tested formats of stimuli to a brainstorm group had positive affect on both the rate of idea production and the quality of the ideas being produced. Stimuli sourced internally to the case company in a guided manner were shown to perform as well as the most established creative stimuli tools available.
19
Atherton, David 1960. "MIDI Gesamtkunstwerk and a schema for creative design." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/71077.
Full textAbstract:
Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.Includes bibliographical references (leaves 105-107).
"MIDI Gesamtkunstwerk and a Schema for Creative Design" formulates a model for creative thought and examines its impact when applied to the making of art. Use of the Schema as a system of design has propelled my work from sculpture to multimedia performance, specifically under computer control. :MIDI (Musical Instrument Digital Interface) is proposed as a solution to multimedia performance as Gesamtkunstwerk, with examples from my own experience and research. The Schema for Creative Design derives from and cross-pollinates three systems: I) William Glasser's theories of perception; 2) semiotic theory as formulated by Umberto Eco and others; and 3) Lowry Burgess' "Tools for Thought." The model makes conscious use of subconscious processes to exploit them in stimulating expanded and unique creative thought. The use of MIDI to create a unique interaction between media is postulated as modem "Gesamtkunstwerk." Gesamtkunstwerk is a term associated with composer Richard Wagner's music-dramas of the 19th century. It characterized not only a performance mode, but also a philosophical orientation. This thesis considers a contemporary version of this philosophy as influenced by the changes in available media and methods of interaction. Because MIDI can interface physical objects, electronics, lighting, sound and special effects into a single score, composition and orchestration elements can be conveniently recorded, replayed, rehearsed and refmed. The data from a MIDI light board, MIDI mix board, and MIDI synthesizer are interchangeable. The artist has immediate access to sound, light, and video image. Specific intermedia control is a unique development which allows exact timing to program convincing intermedia gesture. Computer-control over the various media enables the artist to perfect performance similar to the way film is edited for maximum effect, and brings the ideal Gesamtkunstwerk - all the artforms working together toward a common expression - closer to realization. A MIDI Gesamtkunstwerk was attempted in the performance the "midicube." The MIDI-ized media performers are members of the evolving "MIDI Robot Orchestra," hybrid objects developed from preexisting items, such as toys and tools, that usually produce sounds. The sounds are underscored by hybrid digital samples. The Macintosh computer records and plays back the code to form a precise musical ensemble. MIDI Gesamtkunstwerk considers practical aspects of scored multimedia performance, proposes a computer-controlled intermedia studio and discusses the advantages and limitations of a MIDI modified system. Concepts of deconstructed forms, reconstruction via permutation and the conflicted tension of the hybrid object also figure into the realization of MIDI Gesamtkunstwerk.
by David Atherton.
M.S.V.S.
20
Prax, Patrick. "Co-creative Game Design as Participatory Alternative Media." Doctoral thesis, Uppsala universitet, Medier och kommunikation, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-287659.
Full textAbstract:
The possibility of co-creation exists for all media, but game design has developed a culture that is unusually open to co-creation. This dissertation investigates significant cases of co-creation in mainstream games in order to explore how games can be co-created as alternative or critical media by their players. The core argument in the dissertation is that players co-create the design of a game only if certain conditions are met, namely: (1) player creation of a text or communication infrastructure that modifies the properties of the game and from which play emerges; (2) that this is done for a considerable group of players who share a particular practice of play; (3) that this is done not only by playing the game but by changing how others play it in a distinct creative activity, and (4), with the potential to subvert or contest the original design of the game. This situation where player creators have influence over the design of the game (but little power to enforce their interests) is problematic from the perspective of alternative or critical media, as alternative, local, production is seen as one reason for why a medium can have an alternative message. The industrial production of games as cultural commodities does limit the potential of co-creative game design for subversion because it reduces the level of participation in the creation process, thus keeping player creators relatively disempowered. Player creators do have influence on the design of the game, while at the same time having very little power to enforce their interests and design visions. The influence of player creators comes from the consumer power of millions of players who use co-created assets and who want to them to continue exiting, and this creates a mutually dependent relationship (and even partnership), between co-creators and commercial owners. The dissertation concludes that co-creative game design, despite limitations related to the industrial production of games as cultural commodities, is already happening, and shows a potential for turning games into alternative media.
21
Nel, Gideon Phillipus. "Towards Creative Astonishment : A Metaxological Approach to Design." Diss., University of Pretoria, 2021. http://hdl.handle.net/2263/78607.
Full textAbstract:
This study offers a philosophical hermeneutic of design. It aims to achieve this by exploring William Desmond’s metaphysics, specifically his fourfold sense of being, and how it relates to design. Desmond’s fourfold sense of being is a valuable lens through which to understand being and the dynamic relations that constitute being. It consists of the following: the univocal sense of being; the equivocal sense of being; the dialectical sense of being; and the metaxological sense of being. This study suggests that Desmond’s fourfold sense of being not only speaks to the rich complexity of being, but can also be a valuable lens through which to understand the ontological richness of design and to explore different approaches to problem-solving methodologies in design.Dissertation (MA (Information Design))--University of Pretoria, 2021.
UP Postgraduate Masters Research Bursary (2020)
Visual Arts
MA (Information Design)
Unrestricted
22
Kokotovich, Vasilije. "Creative mental synthesis in designers and non-designers : experimental examinations." Phd thesis, Department of Architectural and Design Science, 2002. http://hdl.handle.net/2123/8079.
Full text
23
Morris, Amanda S. "Creative education: the design of web-based learning environments for design students." Thesis, Cape Peninsula University of Technology, 2012. http://hdl.handle.net/20.500.11838/1325.
Full textAbstract:
Thesis
submitted
in
fulfilment
of
the
requirements
for
degree
Master
of
Technology:
Graphic
Design
In
the
Faculty
of
Informatics
and
Design
At
the
Cape
Peninsula
University
of
Technology, 2012The current studio based approach in design education is not enough to keep the “new age” design students’ attention and a blended learning environment is needed to facilitate student engagement. Multiple learning preferences exist within the design classroom and design educators must consider this when designing a curriculum. The research asked what the considerations were when designing the online component of a blended learning environment to enhance the learning experience of and engage design students? The areas of investigation included: • The learning preferences in a specific group of graphic design students to see if there are any predominant preferences, • Whether the web-based learning environment enriched the learning experience and whether students gained understanding of the dynamics of the intervention • Whether there were links between learning preferences, online performance and in-class performance and how we could use these links to design blended learning materials that: o Incorporate collaborative problem solving (Vygotsky, 1978) o Encourage the building of design knowledge (Schon and Wiggins 1992) o Help students move from the periphery of the community of practice to the core (Wenger 1998) o Simulate the world of work (Jonassen et. Al 1998) o Consider the individual learning preferences of students and engages them on multiple levels (Cazden et al 1996) This research concluded that a blended learning environment is necessary in order for design education to move forward and be inclusive. The new generation design curriculum needs to stimulate at many different levels using multiple ways and media. This multimodal stance in design education will afford students the opportunity to become reflective knowledge builders who are able to solve problems collaboratively and transfer existing knowledge to new contexts.
24
Rios, Velasco Urrutia Clara Cecilia. "Creative eco-effectiveness." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1222.
Full textAbstract:
My research is focused upon what industrial designers can contribute in order to
mitigate environmental problems often caused by their designs. The intent is to
propose a procedure to integrate eco-effectiveness at the beginning of the
design process, to consider it at each stage of the product’s lifecycle, and to
measure that product’s environmental performance in order to make informed
design decisions. At each stage the designer can follow this flexible process,
which is intended to work in conjunction with individual creative methods while
prioritizing the need for eco-effectiveness. The goal is to develop a procedure
that is simple enough for designers to use every day and that could also provide
means of verification, rather than relying on assumptions and good intentions.
I acknowledge that efforts from a single discipline are not enough. In order to
address the environmental challenges we face today, collaboration among
disciplines will be necessary, as well as a change of behavior and attitudes
towards consumption. This is my contribution.text
25
Shih, Li-Chun, and 施麗君. "The Research of Banknotes creative design Media Application Creation." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/31484792881479102467.
Full textAbstract:
碩士國立臺灣師範大學
美術學系在職進修碩士班
101
With the progress of the technology, the” convergence” and “Interdisciplinary” become the key of changing the world, including Visual Media Design.The field of Visual Media Design including contents ,form and style. After the time government define cultural and creative as the industries, we are actively looking for the culture elements which can on behalf of Taiwan. The “originality” will be the core of this thesis. We start with the “originality” and comes to “form”. At the end, we will discuss the way of Media. We use the "Evolution Beyond Money" as the target case , and combine "2010 Taipei International Flora Exposition", "32nd Young Designers' Exhibition", " Body - interface Digital Art" , "A Dream Exhibition 100 years before the birth " and the "Visual Media Design" to compare the difference. The creations of course also associated with this context steadily, .In the form of "money" as the creative elements, interactive video display combined with innovations such as the use of digital interaction with the audience. Combined with the concepts and architecture, presenting specific creation Research. The creation of the final conclusion, there are four points summarize, 1 discussed the content of the material propensity new and the old way of the pattern; 2. The form of Taiwan today to cultural and creative application; 3. Creative Media applications received by the target bias who may be, most of the emphasis on creative forms of Media performances; 4 theoretical context parsing process of Visual Media Design rational to follow.
26
Liao, Yu-Chi, and 廖語綺. "The Design Rationale of Creative Design." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/ry9mjh.
Full textAbstract:
碩士國立臺北科技大學
創新設計研究所
96
In this thesis discusses the design rationale of creative design. C-K theory, which has benefits as a design rationale tool, but it need to expand and update. In this reason, this thesis adopts Environment Space of CKE theory and some of logic process like analogy and abduction. Then the design rationale has 11 operators, and application of this theory to explain the rationale of creative design cases. Furthermore, this thesis uses CLIPS to coding design rationale and tries to seek more logical reasoning explanations. The results indicated that the environment can explain where their concept and knowledge comes from. Besides, some logical process like analogy and abduction should include in deduction. On the other hand, creative design can be more rational by describing the design rationale, and if design rationale translates into some action language than concept should assumed to have a “temporary” logical status, moreover, the environment space can help concept and knowledge to save and to build knowledge base in the future.
27
Lai, Guan-Yu, and 賴冠宇. "Future Scooter Creative Design." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/01598008996196959090.
Full textAbstract:
碩士大葉大學
設計暨藝術學院碩士班
103
Scooters have become indispensable for daily transport in Taiwan which causes an intense competition of scooter manufacturers. YAMAHA, KYMCO, SYM, SUZUKI and PGO are main leading brands in the country. Recently some emerging manufacturers such as AEON and Hartford have also joined the market .Each manufacturers are seeking the potential needs of consumers positively, desiring to stand out in this fierce competition. This project is based on the development of scooters mainly. Through analyzing different types or concepts of scooters and searching for the potential needs of the consumers, generalized 5 design factors that might to apply on the form of future scooters. Eventually, gathered all the researches as a concept to design the image of future scooter.
28
Carvalho, Victor Michael Ferreira. "JRANITODESIGN - Creative Studio." Master's thesis, 2019. http://hdl.handle.net/10400.6/10031.
Full textAbstract:
Serve o presente relatório para apresentar uma descrição do trabalho desenvolvido ao longo de nove meses de estágio na empresa JRANITO DESIGN – CREATIVE STUDIO, com início no dia um de dezembro de dois mil e dezassete e fim a trinta e um de agosto de dois mil e dezoito. Tratou-se de um estágio no âmbito do mestrado de Design Multimédia na Universidade da Beira Interior e a sua principal área é o design gráfico.
Aqui é apresentado um enquadramento teórico de temas coerentes com o estágio na empresa assim como apresentados os métodos de trabalhos, máquinas para a sua execução, materiais utilizados e qual o procedimento para a sua aplicação final.
Para além de ser apresentada uma síntese global de todo o estágio, faz-se ainda uma reflexão crítica do mesmo.The present report serves as a brief description of the work developed during the past nine months at JNARITO DESIGN - CREATIVE STUDIO. This internship was performed between one of December 2017 and ended at thirty one of August of 2018. This internship was taken under the scope of the Multimedia Design masters degree ministered by Beira Interior University and it’s primary area falls into graphic design. In this document it’s presented a theoretical framework of the topics coherent with the enterprise internship, the work methods, machines used for it’s execution, type of supplies and the procedures for the final application. Besides what was described above, this document reflects a global synthesis and a critical reflection as well.
29
CHIU, Ning-Hsiung, and 邱寧雄. "CAI of Creative Mechanism Design." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/60219823532393392290.
Full textAbstract:
碩士國立中山大學
機械與機電工程學系研究所
91
Creative design of topological structure of mechanism (Creative mechanism design) is one of the important works on mechanical design. It’s also the weakest part for domestic education on mechanism engineering design. So developing a multimedia CAI system is a better fortified manner. Texts about creative mechanism design have been developed. After that, we should carry out the construction of multimedia CAI system. The purpose of this research is to develop and construct the multimedia CAI system which will provide learners with a friendly and interactive learning tool. First, we will develop the texts using multimedia authoring software into multimedia teaching materials. Second, the friendly and interactive user interface will be constructed in order to enhance the good effects of teaching and learning. Finally, to establish the web pages of multimedia teaching materials on the World Wide Web will provide a directly, attracting and convenient learning way to help teaching and learning vividly, automatically and popularly. The results of this research will improve the ability of creative mechanism design for domestic students and the public.
30
Liu, Han. "Computational Support for Creative Design." Diss., 2015. http://hdl.handle.net/10754/583454.
Full textAbstract:
Supporting user designs of 3D contents remains a challenge in geometric modeling. Various modeling tools have been developed in recent years to facilitate architectural designs and artistic creations. However, these tools require both modeling skills and raw creativity. Instead of creating models from scratch, one of the most popular choices is to extract intrinsic patterns from exemplar inputs (e.g., shape collections and sketches), to produce creative models while preserving the patterns. The mod- eling process contains two main stages, analysis and synthesis. The analysis of input models is usually performed at component level, especially for man-made objects that can be decomposed into several semantic parts, for example, the seat and handles of a bicycle. The synthesis stage recombines parts of shapes to generate new models that usually have topological or geometric variations.
In this thesis, we propose three design tools aimed at easing the modeling process. We focus on man-made objects and scenes such as buildings and furniture, as the functionality of such shapes can be analyzed at the component level. A relation graph, which is commonly used in shape analysis, can then be built to represent the input shapes. In our work, the graph nodes denote the elements of a model (i.e., rooms, shape parts, and strokes respectively), while the edges capture the intrinsic relations between connected elements. With the use of graph representations, we extract and present controllable components to users for supporting their designs.
The emphasis of our work is on three aspects. Firstly, we propose a framework for supporting interior layout design, which allows users to manipulate the produced floor
plans, i.e., changing the scales of rooms and their positions as well. When the user modifies the topology of a layout, the corresponding layout graph is updated and the room geometries are optimized under certain constraints, e.g., user specified scales, the adjacency of rooms, and fabrication considerations (i.e., economic construction cost). Secondly, we introduce replaceable substructures as arrangements of shape components that can be interchanged while ensuring boundary consistency. Based on the shape graphs that encode the structures of input models, we propose new automatic operations to discover replaceable substructures across models or within a model. We enforce a pair of subgraphs matching along their boundaries so that switching two subgraphs results in topological variations. Thirdly, we develop an interactive system that supports a freeform design by interpreting user sketches. 3D contents can be extracted from input strokes with or without user annotations. Our system accepts user strokes, analyzes their contacts and vanishing directions with respect to an anchored image, and projects 2D strokes to 3D space via a multi- stage optimization on spatial canvas selection. We demonstrate the computational approaches on a range of example models and design studies.
31
LIN, YAN-YU, and 林彥妤. "Tarot creative design Greek Mythology." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/14092309922554776699.
Full textAbstract:
碩士中原大學
商業設計研究所
104
The central concept in tarot is 22 Major Arcana, and Major Arcana is also the tarot cards that be most widely used. So this research combines Major Arcana cards and elements of Greek mythology to design the cards that display the world in Greek mythology in silhouette-styled, and with the introductions of Greek mythology story to create a booklet. Next, to create series of products, such as the waterproof drawstring bag (to stow the cards) and badges, to match the booklet. Tarot is applyed to create many a variety of works by contemporary digital media designing, at the same time, series of tarot products are all the rageex successfully and bring their audience fun and imagine. For this reason, I decide to combine silhouette and Greek mythology in designing the tarot cards. As a painter who always aim to creative, combining these two elements can inspire me many ideas and thoughts. The focal point of this research are silhouette, Greek mythology and tarot culture, and mix all of these elements to deign the tarot cards. All characters and things in Greek mythology are appeared in silhouette-styled, to create the tarot cards that are in spacial style and full of fun. In conclusion, according to the above, the aim of this create are three points. (1) To research the meaning of background story of tarot and Greek mythology, and to analysis the form of image creation expression. (2) To analysis the creatives and designs of tarot that combine with story. (3) Using the above analytical results, to design the series of silhouette-styled tarot products.
32
Zainee, N. B. M., and James M. Noras. "Teaching Creative Digital Hardware Design." Thesis, 2013. http://hdl.handle.net/10454/9767.
Full textAbstract:
yesEngineering undergraduates not only need to learn facts, but also how to be creative in the open-ended situations they will encounter in their professional careers. Our final year Honours module gives students a grounding in digital systems design, mainly using VLSI for design entry and simulation. The second half of our module is a design exercise, which has straightforward aspects, but which allows motivated students to undertake progressively open-ended investigations. Our educational framework is guided by recommendations of professional bodies promoting excellence and encouragement of creativity in engineering development. (C) 2013 The Authors. Published by Elsevier Ltd.
33
Chen, Shu Fen, and 陳淑芬. "Study on Creation of Cultural and Creative Commodity Design ofHakka Imagery." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/9kmhnf.
Full textAbstract:
碩士樹德科技大學
應用設計研究所
107
This study uses Hakka culture as the main body to carry out the extraction of the design attributes of its cultural elements, combined with creative design techniques. Conduct research and creative design of cultural and creative products with cultural connotations and metaphorical meanings. Using the content analysis method, the subjects were sampled intentionally, and three pieces of cultural and creative products were designed for packaging or styling using Hakka cultural images. Three kinds of cultural and creative products that incorporate various cultural elements in packaging or styling design, totaling six pieces, and obtaining research data to conduct research and analysis of creativity and design performance. This study tries to let us comprehend the application of extraction in cultural commodities design, with the application of cultural commodities in design attribute and three levels of cultural space, through analyzing the extraction of cultural elements, the creative expression of conversion to design, the application in cultural commodities design, and the design attribute of cultural space (inner, outer, mid)three levels commodities in design attribute. So, I took16 individual cases for analyses, generalize and sort. After compilation and classification of research, by combing the metaphor of Hakka culture elements with technique of design methods to show the import design attributes, it also have the style of Zentangle. Lastly, by going through self-creation. There are 9 products of 2 series, including the Hakka blue
34
Carvas, Cristiana dos Santos. "Design de Comunicação na Empresa Creative Lemons." Master's thesis, 2020. http://hdl.handle.net/10348/9920.
Full textAbstract:
Relatório de Estágio de Mestrado em MultimédiaNuma altura em que a evolução tecnológica cresce e a necessidade de comunicar é cada vez maior, a criação de novos e melhores suportes de comunicação são indispensáveis. Esta constante evolução permitiu ao design de comunicação crescer, tanto no que respeita às técnicas utilizadas, como todas as ferramentas atualmente disponibilizadas, e que são usadas na criação de conteúdos. Ao longo do estágio usufrui de todas as condições apresentadas e disponibilizadas pela Creative Lemons, sendo que desta forma foi-me possível compreender os métodos utilizados na realização de projetos de carácter institucional e/ou publicitário. Ao longo de nove meses de estágio, foi-me possível passar por todas as etapas da criação e produção de projetos e/ou tarefa, de forma a compreender todo o processo de criação, desde a fase inicial até ao produto final. No estágio tentou-se acompanhar todos os projetos de design e fotografia, tendo também acompanhado a equipa de vídeo em alguns projetos, mas sendo responsável por grande parte dos trabalhos de design gráfico. Neste documento será ainda apresentada uma descrição da entidade acolhedora, os recursos que esta dispõe, bem como todos os projetos desenvolvidos ao serviço da empresa anteriormente mencionada.
At a time when technological developments are growing and the need to communicate is increasing, the creation of new and better communication media is indispensable. This constant evolution has allowed the communication design to grow, both with regard to the techniques used, as well as all the tools currently available, and that are used in the creation of content. Throughout the internship, I enjoy all the conditions presented and made available by Creative Lemons, and in this way I was able to understand the methods used in the realization of projects of an institutional and/ or advertising nature. Over the course of nine months of internship, I was able to go through all the stages of the creation and production of projects and / or task, in order to understand the whole process of creation, from the initial phase to the final product. In the internship we tried to follow all the design and photography projects, having also accompanied the video team in some projects, but being responsible for much of the graphic design work. In this document will also be presented a description of the welcoming entity, the resources it has, as well as all the projects developed at the service of the company mentioned above.
35
Hung, Teng-Da, and 洪騰達. "Creative Design of The Bicycle’s System." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/82044346693911830286.
Full textAbstract:
碩士國立中山大學
機械與機電工程學系研究所
93
In recent years, with the prevailing of outdoor activity, the bicycle has already become one of the most attractive products on equipment market of the outdoor activity, the bicycle styles on the market are numerous at present, but after most products still introduce the new car fund with the leading brand industry person, other same trades and then imitate with its products. Thesis this purpose lie in use concept , project of design method, put forward one systematized two design theory , bicycle of system. Investigate the basic demand for the business bicycle at first, carry on the performance specification of setting up two bicycles system of the decision；Secondly the structure of the frame selected separately, ago it suspend organization in midair, after suspend by organization, handlebar in midair it adjust there aren''t device ; Use morphology matrix to solve systematically finally, set up the procedure of formating at the same time , solve the system formated and specify to design.
36
KUO, LI-CHUNG, and 郭立中. "Creative Campus Decoration Design Project – Alpaca." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/23929109853031182738.
Full textAbstract:
碩士東方設計學院
文化創意設計研究所
101
The environment people live in contributes to the hostility they hold against various ideologies, yet many art works tend to reflect both the general expectations and opposing opinions of the society. When an ideology or a concept takes the form of a three-dimension art piece, the audience can best observe their differences in recognition and perception as a result of their varied cultural background, learning process, and creativity concept. The alpaca, also known as the “Grass Mud Horse” in the Chinese language, is used as a dirty pun to mock the widespread internet censorship in China. Inspired by such social defiance, the creator of this art project wishes to use this symbolic animal to express his thoughts toward the current learning environment; hence the project title, “Alpaca is the way.” The creation process of this project first focuses on the materialization of the Alpaca ideology, which is done by studying the censorship progression in details, by defining the key features of Alpaca in relation to the Alpaca ideology, and by summarizing these key features into an original Alpaca figure, in which an exquisite set of saddle seat and handler are mounted for creating a sentimental touch to the audience. Next, the creation process focuses on delivering the message of the Alpaca ideology. After refining the muscle contours of the Alpaca figure, a proper color tone is applied to the skin of the figure to vocalize the attitude of the Alpaca ideology toward the social environment. By finishing the skin surface with a smooth and glossy coating, it produces further contrast to the presence of the Alpaca figure against the surroundings. In addition, the social consciousness produced by the Alpaca figure is raised by supplementing the project with creative ideology symbols. The presence of the Alpaca figure invigorates the campus atmosphere, which also stirs up the passion of students toward creative artwork and artistic experiments.
37
Yeh, Mo-Li, and 葉茉俐. "Application of Poetry in Creative Design." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/49028032303924279612.
Full textAbstract:
博士國立臺灣藝術大學
創意產業設計研究所
102
Taiwan is now approaching a new era of aesthetic economy powered by cultural creative. In addition to efficiency in manufacturing and functionality for problem-solving, new design concepts stress more on the creation of lifestyles, the experience of tastes, and the realization of life values. Therefore, the development and promotion of cultural product design is now stressed as a must for economical development. Existing design, however, has been mostly inspired by concrete cultural elements. The major purpose of this study, alternatively, is taking inspiration for culture creative design from an invisible culture element, the Chinese poetry. With its external form and internal meaning, poetry is applied and transferred to design, using their common structural features. This study intends to provide a feasible design model for current cultural creative industries as well as an opportunity for our traditional culture to shine with a new glamour. The purpose of this study is multifold. First, to analyze and explore theories in poetic structure and design so as to set foundation for an application model for transfer design. Then, to construct implementation and evaluation procedures to provide reference steps for actual practice. Thirdly, to evaluate and analyze implemented design cases so that the feasibility of transfer design could be verified. Finally, to establish an application model of poetry design and achieve the research objective of applying poetic elements for cultural creative design. For methodology, both qualitative and quantitative methods were employed. For the implementation of transfer design, we used qualitative methods-- literature analysis of relevant transfer design theories, and case studies analyzing poetic elements--in establishing transfer indicators. Qualitative methods were employed in evaluating procedures for transfer design. Through expert validity test and SEMS, the Six-Standpoints transfer indicators were assessed to show its comparability for such design. The results of this study are listed as follows. First, Literature was reviewed in the domain of poetry culture, poetry transfer, as well as practical implementation cases. For poetry culture, the review covers relationship between poetry and design, the unique features of poetry culture, creative inspirations from poetry culture, and common structural features between poetry and design. Transfer theories were reviewed about painting aesthetics, fundamentals for transfer process, the transfer with six-standpoints principles, applications of creation hermeneutics, and assessing creative performance. In addition, existing research and case studies of poetry application were investigated and analyzed. Second, a model for poetry transfer design is established. Having Integrated transfer design theories with analyzed content of existing case studies, this study has established implementation procedures for practice. The procedures require three essential phases of visualizing abstract concepts, concretizing visual components, and utilizing 3D products. Implementation steps include selecting themes, analyzing application types, transferring design elements, concretizing design elements, enforcing external functionality, utilizing for everyday life, experiencing design aesthetics, and achieving goals for cultural creative design. Equally important is the completed evaluation on transfer design with six-standpoints indicators, it serves to provide verification for the feasibility of poetry transfer design. In conclusion, this study contributes to academic study, education for cultural creative design, development of cultural creative industries, and culture preservation. With a well-established research framework, this study integrates relevant theories, research methodology, and implemented case studies to turn the originally "emotional" poetic content to a "rational" and logical step-by-step process, and thus acquires its academic significance. Following the concrete transfer design model, design students will be effectively instructed and inspired in applying cultural creativity for expressing abstract poetic concepts. As for cultural creative industries, this model derived from theories of transfer design and supplemented with illustrative implemented cases, will provide them a specific and feasible reference for practical applications in highlighting emotional experience and cultural elements in their products. After a thorough investigation of the "traditional" poetry, cultural elements are now transferred to poetry-related "modern" creative design in this study. Hereafter, with active participation of the new-generation designers inspired by this implementation model, the glorious traditional Chinese culture elements will be carried on and extended.
38
Juan, Chi-Ping, and 阮啟平. "Kansei Taiwanese Culture Creative Product Design." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/21445734737418508312.
Full textAbstract:
碩士嶺東科技大學
高階主管企管碩士在職專班
98
In the changing society, consumers keep changing their choices on purchasing products with time flow. However, consumers’ fondness of products is based on the images that products show. Therefore, how to transfer consumers’ favorite images into modeling design in the market becomes a significant topic. Furthermore, based on the topic, innovation turns to be crucial for how to create the best products that consumers are willing to buy. The research employs the world-popular Kansei Engineering which originates in Japan and transfers emotional images that purchasers need into modeling design. Moreover, by integrating the popular product design and the cultural creativity of Taiwan aboriginals, the fascinating and innovative product is thereby formed. In the past, the outlooks of laptops have been evolved from square and heavy to light and textural. Style becomes the decisive point of competitive laptop selling. This study takes laptops as the target and applies the former operation on it. It not only establishes the relationship of consumers’ emotions and design elements, but also adds in the representative graphics of Taiwan aboriginal culture to create a type of laptop that touches consumers.
39
楊修和. "Creative design for window cleaning apparatus." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/45601585915491750286.
Full text
40
Lin, Shu-Ching, and 林淑菁. "Bridal fashionable creative design and Studies." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/70841436466706110813.
Full textAbstract:
碩士樹德科技大學
應用設計研究所
94
In the last hundred years, Taiwan has been passed through the blending of diverse cultures and the influence of occident fashion coming into orient, the traditional bridal modeling category, the modeling specialities of the traditional chaplet and official robes do not appear any more today, and have been taken the place by the totally westernized modeling products of wedding gauze kerchief. In view of this, from the research, we expect to develop bridal models with fashionable characteristic of Taiwan to offer the most appropriate bridal-shape designing to consumers. In addition, they expect to construct the historical data of bridal modeling progress of Fukiens and Hakkas in Taiwan, so as to explore the development of tradition and fashion. Under this research, they regard the bridal whole modeling of cultural evolvement as their creative goals, combining the fashionable style of life and cultural image of Taiwanese bridal modeling to reflect and share the beauty of its traditional culture. Its main purpose of research : First, offer the reference of modeling academy and creation. Second, set up the bridal cultural sign of inherent tradition of Taiwan. Third, offer the construction of historical data of Taiwanese bridal modeling. Fourth, carry out the movement of government's cultural creative policy of property, annotating the fashionable new style and features of bridal modeling of Taiwan again. According to the field-work, expert interview, and the documental review, the results of this research are as follows : First, nowadays, the consumers’ attitude towards the traditional wedding customs tend to be one’s choice of their personal taste . They think it’s necessary to maintain the custom of wearing the white gauze kerchief. Second, regarding the attitude of the engagement, they think it’s not necessary to wear the traditional red dress, nevertheless , for the banquet on the wedding day, the bridal modeling should present the diversity of styles, and new creative bridal models . The bridal modeling must be created according to the cultural tradition, such as the articles and ornaments of good luck, and, above all, the indispensable bridal’s hair ornament, inherent to the tradition of Taiwan. Those could exalt the internal meaning of the Taiwan culture by blending the creative elements of the external material and the analysis of their internal meaning. By combining the modern fashion elements and the simple style, it creates a serial bridal modeling, according to the traditional appropriate wishes. The whole work presents a new fashionable style and feature by the display of models and videos.
41
LAI, YU-HSIN, and 賴譽心. "Taiwanese Infernal General Creative Hairstyle Design." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/31925200448290929910.
Full textAbstract:
碩士嶺東科技大學
流行設計系碩士班
104
Taiwan is a country which contains various kinds of religions. The folk parade is an indispensable part in the temple fair that includes a series of folk performance to thank god bless. It is not only cultural heritage for Taiwanese but also shows strong vitality of Formosa. In this thesis, refers the characters of four traditional hell generals such as General Gan, General Liu, General Xie and General Fan, and two underworld officers such as civil officer and military officer. These hell generals with unique characters and special face make up to emphasize the folk culture charms. Integrate the charms of hell generals and traditional hair style of ancient female to develop a series of fashion hair design. Refreshing the view of the folk culture and inspire creative of hair design salon. To present a new visual of hair fashion.
42
Mason, Nicole. "The management of creative design professionals." Diss., 2013. http://hdl.handle.net/2263/40753.
Full textAbstract:
One of the challenges for a manager in a creative profession is how to turn the creative energy of the designers into profitable energy for the company. Creativity and productivity are frequently seen as opposing forces, therefore trying to simultaneously nurture both the innovation and the efficiency of a creative design team can become a frustrating balancing act for managers of these organisations.
This research demonstrates how the performance of creative people can be aligned to the commercial goals of a design organisation, and that the perceived clash between creativity and productivity is a result of an incompatibility between the creative style of the company and the management techniques being employed. Executives and employees from fifteen organisations of varying levels of success and creativity, across a spectrum of creative design professions, were interviewed regarding how they accommodate a range of productivity and creativity indicators. In analysing the findings qualitatively, it was discovered that rather than one fixed answer to this question, a range of management techniques are applied and many different creative styles are employed.
The research findings show that identifying the creative style of the organisation and the appropriate management technique to match is critical in overcoming this perceived paradox. It provides a diagnostic tool for the creative design organisation to enable them to establish where they are on a spectrum of creativity, or decide where they want to be strategically, and then either adapt or adopt an appropriate management technique to complement rather than constrain their creative style.Dissertation (MBA)--University of Pretoria, 2013.
Gordon Institute of Business Science (GIBS)
MBA
Unrestricted
43
Sun, I.-MEI, and 孫一梅. "Patterns Study mannequin creative design thoughts." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/93114568398805396759.
Full textAbstract:
碩士國立臺北教育大學
藝術與造形設計學系碩士班
104
Summary This study focuses on the mannequin design process generally freshman freshmen high school background and vocational background and differences in creative thinking on the design process , while the case against the creation of content and motivation to learn , both in the creative hair to investigate the difference on the spindle through the " mannequin creation " features both 2D and 3D design thoughts patterns study , done for the design of communication media . The overall purpose of this study include the following three points: 1. Different design thinking under the education system. 2. The difference between high school and technical and vocational students to create power system. 3. For the motivation to see both the pros and cons. The research findings have aided design characteristics of education , which is not only ready to assist the process and course materials , teaching materials , but to different backgrounds of students in learning and classroom performance compare with the differences in the performance of traditional design education , by generated by the problems and differences to help develop a more robust design of teaching methods.
44
Chiu, Jiahung, and 邱嘉宏. "Robot Design for Cultural Creative Applications." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/76513098391306741526.
Full textAbstract:
碩士臺北城市科技大學
機電整合研究所
100
Tin plate toy robots were designed within 1937 and 1960. Among these tin plate robots, three robots were famous to robot fans, Lilliput, Atomic man robot and Nando robot, made in 1937, 1949 and 1950, respectively. The features of these toy robots were driven by winding a spiral for the robot to walk. The gait of tin plate robot was determined by crank, cam mechanism and linkages.The purpose of this study was to design tin plate robot replica in colossal size, up to 200 centimeters. Woodwork technology was introduced to manufacture the features of the colossal robots. Master and slave microcomputer system was applied in this design for real time purpose. More than five motors were controlled simultaneous with a serial servo controller, by which each motor can rotate to its assigned positions Simultaneously. The motors were controlled by potentiometer feedback with proportional and integral controller feedback to achieve angular positioning. The final product was controlled with the up to date Android system to direct the movement of robots.
45
Wong, Yee-Teng, and 黃憶婷. "Creative Study of Bisexual Poster Design." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/46476941411675783340.
Full textAbstract:
碩士國立雲林科技大學
視覺傳達設計系碩士班
100
Bi, meaning “two,” encompasses heterosexuality and homosexuality in terms of human sexuality, with bisexuality spanning between the two. According to studies conducted by scientists and psychologists, the formation of sexuality is factored by congenital heredity and postnatal environment, contributing to the complexity of bisexuality, where one is attracted both emotionally and sexually by both those of the same and opposite sexes. The “bi-sexual paradigm” of bisexual love is not widely accepted by society, and causes many to question the workings of bisexuality. This creative study discussed the sexual orientation of bisexual dualism through literature review and textual analysis. In-depth interviews with professionals of the field on the subject of bisexuality were applied to accumulate experiences and stories concerning bisexual relationships. The studies of many psychologists and relevant scholars were reviewed, and this study found that human sexual orientation is a product of the interaction between physiological, psychological, and social factors. Therefore, in this creative study, discussion and poster creation on the dualistic sexual orientations of bisexuals were conducted in three major dimensions, namely physiological, psychological, and societal. A series of poster creations were developed with visual communication to explore the sexual dualism of bisexuality and the ambiguity of sexual orientation.
46
HUANG, MEI-YI, and 黃美嬑. "Design of YunTech Cultural Creative Products." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/5w55ax.
Full textAbstract:
碩士國立雲林科技大學
創意生活設計系
106
President Yang took office at Yunlin University of Science and Technology in 2009. He thought school’s English name too long, so he advocated “YunTech” as school English name and operated by way of brand management. “YunTech” is devoted to cooperation, and designed YunTech cultural creative products over the years. Because of many reasons, the school doesn’t have representative YunTech cultural creative products. After I interviewed the dean of the design department in March 2015, I know that there will be more than 1,000 high school students visiting the school, and the foreign guests will visit every year. But there is no representative product to promote in the school. So, I design a series of YunTech products because of the above reasons. Therefore, I use new ideas as a framework for metaphorical design, that is Similarity judgment model which based on the mode of metaphor design. After that, the three levels of culture are used to analyze the meaning of the YunTech cultural creative products. The final result are four works. Metaphorical cultural and creative products with the promotion of storytelling and campus activities, let users feel the charm and features of the product.
47
Chen, Mei-Ling, and 陳玫伶. "How knowledge works in creative design." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/m7eg6t.
Full textAbstract:
碩士國立臺北科技大學
創新設計研究所
95
In many fields, the more knowledge, the greater achievements; however, it seems not the case in design. For example, those who have higher education and more experiences are not the winners in design competitions all the time. This thesis investigates the function of the knowledge used in creative design process. Four types of knowledge were defined: experience knowledge, domain-specific basic knowledge, domain-specific design knowledge, and operational knowledge. Three criteria for assessing creativity performance were used: novel, resolution, and style. Sixty participants, including undergraduate and graduate students of industrial design, interior design, and visual communication, individually took two conceptual design tasks and described their design process. The results indicate that: (1) the relationship between design creativity and knowledge depends on the nature of the problem, since the participants have more domain knowledge in familiar problem, and have less in unfamiliar problem. For the familiar problems, the operational knowledge is significant; for the unfamiliar problems, the domain-specific basic knowledge and domain-specific design knowledge are influential. (2) Domain-specific basic knowledge is good for resolution. Domain-specific design knowledge contributes novel and style. Operational knowledge is beneficial to three criteria in familiar problem. Experience knowledge is the “stand-in” for domain knowledge, and is unhelpful to creativity. (3) The designers have longer working time and higher education (meaning possessing more knowledge), generate more creative solution. Nevertheless, the amount of a designer’s knowledge is not equal to the amount of knowledge he or she used in the design process.
48
Chang, Yu-Hao, and 張育豪. "Creative Mechanism Design of Evacuation Chair." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/mh925f.
Full textAbstract:
碩士崑山科技大學
機械工程研究所
100
Emergent Medical Technician can use the evacuation chair to help People escape in the fire disaster. There are many interesting products of evacuation chair to attract the study to investigate relative systematically design methods. The purpose of the study is to use the creative method of mechanical devices to design the new evacuation chair. The design results are two new evacuation chair with (5, 6) kinematic chain. The results including atlas of (7, 8) specialized chain.
49
Lai, Zhi-Wei, and 賴志維. "Creative Design of Variable Speed Mechanism." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/htr7x5.
Full textAbstract:
碩士國立虎尾科技大學
機械設計工程研究所
103
The variable speed mechanism includes reduction and increase transmission, is widely used in the robotics industry, medical industry, automotive, aerospace industries. With the demand for high-precision, high-speed ratio, high strength, the domestic variable speed mechanism have been unable to meet the robot industry''s strong demand, requiring active and innovative research and development. The main purpose of this study is to break all the world''s patent products, synthetic inventive products with global market potential, first of all, the use of creative mechanism design approach coupled with small teeth difference, muti-eccentric and multi-series design concept. First, Japanese Patent Nabtesco''s RV-20E as an exist design. The atlas of generalized kinematic chains can be obtained founded on the concepts of generalization and number synthesis. Through specialization, a generalized kinematic chain is converted to a specialized chain. A specialized chain subject to design constraints is called a feasible specialized chain. The atlas of specialized chains could be particularized into the corresponding schematic diagrams through the process of particularization. All the kinematic chain can be synthesized by a five-link transmission mechanism 16 kinds, 35 kinds of six links, 70 kinds of seven links, 116 kinds of eight links. Use CAD software to establish a solid model and use ABAQUS finite element software on the new continuous curve for contact stress, contact area, bending stress analysis of the optimal parameters of the tooth profile.
50
Guerreiro, Marta Filipa Dias. "Relatório de estágio na Creative Minds." Master's thesis, 2017. http://hdl.handle.net/10400.26/20106.
Full textAbstract:
O presente relatório reporta as atividades realizadas nos seis meses de estágio curricular realizados na agência de comunicação digital Creative Minds entre 1 de setembro de 2016 e 27 de fevereiro de 2017.
É descrito o funcionamento do estágio desde o seu início, e de que forma foi desempenhada a função de Designer Júnior, a qual me foi atribuída durante a sua duração.
Numa primeira fase é feita uma contextualização do estágio e da agência de acolhimento, seguido por uma revisão da literatura e, por fim, a apresentação de três casos de estudo trabalhados durante os seis meses, sendo cada um deles introduzido com um breve enquadramento teórico.
Finalmente, é feita uma reflexão crítica acerca dos objetivos inicialmente estabelecidos e de que forma eles foram atingidos.The present report represents the six months of curricular internship I had at the digital communications agency Creative Minds, between 1st September 2016 and 27th February 2017. I describe how the internship worked since its beginning, and how I worked as a Junior Designer, which was my role. Firstly, there is a contextualization of the internship as well as the agency that took me in, followed by a theoretical framework and finally I will also include three case studies I worked on during the six months, and each is introduced by a contextualized theoretical framework. Finally, I will make a critical reflection regarding the objectives initially set and in which way I achieved them.