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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Abrori, Fadhlan Muchlas, Adi Nur Cahyono, and Zsolt Lavicza. "Designer's log in planning the development of comics with socioscientific issues content: Case studies." Research and Development in Education (RaDEn) 4, no. 1 (May 3, 2024): 337–49. http://dx.doi.org/10.22219/raden.v4i1.31919.
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The development of learning media research evolves rapidly in design-based research (DBR). However, most of the research in this area concentrated on media implementation and media format. In this paper, we explain one side rarely discussed: the process of designing media pre-implementation. This research uses the designer’s log as core data that notes the essential things during the discussion between media designers and practitioners. This study depicts two case studies when researchers (as media designers) and teachers (as practitiones) were developing comics with socioscientific issues (SSI) content. This research employed a case studies approach, using the designer’s log in three meetings with teachers. The data analysis of the designer’s log focused on three criteria: analysis, comics-building, and teaching activities development. The main themes identified as results in this study were the student experience in comics, previous content related to SSI, comics form, SSI content in comics, and classroom activities. This study also presented designer log examples highlighting our discussion with teachers to explain teachers’ consideration in designing comics with SSI content. From this study, we offer recommendations, especially regarding DBR. Firstly, future researchers need to be aware not only of the final DBR product but also of the product design process; secondly, in preparing media (in this paper, comics), determining content needs to be considered together between designers and teachers from student conditions, culture, and school background.
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Derbisova, Mariya, Saltahat Myrzakhmetova, Ardak Nigmetova, and Sara Krykbayeva. "Los métodos modernos y las regularidades de los principios del arte pictórico." Innovaciencia 10, no. 1 (December 1, 2022): 1–7. http://dx.doi.org/10.15649/2346075x.2954.
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Introduction: The teaching of this discipline in the system of education of designers requires the introduction of new modern developments into the educational process. The subjects of general artistic training play an essential role in the training of designers. Materials and Methods: The article discusses the patterns of painting, the development of which forms the student's pictorial knowledge, skills and abilities, and the possession of various methods of pictorial representation develops creative individuality and artistic taste, which is necessary in the further professional activity of the designer. Results and Discussion: An important task in the artistic training of designers is to teach them how to work with artistic means and materials used in professional design activities. These skills can be mastered in the process of studying the course of painting. Conclusions: A professional approach to studying the issues of technique and technology of mastering painting materials and means improves the quality of a designer's creative training.
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Marimba, Florista F., Ahmad Faizin, Andreas S. Widodo, and Lulu Purwaningrum. "Young interior designers’ creative pattern to draw potential consumers’ attention: Expectation, capital, and strategy." Journal of Graphic Engineering and Design 15, no. 2 (June 2024): 31–38. http://dx.doi.org/10.24867/jged-2024-2-031.
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One of the initial problems faced by young interior designers is to make a creative pattern to draw potential consumers’ attention. Their belief in the creative pattern should fit consumers’ expectations. This study scrutinized the relationship between young interior designers and potential consumers about both expectation, designers’ capital, and designers’ strategy to cap-ture the pattern in the design market. To this end, young interior designers (n=100) and potential design consumers (n=100) were recruited as respon-dents. Multiple linear regression and ordinal logisic regression were applied. The data analysis result demonstrated young designers’ marketing patterns to draw potential consumers’ attention. A correlation was found between young designers and design consumers. The expectation, capital, and strategy of designers were found to be interrelated by 48.1%, while those of consumers were interrelated by 28.6%. The research variables, which are designer capital, designer strategy and the two respondent groups, were found to have an impact on the expectation by 94.5%. This study concludes that young designers have a marketing pattern to draw poten-tial consumers’ attention. It showed a relationship between designers’ and consumers’ expectations, designers’ capital or information received by consumers, and designers’ strategy. This study may serve as a refer-ence for young designers’ behaviors when entering the market design.
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Agusalim, Nadia Putri. "Fashion Business Sustainability for Fashion Designers in the Indonesian Fashion Industry." International Journal of Review Management Business and Entrepreneurship (RMBE) 1, no. 2 (December 21, 2021): 144–52. http://dx.doi.org/10.37715/rmbe.v1i2.2423.
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The fashion industry remains as one of the most highly competitive industries where many fashion designers may find it difficult to establish sustainable fashion businesses. Navigating through the fashion business and ensuring business success, growth and long-term sustainability were generally considered to be the ultimate goal and biggest challenge many fashion designers continue to struggle with. This study was aimed to determine all key factors that are integral and contribute to fashion business sustainability by presenting findings provided by three Indonesian fashion designer’s responses to the issue of fashion business sustainability, the various challenges, and what factors are needed to ensure a long lasting through semi-structured in-depth interviews. Overall findings revealed the need for fashion designers to have an entrepreneurial mindset and for fashion businesses to possess all sustainable business key factors in various aspects ranging from design, business and the various qualities from the fashion designer themselves, while also taking account of the external state which was set in the Indonesian fashion industry for business sustainability and organic business growth. Fashion designers who controls all these factors will have a significantly higher chance of sustainability while competing with other fashion businesses.
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Dai, Xin, Pui-Sze Chow, Jin-Hui Zheng, and Chun-Hung Chiu. "Crowdsourcing New Product Design on the Web: An Analysis of Online Designer Platform Service." Mathematical Problems in Engineering 2013 (2013): 1–13. http://dx.doi.org/10.1155/2013/248170.
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A designer is a core resource in the fashion industry. Successful designers need to be creative and quick to understand the business and wider environment in which they are operating. TheDesigner Platform Service(DPS), which combines the mechanism of crowdsourcing and group buying on the web, provides a platform for entrant designers to try their abilities in the real market practice. Freelance designers post design samples or sketches of products on the website of DPS, and consumers may preorder the products (each at a fixed price) online based on the design information. Once the number of ordering reaches or passes a certain threshold, that is, the minimum production quantity (MPQ), DPS will arrange for production and delivery according to the orders received. This novel service boosts the growth of entrant designers and links designing works with real markets directly. We are interested in how the price and MPQ decisions are made in DPS, with consideration of the entrant designer's objective, decision sequences, and customer demand structures. We develop Stackelberg games to model and derive the equilibrium solutions under individual scenarios. Our findings suggest feasibility of the DPS business model.
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Gursoy, Fatma, and Nurgul Kilinc. "The effects of technical knowledge related to garment production process on fashion designers’ designs." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 628–37. http://dx.doi.org/10.18844/prosoc.v2i1.1001.
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Today, in the fashion sector, which can be regarded as the driving force behind Turkish exports, the need for designs and designers is increasing day by day in parallel with the developments in domestic and foreign markets. The process of production in the fashion sector can be divided into four groups, namely design, planning, production and marketing. The fundamental properties of the product are determined in the design department, which constitutes the basis of the production process. In this study, the purpose was to investigate how effects having or not having technical knowledge related to the garment production process on fashion designers’ designs. This study, in which qualitative research methods were used, was conducted using the case study design. For the sample group, criterion sampling, one of the purposeful sampling methods, was used and four designer were selected as the sample group. Research data were collected through interview, observation and document review. The data that were collected were evaluated through description and comparative analysis and then made into a report. After evaluation of research findings it has been reached that designers with technical knowledge on garment production process scored higher points on their illustrations. In terms of sub dimensions, in evaluations related to creativity dimensions, designers with technical knowledge, even with a slight difference, scored higher. When design is studied in terms of commercial value which is the other sub dimension, again, points of designers with technical knowledge fount higher.Keywords: Fashion Designer, Illustration, Creativity, Technical Knowledge
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Gede Anggarisna, I. Dewa, I. Gusti Bagus Suryawan, and Luh Putu Suryani. "Kedudukan Perancang Peraturan Perundang-Undangan dalam Pembentukan Peraturan Daerah." Jurnal Konstruksi Hukum 2, no. 1 (March 1, 2021): 37–40. http://dx.doi.org/10.22225/jkh.2.1.2964.37-40.
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This study aims to determine the position and duties of the designer in the formation of regional regulations and the implementation of the designer's participation in the formation of regional regulations in Bali Province. The method in this legal research uses empirical legal research. The results show that the position and duties of the drafters of legislation in the formation of regional regulations play an important role, namely preparing to process and formulate all legal instruments and matters related to the design of legislation, while in the formation of regional regulations in Bali Province, the implementation of participation, namely the statutory designer is still there are 3 regencies / cities that have not involved the designer in the formation of local regulations. The comparison of the number of perda revoked from 2014-2019 between Provinces / Districts that involve designers and districts / cities that have not involved designers does not show a significant comparison of numbers. However, in 2018 the implementation of Designer Participation. In the Formation of Regional Regulations in the Province of Bali, it was started from the beginning to the end. So that the implementation of the participation of the new designer begins to run effectively. The legal consequence is that if the designer does not explicitly include the statutory regulations it does not explicitly state the sanctions so that there is an empty norm.
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Homyakov, E., and E. Kuprenko. "SUCCESS CRITERIA FOR THE GRAPHIC DESIGNER." Technical Aesthetics and Design Research 4, no. 2 (June 3, 2023): 17–26. http://dx.doi.org/10.34031/2687-0878-2022-4-2-17-26.
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Graphic design is a very young sphere of activity, in this sphere and profession there are no formed mechanisms of professionalism verification. Graphic design does not give a young designer any clear and understandable criteria, measures to assess their success. This study analyzes and defines the criteria for success of a graphic designer in today's world. The object of the study is selected and analyzed the statements of the most famous and successful designers. These discourses are related to questions of success, questions of evaluating one's own skill and personal experiences regarding the graphic designer's place in the profession. Comparative and generalization methods were used to achieve the goal. The aim of this study is to extract from the reflections of highly qualified professional’s ways to verify their own professionalism, their own success, and to formulate them for not yet recognized, young designers. In addition, an attempt is made to identify regulatory tools for aspiring professionals. As a result of the study, the authors form a new understanding of the professional and personal problems of graphic designers, comparing them with the problematization in design design. In addition, the authors arrive at a universal way of verifying professional success. As a result of this work, ideas about possible criteria of success in the field of graphic design are obtained.
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Kärnä, Sami, and Juha-Matti Junnonen. "Designers’ performance evaluation in construction projects." Engineering, Construction and Architectural Management 24, no. 1 (January 16, 2017): 154–69. http://dx.doi.org/10.1108/ecam-06-2015-0101.
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Purpose In a construction project, “participants’ satisfaction” is one of the main dimensions used for measuring the successfulness of a project. Designers perform a major role in attaining the project goals and managing project complexity during production. The purpose of this paper is to examine the designers’ performance as evaluated by the main participants: the client, the project consultant/manager and the main contractor, and to identify the main success factors of designer performance using the participants’ evaluation. The study also aims to examine how the economic size of a project affects the project participants’ assessment of the designer’s performance. It is assumed that as the size of a project increases, so does the complexity of the project, which will affect the scope of work and demands on the designers’ operational performance for the specific project level. Design/methodology/approach The Finnish project evaluation and benchmark database was used in this study as empirical data. The quantitative data consists of surveys on the project level and are based on a multi-dimensional standard evaluation wherein the main participants evaluate each other’s performances. The client, project consultant and main contractor evaluated the designer’s performance. The data of the study consisted of a total of 892 evaluations. ANOVA analysis was used to examine the differences between the project participants’ assessments based upon the different economic sizes of the projects. Findings Contractors were satisfied with the designers’ performance in small projects, whereas the client and the project consultant/manager rated the designers’ performance most successful in large projects. This result may be due to small projects are typically simple and less complex, in which case design solutions are generally well-defined. Nonetheless, the participants’ level of satisfaction follows the same factors. The main problems in the designers’ performance were related to the design content: the flawlessness and comprehensiveness, as well as the compatibility and consistency of designs. These factors were emphasized particularly in the client’s low satisfaction of the designer’s performance. However, project participants were satisfied with the collaboration with designers; however, room for improvement could be found in internal communication and collaboration within the design teams. The findings illustrated that the assessment of the success rate of a project was party-specific, which was clearly affected by the size of the project, as large projects appeared to be more complex than smaller ones. Practical implications The findings suggested that there is a need to develop project-specific practices in managing multidisciplinary design teams. Additionally, particularly in large projects, designers should focus more on solving problems and design requirements occurring at the construction site. However, this should be implemented in such a way that this does not interfere with the design activities conducted with the client and project management. While client satisfaction is low in the small projects, designers should focus more on customer-oriented methods to serve client needs better. Originality/value In construction project management studies, there is a need to measure the importance that various participants assign to different success factors. Since project success factors depend on project type, a more project-specific approach is suggested to identify the main parameters for measuring project success. This study provides a holistic approach of the designers’ performance, which contributes to the theory of project success and designers’ performance improvement.
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Christian, Calvin. "Material Design for “Am I Doing It Right?’ Book as Identity Search Media for Young Designers in Modern Era." Journal of Visual Communication Design 6, no. 1 (December 17, 2021): 41–52. http://dx.doi.org/10.37715/vcd.v6i1.2410.
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The content making of the "Am I Doing It Right?" book as a medium for searching the identity of young designers in the modern era is an initiative of the writer to participate indirectly in the mental development and mindset of young designers in Indonesia. In this modern era, designers often get less favorable views from society, many feel that the role of a designer is trivial. Departing from this problem, the authors have researched literature reviews that discussed the history of the designer profession, the true purpose of it, the role they held in society, the view of the social community towards the profession of designer, and ways of addressing the profession as a designer. Literature reviews will be carried out on at least fifteen scientific papers and books that discuss topics related to designer identity in the world.
Keywords: Identity, Designer, Role, Profession
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Christian, Calvin. "Material Design for “Am I Doing It Right?’ Book as Identity Search Media for Young Designers in Modern Era." VCD 6, no. 1 (December 17, 2021): 41–51. http://dx.doi.org/10.37715/vcd.v6i1.2698.
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The content making of the "Am I Doing It Right?" book as a medium for searching the identity of young designers in the modern era is an initiative of the writer to participate indirectly in the mental development and mindset of young designers in Indonesia. In this modern era, designers often get less favorable views from society, many feel that the role of a designer is trivial. Departing from this problem, the authors have researched literature reviews that discussed the history of the designer profession, the true purpose of it, the role they held in society, the view of the social community towards the profession of designer, and ways of addressing the profession as a designer. Literature reviews will be carried out on at least fifteen scientific papers and books that discuss topics related to designer identity in the world.
Keywords: Identity, Designer, Role, Profession
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Hume, Charles. "The Apprenticeship Program of Associated Designers of Canada." Canadian Theatre Review 91 (June 1997): 37–40. http://dx.doi.org/10.3138/ctr.91.008.
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Associated Designers of Canada is a non-profit organization dedicated to improving the status of set, costume, lighting, and sound designers in this country. The organization has over 150 members from coast to coast. Their goal is to improve working conditions, promote professional and public recognition of the designer’s role, and increase communication among Canadian designers.
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Zhang, Xizhi, and Kuo-Hsun Wen. "A Model Process of Integrating Context of Local Culture for Pre-Development Stage in the Design of Cultural and Creative Products—Using Macao’s Historical Buildings as an Example." Sustainability 12, no. 15 (August 4, 2020): 6263. http://dx.doi.org/10.3390/su12156263.
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In the context of the research on local architectural culture of Macao, this paper explores how architecture’s cultural elements can be integrated into cultural and creative product design at the pre-development stage. Therefore, local culture can be effectively disseminated through the medium of cultural and creative products. However, in the process of product design, seemingly, designers often rely on their experience as the main way to develop ideas and designs. This approach can fall short in generating sufficient cognition and interpretation between culture and product design, and the product may fail to truly reflect cultural and creative values. This paper focuses on the cultural elements and the designer’s cognition in design development of cultural and creative products. It applies theoretical concepts of Kansei engineering theory as the basis, and, combined with the Semantic Differential Method, tries to extract the most powerful product image elements that influence designers for better understanding of the cultural elements in design development. This paper aims to employ scientific methods to enable designers to better develop designs with cultural and creative connotations, thereby improving the success rate of cultural and creative products. It further proposes a model process of image perception to be employed by designers in early design research and the development stage. By enhancing the resonance of cultural elements for cultural and creative products, the model may shorten the perceptual distance between the designer and the local culture, improve the designer’s product development efficiency, and increase consumer satisfaction with the design outcome through added cultural and creative value. As such, the model can optimize the design development for cultural and creative products to achieve the public’s aesthetic and cultural expectations, as well as for a sustainable design approach.
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Saadi, Jana, and Maria Yang. "OBSERVATIONS ON THE IMPLICATIONS OF GENERATIVE DESIGN TOOLS ON DESIGN PROCESS AND DESIGNER BEHAVIOUR." Proceedings of the Design Society 3 (June 19, 2023): 2805–14. http://dx.doi.org/10.1017/pds.2023.281.
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AbstractDevelopments in artificial intelligence (AI) are opening the possibilities for the development of more advanced design tools. An example of these innovations are generative design tools, in which the generation of complex and high performing products is possible. This study investigates the use of generative design tools and how they may influence the design process and designer behaviour. Six interviews of interdisciplinary designers were conducted to understand the implications of using generative design tools. It was observed that generative design tools primarily allow for quantitative inputs to the tool while qualitative metrics, such as aesthetics, are considered indirectly by designers. The subjectivity of the designer and how they incorporate the quantitative and qualitative metrics in the generative design tool can lead to differing outcomes between designers. Notable differences in tool usage are also observed between expert and novice computational designers. Additional studies should be conducted to further understand the extent generative design tools impact the design process, designer behaviour, and design outcomes.
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Jin, Guangying, Séverine Sperandio, and Philippe Girard. "Collaborative and Participatory Design: Assignment of Team Members to Engineering Projects with the Consideration of Designer’s Expectations." Proceedings of the Design Society: International Conference on Engineering Design 1, no. 1 (July 2019): 59–68. http://dx.doi.org/10.1017/dsi.2019.9.
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AbstractWith the trend of global collaboration and development of Internet of Things in industry 4.0, the collaboration relationships between designers is getting more close and important than before. Therefore, when project manager assign designers to design projects, it is very important for them to select design projects with the consider about the expectations of the designers regarding the different projects and collaboration ability for the designers in the projects while it is very important to identify the projects with the consideration of skills, experiences, availabilities and so on. Even though, there are various methods for selecting projects, most of these methods not consider about the expectations of designer and the collaboration ability. Therefore, in this paper, we propose a project selection methodology, which consider about the designers’ expectations to the candidate multi-project and collaboration ability in the candidate multi-project. The main objective of our research is to help project manager to find an adaptable and comfortable multi- project to the designer.
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Annisa, Nur. "Sistem Pendukung Keputusan Pemilihan Calon Desainer dengan Kombinasi Metode Rank Orde Centroid (ROC) dan Vikor." Jurnal Kajian Ilmiah Teknologi Informasi dan Komputer 1, no. 2 (January 16, 2024): 48–56. http://dx.doi.org/10.62866/jutik.v1i2.84.
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In companies engaged in advertising, the role of designers is very important for the sustainability of a project, designers must always be able to realize new innovations in every work carried out. The role of a reliable designer in the company is quite large, so that the acceptance of prospective new designers to accompany every job that is done in the company really requires a serious selection. This study discusses the selection of designer candidates who at least match the existing criteria, so that they cannot be accepted by the company, this research was appointed based on the difficulty of the company's personnel in selecting prospective designers manually. Data analysis was carried out so that it could determine the criteria of existing alternatives, and weighted using the ROC method and determining the ranking using the Vikor method. The results of this study are in the form of ranking at the end of the smallest order so that prospective designer candidates are obtained who do not match the criteria required by the company.
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Maia, Manuela. "A perspective on 21st design challenges facing the urgency of solutions for global sustainability." Convergences - Journal of Research and Arts Education 15, no. 29 (May 31, 2020): 105–13. http://dx.doi.org/10.53681/c1514225187514391s.29.137.
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Before the accelerated transformation of reality, we question the human role in the technological context, placing the need of thinking about the importance of intrinsically human competences. In the scope of design, a field of practice and academic discipline, the challenge for the profession and the future education is huge. Above all, these challenges have to do with large scale and with processes requiring the ability to deal with more complex conceptual frameworks, with a set of context dimensions involving economic, ecological, social, cultural, and political issues of societies in permanent change. The design community recognizes the value of designer's multidisciplinary skills and the ability to lead processes involving large socio-technical systems. However, today the designer faces the challenge of multidisciplinary working teams where skills go far beyond their traditional abilities. The thinking and practice of design reveals a set of core values and virtues of the designers that allows a strategic positioning of these professionals in the complex problem-solving context. Nevertheless, designers will have an increasingly demanding role in creating products, services and experiences which mean a profession under pressure to evolve towards a more complex activity requiring new general and specialized skills. The objective of our reflection is about designer’s competencies transition demand, an imperative requiring technological and management skills and leadership capacity on sustainable solutions complex processes. Despite this recognition, designers must be prepared about collaboration and cooperation skills, a necessity more and more in tension with a reality where the whole potential of design to deal with complexity remains unaware. Design community reflects about designer’s strategic value for facing global challenges and points out the complexity approach as a requirement of design education in the future. Considered a condition for design expansion this concern is also revealed in design education research contributions. This contextual disposition makes possible to regard an alignment about a direction to pursue. This paper presents a reflection about this problematic field which intends to be a contribution to understand how design discipline can evolve meeting the designer’s community recognition of the necessity of a set of updated critical dimensions for design activity. This reflection looks at the design community before a strong demand for an evolution, pushing to a design education deep transformation. This kind of evolution for design may occur first in the professional practice and will be primarily caused, in our perspective, by the desirable and the unavoidable impact on design processes of a design community's new mindset about core principles.
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Clay, John, Xingang Li, Molla Hafizur Rahman, Darya Zabelina, Charles Xie, and Zhenghui Sha. "MODELLING AND PROFILING STUDENT DESIGNERS’ COGNITIVE COMPETENCIES IN COMPUTER-AIDED DESIGN." Proceedings of the Design Society 1 (July 27, 2021): 2157–66. http://dx.doi.org/10.1017/pds.2021.477.
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AbstractThere are three approaches to studying designers – through their cognitive profile, design behaviors, and design artifacts (e.g., quality). However, past work has rarely considered all three data domains together. Here we introduce and describe a framework for a comprehensive approach to engineering design, and discuss how the insights may benefit engineering design research and education. To demonstrate the proposed framework, we conducted an empirical study with a solar energy system design problem. Forty-six engineering students engaged in a week-long computer-aided design challenge that assessed their design behavior and artifacts, and completed a set of psychological tests to measure cognitive competencies. Using a machine learning approach consisting of k-means, hierarchical, and spectral clustering, designers were grouped by similarities on the psychological tests. Significant differences were revealed between designer groups in their sequential design behavior, suggesting that a designer's cognitive profile is related to how they engage in the design process.
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Faizulina, Elvira, Aliya Yessengaliyeva, and Venera Jumagaliyeva. "Development of Professional Competencies of The Future Costume Designer in the Design System." Harmonia: Journal of Arts Research and Education 24, no. 1 (July 5, 2024): 208–20. http://dx.doi.org/10.15294/harmonia.v24i1.50298.
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High requirements for specialists, specifically in the field of Design, who can quickly respond to modern socio-economic conditions and work effectively in a market economy necessitate a substantial upgrade of the professional education system for training costume designers. This study aimed to substantiate and implement the methodology for developing professional competencies of future costume designers in higher education institutions in Kazakhstan. The methodological approach of this experimental study was based on the development of a methodology for developing the professional competencies of the future costume designer and readiness components: motivational, cognitive-activity, creative, and reflective. The content of the basic terms “professional competence” and “designer’s professional competence” was determined; their signs and features were covered, and and a methodology for developing professional competencies of the future costume designer in the design system was developed and implemented. In the conducted experimental study at the ascertaining stage of the experiment at Makhambet Utemisov West Kazakhstan University, methodological tools were developed to increase the readiness of the future costume designer to develop professional competencies in the design system. After conducting an experimental study, promising areas for improving the methodology for the readiness of a future costume designer to develop professional competencies in the design system in higher educational institutions of Kazakhstan were formed. The practical value of the study lies in training a specialist who can implement scientific ideas and developments in the field of fashion design in Kazakhstan.
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Knyazeva, Natalia, and Aleksey Orekhov. "Tools for automating the design of construction objects." E3S Web of Conferences 376 (2023): 03026. http://dx.doi.org/10.1051/e3sconf/202337603026.
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The digitalization of the construction industry is affecting the designer's profession - today it is not enough for him or her to be proficient in information modeling systems; the increasing complexity of projects requires him or her to have knowledge in developing plug-ins and scripts. Even if an organization has programmers on staff, an ordinary architect or a designer must understand how to issue a technical specification for writing an appropriate module. However, in most cases, designers have to optimize routine operations and automate individual tasks in-house using visual programming or algorithmic modeling tools.
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Wolf, Garrett, and Nathan Mahaffey. "Designing Difference: Co-Production of Spaces of Potentiality." Urban Planning 1, no. 1 (March 22, 2016): 59–67. http://dx.doi.org/10.17645/up.v1i1.540.
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Design and Planning professionals have long been influenced by the belief in physically and spatially deterministic power over people and the environment, a belief that their representations of space become space. As a result the goal of design often becomes “fixing” or directing behavior and culture instead of letting culture happen. This outlook often prevents designers from engaging critically with culture, through representational space and spatial practice, as a crucial, possibly the most crucial, aspect in the design process. Just as human cultures interact to constantly reproduce and co-produce hybrid cultures, the professional designer and those users and experiencers of design (at whatever scale) must interact to co-produce spaces and places of activity. Through a critique of the practice of placemaking, we highlight the need to differentiate between participation and co-production. Understanding participation as one element of the design process and the role of design at larger scales of co-productive processes can help designers have a better understanding of how spaces are produced, and the role of designers in the creation of spaces of potentiality. Agamben’s writing on<em> potentialities </em>and Lefebvre’s spatial triad offer a theoretical framework to investigate the ethical role of professional designers in society while taking a critical stance against the singular solutions of modernist urban transformation. Spaces of Potentiality are seen here as a designer’s simultaneous withdrawal from rational problem solving and deterministic solutions, and an engagement with open source strategies for the co-production of urban space.
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Halupa, Colleen. "Differentiation of Roles: Instructional Designers and Faculty in the Creation of Online Courses." International Journal of Higher Education 8, no. 1 (January 15, 2019): 55. http://dx.doi.org/10.5430/ijhe.v8n1p55.
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Instructional design has continued to change and undergo metamorphosis. A key component of this process in higher education is the collaboration between an instructional designer and one or more faculty members to create a robust, quality online course. In this collaborative process, instructional designers are clearly the design expert, while the faculty member is the content expert. However, problems occur when roles are not clearly delineated. Conflict is often reported by instructional designers who feel they are not respected by faculty. Conflict can also occur when instructional designers cross the line and try to influence content instead of providing guidance on content delivery. In order to decrease conflict, the roles of instructional designers and the faculty they collaborate with must be clearly defined. Both the instructional designer and the faculty member should clearly articulate their expected roles in the collaborative course creation process. In addition, written policies and procedures for the instructional design process are crucial to the success of these collaborative relationships.
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Page, Tom. "An Analysis of the Value of Data Ecosystem Tools for Industry 4.0." International Journal of Innovation in the Digital Economy 10, no. 4 (October 2019): 18–32. http://dx.doi.org/10.4018/ijide.2019100102.
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Product design is a process that involves many methods and practices to be able to create “good design.” From user studies to experimentation, the designer has many tools at his disposal to understand the market and the requirements of the product they wish to produce. Big data has been a disruptor in user analysis for many organizations wishing to get the bigger picture. It has proven to have many positive implications while also being restrictive to those willing to use it. Therefore, connected open systems where all stratums are able to access similar applications have been made available. With the 4th industrial revolution underway, and the ability to utilise a plethora of sensors and electronic data provided by internet connected devices, is it in the designer's interest to adopt modern data practices? During this research, the suitability of big data practices to designers was assessed to gain an understanding of the environment that would allow designers to utilise this new platform including the practice of open data and the systems required to manage it. This article will address emerging and current technologies in the use of data within the 4th industrial revolution. Big data and open data were critically examined of their processes and downfalls compared to how the designer would use the practices.
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Wang, Gang, Qigan Shao, Changchang Jiang, and James J. H. Liou. "Exploring the Driving Factors Influencing Designers to Implement Green Design Practices Based on the DANP Model." Sustainability 14, no. 11 (May 26, 2022): 6537. http://dx.doi.org/10.3390/su14116537.
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Green design is a key step in improving the green performance of corporate projects. Stimulating the green design behavior of designers is the guarantee for the sustainable implementation of green design. This study extracted four dimensions, namely, external motivation, corporate-level drivers, product-level drivers and designers’ attributes, and 18 indicators to consider designers’ green design driving force through the literature. The DANP model was used to analyze the relationship between the indicators and the degree of importance of the indicators. The results indicated that external motivation and designer attributes influenced corporate-level drivers, while product-level drivers were outcome factors. Corporate reputation, organizational strategy and institutional pressure were the three most important criteria. Enterprises’ incentives and personnel care for designers are crucial for promoting designers’ continuous participation in green design.
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Ardhianto, Peter, Yonathan Purbo Santosa, Christian Moniaga, Maya Putri Utami, Christine Dewi, Henoch Juli Christanto, and Abbott Po Shun Chen. "Generative Deep Learning for Visual Animation in Landscapes Design." Scientific Programming 2023 (August 8, 2023): 1–12. http://dx.doi.org/10.1155/2023/9443704.
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The biggest challenge for architecture designers is the time required for the design process. Especially landscape architects who have different work limits from architects in general. In contrast to architects in general, who are assisted in producing design plans by building standards, building requirements, and space programs that adapt to the type of project being undertaken. At the same time, some design jobs demand high-productivity landscape animation presentation in a short time. The long process involved in designing animation often makes it difficult for designers to produce optimal work. This study proposes generative zooming animation with artificial intelligence support to shorten the designer’s work process and energy optimization. Deep learning with Vector Quantized Generative Adversarial Network and Contrastive Language-Image Pre-Training was used to generate alternative landscape designs from text prompt-based and compile them in animation. Our experiment shows that one frame can be generated roughly in 3.636 ± 0.089 s, which is significantly faster than the conventional method to create animation. Moreover, our method is able to achieve a good-quality image, which scored 3.2904 using inception score evaluation. The effectiveness of deep learning in visual landscape and animation creation can help designers speed up the design process. Furthermore, working time efficiency without compromising design quality will increase designer productivity and economic growth.
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YIYAN, WANG, and NORSAADAH ZAKARIA. "Designers’ potential in sustainable fashion: a systematic literature review." Industria Textila 74, no. 06 (December 22, 2023): 718–26. http://dx.doi.org/10.35530/it.074.06.2022139.
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Given the unsustainable issues of environmental pollution, resource waste, and industrial cycle blockage, the garment industry, has sought an innovation for sustainable development led by the linear economy. The circular economy (CE) advocates closing and correcting material and energy circuits, minimising resource entry and waste, and improving emissions and energy consumption. Most practices under the existing CE model address the outcome rather than comprehending the source. As one of the most critical players in the apparel industry, designers understand the source of product development. In this paper, existing sustainable design practices (SDPs) in the transition of the apparel industry to CE were summarised through a systematic literature review. The extent of designers’ involvement in CE was explored through a correlation study and data analysis between SDPs and the processes of product development (PDP) and production process (PP). Furthermore, the designers’ potential to contribute sustainably to the CE transformation within the apparel industry was discussed via qualitative analysis. The findings demonstrated infrequent involvement in PP by designers, whose voices were limited in the apparel industry, and that the possibility of more designer involvement in SDP. Therefore, this research only focused on the sustainability potential of designer-led PDPs. Lastly, the potential and limitations of applying PDP three-dimensional visualisation as a designer-led SDP were presented.
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Singh, Prashant Kumar, and Prabir Sarkar. "Understanding the priorities of designers for an ecodesign support during environmentally sustainable product development." World Journal of Science, Technology and Sustainable Development 18, no. 1 (February 2, 2021): 76–92. http://dx.doi.org/10.1108/wjstsd-12-2020-0101.
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PurposeThe main purpose of this research is to understand the priorities of designers for an ecodesign support, while developing environmentally sustainable products. Also, this study identifies the requirements of the designers for managing the environmental quality of products.Design/methodology/approachThis research is conducted in two phases of survey. In the first phase, various requirements of designers are collected, refined and segregated under certain well defined characteristics of the ecodesign support. In second phase, the designers are asked to rank each characteristic of the ecodesign support in a questionnaire. The responses obtained from the designers are analyzed separately for engineering designers and design researchers by using Henry Garrett ranking technique to identify the priorities of designers for an ecodesign support.FindingsResults show that there is a contrast between the perspective of engineering designers and design researchers, and their priorities for an ecodesign support are opposite to each other. Thus it can be understood that the features which are added by design researchers in ecodesign support may not be adequate for engineering designers to manage the environmental quality of products.Originality/valueThe designers play a key role in the development of environmentally benign products through the use of different ecodesign supports (i.e. tools or methods). Therefore, it is important to understand the desired characteristics of the ecodesign support from designer's perspective. Also, the priorities of designers from academia (design researchers) and industry (engineering designers) must be understood because they are the two stakeholders indulged in the development and usage of various ecodesign supports for environmentally conscious product development (ECPD).
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van der Marel, F., and T. Björklund. "Designers as Change Agents: Perceived Roles in Advancing Sustainability in Organizations on Different Design Utilization Levels." Proceedings of the Design Society 2 (May 2022): 1149–58. http://dx.doi.org/10.1017/pds.2022.117.
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AbstractDesign scholarship has long roots in tackling wicked problems and sustainability, yet less is known about how professional designers interact with sustainability issues in practice. Based on interviews with 104 designers in 101 organizations in Finland, this study compares designer perceptions on the role of design in advancing sustainability. We identify six common roles, each with various foci on different design maturity levels in organisations. The findings support managers and designers in understanding which capabilities might be needed in advancing the role of design and sustainability.
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Dicenzo, Maria, and Penny Farfan. "New Dance Horizons: A Ten-Year Retrospective." Canadian Theatre Review 91 (June 1997): 63–67. http://dx.doi.org/10.3138/ctr.91.014.
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In his book on theatre criticism, Irving Wardle suggests that “[s]et designers, and costume designers even more, are generally under-acknowledged by reviewers; but it is often they, rather than the director, who fix initial impressions and leave lasting prints in the memory.” In this issue devoted to designer training, it seems appropriate to give reviewers an opportunity to focus on some of the feats achieved by current Canadian designers and to consider the role of design in generating meaning in the theatre.
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Chun, Soo-Kyeong, Ji-Hee Lee, Hyun-Mi Yoo, and Eun-Jun Park. "The Effect of Nonverbal Communication of Hair Designer on Customer Satisfaction and Revisit: For Middle-aged People aged 40 to 64 years of age." Journal of the Korean Society of Cosmetology 29, no. 3 (June 30, 2023): 593–604. http://dx.doi.org/10.52660/jksc.2023.29.3.593.
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This study aims to contribute to the growth of the hair beauty industry by studying the effect of non-verbal communication of hair designers on the intention to revisit hair salons and presenting a smooth communication environment with middle-aged customers. 380 copies of this study were used as the final analysis of the self-populated questionnaire. As a result of analyzing the effect of hair designer's non-verbal communication on customer satisfaction and salon revisit intention using frequency analysis and regression analysis by statistical program SPSS 22.0, non-verbal communication, such as the neat appearance of the designer, the cleanliness of the atmosphere inside the salon, and clear language delivery, has increased customer satisfaction in terms of professionalism, spatiality, and usability. Also, it had a significant effect on intention to word-of-mouth and the intention to reuse the hair salon. It is hoped that this study can be used as a basis for informing the importance of non-verbal communication between designers and middle-aged customers and as aprior research material that has a good effect on subsequent studies.
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Torretta, Nicholas B. "Take it Personally: What May it Take to Become Designers for Pluriversality?" Kepes 20, no. 27 (June 30, 2023): 19–46. http://dx.doi.org/10.17151/kepes.2023.20.27.2.
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This paper argues that if we aim to Design for pluriversality, we cannot do so from a universalist notion of what it means to be a Designer. This paper briefly describes the efforts of decolonizing Design, then looks into two Design approaches in socially engaged Design methods that frame how Designers connect to place and people: Situated Design and Design Empathy. These discourses are then further nuanced by adding a decolonial lens, nuancing how Designers are situated and engage through the colonial matrix of power. This then serves as a map of aspects to be taken into consideration for nuancing a Designer’s relation place, history, profession and people in the colonial matrix of power. This paper then suggest the notions of awarenessing, an action-oriented reflective awareness on one’s position, flexibility in Design processes and the incorporation of personal aspects into Designing as possible ways to open up for pluriversal Design stances. The paper concludes by outlining potential implications of opening up for such stances in doing, writing and teaching Design.
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BORG, JONATHAN C., XIU-TIAN YAN, and NEAL P. JUSTER. "Guiding component form design using decision consequence knowledge support." Artificial Intelligence for Engineering Design, Analysis and Manufacturing 13, no. 5 (November 1999): 387–403. http://dx.doi.org/10.1017/s0890060499135030.
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This paper describes a generic approach to guiding designers when making decisions during the early stages of design. The objective of the research is to enable designers to foresee unintended life-cycle consequences during mechanical component design. Engineering design is a process of evolving solutions to a design problem through the commitment of decisions. As a designer commits a new design decision, a more concrete design solution is generated. Decisions made can have intended and unintended consequences on the performance of the life phase activities that follow, such as manufacturing, assembly, and disposal. Many existing tools only consider the impact of the design solution on later life-cycle phases when the solution is almost complete. This makes changes expensive and difficult. This paper presents a novel approach to how consequences encountered in down stream life-cycle phases can be brought to the designer's attention early in generation of component form. For this purpose, a knowledge model has been derived from a phenomena model. The phenomena model describes how life-cycle consequences are generated during component synthesis. An insight into the representation of the resultant knowledge model is discussed through examples. The implementation of a prototype Knowledge Intensive CAD tool, entitled FORESEE, aimed at supporting life-oriented, feature-based component synthesis and exploration, is also described. The results of the evaluation of FORESEE with a range of designers show that by using the system designers are motivated to explore alternative design solutions and are able to make more informed design decisions. This highlights that the knowledge structure provides a base for extending feature-based component design to a ‘Design Synthesis for Multi-X’ approach.
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Ruiz, Cinthia, and Manuela Quaresma. "THE PARTICIPATION OF UX DESIGNERS IN ARTIFICIAL INTELLIGENCE PROJECTS: RECOMMENDER SYSTEMS." Ergodesign & HCI 10, no. 1 (June 30, 2022): 87. http://dx.doi.org/10.22570/ergodesignhci.v10i1.1750.
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With technological advances, artificial intelligence has gained prominence and we increasingly find innovative products on the market, bringing it as a differential. One example is machine learning-based recommender systems, which filter content in a personalized way for each user, saving the user's time and cognitive effort. Like any novelty, the professional market is still maturing, and users are learning to interact with interfaces. The performance of a UX designer becomes relevant to ensure a good user experience. Therefore, it is important to investigate the market to map the participation of the UX designer in the development of products that use a recommendation system. For this purpose, this research involved market professionals in interviews to understand the UX Designer's participation in developing recommendation systems based on machine learning and identified several relevant issues that point to the need to focus on human factors. It also indicates the training of professionals, the generation of content on the theme of AI/ML aimed at designers and working on the culture of companies.
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Yang, Jiami, Yi Dou, and Yong Zeng. "ENVIRONMENT-BASED DESIGN (EBD): USING ONLY NECESSARY KNOWLEDGE FOR DESIGNER CREATIVITY." Proceedings of the Design Society 3 (June 19, 2023): 1675–84. http://dx.doi.org/10.1017/pds.2023.168.
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AbstractDesign is a highly nonlinear chaotic dynamic process with many possible solutions, which requires enormous knowledge for designers. This paper investigates how environment-based design (EBD) methodology can help designers use only necessary knowledge for their creativity based on three methods: information search, knowledge acquisition and knowledge application. The methods are applied in an aircraft pylon design, which is evaluated by two aerospace design specialists. The paper discussed the different roles of EBD for novice and expert designers in regard to overcoming emotion and knowledge barriers to achieving designer creativity.
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Helal, Mayson Mahi, and Khawla Karim Kawthar. "Developing the design idea and its relative to signing the event." Wasit Journal of Engineering Sciences 6, no. 1 (April 3, 2018): 35–43. http://dx.doi.org/10.31185/ejuow.vol6.iss1.80.
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The research attempts to reveal the design thinking that goes on in the designer’s mind when he tries to allocate a certain activity inside the architectural project. The research views designing as an explicable process even if beginner or experienced designers couldn’t give convincing reasons for all the decisions they make. The designer is a person who works on the data given to him and produces his design idea through a planned succession of analytical, structural and evaluative steps until he reaches the best possible solutions. Accordingly, the research hypothesizes that the activity inside the architectural project depends, to a great extent, on the development of the design idea in the designer’s mind. The aim of the study has been to reach the best design method for activity inside the architectural project through design strategies.
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Dr. Maysoon Muhi Hilal and Maan Sahab Mohammed AL Badri Badri. "The Design Thinking in Architectural Project." International Journal of Scientific Research in Science, Engineering and Technology 11, no. 2 (March 30, 2024): 130–41. http://dx.doi.org/10.32628/ijsrset2411211.
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The research attempts to reveal the design thinking that goes on in the designer's mind when he tries to allocate a specific activity inside the architectural project. The research views designing as an explicable process even if the beginner or the professional designers couldn't give convincing reasons for all the decisions they make. The designer is a person who works on the data given to him and produces his design idea through a planned succession of structural analyzing and evaluative steps until he reaches the best possible solutions. Accordingly, the research hypothesizes that activity inside the Architectural project depends on a great extent of design idea development in the designer's mind. The purpose of the study was to reach the best design method for activity inside the Architectural project through design strategies.
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Chih-Ching Yu, Chih-Ching Yu, 劉恒逸 Chih-Ching Yu, 林婷鈴 Heng-Yih Liu, and Wai-Sum Siu Ting-Ling Lin. "Cognitive complexity, stylistic innovation and performance: A preliminary study of small Taiwanese design firms." 企業管理學報 47, no. 2 (June 2022): 023–44. http://dx.doi.org/10.53106/102596272022060472002.
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<p>This preliminary study investigates cognitive complexity, or an individual’s cognitive structure for his or her social world, and its role in stylistic innovation, particularly changes of design in the appearance or symbolic meaning of products, for five Taiwanese small design firms. The results reveal that cognitive complexity is useful to understand the stylistic innovation processes of Taiwanese entrepreneur-designers. The entrepreneur-designers use cognitive complexity to determine the structural prerequisites of aesthetic products. The domain-specific cognitive complexity of the entrepreneur-designer influences the selection of relevant and appropriate dimensions in stylistic innovation. Entrepreneur-designers’ strategic decisions to target a customer-oriented market or designer-driven market will affect the selection of stylistic orchestration and agile synchronization in the process of stylistic innovation.</p> <p> </p>
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Heo, Jeongyun, and Uichin Lee. "Form to Flow: Exploring Challenges and Roles of Conversational UX Designers in Real-world, Multi-channel Service Environments." Proceedings of the ACM on Human-Computer Interaction 7, CSCW2 (September 28, 2023): 1–24. http://dx.doi.org/10.1145/3610189.
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Conversational agents are widely used in today's multi-channel service environments. However, little is known regarding the challenges faced by user experience (UX) designers. This study explores the challenges faced by conversational UX designers working in multidisciplinary teams for understanding the design process involved in the transformation of conventional graphical interfaces to conversation flows. In-depth interviews with UX designers working in industries reveal the key challenges in the form-to-flow transformation process. Moreover, collaborative work with various stakeholders in complex work environments involves conversational artificial intelligence-engendered gap-filling work phenomena wherein UX designers tend to work across role boundaries. Our results indicate the need for added support for CUX designer including tools and guidelines to suppport form-to-flow design, tools for testing, and defining extended roles for CUX designers with collaborative perspectives for designing conversational agents in multi-channel service environments.
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H., Florencia C., Jesslyn J., Tivany H., Gilbert V. T., Jeremy E. S. W., Elbert W., Joy C. F. N., and Christopher K. S. "Pengaruh Corona Terhadap Freelance Designer di Surabaya." Jurnal VICIDI 10, no. 1 (June 30, 2020): 48–54. http://dx.doi.org/10.37715/vicidi.v10i1.1938.
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This study aims to analyze the effect of corona on freelance designers in Surabaya. The effects caused by the coronavirus are many, including: panic buying, anxiety when traveling domestically and abroad, school schedules, lectures, and work becoming irregular and chaotic, some shops experiencing a decline in income, some workers being laid off, and of course this incident greatly affects businesses, including freelance designers. This study uses qualitative research methods, namely online interviews with several individuals who work as freelance designers. After doing research, it can be concluded that the COVID-19 pandemic does not have much effect on the sustainability of freelance designers. The results of these studies can be supported by existing research and theories.
Keywords: corona, pandemic, freelancer designer, business.
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Rao, Vivek, George Moore, Hyun Jie Jung, Euiyoung Kim, Alice Agogino, and Kosa Goucher-Lambert. "SUPPORTING HUMAN-CENTERED DESIGN IN PSYCHOLOGICALLY DISTANT PROBLEM DOMAINS: THE DESIGN FOR CYBERSECURITY CARDS." Proceedings of the Design Society 1 (July 27, 2021): 2831–40. http://dx.doi.org/10.1017/pds.2021.544.
Full textAbstract:
AbstractIncreasingly digital products and services make cybersecurity a crucial issue for designers. However, human-centered designers struggle to consider it in their work, partially a consequence of the high psychological distance between designers and cybersecurity. In this work, we build on the Design for Cybersecurity (DfC) Cards, an intervention to help designers consider cybersecurity, and examine a project-based design course to understand how and why specific DfC cards were used. Three findings result. First, designers found the intervention useful across all design phases and activities. Second, the cards helped design teams refocus their attention on the problem domain and project outcome. Third, we identify a need for support in framing and converging during user research, opportunity identification, and prototyping. We argue that the psychological distance between designers and the problem space of cybersecurity partially explains these findings, and ultimately exacerbates existing challenges in the design process. These findings suggest that design interventions must consider the psychological distance between designer and problem space, and have application in design practice across many complex problem domains.