Дисертації з теми "Designer’s knowledge"
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Newland, Paul Markus. "Understanding designers' knowledge aquisition processes : a potential for enhancing information transfer." Thesis, University of Portsmouth, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.238192.
Повний текст джерелаBurton, Michael J. "Design for rapid manufacture : developing an appropriate knowledge transfer tool for industrial designers." Thesis, Loughborough University, 2005. https://dspace.lboro.ac.uk/2134/7748.
Повний текст джерелаOlaberria, Juan-Pablo. "Ship design-knowledge in early modern Europe : royal yachts and the shared knowledge of ship-designers and common shipwrights." Thesis, University of Southampton, 2018. https://eprints.soton.ac.uk/419406/.
Повний текст джерелаChi, Cheng. "Personalized pattern recommendation system of men’s shirts based on precise body measurement." Electronic Thesis or Diss., Centrale Lille Institut, 2022. http://www.theses.fr/2022CLIL0003.
Повний текст джерелаCommercial garment recommendation systems have been widely used in the apparel industry. However, existing research on digital garment design has focused on the technical development of the virtual design process, with little knowledge of traditional designers. The fit of a garment plays a significant role in whether a customer purchases that garment. In order to develop a well-fitting garment, designers and pattern makers should adjust the garment pattern several times until the customer is satisfied. Currently, there are three main disadvantages of traditional pattern-making: 1) it is very time-consuming and inefficient, 2) it relies too much on experienced designers, 3) the relationship between the human body shape and the garment is not fully explored. In practice, the designer plays a key role in a successful design process. There is a need to integrate the designer's knowledge and experience into current garment CAD systems to provide a feasible human-centered, low-cost design solution quickly for each personalized requirement. Also, data-based services such as recommendation systems, body shape classification, 3D body modelling, and garment fit assessment should be integrated into the apparel CAD system to improve the efficiency of the design process.Based on the above issues, in this thesis, a fit-oriented garment pattern intelligent recommendation system is proposed for supporting the design of personalized garment products. The system works in combination with a newly developed design process, i.e. body shape identification - design solution recommendation - 3D virtual presentation and evaluation - design parameter adjustment. This process can be repeated until the user is satisfied. The proposed recommendation system has been validated by some successful practical design cases
Howard, Stephen. "User aspects of case : discovering and using designers knowledge sources in trade-off decision making." Thesis, University of Wolverhampton, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319436.
Повний текст джерелаGamito, Margarida Maria Allen. "A cor na formação do designer." Master's thesis, Faculdade de Arquitetura de Lisboa, 2005. http://hdl.handle.net/10400.5/5985.
Повний текст джерелаO objectivo desta investigação é o de estabelecer o conhecimento de cor necessário ao exercício do design, devendo ser incluído nos seus programas do ensino. Para atingir esse fim foi realizada uma extensa pesquisa bibliográfica sobre todos os aspectos da cor, assim como um conjunto de técnicas de recolha e análise de dados. Um grupo seleccionado de especialistas da cor deu a sua opinião sobre programas de ensino relacionados com a cor. Fez-se um inquérito, aos estudantes de duas instituições que ministram cursos de design: Faculdade de Arquitectura da Universidade Técnica de Lisboa (FAUTL) e Instituto de Artes Visuais, Design e Marketing (IADE), para avaliar o seu conhecimento sobre cor. As conclusões da investigação definiram como relevante o conhecimento da temática seguinte para o ensino e prática do design: ▪ Teorias da cor, abordadas como suporte histórico para uma melhor compreensão do fenómeno da cor. ▪ Mecanismo da visão da cor, com o desenvolvimento suficiente para transmitir a noção do modo como o ser humano percebe a cor. ▪ Percepção e Interacção da cor, incluindo luz e pigmento, as suas características e complementaridade, os modos de percepção da cor e a influência do meio ambiente. ▪ Os efeitos psicofisiológicos da cor, e o simbolismo da cor, que conduzem a uma maior consciência da interpretação da cor. ▪ Os diferentes sistemas de colorimetria, usados habitualmente no design, e as diferentes aplicações da cor no design que produzem equilíbrio, ênfase, e ritmo.
Ranathunga, Arachchilage Sumith Chandra Gopura. "Fashion education ecosystem: Bridging the fashion knowledge gap in the Sri Lankan apparel industry." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/123905/1/Sumith%20Chandra%20Gopura_Ranathunga%20Arachchilage_Thesis.pdf.
Повний текст джерелаGlazzard, M. "Re-addressing the role of knitted textile design knowledge : auxetic textiles from a practice-led, designer-maker perspective." Thesis, Nottingham Trent University, 2014. http://irep.ntu.ac.uk/id/eprint/308/.
Повний текст джерелаMauger, Stanley Philip. "The significance of knowledge of social contexts to concept development in graphic design practice in New Zealand." Thesis, Curtin University, 2010. http://hdl.handle.net/20.500.11937/1312.
Повний текст джерелаPanieri, Carlo, and Kai Grüner. "A way forward - Overcoming the challenges of contemporary Design Thinking research." Thesis, Linköpings universitet, Institutionen för ekonomisk och industriell utveckling, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-160240.
Повний текст джерелаWernberg, Andersson Micaela, and Nicolina Håkansson. "Thinking like a designer : Hur Design Thinking kan användas som strategiskt verktyg för affärsutveckling." Thesis, Södertörn University College, School of Business Studies, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3708.
Повний текст джерелаDesign Thinking är ett spännande och fortfarande relativt outforskat område med rötter i Service Management. Med hjälp av designerns verktyg och metoder och en mångvetenskaplig grund med fokus på kundens behov kan Design Thinking bidra till att utveckla produkter och tjänster och genom detta öka lönsamheten för företag. Syftet är att göra en deskriptiv studie av området Design Thinking som metodiskt arbetssätt vid tjänsteutveckling. Detta appliceras sedan på verkligheten för att komparativt se hur tre svenska bolag arbetar med tjänstutveckling inom en av världens största tjänstebranscher utifrån områdena Service Management och Design Thinking. Uppsatsen beskriver utvecklingen från Service Management till Design Thinking och hur man har gått från att utveckla tjänster till att designa tjänster. Uppsatsen har använt en kvalitativ metod vid datainsamling. Detta har gjorts genom intervjuer med de tre valda försäkringsbolagen samt med en tjänstedesignbyrå som samarbetat med ett av bolagen. Teoriavsnittet inleds med en teoretisk bakgrund där en djupare förståelse skapas inom områden Service Management och Design Thinking. Detta för att underlätta tolkningen och analysen av teorierna. En teoretisk modell för tjänsteutveckling har valts ut för respektive område, samt en som tolkas dess skillnader och likheter. Samtliga teorier har sedan tolkats och analyserats utifrån den empiriska studien av försäkringsbolagen. Några slutsatser som uppsatsen har genererat är att de studerade försäkringsbolagen inklusive tjänstedesignföretaget arbetar utifrån kundens behov när det utvecklar tjänster. Däremot visar undersökningen att försäkringsbolagen inte interagerar med kunden i den utsträckning som teorin säger samt att försäkringsbolagen anlitar tjänstedesignföretaget i ett senare skede av tjänsteutvecklingen än vad som egentligen är syftet enligt teorin. Intresset för Design Thinking kommer främst från tjänstedesignföretaget och inte i första hand från försäkringsbolagen. Utvecklingen från Service Management till Design Thinking visar även att designerns roll har förändrats då denne nu kommer in och är med genom hela processen istället för att som tidigare endast vara med i slutskedet.
Design Thinking is a relatively young and unexplored field with its roots in Service Management. By using the tools and methodology of designers, working in multidisciplinary teams and focusing on the consumers needs Design Thinking can contribute to the development of services and thereby increase the profitability for business. The objective of this paper is to construct a thorough description of the field Design Thinking and its methodology in service development. This is subsequently applied to the swedish insurance sector to comparatively describe how three insurance companies develop their services in one of the worlds greatest service industries. The paper initially describes and explores the development from Service Management to Design Thinking and how one has gone from merely developing services to designing services. Some conclusions that the paper has discovered are that the insurance companies we studied focus on consumer need. However, the study shows that the companies don't interact with the consumer to the extent that is described in the the theorethical models relevant for the paper. According to the study of Design Thinking, the designer is supposed to be involved throughout the entire process and not merely in the later fases as they are in Service Management. The analysis shows that the insurance companies choose to recruit designers only when they feel it to be neccesary, not involving them in the business development which is the next competitive advantage for companies today.
Isaksson, Persson Helena. "Bridging the boundaries between D&T education and working life : A study of views on knowledge and skills in product development." Licentiate thesis, KTH, Lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-159924.
Повний текст джерелаQC 20150212
D'IPPOLITO, BEATRICE. "Un'analisi dell'attività di design nel contesto dell'industria agro-alimentare in Italia tra innovazione ed estetica." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/982.
Повний текст джерелаThis thesis unveils the meaning of design in the context of the agro-food industry in Italy from a service innovation perspective (Miles et al., 1995; Tether et al., 2001). Different theoretical underpinnings have been called: previous studies on the professionalisation of a discipline have helped to assess the extent to which a discipline of agro-food design is emerging (Hodgson, 2002). Additional insight is provided by the analysis of firms and sectors that have integrated design-related expertise into their activities and, consequently, contributed to further our understanding on this matter (Jennings and Wood, 1994, Meroni, 2000, Miele and Murdoch, 2002). A qualitative approach has combined both primary- and secondary-source data. The study indicates that organisational innovations are crucial for the competitiveness of Italian design firms, project-based activity and close relationship with client firms in particular. Case studies on medium and large agro-food firms point to a blurring line between design and marketing. The study emphasises that both the innovation and aesthetic components must be considered. In cases where the product is not the only interface with the client (e.g. winemaking sector), the research suggests that the service trait of the design activity is becoming increasingly relevant.
D'IPPOLITO, BEATRICE. "Un'analisi dell'attività di design nel contesto dell'industria agro-alimentare in Italia tra innovazione ed estetica." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/982.
Повний текст джерелаThis thesis unveils the meaning of design in the context of the agro-food industry in Italy from a service innovation perspective (Miles et al., 1995; Tether et al., 2001). Different theoretical underpinnings have been called: previous studies on the professionalisation of a discipline have helped to assess the extent to which a discipline of agro-food design is emerging (Hodgson, 2002). Additional insight is provided by the analysis of firms and sectors that have integrated design-related expertise into their activities and, consequently, contributed to further our understanding on this matter (Jennings and Wood, 1994, Meroni, 2000, Miele and Murdoch, 2002). A qualitative approach has combined both primary- and secondary-source data. The study indicates that organisational innovations are crucial for the competitiveness of Italian design firms, project-based activity and close relationship with client firms in particular. Case studies on medium and large agro-food firms point to a blurring line between design and marketing. The study emphasises that both the innovation and aesthetic components must be considered. In cases where the product is not the only interface with the client (e.g. winemaking sector), the research suggests that the service trait of the design activity is becoming increasingly relevant.
Haslem, Neal Ragnar, and neal@nealhaslem net. "The practice and the community: a proposition for the possible contribution of communication design to public space." RMIT University. Applied Communication, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080212.165002.
Повний текст джерелаShah, Raza. "Property inference decision-making and decision switching of undergraduate engineers : implications for ideational diversity & fluency through movements in a Cartesian concept design space." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/278700.
Повний текст джерелаMoineau, Christophe. "Didactique professionnelle du design : situations d’apprentissage, activités de conception et représentations : le cas de l’alternance." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3061/document.
Повний текст джерелаThe purpose of this exploratory work, grounded on an emerging professional pedagogy of design, is to understand the impact of work-linked training in design on the learning of the design activity by students. To that end, the knowledge involved is extracted, juxtaposed with the representations that the requirement offers, and then set against the representations that students build of design activity as a social object as well as those involved in learning activities. Therefore, the theoretical field which is used is multidisciplinary. It induces a dialectical methodologic framework based both on a curricular analysis, necessary to understand the observed teaching situations, and on an analysis of the students’ activities. The outcomes shed light on these (sometimes conflicting) representations of creative design activity and of the designer’s profession. Outcomes also show the alternating times and places of learning situations reveal to the students the specificity of both designing situation. Thus, the “organizing environments” of the real curriculum and untaught within the required one, modify and regulate the system of interactions and the development of the students’ design skills. Moreover, the exchange device induces a timeline and “enabling” working and learning environments. Finally, the production of knowledge, required by the curriculum through the “research thesis”, allows the “apprentices-designers-researchers” to develop forms of expertise that question the interactions between knowledge to act and meta-knowledge to design and seems to redefine the representation of the design skill
Paulos, Margarida Ramires. "‘Profissões do conhecimento’ na indústria: o caso dos designers do vestuário. Um estudo comparativo em três países europeus." Master's thesis, 2009. http://hdl.handle.net/10071/1889.
Повний текст джерелаThe restructuring of work resulting from the emergence of knowledge-based society brought important changes in organisations and their employees. The clothing sector, as a traditional sector with a big need of intensive workforce, was one of the first ones where different organisations seek to use different forms of flexibility with the main purpose of remain competitive in a market increasingly internationalised. The present work was developed from the European project WORKS, focusing the ‘knowledge occupations’ in industry, namely the occupational group of fashion designers in three European countries (Germany, France and Portugal) and in different organisations. In order to understand the impact of work restructuring in the occupational group we will analyse the changes that occurred in their working conditions, skills and competences, use of knowledge, professional identity and career trajectories.
HSU, SHU-HUI, and 許淑慧. "A Study of Knowledge Management and Personal Performance of Visual Communication Designers." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/82942895416924701129.
Повний текст джерела銘傳大學
商品設計學系碩士在職專班
99
This study aims to investigate the execution conditions and differences on the personal design management of visual communication designers, and the effects of the knowledge management on personal design performance and personal job effectiveness. It hopes to collect and induce the personal knowledge management ways of the designers to provide designers as a reference, and to be able to provide design educators and design managers a reference when they are teaching and leading design groups in the future. This study was carried out by the interview and questionnaire survey methods, the results are as follows: 1. The results of personal knowledge management: (1)Most designers are to be open-minded to absorb knowledge of all kinds. And they are dedicated to learn from things that are not related to design field. (2)Most designers are able to execute the work of knowledge saving and think it a rather important section for knowledge management. (3)Most designers are willing to share their knowledge with others in order to motivate themselves to learn more. And by sharing their own experiences with others, the designers will be able to elevate their personal professional knowledge and skills in design. (4)Most designers take references of other’s experiences to modify their working styles and make use of the information and knowledge saved in the database. 2. The influence of the attribute of personal background to the execution of personal knowledge management: The execution conditions of knowledge management are affected by factors such as age, positions in the office, organization type, and designer’s working experiences. The designers who also work as managers are superior to the designers who work only as a designer on the all execution factors; for different age designers, only the designers above 41 years old do better than the designers under 30 years old on the “professional knowledge integration” factor; designers working in design companies perform better than designers working in other organizations on the most execution factors; designers having more than 21 years of design experiences also tend to be better than designers having less than 20 years of working experiences on the most execution factors. 3. The influence of personal knowledge management on design performance and job effectiveness: The results of regression analysis indicate that “knowledge saving” and “professional knowledge further education” have significant influence on personal design performance. Second, “knowledge sharing” and “knowledge saving” have significant influence on personal job effectiveness - work feeling. Third, “knowledge applying”, “professional knowledge further education” and “knowledge saving” significantly affect personal job effectiveness – work performance. Last, “knowledge saving”, “knowledge sharing”, “knowledge applying” and “professional knowledge further education” have significant influence on the whole personal job effectiveness.
Hung, Peng-Mao, and 洪鵬貿. "A Study on Knowledge Management of Beginner Designer for Ceramic Art Design." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/gh5sjj.
Повний текст джерела朝陽科技大學
工業設計系
106
Knowledge management is one of the most important management methods in modern times. Due to the trend of demanding creative innovation by clients,interdisciplinary skills have become a necessity in today’s industry. Designer is a job that requires knowledge in various disciplines. This study investigates in the field of ceramics, through interviews with ceramics artists regarding the question of contraction, to explore the knowledge of the craftman based on experience. In the production of ceramic products, the inevitable shrinkage of the clay on the thickness, length and width of the product can be estimated in advance to achieve effective control of product quality. These estimations are higly experience based and can also serves as a guildline to help the qulity control of the firing process, as well as cost manegment. The main discussion investigates in whether the shrinkage is affected by the difference in length and width. It is further verified through the comparasion between stereo samples and plane samples. Clay plates are made for experienment; paired sample t- test is applied to analyze the contraction rate of plates with same length but different thickness, and ANOVA(Analysis of variance) is applied in the analysis testing the difference in contraction between different lengths and thicknesses. The experiement shows, when the thickness is at 4.0mm and the length varies from 7.0cm-10 cm, the contraction have little difference. However, the length has a significant impact on shrinkage when the thickness is at 5mm. Between different sample groups, the contraction ratio has little difference between a 6mm and a 7mm thickness. It can be concluded once the thickness reaches 6mm; the impact on contraction is largely reduced. In the mean while, clay cup is used for stereo sample to compare with the plate sample. The comparison shows an average of a 12 % contraction rate on the plate sample and a 7% contraction rate on the clay cup. Thus, it can be concluded that the plane contraction is different from the steric contraction. This experiment shows that the main casue for the impact of contraction is the production method, followed by the clay materials, firing temperature, and firing time.
Chand, Ari. "Habitus, tacit knowledge and design practice: the context of the designer as illustrator." Thesis, 2018. http://hdl.handle.net/1959.13/1387903.
Повний текст джерелаThis exegesis is an articulation of Qualitative practice-based research (Candy 2006)- as a pragmatic and auto-ethnographic study- that correlates with the creative body of work entitled ‘The Art of Illusio’. This exegesis seeks to better understand and outline a theoretical framing of the context of the illustrator as designer. The research presents a perspective on how illustrators interact with experience and approach design through a reflexive engagement with theoretical concepts: habitus, tacit knowledge, and the design process. The notion of habitus condenses the designer’s system of dispositions and sense of place towards the world. I examine how habitus and tacit knowledge orients that system of disposition towards the perception of experiences. This research combines contemporary discussions of the seminal work of Pierre Bourdieu (Habitus- The Rules of Art, Distinction, Outline of a theory of Practice, The Field of Cultural Production), Maurice Merleau-Ponty (Perception-Phenomenology of Perception) and Michael Polanyi (Tacit Knowledge- Personal Knowledge: Towards a Post-Critical Philosophy, The Tacit Dimension), to propose that a combination of these conceptual understandings, along with their related concepts, work in a complex generative structure that frames design and illustration practice. The exegesis seeks to interrogate this framing through an exposition and positioning of academic literature, the analysis of professional literature, and the analysis of others practice through qualitative semi-structured interviews (Crouch & Pearce 2013), and the auto-ethnographic and reflective examination of my own illustration practice (Collinson 2009). It is intended for design researchers. It is also intended for design and illustration students, early career design researchers, and ultimately anyone undertaking practice-based research. My original contribution to knowledge is a framing for how Illustrators embody their experiences. Illustrator as a designer sits in the world of experience; the word ‘experience’ encapsulates most aspects of the context, outcomes, processes and elements of designing. The embodiment of experience is a fundamental device in the way illustrative imagery and visual communication translate and perpetuate ideologies, metaphors, mythologies, allegory, narratives and in particular the anthropomorphisation of the human condition. Illustrators translate experiences, and the perceptual synthesis of those experiences into the illustration and the design of fictitious, but representational, narratives, worlds, characters and environments. Drawing becomes a crucial part of articulating the world and capturing perception of experience and reality. Drawing has a long established history of being described as a way of thinking (Minichiello 2005). Illustration practice, as a resolved outcome of drawing, permeates a large scope of different forms of visual communication as a resolution of the design process. Contemporary and seminal discussions of design express that design is a transformative process (Roxburgh 2013, Crouch & Pearce 2013:2,15, Simon 1981), acting as an instrument for the transformation of the artificial world. Uniquely the illustrator not only responds to experience of the world by articulating it, but also is actively engaged in the perpetual transformation of it.
Hung-KuShen and 沈宏谷. "From VOC (voice of customers) to VOD (voice of designers) - A study of knowledge-processing perspective in Taiwanese construction industry." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/3c7jwx.
Повний текст джерела國立成功大學
企業管理學系
103
The purpose of our research is to develop a theoretical framework during the voice of customers (VOC) and voice of designers (VOD) in knowledge-based viewpoint (KBV) and clarify these critical factors related to knowledge-processing mechanisms in the Taiwanese construction industry. A survey of depth-interviews were conducted with 15 construction companies and a questionnaire analysis of 136 samples showed the positive connections between voice of customers (VOC), operation environment, strategic intent, knowledge-processing mechanisms, and voice of designers (VOD). In turn, these measures of a firm’s effectiveness of knowledge-processing mechanisms from voice of customers (VOC) to voice of designers (VOD) were related to the firm’s strategic intent and operation environment, and we provide an empirical framework which can quickly and comprehensively understand an organization for fitness with business objectives in Taiwanese companies.
Neves, Marcos Daniel Janela das. "A Prática Autoral Autoiniciada como Fator de Desenvolvimento do Designer - Um projeto Interdisciplinar." Master's thesis, 2021. http://hdl.handle.net/10316/96174.
Повний текст джерелаO seguinte estudo parte da busca de uma postura autoral dentro do design. Numa fase inicial, através de casos de estudo de autores que se distanciam do que consideramos “design comercial” ou “design feito por encomenda”, pretendemos entender como estes podem explorar as tangentes entre a arte e o design. Neste sentido, também procuramos compreender onde o designer se situa quando o trabalho parte de uma autoproposta. Simultaneamente, ao longo do projeto, visamos o crescimento a nível profissional e pessoal, bem como o desenvolvimento de capacidades técnicas, criativas e concetuais. Estas acabam por surgir devido à fomentação do espírito critico e do conhecimento empírico, relacionando-se com as metodologias de investigação abordadas que, por sua vez, assentam diretamente na prática e na experimentação. A partir dos resultados da nossa experiência e ao longo do desenvolvimento desta investigação, procuramos incentivar a prática autoiniciada, tal como demonstrar os benefícios dos projetos autoiniciados para o crescimento do designer. De forma pessoal, ilustramos questões que comprovam o nosso crescimento durante o progresso de cada projeto. Através da reflexão sobre os mais diversos temas, selecionados por razões pessoais, constatamos os contributos da prática e da conciliação de meios analógicos com meios digitais. Os principais conclusões que retiramos desta pesquisa passam pela necessidade de atenuação de limitadores criativos que conduzem os projetos à inovação e, este fator, mostra-nos a possibilidade de uma nova forma de estar e subsistir como designer na sociedade, que acaba por se situar algures entre o dito “design comercial” e o design de autor.
The following study arises from the search of an author’s identity within design. In an initial phase, through the study of some authors that diverge from the "commercial design" or known as the "order design", we seek to understand how these explore the lines between art and design. Along these lines, we also look into understanding where the designer stands when their work comes from a personal initiative. Simultaneously, throughout the project, we aim professional and personal growth as well as the development of technical, creative and conceptual abilities. These end up emerging due to the promotion of critical spirit and empiric knowledge, correlating methodologies of the investigation that were approached that lean directly on practice and experimentation. From the results of our experiment and throughout the development of this investigation, we forward to encourage the self-initiated practice as well as show the benefits of self-developed projects to the growth of the designer. In a personal way, we illustrate topics that show our growth during the process of each project. Reflecting on a manifold of themes, personally chosen, we acknowledged the contribute of practice and conciliation of both digital and analogic assets. The main conclusion goes through the need of mitigation of creative restraints that drive projects to innovation and, that factor shows the possibility of a new way of being and existing as a designer in society that ends up being somewhere in between the known "commercial designer" and an author designer.
Chung, Chia-Hsing, and 鍾嘉興. "A Study on Affecting Factors of Designer Willingness in Knowledge Sharing-Evidence from Taiwan’s Information Industry Firms." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/41910221185289833968.
Повний текст джерела國立雲林科技大學
工業設計系碩士班
93
As we know, knowledge has been treated as one of the main sources of competitiveness for many enterprises. Within the domain of knowledge management, knowledge sharing can not only play a critical role in the effective knowledge management, but also facilitate the knowledge growth of the members of an enterprise. Moreover, the nature of design that is a profession of intensive knowledge application, and designer willingness in knowledge sharing is extraordinarily vital for such a circumstance. Therefore, the objectives of this study include: 1) to explore the factors affecting designer willingness in knowledge sharing, and 2) to discover the designer willingness in knowledge sharing in Taiwan’s Information Industry Firms. Based on literature review, this study extracted five factors, such as the type of knowledge, personality, power, trust, and organizational culture, which might affect the designer willingness in knowledge sharing, Furthermore, this study employed a depth interview with BenQ to realize how BenQ’s designers share their knowledge with others. From the case, this study found out that a reward system could be also treated as a critical factor on affecting the designer willingness in knowledge sharing. Based on the findings of literature review and case interview, this study further constructed a research framework and several hypotheses concerning the factors affecting the knowledge sharing willingness of designers. The framework was tested with data collected from 62 designers of 23 Taiwan’s information industry firms. The findings of this study confirm that: 1) the designer willingness in knowledge sharing is higher when the personality of the designer tends to be conscientious; 2) the designer willingness in knowledge sharing is low when the organizational culture is conservative; 3) the designer willingness in knowledge sharing is high when there is an internal reward system in an enterprise. Lastly, to improve the designer willingness in knowledge sharing, this study suggested that the organizational culture of an enterprise should try to avoid a conservative culture and establish an appropriate knowledge sharing reward system to enhance the utilization of design knowledge in the enterprise.
Lee, Zhi-yu, and 李芷宥. "The Relations Between Advertising Design License Certification and the Knowledge and Ability Required to be a Professional Designer." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/53811629369333671376.
Повний текст джерела國立雲林科技大學
視覺傳達設計系碩士班
93
The in-depth interview, questionnaire survey and KJ-method were used in this study which aims to understand the relations between advertising design license certification and the knowledge and ability required by a professional designer. The research process is divided into four stages: (1) from the questionnaires, the researcher analyzed the ability of the professional designers-to-be when they answered the test questions of Grade B and C in the Advertising Design Technique Certification; (2) through in-depth interviews with professionals and teachers, in industry and academia, who had received the license for advertising design, viewpoints on license were collected; the requests for professional knowledge in the industry were also understood (3) based on results of the viewpoints on license collected in the second stage, questionnaires were designed and used for determining the related viewpoints of the license holders in industry and academia as well as the requests for professional knowledge in the industry; (4) KJ-method is used to analyze the relations between important abilities and license certification of advertising design in the industry. The findings are described as follows: 1.The ability of both Grade B and C in the Advertising Design Technique Certification in sequence is: knowledge>understanding>application>analysis>integration>criticism. 2.The first five factors considered in recruiting personnel in advertising design are: (1) professional knowledge and techniques (2) practical experience (3) cooperation (4) ability to do individual work (5) responsibility. 3.Required abilities in advertising design in the industry: (a)Professional knowledge: judgment and creativity of work. (b)Design implementation: color planning and application, integration of pictures and scripts, and poster design. (c)Computer software operation: Illustrator, Photoshop. (d)Work attitude and ethics: independent operation, problem solving, and career dedication. 4.There is low or no correlation between ability reflected from the test in Grade C of the Advertising Design Technique Certification and required professional knowledge in industry; there is middle or low correlation between ability reflected from the test in Grade B of the Advertising Design Technique Certification and required professional knowledge in industry. 5.The management of the industry, the examinees of Grade B and C in Advertising Design Technique Certification all believed that “the technique of technician meets the real requirements of industry and the license holder will be recruited in advance by the industry” is not true at all.
Chiapello, Laureline. "Les casual games : définition à l’aide du savoir professionnel des designers de jeux." Thèse, 2012. http://hdl.handle.net/1866/8755.
Повний текст джерелаCasual games are one of the main phenomena in the video game industry, but remain under-explored and are not highly regarded. Scientific definitions are scarce, inconsistent, and often disconnected from actual games. Further, theoretical models for game design, centered on gameplay, often fall short in defining casual games. The objective of this study is to use Donald Schön's model of the reflective practitioner to shed a new light on casual games through the collection of professional knowledge of game designers. This study follows a qualitative approach with phenomenological inspiration. Eight one-on-one semi-structured interviews were conducted with casual game designers who were asked to provide a narrative of their professional practice. Results show that traditional game design concepts remain relevant for understanding and defining casual games, but need to be reworked in the light of new experiences and contexts in gaming. Namely, challenge is no longer synonymous with obstacle, but should be considered as an opportunity of a player’s action. Progression should be based on the variation of challenges instead of increasing difficulty. In addition, participants rejected some concepts that were previously considered appropriate for defining casual games, like positive fiction. Finally, this study provides insight into the role of casual game designers and the context of their work, which can help explain the often negative perception of casual games.
Vijaykumar, Gokula A. V. "Understanding Knowledge Needs And Processes In Design." Thesis, 2009. http://hdl.handle.net/2005/1040.
Повний текст джерелаLoock, Marianne. "Knowledge-based support for object-oriented design." Diss., 1994. http://hdl.handle.net/10500/17231.
Повний текст джерелаComputing
M. Sc. (Information Systems)