Dissertations / Theses: '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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Gunic, Edina. "Designa för webben : designers perspektiv." Thesis, Högskolan i Borås, Institutionen Handels- och IT-högskolan, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-19547.

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Idag erbjuder webben enorma mängder likartade produkter och information vilket har medfört att användarna ställer allt högre krav på webbplatsens innehåll. Om webbplatsen upplevs som förvirrande, om det tar tid att hitta information eller utföra en viss handling – fortsätter användarna vidare till nästa webbplats. Resultatet blir att företagen som vill synas på webben måste investera allt större resurser för att stärka sin position på marknaden. Resurssatsningar kan ha betydande påverkan för företagets ekonomi. För att kunna utveckla användarvänliga och användbara system, använder sig designern av användarcentrerad systemdesign, en process som fokuserar på användare och användbarhet genom hela utvecklingen. Den här studien syftar på att skapa förståelse för vilka förutsättningar som behövs vid utformningen av webbplatser samt vilka kunskaper designern bör ha för att lyckas i sitt arbete. Den teoretiska studien har gett mig större förståelse för olika begrepp inom ämnet samt en uppfattning om vilka rekommendationer och uppfattningar som råder kring utvecklingen av webbplatser. Den empiriska undersökningen bör ge en förevisning om vilka förutsättningar anses vara betydande för webbplatsens utformning utifrån en designers perspektiv. De slutsatser som jag har kommit fram till, härleds från analysen och den empiriska undersökningen. Lyckade webbplatser är en blandning av tre typer av design: grafisk, informations- och interaktionsdesign. Fokus kan läggas på en av dem beroende på vad webbplatsen ska erbjuda användarna, men det viktiga är att samspelet mellan de olika designtyperna hjälper användarna att hitta det som de behöver. För att överleva på webben, behöver företag hålla sig uppdaterade hela tiden om vad som händer inom området samt vilka nya idéer och lösningar som har kommit fram. Samtidigt bör uppdateringar av webbplatsen ske relativt ofta och baseras på användarnas önskemål, behov och åsikter.

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Vieira, Thaís Letícia Pinto. "Imprinta, uma gráfica para designers." Universidade do Estado do Rio de Janeiro, 2008. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1351.

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Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro
A presente dissertação tem como objeto de estudo a Gráfica Imprinta, criada a partir de um projeto cuidadosamente elaborado por seus mentores Aloísio Magalhães e Arnaud Torres, com o objetivo de atender, principalmente, aos designers gráficos do Rio de Janeiro. Enfocando o período de 1969 a 1989, que compreende a trajetória da Empresa desde sua concepção até a mudança de administração, o trabalho se insere na história da evolução da Indústria Gráfica no Rio de Janeiro. Aborda o período que se inicia com a formação dos alunos da Escola Superior de Desenho Industrial, ESDI UERJ, em 1963, até a década de 1980, com a consolidação da tecnologia offset, como principal forma de impressão em nosso país. Partiu-se da premissa de que a conjuntura tecnológica pode influenciar no processo de desenvolvimento de um impresso e, também, de que os designers podem interceder no processo evolutivo de uma gráfica. Numa primeira fase foi feita uma pesquisa exploratória na qual entramos em contato com ex-alunos formados pela ESDI, durante a primeira década de seu funcionamento, que apontaram a Gráfica Imprinta como referência de serviços diferenciados. Passando esta, a ser o foco da pesquisa, abordamos seu idealizador, Arnaud Torres, bem como, mais sete designers e dois antigos funcionários. Os profissionais que participaram da pesquisa, nos forneceram dados por meio de entrevistas não estruturadas, que ocorreram entre junho e agosto de 2007, foram gravadas e posteriormente transcritas e analisadas. Elaboramos um acervo iconográfico que se refere, tanto à história da Imprinta como também, documenta parte da produção de alguns designers e a indústria gráfica da época. Consideramos que a história da Gráfica Imprinta demonstra que, naquele momento de transição da tecnologia, a disponibilidade nela encontrada pelos designers para sua experimentação no campo da produção e a troca de conhecimento que ali se verificou, produziram crescimento em termos técnicos e teóricos para todos os envolvidos, bem como, incremento na qualidade dos impressos ali executados e otimização de projetos gráficos futuros
This dissertation has a printshop named Imprinta as the studys object. Imprinta was created from a carefully elaborated project, whose authors are Aloisio Magalhaes and Arnaud Torres, and that had the goal of offering services, mainly, to Rio de Janeiros graphical designers. Focusing on the period from 1969 to 1989 which encompasses the story of the company since its inception to the moment a new administration took over, this work describes part of the history of the printing industry in Rio de Janeiro. It addresses the period that starts in 1963 with the formation of new students of the Superior School of Industrial Design (Escola Superior de Desenho Industrial, ESDI) that belongs to the State University of Rio de Janeiro (Universidade Estatual do Rio de Janeiro, UERJ) and ends in the 1980s with the consolidation of Offset as the main printing technology in Brazil. We started by assuming that the technological environment can influence the process of development of printed matter and also that designers can impact a print shops evolutionary process. In the first phase of this work, an investigative research where we contacted former ESDI students that graduated during ESDIs first decade of existence, pointed us to Imprinta as a reference for differentiated printing services. With Imprinta as the focus of our research, we contacted Arnaud Torres, its mentor, seven additional designers and also two former employees of the company. From June to August of 2007, the research participants, by means of nonstructured interviews, provided information that were recorder and then transcribed and analyzed. We were able to build a collection of iconographic items that relates to both the history of Imprinta and also documents part of the production of some designers and the printing industry at the time. We believe that Imprintas story shows that, at that moment of technology transition, the availability Imprinta provided to designers for their experimentation in the field of production and exchange of knowledge, has generated technical and theoretical growth for all involved, an increase the quality of the printing services run at Imprinta and the optimization of future printing projects

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Нацик, В. Д. "The best modern interior designers." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10738.

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Kornieieva, I. "Presentation training for future designers." Thesis, Київський національний університет технологій та дизайну, 2020. https://er.knutd.edu.ua/handle/123456789/16666.

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Denison, E. Scott. "When Designers Ask, "What If?"." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366115280.

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Anderson, Andre. "Psychological Lighting Guidelines for Designers." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1460652490.

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Häggman, Anders (Anders Kristian). "Design outcomes : how designers and tools influence design quality and creativity : a study of individual designers." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/109025.

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Thesis: Ph. D., Massachusetts Institute of Technology, Department of Mechanical Engineering, 2017.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages [111]-115).
The design process can be seen as a complex, ambiguous, ill-defined problem with no clearly correct answer. At the same time, the early stages of the design process carry importance with regard to design outcomes, sometimes with far reaching consequences. With the proliferation of computer modelling tools, designers are moving away from traditional design tools such as sketching, and begin designing in CAD earlier than before. This thesis focuses on the early stages of the design process, and on how selected design tools - sketching, foam prototyping, and computer modelling - influence the design outcomes of an individual designer in the early conceptual phases of the process. Through the use of controlled design experiments with experienced design practitioners, this thesis seeks to examine how different design tools impact the design outcomes. Analysis of video and audio recordings, interviews, and talkaloud protocols are used to gain insights, and investigate how different tools impact the design outcomes and decision making of individual designers in the early stages of the design process. As an example, does a designer who creates foam models - thereby receiving tactile feedback as they are creating the model - consider ergonomics more than a designer working in CAD? Results suggest clear differences in quantity and quality of concepts depending on which design tool was used, as well as between designers themselves, highlighting the importance of using an appropriate design process and set of tools in the early conceptual stages of a design task.
by Anders Häggman.
Ph. D.

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Laporte, de Alencar Adailton. "Designers de Mobiliário: um estudo de caso sobre o processo de configuração dos designers contemporâneos brasileiros." Universidade Federal de Pernambuco, 2011. https://repositorio.ufpe.br/handle/123456789/3548.

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Made available in DSpace on 2014-06-12T16:31:54Z (GMT). No. of bitstreams: 2 arquivo7088_1.pdf: 2661673 bytes, checksum: c52bb93c46dfef8d0a4173754394ae8d (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2011
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Essa pesquisa discursa a relação entre processo, metodologia de design e mobiliário contemporâneo brasileiro, e tem como objetivo geral analisar o processo de configuração de artefatos dos designers contemporâneos brasileiros de mobiliário, baseado no contexto de suas obras e identificando suas técnicas de criação. A abordagem da pesquisa foi conduzida pelo método dialético enquanto que para os procedimentos foram utilizados os métodos histórico e comparativo. A dissertação está dividida basicamente em duas partes: Fundamentação teórica e pesquisa. A primeira consiste em pesquisa bibliográfica baseada nos três elementos da pesquisa: Breve história do móvel no Brasil, Cultura material e imaterial brasileira e Processos de design e metodologias. A segunda parte, descreve o processo da pesquisa incluindo o levantamento da obra de designers contemporâneos em livros, revistas, websites e periódicos especializados, além das entrevistas, principal fonte de primeira mão.Como resultado, foram geradas categorias que apontam para soluções comuns ao processo de design na contemporaneidade

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Garanty, Sara, and Sunna Wadström. "Identitesskapande med hjälp av externa designers." Thesis, Södertörn University College, School of Business Studies, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-273.

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Outsourcing är ett begrepp som blir allt vanligare i företag. Ett vanligt argument för att man väljer att outsourca vissa delar av verksamheten, är att det ger en möjlighet till att fokusera på kärnverksamheten och därmed uppnå större konkurrenskraft. Studien syftar till att undersöka hur externa designers kan skapa en visuell identitet på produkten, samt vilka faktorer är viktiga då externa designers ersätter en in-house designavdelning. En kvalitativ fallstudie har genomförts på DUKA, Axcent of Scandinavia och Gant. I dessa fall har alla på något sätt kontrakterat ut antingen hela eller delar av sin designverksamhet. För att på ett framgångsrikt sätt kunna besvara det angivna syftet upprättades en teoretisk referensram samt en börmodell för att belysa vilka faktorer som enligt teorin är väsentliga när externa designers ersätter en

in-house designavdelning. Studien har utförts genom intervjuer och enkätundersökningar, där en analys sedan upprättats för att belysa om det finns ett gap mellan vad företaget vill att produkten ska förmedla och kundernas uppfattning om produkten.

Studien visar att en rad faktorer kan urskiljas och att dessa är viktiga när företaget tar in extern designer. Det är viktigt att företaget arbetar integrerat, processtyrt och med långsiktiga relationer för att kunna föra över den tysta kunskapen. Därmed kan designkonsulten skapa en visuell identitet som stämmer överens med företagets profil. Detta gäller dock endast för de kunder som köpt produkten. Problematiken får ett större perspektiv då företaget ska kommunicera till de kunder som sett men ej köpt produkten. Här blir gapet större mellan den visuella identiteten och imagen. Därmed går det dock inte att endast utifrån ett motiv härleda lyckade samarbeten mellan företag och designkonsulter. För att designkonsulten ska skapa en visuell identitet på produkten som stämmer överens med företagets profil bör istället ett flertal andra faktorer beaktas.

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Gruen, John. "Atlas: Practical Computational Literacy for Designers." Research Showcase @ CMU, 2013. http://repository.cmu.edu/theses/49.

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Abstract. “Atlas: Practical Computational Literacy for Designers” is a masters thesis exploring the relationship between design learners and code. In this document, models of learning and motivation serve as a launch point for discussing goals and fears of designers as they relate to code and programming. Using models and interviews with design learners, design professionals, computer scientists, and developers, this document isolates three critical choke points for many design learners relating to code: lack of immediacy and feedback, lack of orientation, and a priori fear of failure. It goes on to explain how how only one of these, lack of immediacy, can be fully compensated for within code-learning contexts, and suggests that the other two originate in contradictions in design learners attitudes about code’s evolving relationship to design practice. The document concludes by introducing Atlas, a system to help designers model real-world computational systems, and better articulate their goals and interests relating to these systems.

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Wilson, Jabe George. "Developing support for artist software designers." Thesis, Open University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393188.

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Lien, Jane. "CreativeConnect: Bridging UX Designers & Startups." Research Showcase @ CMU, 2016. http://repository.cmu.edu/theses/107.

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Startups are an important entity to bring new ideas into the world. However, nine out of ten early stage startups fail. There are many factors contributing to the fate of a startup. Incorporating user experience (UX) design into an early stage startup can increase its chances of success. UX designers have the capability to generate and evaluate ideas, as well as conduct user research, visualize concepts for communication, and create prototypes for user testing. Despite the valuable skills a UX designer might bring to a startup, many startups lack in-depth knowledge about design and access to the design community. A shallow understanding of design leads many startups to only add a designer’s input at the end for visual design. The proposed solution, CreativeConnect, is a platform connecting early stage startups with UX designers. CreativeConnect builds a community of UX designers and provides entrepreneurs and aspiring designers access to that community. Through tools and services provided by the platform, those outside of the design community can gain a deeper understanding of design. By utilizing design beyond visual design, startups can connect with their users on another level and increase their chances of success.

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Popova, K. O. "IT-technologies: specialized programmes for designers." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/8390.

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Zeigler, Patrick Scott. "A solid modeling program for designers." Thesis, Virginia Polytechnic Institute and State University, 1988. http://hdl.handle.net/10919/74531.

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The personal computer is rapidly finding its way into the architectural working environment, at this time however it is used mostly as a drafting tool. This thesis is an investigation into programming that would allow the computer to become a design tool. The issues that are dealt with in this thesis include an easy to use user interface that will not inhibit the design process, and develop a system that will allow design changes and additions to a model in a three dimensional sketch like ability. Three dimensional models of paper, clay, wood and other materials have been used to create designs, and aid the designer in making decisions. This type of medium is difficult to make changes, and because of the scale of such materials it becomes difficult to work on interior spaces, thus more attention is usually placed on the exterior design. With the use of the computer these limitations may be eliminated, and the designer may create a design from any perspective or view point.
Master of Architecture

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Estemyr, Isac, and Johan Fredrik Karén. "Designers bemötande av spelarens förväntningar : Interaktion." Thesis, Blekinge Tekniska Högskola, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-21885.

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Denna artikel undersöker hur förväntningarna hos spelaren inför en upplevelse påverkar dennes subjektiva upplevelse med ett verk. Genom självutvärdering från spelare påvisar undersökningen kopplingen mellan förväntningar och upplevd upplevelse genom den tillhörande gestaltnings designkontext. Denna undersökning ämnar försöka ge en definition på termen “spelarens förväntningar”, samt hur denna term kan användas i spelskapande som ett verktyg för att uppnå förståelse för spelaren. Detta genom ett fokus på de subjektiva politiska-, etiska- och kulturella värderingarna hos spelaren.
This article investigates how expectations among players before an interaction with a game design could influence the subjective experience. This article shows the influence a player’s expectation has on the subjective experience with a specific design context through the prototype accompanied by this paper. This investigation aims to give the term “Player’s Expectation” a definition, as well as a demonstration of using said term with the goal of understanding the individual player. While simultaneously focusing on the player’s political-, ethical- and cultural values.

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Dolan, Timothy D. "Designers' perceptions of interdisciplinary design education." [Johnson City, Tenn. : East Tennessee State University], 2003. http://etd-submit.etsu.edu/etd/theses/available/etd-0710103-093353/unrestricted/DolanT071803f.pdf.

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Thesis (M.S.)--East Tennessee State University, 2003.
Title from electronic submission form. ETSU ETD database URN: etd-0710103-093353. Includes bibliographical references. Also available via Internet at the UMI web site.

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Kickbusch, Steven. "How learning designers work with teachers." Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/235922/1/Steven%2BKickbusch_PhD_Thesis_2022%282%29.pdf.

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This thesis investigates the relationship between learning designers and teachers by addressing the question: How do learning designers work with teachers to develop their capability to design for learning? It explores the role of learning designers as both co-designer and coach through studies into the way that these roles play out during learning design sessions and the methods available for investigating them. It investigates how learning designers facilitate teachers’ development in three ways: design mindshift progression, design for learning skills and processes, and pedagogical skills for enacting learning designs.

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Suel, Bulben Arda. "The Role Of The In-house Industrial Designer In Turkish Industry: Perceptions Of Manufacturers And Designers." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/3/12607776/index.pdf.

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The thesis aims to observe the industrial design profession and to study the role of industrial designer in Turkish industry. Through an electronic questionnaire investigating the manufacturers&rsquo
and designers&rsquo
opinions about how industrial design practice is perceived and how industrial designers are utilized in Turkey it was possible to examine the current roles of industrial designers and to evaluate the status of industrial design profession. The survey also investigated how the industrial designer or the design team is situated in new product development process, and in the corporate hierarchy, what kind of investments have been made in the last decades by manufacturers in Turkey on industrial design.

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Groot, Marjan. "Vrouwen in de vormgeving in Nederland 1880-1940 /." Rotterdam : uitg. 010, 2007. http://catalogue.bnf.fr/ark:/12148/cb410212673.

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Chueng-Nainby, Priscilla. "Conceptualisation, or not? : an ethnographic study in describing early design collaboration between Western designers and Chinese designers." Thesis, Edinburgh Napier University, 2010. http://researchrepository.napier.ac.uk/Output/4416.

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This thesis brings forth a perspective on the need for an isolated conceptual design phase in process models of designing. The perspective is made possible by identifying theories to describe designers in practice. The research sets out to describe concept negotiation during early design collaboration in cross-cultural teams of Western designers and Chinese designers. A series of ethnographic studies and in-depth interviews were carried out in a leading design practice in China on collocated and synchronous teams of Chinese designers from Mainland China, and Western designers from Germany, France and America. Themes were interpreted from the observations and interview through inductive analyses using a grounded theory approach and a hermeneutic circle. Silences among Chinese designers were first observed during design meetings, instead of verbal discussion in an argumentative process as anticipated by the social process of negotiation. Socio-linguistic reasons are understood to be influential but rectifiable by both Western and Chinese designers. Instead, a pattern of their differences in concept articulation became evidential and brought about a subsequent hermeneutic turn to also describe concept generation. The description on their cognitive patterns found dichotomies in creative processes between Western and Chinese designers. Specifically it was found that Chinese designers tend to ideate and Western designers tend to conceptualise. To overcome the dichotomies, the company's elaborate design process with an abstract-concrete progression was simplified into a situationist design cycle in which designing happens in a creative space. A literature review on design processes identified the isolated conceptual design phase as a fixated ideal from 1980s design models. Crucially, the conceptual design phase with an abstract-concrete progression is equated with the early design stage when studying designers in collaboration. Conceptualisation and concepts remain very much influential today. The dichotomies in creative processes between Western designers and Chinese designers brought to light an epistemological comparison between the rationalist and the situationist. The dichotomies were at first posed as difficulties but later overcome by the cross-cultural teams by making their practice flexible without specific design process. Instead of commonly studying designers at the conceptual design stage and analysing design concept, this thesis identified the designers' differences in creative processes as factors to be considered when studying designers in collaboration.

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Walldén, Karim, and Isabella Paulsen. "Mind the Ga p : En studie om samarbetet mellan externa designers och deras uppdragsgivare ur designerns perspektiv." Thesis, Södertörn University College, School of Business Studies, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1567.

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Many design agencies and designers like to see design as a longtime strategic investment for any company. However, knowledge of design as a strategic resource depends on ones professional background and ones knowledge of design as such. It is common today that clients meet design agencies and therefore design with a certain skepticism concerning its role in the company. Within the prodctdevelopment-process the company’s different functions meet. Those are people differing in education, background and knowledge. This fact and the differing visions concerning design lead to gaps within the cooperation between design agency and their client.

This study’s aim was to explain these gaps from the industrial design agency’s perspective.Especially when the cooperation intends to strengthen the client’s brand through product design. We tried to gain insight in the design agencies’ working-process and their attitude towards cooperation and their clients through case studies. Three design agencies in the greater Stockholm area were chosen and interviews were made in November 2007. The collected data was then mainly analyzed through gap analysis. The study shows that the contact between design agency and the client’s management level

plays a vital role in preventing the management gap. This gap is a result of differing visions of the design service and can lead to different levels of ambition between the partners. By taking this gap into consideration early on, the design-agency can access important

information about the client’s company and design can be used efficiently as a strategic resource. In addition to that the project’s brief influences the quality of the cooperation strongly.

The interpretation of brand values to design features is reason for communication-problems between agency and client. Visualizing of ideas, early prototyping and regular meetings can help minimizing this gap. However, a basic condition for successful brand communication is the client’s internal organization. It is vital that Marketing and Research and Development find a common language in order for the design project to become a success.

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Nolan, Cathy. "Tebello Nyokong 'As chemists, we are designers'." A World of Science, 2011. http://hdl.handle.net/10962/d1006272.

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What is the common thread running through denim jeans, cancer and pesticides? None springs to mind, yet when chemist Tebello Nyokong describes her fascinating research, a link begins to emerge: light. A specialist in nanochemistry, Nyokong is using laser in ways that could revolutionize not only the diagnosis and treatment of cancer but also water purification. Born in Lesotho, Tebello Nyokong is Professor of Medicinal Chemistry and Nanotechnology at Rhodes University in South Africa and Director of the Nanotechnology Innovation Centre for Sensors (Mintek). In 2009, she was one of the five Laureates of the 2009 L’Oreal–UNESCO Awards for Women in Science.

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Ng, Kok. "A descriptive design methodology to support designers." Thesis, Cardiff University, 2011. http://orca.cf.ac.uk/13913/.

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An engineering design methodology helps designers to design in a systematic way. Based on the findings from a literature review, engineering design methodologies can be categorised into three types: prescriptive, descriptive and normative. Most established design methodologies are of the prescriptive type and they are based on step-oriented models. However, designers in industry are not found to be too keen on using any of these design methodologies. Among the reasons for not adopting these methodologies are that the prescriptive and normative design methodologies were found to be influencing the design strategies and approaches of a designer while the descriptive types were mostly used to study the design process. Though designers have their own design strategies and approaches, they also need design support. The descriptive type will not interfere with the designer’s strategies but they do suffer from a lack of structure in supporting designers. The goal of this research is to derive a design methodology framework to support designers without influencing their design approaches and strategies. A descriptive design methodology framework to support designers is proposed in this research work. This framework was derived based on four aspects: a descriptive type based on a function-oriented model, the types of support facilities that can be provided, identification of critical design factors as design parameters for the framework and lastly, the adaptation of the Ishikawa fishbone diagram to represent the framework. The novel descriptive design methodology was applied in two case studies: the first with an experienced designer without using any design methods and second, with a novice designer adopting a design approach based on the step-oriented model. The second case study included an additional design tool based on TRIZ to verify the effectiveness of the novel descriptive design methodology working with other tools. The designers’ feedback and observations from these both case studies showed that the novel descriptive design methodology was able to support designers in many ways. In particular it was able to accommodate different design approaches and strategies without influencing the designer, providing both methodology-related and computational-platform related support facilities as well as working in a complementary way with other design tools.

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Wilson, Jase (Jase C. ). "Web 2.0 for urban designers & planners." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/45365.

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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2008.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Includes bibliographical references (p. 101-108).
The author contends that a class of new and emerging participatory Web-based tools, referred to at present as "Web 2.0," can and should be used by urban designers and planners to achieve better results in public participation exercises. A brief overview of the World Wide Web is given-how and why it came to be, where it is now, and a glimpse at where it's headed. Public participation is reviewed-reasons for it, some of the challenges faced in its practice, and a widely regarded, though seldom implemented model for achieving success with it, based on methods set forth by Christopher Alexander. Ways that Web 2.0 tools can be applied to overcome the common challenges, and ways they can be used to facilitate the model for success are identified. To show how such results can be attained in practice, a hypothetical scenario is constructed, in which a fictional planning team uses the full capabilities of Web 2.0 to facilitate public participation while authoring an area plan. The closing chapter identifies a short list of potential barriers to using the Web in public participation, and offers some ideas for dealing with each. The research draws from literature written on public participation in urban design and planning, and literature written about the World Wide Web. Interviews of experts from both areas were conducted. Existing and emerging Web 2.0 tools were analyzed, and a test of concept was constructed to prove it's easy to solicit public feedback using Web 2.0. This thesis lives on the Web, with comments enabled and welcome, at http://nmit.edu/jase/thesis. Keywords Collaborative, Design, Expertise, Internet, Knowledge, Language, Local, Making, Order, Organic, Participation, Participatory, Pattern, Place, Planning, Public, Site, Situated, Urban, Web 2.0, Web, Website, Wiki, World, WWW
by Jase Wilson.
M.C.P.

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Oehme, Astrid. "Innovativität und das geschulte Auge des Designers." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2018. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-232996.

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Automobildesigner sind Gestaltungsexperten. Sie haben unter anderem die Aufgabe, die Identität und damit die Werte einer Marke in Formen zu übersetzen, welche eine Vielzahl von Kunden ansprechen (Giannini & Monti 2003; Karjalainen 2002). Dieser Übersetzungsprozess wird durch das Wissen um die ästhetischen Bedürfnisse der Konsumenten unterstützt, da die Qualität einer Designlösung auch davon beeinflusst ist, inwieweit Kundenbedürfnisse und damit das Designproblem richtig erfasst wurden (Ulrich 2006). Die Definition der Gestaltungsaufgabe kann durch eine erfolgreiche DesignerNutzer-Interaktion und den Aufbau eines gemeinsamen Kontextwissens unterstützt werden (Lee et al. 2009). Hier entsteht jedoch eine Kommunikationslücke: Während des Gestaltungsprozesses findet zwischen Designern und Kunden häufig kein direkter Austausch statt (Zeisel 2006). [... aus dem Text]

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Mason, Jonathan D. "Can contemporary art methods facilitate designers' creativity?" Thesis, Loughborough University, 2007. https://dspace.lboro.ac.uk/2134/33711.

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Art and industrial design share a long history, with some of the first industrial designers originating from the arts. Through the early part of the twentieth century many designers were educated and influenced by artists and on occasions they collaborated in the development of art/design movements. In recent decades this relationship has weakened with artists and industrial designers working towards different goals and paying less attention to how one another work. This research was undertaken to investigate whether contemporary artists were now using methods that may facilitate industrial design.

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Larsson, Jenny. "Kreativ svacka ur en grafisk designers perspektiv." Thesis, Högskolan Dalarna, Grafisk teknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-28442.

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En definition av kreativitet kan beskrivas som en förmåga att hitta lösningar på problem som inte ännu har en färdig lösning. Att tillhandahålla en förmåga är att veta hur du går tillväga och en sådan går att utveckla, öva in och träna upp, det gäller bara att veta hur. Ett problem dyker som oftast upp när en process redan är igång och i ett tillstånd av ovetskap kan det kännas som att ingen lösning duger. En grafisk designer är beroende av sitt kreativa tänkande och utan det skulle dess arbete inte fungera. Frågan är då hur en grafisk designer tar sig ur en kreativ svacka, när förmågan av att finna en lösning inte är tillräcklig och då kreativiteten känns som bortblåst? Hur går man tillväga och finns det några generella metoder att anamma? Detta är frågor som besvarats i mitt arbete utifrån insamlad fakta. Intervjuerna och analyserna som utförts ligger till grund för resultatet och presenteras här i form av 6 olika teman: Träna, Tid, Paus, Hjälp, Kämpa och Självkännedom.
A definition of creativity can be described as an ability to find solutions to problems that do not yet have an answer. To provide an ability is to know how to go about it and such can be developed through practice and training, you only must know how. A problem usually appears while in a process and in a state of ignorance, it may even seem that no solution is good enough. Graphic designers are dependent on their creative thinking and it would be damaging, career wise, if this ability would disappear. The question then is how graphic designers takes themselves out of a creative dip? When the ability to find a solution is not sufficient and when the creative way of thinking is blocked, how do you handle it, when in doubt, and what general proceedings is there to embrace? These are questions answered in my work based on collected facts. The interviews and analyzes carried out from the basis for the results and are presented here in form of 6 different themes: Training, Time, Pause, Help, Fight and Self-awareness.

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Oehme, Astrid. "Innovativität und das geschulte Auge des Designers." TUDpress - Verlag der Wissenschaften GmbH, 2012. https://tud.qucosa.de/id/qucosa%3A30790.

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Automobildesigner sind Gestaltungsexperten. Sie haben unter anderem die Aufgabe, die Identität und damit die Werte einer Marke in Formen zu übersetzen, welche eine Vielzahl von Kunden ansprechen (Giannini & Monti 2003; Karjalainen 2002). Dieser Übersetzungsprozess wird durch das Wissen um die ästhetischen Bedürfnisse der Konsumenten unterstützt, da die Qualität einer Designlösung auch davon beeinflusst ist, inwieweit Kundenbedürfnisse und damit das Designproblem richtig erfasst wurden (Ulrich 2006). Die Definition der Gestaltungsaufgabe kann durch eine erfolgreiche DesignerNutzer-Interaktion und den Aufbau eines gemeinsamen Kontextwissens unterstützt werden (Lee et al. 2009). Hier entsteht jedoch eine Kommunikationslücke: Während des Gestaltungsprozesses findet zwischen Designern und Kunden häufig kein direkter Austausch statt (Zeisel 2006). [... aus dem Text]

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Kiverska, K. "Eccentrics and designers of the 20th century." Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/14383.

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Clark, Daniel Sidney. "Operationalizing Creativity: Desired Characteristics for Instructional Designers." Diss., North Dakota State University, 2015. http://hdl.handle.net/10365/24800.

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The purpose of this study was to explore the ways that creativity manifests itself in the field of higher education instructional design and to identify specific core competencies that could be considered desirable in this context. The study utilized the Delphi methodology in which an expert panel of 28 higher education instructional design managers and leaders, established through a selective snowball sampling process, provided both Likert scale and open ? ended responses to a series of survey instruments to indicate their level of agreement with topic statements suggested by the literature as being related to creativity in the higher education instructional design context. Through this three-round process, the panel transformed these literature based constructs into their context of practice and reached consensus on 35 of 41 discrete concepts relating creativity to instructional design in higher education. In parallel with the Delphi process, panelists were asked to provide examples of specific instructional design tasks or duties that embodied traits associated with the topic statements, and subsequently respond to the resulting 27 creativity-related competencies in terms of the desirability that their instructional designers possess the indicated competency as well as the perceived level of correlation between the competency and creative potential in general. This portion of the research effort resulted in the creation of 11 desirable, practical, context-specific instructional design competencies that are tied directly to the broad-based creativity literature.

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Park, Jaehyun. "PATTERNS OF INTERACTION BETWEEN DESIGNERS AND USERS." Case Western Reserve University School of Graduate Studies / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=case1372974776.

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Pickett, Victoria J. "Usability of WordPress for Visual Communication Designers." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1401202323.

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Hu, Yiqiu. "Souvenir = Authentic+sustainable : a guide for designers." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-86848.

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The designer explores how to improve souvenir design in the real market by questioning the issues of authenticity and the need of sustainable strategies. It takes the city of Växjö as a start point for a touristic place and analyses different categories. Through observations and interviews, the issues are confirmed and a design brief is made. Based on theories of product semantics and emotional design, the result from the investigation summarised to suggest guide for souvenir design. The guide is illustrated in a series of videos meant to anyone working in the souvenir industry.

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Nall, La Keshia Lynn. "Instructional Designers as Project Managers: A Phenomenology." Diss., NSUWorks, 2019. https://nsuworks.nova.edu/gscis_etd/1065.

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The ability to effectively manage learning design projects, consult with stakeholders (such as sponsors, subject matter experts, and learners), and direct projects to completion is a vital part of an instructional designer’s role. Although the need for project management education and experience is reiterated in the literature and in cross-industry instructional designer (ID) job postings, it was unclear how these professionals acquired and used project management skills and tools in their profession because project management is not a focus in many higher education programs intended to prepare instructional designers. The goal of this phenomenological study was to understand the lived experiences of practicing instructional designers as project managers. Results describe how instructional designers practice project management and the best practices, models, methods, tools, and technologies that they use to acquire and apply project management knowledge and skills in their learning design projects. Five themes emerged from the analysis: ID/Project Management (PM) Background, PM Role Characteristics, PM Challenges, PM Insights, and PM Recommendations. During the analysis process, 14 codes (each corresponding to a theme) were exposed. The ID/PM Background theme consisted of ID/PM-related Experience, PM Preparation, and PM Competencies. PM Role Characteristics included Primary Responsibilities, Models Used, and Tools Used. PM Challenges encompassed the PM Challenges and Avoid/Overcome PM Challenges codes. PM Insights comprised PM Preparation Feelings, PM Experience Feelings, and PM Models/Tools Feelings. The theme, PM Recommendations, included codes for PM Preparation Recommendations, PM Model/Tool Recommendations, and PM Recommendations. An examination of themes that emerged from the instructional designers’ stories, along with an exploration of the research questions yielded important findings. The study offers recommendations for academia and industry for preparing instructional designers to manage their projects in professional practice.

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Topping, Marisa Khe. "Revealing the relationship between furniture and play: an informative tool for designers." Thesis, Atlanta, Ga. : Georgia Institute of Technology, 2008. http://hdl.handle.net/1853/24683.

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Lamit, Hasanuddin. "A comparative analysis of perception of urban landmarks between designers, non-designers and laypublic : Kuala Lumpur, Malaysia (volume 1)." Thesis, University of Sheffield, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397513.

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Murphy, George J. "Comparing the use of computer generated and hand-drawn designs amongst landscape designers and landscape architects /." Available to subscribers only, 2009. http://proquest.umi.com/pqdweb?did=1791982211&sid=1&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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Murphy, George Joseph. "COMPARING THE USE OF COMPUTER GENERATED AND HAND-DRAWN DESIGNS AMONGST LANDSCAPE DESIGNERS AND LANDSCAPE ARCHITECTS." OpenSIUC, 2009. https://opensiuc.lib.siu.edu/theses/505.

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AN ABSTRACT OF THE THESIS OF George J. Murphy, for the Master of Science degree in Plant, Soil and Agricultural Systems, presented on April 3, 2009, at Southern Illinois University Carbondale. TITLE: COMPARING THE USE OF COMPUTER GENERATED AND HAND-DRAWN DESIGNS AMONGST LANDSCAPE DESIGNERS AND LANDSCAPE ARCHITECTS MAJOR PROFESSOR: Karen Midden Landscape designers and landscape architects design landscapes in a way that integrates people and the outdoor environment in a manner beneficial to both. Traditionally, landscape designers/architects have produced their designs by hand. During the last twenty years a shift towards the use of computer aided design (CAD) software has occurred. It is unknown how many designers have made the transition and what their reasons for doing so are, as well as, why certain designers choose to hand-draw their designs. A survey was developed to 1) determine sample representation of professional, landscape designers and landscape architects using computer-aided design software as a design and communication tool, 2) determine sample representation of professionals, landscape designers and landscape architects using hand-drawn graphics as a design and communication tool and 3) evaluate why each has selected the design and communication tool of choice. Results indicate that overall the majority of landscape designers and landscape architects are creating their designs by hand. Specifically, more designers/architects from nearly every background and demographic category create their designs by hand, rather than by computer. There were three categories that did express a greater number of designers/architects that design primarily with computers 1) those whose projects are primarily non-residential, 2) those who are a part of a design department with greater than four employees and 3) those who primarily learned computer design in school. Landscape designers/architects who hand-draw their designs indicated "comfort level" as their most popular choice as to why they design by hand. Whereas, a majority of designers/architects who design with computers chose "save time" as their reason for using computers, rather than hand-drawing. However, when asked what is the average amount of time spent designing each project, the responses were nearly identical, thus using computers does not appear to save time. Results also indicate that a majority of computer designers produce some hand drawings prior to completing the final design on the computer. Whereas, very few designers/architects who hand-draw produce any computer generated drawings prior to finishing the final design by hand. Designers/architects who hand-draw and those who use computers produce the different types of drawings associated with the different stages of the design process in equal amounts, meaning that both types of designers/architects are still following the same design process. Dynascape, AutoCAD, and LandCAD are the more popular computer design programs being used by computer designers. A majority of the designers/architects who use these programs rated theirs as excellent, and a majority of these software programs also assist with cost estimation.

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McGlashan, Ann. "Present tense this thesis is submitted to the Auckland University of Technology for the degree of Master of Arts (Art and Design) /." Full thesis. Abstract, 2005.

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Tuikka, T. (Tuomo). "Towards computational instruments for collaborating product concept designers." Doctoral thesis, University of Oulu, 2002. http://urn.fi/urn:isbn:9514267257.

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Abstract The concept design of small handheld electronic and telecommunication devices is a creative and dynamic process. Interaction between the designers plays an important role in the creation of new products. This thesis addresses the communication between product concept designers. The aim of this thesis is to examine new ways of developing computer systems for remote collaboration. Multiple research methods have been used so as to enrich the view of the research subject. Product concept design has been studied in field studies and at co-located concept design workshops where the object of design was uncertain. Co-located workshops were organised to examine the moment to moment interaction between designers to discover how designers collaborate when designing a design object in common. By applying the concepts of activity theory, the concept of instrument is elaborated. Four types of instruments to mediate between a designer and the object of design and collaborating designers are identified. These are the instruments used to externalize an understanding of the design object, the concrete means of interaction, the future artefact and the hypothetical user activity. The latter two make up the design object which designers' strive for, and can also be instruments for scaffolding each other. A conceptual model was developed to describe the design action and the instruments for collaboration. This model was used to gain insight into the creation of computer support for remotely collaborating designers by posing questions for computer systems design. To develop computer systems to support designers in remote collaboration, an understanding of both the requirements set by the field and the technological feasibility is needed. Three application prototypes are presented as proof of the concept and as an experiment with virtual prototyping technology. The concept of design action has been defined on the basis of activity theory. Computer-supported geographically distributed workshops have been organised and analysed using the design action as an analytical tool for the research material. I conclude that, in order to support remote collaboration of concept designers, computer systems should support collaborative construction of the object of design. Instruments, such as the future artefact, its various representations and the conceptual construct of hypothetical user activity are potential instruments for computation.

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Dissertations / Theses on the topic 'Designers'

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