Relevant bibliographies by topics / Designers

Academic literature on the topic 'Designers'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Designers"

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Dykhnych, Liudmyla. "Visual Art as a Means of Presenting a Fashion Designer’s Creative Idea." Culture and Arts in the Modern World, no. 24 (September 22, 2023): 213–26. http://dx.doi.org/10.31866/2410-1915.24.2023.287699.

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The aim of the article is to identify the types and functions of fashion graphics as a means of visualising the ideas and concepts of a fashion designer. Results. The role of visual art in expressing the idea of a fashion designer is characterised; based on the systematisation and analysis of examples of fashion graphics that visualise clothing models of such designers as K. Dior, Y. Saint Laurent, H. Mepen, V. Nesmiian, A. Tan, V. Anisimov, as well as the author’s graphics of K. Lagerfeld, the following types of using visual art in presenting designer’s ideas are identified 1) fashion illustration in suit presentation; 2) Illustrated fashion magazines; 3) fashion illustration as a design element of the designer’s publications and fashion publications; 4) sketch of the product; 5) generalised (conceptual) image of the collection; 6) narrative graphics. The research methods include analysis and synthesis, historical and chronological, comparative, figurative and stylistic analysis, selective method, and systematisation of visual information. Scientific novelty. For the first time, in the context of the history and contemporary development of the fashion system, examples of fashion illustrations, sketches, and drawings by foreign and Ukrainian artists and designers are considered in the context of the designer’s communication with the target audience; for the first time, models of Ukrainian designers from fashion magazines of the 1960s–1970s, as well as models from collections of contemporary Ukrainian designers, are introduced into scientific circulation. Conclusions. After analysing the goals of designers and the impact of visual works on promoting fashion and fixing the suit images in the imagination of the consumer audience, the following functions of fashion graphics are identified: communicative (by presenting a sketch or illustration, the designer establishes or reinforces a connection with the target audience); advertising (by placing a sketch, illustration or author’s narrative graphics in the information space — printed and online sources, the designer promotes a new product or creates cult features for an existing product); correspondence of the suit to a work of art (using visual means, the designer brings closer or equates the process of creating a suit with the creation of a work of visual art). The practical significance lies in identifying the functions of visual works that present the ideas of designers. The artistic work of artists and designers, which reveals the uniqueness of the created clothing examples, can still be used by designers today, both in the design process and as analogues of advertising and communication tools.
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Zhang, Lei, Shoutian Shao, Suxin Chen, Xinyu Li, Rui Jiang, and Ziqi Li. "Individualized and accurate eco-design knowledge push for designers: a CAD-based feedback knowledge push method for the eco-design." Concurrent Engineering 29, no. 2 (January 24, 2021): 153–68. http://dx.doi.org/10.1177/1063293x20985539.

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In the conceptual design phase of eco-products, the evaluation of products eco-design is often considered by designers after determining the design scheme. In order to improve the eco-design efficiency, a CAD-based feedback knowledge push method was proposed to meet the designer’s eco-design knowledge requirements. Combine with the designer knowledge background, classified eco-design knowledge, and decomposed design tasks, eco-design knowledge requirements of designers can be obtained. Based on the cosine similarity algorithm of the knowledge vector space model (VSM), the knowledge requirements of the designer and the knowledge in the knowledge database are matched, and the eco-knowledge is actively pushed to the designer. The feedback and evaluation of designers on the initial push of knowledge was recorded by the system. When the designer is assigned relevant eco-design tasks again, the system conducts secondary filtering of eco-design knowledge through previous feedback records and pushes the filtered knowledge to designers, so as to achieve accurate feedback knowledge push. A CAD-based eco-design knowledge push prototype system for automotive products is developed. The eco-design of the front-end module of the automotive is used as an example to verify the effectiveness of the above method.
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Luo, Shijian, Yufei Zhang, Jie Zhang, and Junheng Xu. "A User Biology Preference Prediction Model Based on the Perceptual Evaluations of Designers for Biologically Inspired Design." Symmetry 12, no. 11 (November 12, 2020): 1860. http://dx.doi.org/10.3390/sym12111860.

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Biology provides a rich and novel source of inspiration for product design. An increasing number of industrial designers are gaining inspiration from nature, producing creative products by extracting, classifying, and reconstructing biological features. However, the current process of gaining biological inspiration is still limited by the prior knowledge and experience of designers, so it is necessary to investigate the designer’s perception of biological features. Herein, we investigate designer perceptions of bionic object features based on Kansei engineering, achieving a highly comprehensive structured expression of biological features forming five dimensions—Overall Feeling, Ability and Trait, Color and Texture, Apparent Tactile Sensation, and Structural Features—using factor analysis. Further, producing creative design solutions with a biologically inspired design (BID) has a risk of failing to meet user preferences and market needs. A user preference prediction support tool may address this bottleneck. We examine user preference by questionnaire and explore its association with the perceptual evaluation of designers, obtaining a user preference prediction model by conducting multiple linear regression analysis. This provides a statistical model for identifying the relative weighting of the perception dimensions of each designer in the user preference for an animal, giving the degree of contribution to the user preference. The experiment results show that the dimension “Overall Feeling” of the designer perception is positively correlated with the “like” level of the user preference and negatively correlated with the “dislike” level of the user preference, indicating that this prediction model bridges the gap caused by the asymmetry between designers and users by matching the designer perception and user preference. To a certain extent, this research solves the problems associated with the cognitive limitations of designers and the differences between designers and users, facilitating the use of biological features in product design and thereby enhancing the market importance of BID schemes.
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Stierand, Marc, Jérôme Heelein, and Charalampos Mainemelis. "A Designer on Designing: A Conversation with Johannes Torpe." Journal of Management Inquiry 29, no. 3 (October 18, 2019): 350–59. http://dx.doi.org/10.1177/1056492619882090.

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Organizational research has explored how design thinking can fulfill the human needs of customers or users, but it has largely overlooked how it is shaped by the designer’s subjective experiences. In an attempt to stimulate greater scholarly interest in exploring the designer behind the process of design thinking, we integrate materials from three interviews conducted with the renowned designer Johannes Torpe. Throughout the interviews, Johannes stresses the interpersonal aspects of his work, especially how he interacts with customers and how he fosters (and also controls) the creativity of the other designers that he employs in his studio. As our conversation unfolds, Johannes responds to our questions as an evolving creative person, a celebrated designer, a manager of a creative collective of designers, a top designer employed by a large corporation, and a business owner of a celebrated Danish design studio.
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Kang, Bum-Kyu. "Recognition of Designer's role between Designers and Non-designers." International Journal of Contents 7, no. 4 (December 28, 2011): 84–89. http://dx.doi.org/10.5392/ijoc.2011.7.4.084.

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Silva, Carlos Viana da, Vinicius Gadis Ribeiro, and André Da Silveira. "CAUSA & EFEITO: OBJETO DE APRENDIZAGEM PARA AUXÍLIO À ELICIDAÇÃO DE REQUISITOS DE SUSTENTABILIDADE." MIX Sustentável 1, no. 2 (November 11, 2015): 116–25. http://dx.doi.org/10.29183/2447-3073.mix2015.v1.n2.116-125.

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O presente artigo é o resultado de estudos e considerações sobre a prática profissional do designer de produto orientado pelos parâmetros do desenvolvimento sustentável. Como prova de conceito, propõe-se o desenvolvimento de um objeto de aprendizagem, expresso através de um processo em uma ferramenta lúdica — um jogo — que auxilie designers e projetistas a considerarem requisitos sustentáveis durante a fase de projetação. Essa pesquisa investiga a relação do designer de produto com a problemática relacionando as dimensões ecológica, social e econômica. Com este estudo, percebe-se que somente a educação para a sustentabilidade pode assegurar que certos paradigmas mercadoló­gicos, tais como o crescimento quantitativo contínuo possam ser superados. ABSTRACT This paper is the result of studies and considerations of professional practice of product designer guided by sustainable development parameters. As proof of concept, an object of learning was developed expressed through a process in a playful tool —a game — that helps designers and designers to consider sustainable requirements during the design stage. This resear­ch investigates the product designer's relationship with the problems relating the ecological, social and economic dimensions. With this study, it is clear that only the education for sustainability can ensure that certain market paradigms, such as the con­tinued quantitative growth can be overcome.
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Xingyin, Liu, and Dong Wenying. "Simple Analysis on the Cause of the Development of Furniture Designer’s Brand Industry -- Take MORELESS and OPAL for Example." MATEC Web of Conferences 176 (2018): 02001. http://dx.doi.org/10.1051/matecconf/201817602001.

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This article analyzes the characteristics of different types of furniture brands based on ordinary brands and designer brands. We also investigates and studies the causes of the development and growth of designer brands, and further combines the successful cases of domestic excellent furniture designer brands to summarize the specific reasons for the formation of the brand of furniture designers, design principles and methods. This paper discusses the development direction, design principles and methods of furniture designer brand, and provides references for the comprehensive exploration of furniture designer's brand development.
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Hordiichuk, Yaroslav. "Communicative Images of Graphic Designers on Instagram Pages." Demiurge: Ideas, Technologies, Perspectives of Design 4, no. 1 (July 2, 2021): 21–35. http://dx.doi.org/10.31866/2617-7951.4.1.2021.236117.

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The purpose of the article is to identify the features of successful graphic designers of the 21st-century positioning on the pages of the so­cial network Instagram, highlight the directions of communication strategies and approaches to their visualization. Research methodolo­gy. To carry out this study, we used the empirical method of collecting factual material, analysis, comparison, and generalization methods. The principal source of analytics is designers’ Insta­gram pages as factual material. The scientific novelty of the study consists in a comparative analysis of graphic designers’ communicative images on Instagram pages, based on which, for the first time, an attempt was made to sys­tematize communicative contact strategies with subscribers. There are four possible ap­proaches to creating the communicative image of the designer, which, however, do not exhaust the entire range of options. Conclusions. The communicative image use for communication on social networking pages is a reasonable and effective method of a designer’s professional development, as the number of subscribers on such pages is much bigger and reaches several hundred thousand active subscribers. The design of social communication by de­signers with their audience is contained in the planning of the strategy of the communication process as a whole, the tactics of individual com­munication acts (posts), the allocation of several types of content, and their rhythmic alternation and design. The design of social communication by designers with their audience is contained in planning the communication process strategy as a whole, the individual communication acts (posts) tactics, the allocation of several types of content, and their rhythmic alternation and de­sign. These components combination increases the effectiveness of the designer’s communi­cative image, presented on the social network pages. This, in turn, together with the constant contact with subscribers, ensures the popularity of the designer, increases the range of potential customers and promotes professional growth.
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Guo, You Nan, and Xiao Wei Xu. "Talking Designer's Emotional State in the Fashion Creation." Advanced Materials Research 796 (September 2013): 538–41. http://dx.doi.org/10.4028/www.scientific.net/amr.796.538.

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Designer's emotional state in the fashion creation process is the subject of long-term concern. This article attempts to clothing fabrics, clothing brand fashion and clothing design goal level, attempts to explore how designers will infuse art and technology into the fabric material and fashion design, turning it into a designer emotion materialized form..
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Liu, Xiaoxiao, Yukari Nagai, Kumi Yabuuchi, and Xiuxia Cui. "USE INTERACTIVE MEDIA TO ENHANCE CREATIVITY OF DESIGNERS BY STIMULATING THE SENSES IN THE CONTEXT OF ART DESIGN EDUCATION." Proceedings of the Design Society 1 (July 27, 2021): 3319–28. http://dx.doi.org/10.1017/pds.2021.593.

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AbstractCreativity is very important for designers, and methods to stimulate designers' creativity are the long-term focus of art design education. The senses are an important channel for designers to receive information and define core issues. Stimulating the designer's senses can help enhance their perception and creativity, and is of great benefit for the quality and efficiency of the design outcome. Today's interactive media technology provides more possibilities and advantages for designers' perception and sensation. The purpose of this research is to explore a way to stimulate the designer's senses through the use of interactive media, thereby improving the designer's design thinking and creativity, and providing designers with innovative design support. By means of interactive ground projection and experiments, and discussion of the advantages of interactive media to stimulate designers' senses, this research proposes innovations in art design educational media, which is valuable for the training and learning of designers and the development of virtual education environment in the future.
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Dissertations / Theses on the topic "Designers"

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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.

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Rees, Myra Pierce 1946. "Hohokam pottery designs for use by contemporary textile and garment designers." Thesis, The University of Arizona, 1991. http://hdl.handle.net/10150/277879.

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This study was an analysis for design of Hohokam Indian motifs and elements found in decorated pottery. The most common motifs were analyzed and interpreted for use by contemporary textile and garment designers using the capabilities of an eight-harness floor loom, an electronic 6000 Passap knitting machine, and surface design techniques of stencilling, silk painting, and applique. The weaving techniques were restricted to loom-controlled techniques using color-and-weave effect. Every time an element from the past was incorporated into a contemporary setting, something new was learned from the historic material. The purpose of this research was to expose designers to a "new" source of multiple motifs which could provide stimulating and thought-provoking ideas for use in contemporary textiles and garments.
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Balkarey, A. S. "Myths about interior designers." Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/14389.

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Andersson, Therese, and Jong Jonathan de. "Hur designar man en e-handelssite: : är designers och dokumenterad forskning överens?" Thesis, Högskolan Väst, Avd för medier och design, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-4451.

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This paper examines and summarizes rules, guidelines and methods for how an e-commerce site should be designed, which elements it should contain and where these should be placed. Our approach consists of two phases. First we comprise relevant research within the target area. This is then divided into logical themes and is used as a foundation for an interview guide, which will be used in the second phase. After this, in the second phase, we conduct qualitative interviews with designers that are actively working with design of e--‐commerce  sites. These can be part of a larger team or work more or less alone, i.e. the participants are not limited to being part of a larger or smaller company or project. The purpose of this is to establish if the relevant research is coherent with how designers work within the area of  Västra Götaland. The result will also serve as a kind of general template, which can be used as support or inspiration while creating an e--‐commerce site, supported by the research material as well as the interviews. We concluded that the research and the way the designers work were mainly coherent. The difference between the research and the result of the interviews were mainly that the people in the business develop more methods and guidelines in a faster pace than the research can keep up with. This is because they are actively developing the business as part of the design community.
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Pei, Eujin. "Building a common language of design representations for industrial designers & engineering designers." Thesis, Loughborough University, 2009. https://dspace.lboro.ac.uk/2134/5432.

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To achieve success in today's competitive environment, companies are realising the importance of design collaboration during new product development. The aim of this research was to develop a collaborative design tool for use by industrial designers and engineering designers. To achieve this, a literature review was undertaken to understand the working relationship among the two disciplines during new product development. Following this, empirical research through interviews and observations outlined three problem areas: conflicts in values and principles; differences in education; and differences in representational tools and methods. The latter was chosen because the problem area of design representations was found to be highly significant. In looking at bridging differences in design representations, a taxonomy comprising 35 forms of sketches, drawings, models and prototypes was generated. A second stage of empirical research was conducted to establish the popularity of each representation and the type of design / technical information that industrial designers and engineering designers communicated with. The information was indexed into CoLab cards that would enable the two disciplines to gain joint understanding and create shared knowledge when using visual design representations. Following a pilot evaluation and minor modifications, student and practitioner interviews with a case study were employed to assess the significance of CoLab. The findings revealed that 82% of the interviewees felt CoLab to have built a common ground through the use of visual design representations. 75% gave a positive rating when asked if the system would enhance collaboration and 91% gave the physical cards a positive response as it provided instant access to information and allowed easy sharing. This thesis is a step towards a greater understanding of collaboration between industrial designers and engineering designers. The use of the CoLab system provides the prospect of achieving a common ground between the two disciplines.
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Ward, Stephen James Safety Science Faculty of Science UNSW. "Designers and users: a survey of user research methods employed by Australian industrial designers." Awarded by:University of New South Wales. School of Safety Science, 2006. http://handle.unsw.edu.au/1959.4/26206.

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Designers of mass produced products require knowledge about anticipated users of their designs in order to make reasonable predictions about how users will interact with a product and how that product will satisfy users??? needs. However, there is little reported study of how industrial designers get the information they need about users, or to what extent they adapt and use information available from fields of study such as ergonomics or market research. Study in this area is important, in order to have a knowledge base that will support development of methods and data sources that may help designers and others bring a better understanding of users into the product design process. In this study, group interviews and a questionnaire were used to ask industrial designers how and where they get information about users, and about their perceptions of the role and value of user research in design. The group discussions involved a total of 45 participants from nine companies in Sydney. A questionnaire that followed was completed by 35 respondents representing at least 15 different design consultancy companies throughout Australia. Results showed that the designers surveyed used many of the methods promoted in the literature of ergonomics, design and market research, but often in a cut-down form. For example, there was widespread use of work colleagues and family members as test subjects. Designers used quantitative information where it was applicable but often sought qualitative information that would provide insights or enable them to develop empathic understanding of the users. Time and cost constraints limited the extent to which designers could engage in user research activity but there was general agreement that user research was a necessary part of design and that in the future designers will require a stronger capability in user research. Further research could focus on the evaluation of user research methods used in design and the potential for further collaboration between designers and other specialists in this area.
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Eti, Melek Erkarslan Önder. "A critical analysis of the role of women designers in the progress of industrial product design in Turkey since the 80S/." [s.l.]: [s.n.], 2005. http://library.iyte.edu.tr/tezler/master/endustriurunleritasarimi/T000407.pdf.

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Khalaj, Javad. "A Comparative Analysis Of Designers." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/3/12610977/index.pdf.

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This study discusses product form perception within the context of communication. The emphasis is on meanings attributed to product visual form, and more specifically the correspondence between messages designers intend users to receive and the messages that users actually receive. Four groupings of appearance-based product attributes are identified
1) social values and positions
2) usability and interaction
3) visual qualities
and 4) personality characteristics. The study was driven by the main research question
&lsquo
do users perceive the same meaning from product appearance as designers intended, or is there a level of mismatch?&rsquo
. An empirical study was conducted using newly-designed Turkish seating furniture to investigate the relationship between designers&rsquo
and users&rsquo
ascription of meanings to products based on appearance, as a means to validate or refute opposing answers to the main research question. The results of the study reveal that there exist some considerable differences between designers&rsquo
intended messages and users&rsquo
perceived messages decoded from product visual form. The study suggests that designers perform less well at communicating product meanings related to two of the four groupings: usability and interaction, and personality characteristics. Accordingly, these are identified as priority areas for improved message transmission.
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Hunt, A. A. "A program generator for designers." Thesis, University of Canterbury. Mechanical Engineering, 1988. http://hdl.handle.net/10092/6412.

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A computer-aided design package has been developed which will enable an engineering designer without conventional computer programming skills to generate and run a program to be used as a tool in solving a design problem. In contrast to traditional programs the design system is based on decision tables, which allow improved documentation, communication and modification of design logic. Decision tables have previously been used as a programming medium either as input to a specialised processor for conversion into conventional program code, or retained as data to be scanned by a general purpose processor for checking design constraints. The current package advances the use of decision tables as data inputs by automating the preparation of decision table-based application programs. The resulting general purpose processor is menu-driven and application independent. All program information, including equations, is stored and used by the system as data. The Program Generator incorporates both system and design parameter data manipulation features to maximise the flexibility a designer is given to control the program logic as well as parameter values used to reach a solution to a design problem. A worked example on beam bending and listings of all programs are included.
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PEREIRA, MARCELO FERNANDES. "DESIGNERS AND DIGITAL INFORMATION MANAGEMENT." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=7237@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Através do estudo da evolução dos computadores e de suas interfaces, esta pesquisa procura levantar as origens da interface gráfica e os motivos pelos quais elas pouco evoluíram nos mais de vinte anos desde a sua introdução. Em uma segunda etapa, através da análise de 10 entrevistas, são discutidas as técnicas que alguns profissionais de áreas gráficas aplicam para lidar com a informação digital em suas máquinas, como eles driblam alguns dos limites impostos pela interface gráfica e como eles alteram sua forma de trabalhar quando encontram limites que não podem ser transpostos. Os resultados apresentados poderão servir de subsídios para o desenvolvimento de futuras interfaces melhor adequadas às atividades dos profissionais que vivem da manipulação de imagens.
Through the study of the evolution of computers and of their interfaces, this research seeks to survey the origins of the graphic interface and the motives why they evolved so little in more than twenty years since its introduction. In a second stage, through the analysis of 10 interviews, the techniques used by some professionals of graphic areas to deal with digital information in their machines are discussed - how they get round some of the limits imposed by the graphic interface and how they alter their way of working when they find limits which cannot be transposed. The results presented can serve as subsidies to the development of future interfaces best adequate to the activities of the professionals who live off the manipulation of images.
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Books on the topic "Designers"

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Purojekuto, Bādohausu. Museum designers-designed birdhouses. Ōsaka-shi: Tokutei Hi Eiri Katsudō Hōjin (NPO) Bādohausu Purojekuto, 2005.

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1965-, Martino Carlo, ed. I designer del bagno: Bathroom designers. Macerata: Quodlibet, 2012.

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Frankenberger, Eckart, Herbert Birkhofer, and Petra Badke-Schaub, eds. Designers. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-1268-6.

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Sue, Goodman, ed. Designer primer: For architects, graphic designers, & artists. New York: Scribner, 1988.

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Porter, Tom. Designer primer: For architects, graphic designers, & artists. London: Butterworth Architecture, 1989.

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Porter, Tom. Designer primer: For architects, graphic designers, & artists. New York: Scribner, 1988.

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Cynthia, Fleury, ed. Ron Arad architecture: Projects & realisations. Paris: Arums Galerie, 2009.

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Mark, Luscombe-Whyte, ed. Designers' houses. New York: Vendome Press, 2001.

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Sara, Pendergast, ed. Contemporary designers. 3rd ed. Detroit: St. James Press, 1997.

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Haley Sharpe Associates and Design Limited. Haleysharpe designers. Leicester: Haley Sharpe Associates and Design Limited, 1997.

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Book chapters on the topic "Designers"

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Dörner, Dietrich. "Thought and Design - Research Strategies, Single-case Approach and Methods of Validation." In Designers, 3–11. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-1268-6_1.

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Frankenberger, Eckart, Herbert Birkhofer, and Petra Badke-Schaub. "Résumé of Section II." In Designers, 109. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-1268-6_10.

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Lloyd, Peter. "Storytelling and Metaphor in the Engineering Design Process." In Designers, 113–23. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-1268-6_11.

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Leifer, Larry, and Ade Mabogunje. "A Framework for Instrumenting Design Teams." In Designers, 124–36. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-1268-6_12.

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Hales, Crispin. "Forensic Analysis of the Engineering Design Process." In Designers, 137–48. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-1268-6_13.

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Frankenberger, Eckart, and Petra Badke-Schaub. "Integration of Group, Individual and External Influences in the Design Process." In Designers, 149–64. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-1268-6_14.

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Frankenberger, Eckart, Herbert Birkhofer, and Petra Badke-Schaub. "Résumé of Section III." In Designers, 165. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-1268-6_15.

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Lindemann, Udo, Ralf Kleedörfer, and Manuel Gerst. "The Development Department and Engineering Change Management." In Designers, 169–82. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-1268-6_16.

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Andreasen, Mogens Myrup, and Lars Hein. "Innovating the Product Development Organisation." In Designers, 183–95. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-1268-6_17.

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Ottosson, Stig. "Planetary Organisation Offers Advantages in Project Work." In Designers, 196–201. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-1268-6_18.

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Conference papers on the topic "Designers"

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J. York, Eric, and Johndan Johnson-Eilola. "Enduring Designs, Transient Designers." In SIGDOC '20: The 38th ACM International Conference on Design of Communication. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3380851.3416783.

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Choi, Young Sang, Ji Soo Yi, Chris M. Law, and Julie A. Jacko. "Are "universal design resources" designed for designers?" In the 8th international ACM SIGACCESS conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1168987.1169003.

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Law, Chris M., Ji Soo Yi, Young Sang Choi, and Julie A. Jacko. "Are disability-access guidelines designed for designers?" In the 20th conference of the computer-human interaction special interest group (CHISIG) of Australia. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1228175.1228244.

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Balling, Richard. "Giving Designers a Choice of Optimal Designs." In 17th Analysis and Computation Specialty Conferenc at Structures 2006. Reston, VA: American Society of Civil Engineers, 2006. http://dx.doi.org/10.1061/40878(202)43.

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Bach, Paula M., Robert DeLine, and John M. Carroll. "Designers wanted." In the SIGCHI Conference. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1518701.1518852.

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"Designers' forum." In Asia and South Pacific Conference on Design Automation, 2006. IEEE, 2006. http://dx.doi.org/10.1109/aspdac.2006.1594625.

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"Designers' Forum." In 2009 Asia and South Pacific Design Automation Conference. IEEE, 2009. http://dx.doi.org/10.1109/aspdac.2009.4796421.

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"Designers' Forum." In 2007 Asia and South Pacific Design Automation Conference. IEEE, 2007. http://dx.doi.org/10.1109/aspdac.2007.357771.

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Uzor, Stephen, Lynne Baillie, and Dawn Skelton. "Senior designers." In the 2012 ACM annual conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2207676.2208568.

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Vadeeva, M. O. "ANEWREADINGOFTHETRADITIONALCOSTUMEBYYOUNG DESIGNERS." In Построение систем управления устойчивым развитием территории: аспекты цифровизации. Иваново: Ивановский государственный политехнический университет, 2021. http://dx.doi.org/10.47367/978-5-88954-515-6_2021_1_2.

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Reports on the topic "Designers"

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Jablon, Sara. What do fashion designers look like? Comparing representations of stock photograph designers and professional designers. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-1166.

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Zhang, Ling, Brent Holland, and Eulanda A. Sanders. Collaborative Wearable Art Design Process for Wearable Art Designers, Artists, and Industrial Designers. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1756.

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Bormann, C., G. Fairhurst, D. Grossman, R. Ludwig, J. Mahdavi, G. Montenegro, J. Touch, and L. Wood. Advice for Internet Subnetwork Designers. Edited by P. Karn. RFC Editor, July 2004. http://dx.doi.org/10.17487/rfc3819.

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Cooper, Liz. Designers as sustainability champions: a discursive analysis of product designers claiming a role of ‘pushing’ for sustainability. University of Limerick, 2021. http://dx.doi.org/10.31880/10344/10174.

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Eggert, L., and G. Fairhurst. Unicast UDP Usage Guidelines for Application Designers. RFC Editor, November 2008. http://dx.doi.org/10.17487/rfc5405.

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Min, Seoha, and Jennifer L. Wilson. Exploring entrepreneurial processes of emerging fashion designers. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-444.

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Kennedy Benson, Samii, and Eulanda Sanders. Where Are All The Black Female Fashion Designers? Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-316.

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Томашевський, Володимир Володимирович, Лілія Вікторівна Саприкіна, and Анна Петрівна Ємельова. Formation of Future Designers’ Aesthetic Culture as a Pedagogical Problem. КДПУ, 2021. http://dx.doi.org/10.31812/123456789/4989.

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Abstract:
The results of theoretical research of the process of formation of future designers’ aesthetic culture are outlined in the article. A modern state of problem status of the formation of future designers’ aesthetic culture is analyzed in scientific and pedagogical discourse. The theoretical analysis of the formation process of future designers’ aesthetic culture as a pedagogical problem is made. The formation process of future designers’ aesthetic culture as self-organizing system is characterized. The principles which characterize the role of vocational education in the formation of aesthetic culture of future specialists in the sphere of design are determined. Scientific and pedagogical support of the formation process of future designers’ aesthetic culture.
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Trachte, Sophie, and André De Herde. Sustainable Refurbishments, School Buildings: A Guide for Designers and Planners. IEA Solar Heating and Cooling Programme, January 2015. http://dx.doi.org/10.18777/ieashc-task47-2015-0001.

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Fairhurst, G., and L. Wood. Advice to link designers on link Automatic Repeat reQuest (ARQ). RFC Editor, August 2002. http://dx.doi.org/10.17487/rfc3366.

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