Статті в журналах: "Product Design Creativity"

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Li, Yan, Jian Wang, Xianglong Li, and Wu Zhao. "Design creativity in product innovation." International Journal of Advanced Manufacturing Technology 33, no. 3-4 (May 9, 2006): 213–22. http://dx.doi.org/10.1007/s00170-006-0457-y.

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Han, Ji, Hannah Forbes, and Dirk Schaefer. "An Exploration of the Relations between Functionality, Aesthetics and Creativity in Design." Proceedings of the Design Society: International Conference on Engineering Design 1, no. 1 (July 2019): 259–68. http://dx.doi.org/10.1017/dsi.2019.29.

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AbstractCreativity is often said to play a vital role in the product design process, while functionality and aesthetics are considered key factors of actual products. Functionality refers to the performance of a product, and aesthetics represents the visual and ergonomic appeals of the product. However, there appears to be an elusive relation between creativity, functionality and aesthetics. This study explores how functionality, aesthetics and creativity are related to one another in design. Through exploring the definitions and assessments of creativity in design, this study reveals that novelty, usefulness and surprise are the three core elements of design creativity. A case study involving experts evaluating design samples in terms of novelty, usefulness, surprise, functionality, aesthetics and overall creativity is conducted. The results imply that there are no statistically significant relations between creativity, functionality, and aesthetics. Considering the three core elements of design creativity, the results indicate that creativity is only statistically significantly related to novelty. Moreover, our results suggest that creativity and novelty are measuring the same construct.

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Hsiao, Shih-Wen, and Jyh-Rong Chou. "A creativity-based design process for innovative product design." International Journal of Industrial Ergonomics 34, no. 5 (November 2004): 421–43. http://dx.doi.org/10.1016/j.ergon.2004.05.005.

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Tseng, Ming-Yu. "Towards a pragmatic analysis of product discourse." Pragmatics of professional discourse 7, no. 1 (April 7, 2016): 105–40. http://dx.doi.org/10.1075/ps.7.1.05tse.

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This study addresses Chinese discourse creativity in product discourse within Taiwan’s creative industries. Product discourse not merely introduces creative products but also does it creatively. Based on a corpus of 20 examples, this paper proposes the notion of creative force, a chain of acts contributing to discourse creativity, and argues that five types of acting work together in the design of creativity exemplified in such discourse. They are acts of telling or invoking a story, constructing identity and stance, making multiple meanings, blending, and performing culture. This paper also investigates metapragmatic performance in relation to creative force, i.e., how creative discourse which performs creative force is made possible and acceptable in society. Three metapragmatic aspects are under scrutiny: shared knowledge, metalinguistic awareness, and indexicality. All in all, this study aims to further substantiate our understanding of creativity and discourse in pragmatic and metapragmatic terms.

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Zhang, Weiguo, Jianyao Shu, Xitong Hu, and Yun Mei. "Research on product innovation design methods." E3S Web of Conferences 179 (2020): 02076. http://dx.doi.org/10.1051/e3sconf/202017902076.

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When the prehistoric man began to pick up stones, wood and other materials to make tools, we can confirm that creativity is not only the designer’s personal patent but a natural gift of humanity. As product designers, we must have more creativity than ordinary people. By analyzing a large number of actual design works and award-winning works in international competitions for many years, the author summarizes the similarities of creative design and explores the application of innovative product design methods in design.

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Yin, Yuan, Ji Han, Shu Huang, Haoyu Zuo, and Peter Childs. "A STUDY ON STUDENT: ASSESSING FOUR CREATIVITY ASSESSMENT METHODS IN PRODUCT DESIGN." Proceedings of the Design Society 1 (July 27, 2021): 263–72. http://dx.doi.org/10.1017/pds.2021.27.

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AbstractThis paper asked participants to assess four selected expert-rated Taiwan International Student Design Competition (TISDC) products using four methods: Consensual Assessment Technique (CAT), Creative Product Semantic Scale (CPSS), Product Creativity Measurement Instrument (PCMI), and revised Creative Solution Diagnosis Scale (rCSDS). The results revealed that, between experts and non-experts, the ranking results by the CAT and CPSS were the same, while the ranking results of the rCSDS were different. The CAT, CPSS, and TISDC methods provided the same results indicating that raters may return the same results on creativity assessment, and the results are not affected by the selected methods.If it is necessary to use non-experts to assess creativity and the creativity results are expected to be the same with that of experts, asking non-expert raters to use CPSS to assess creativity and then ranking the creativity score is more reliable. The study offers a contribution to the creativity domain on deciding which methods may be more reliable from a comparison perspective.

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Bleuzé, Tore, and J. Ceupens. "Product crossing: designing connections using a product example." International Journal Sustainable Construction & Design 2, no. 2 (November 6, 2012): 172–79. http://dx.doi.org/10.21825/scad.v2i2.20513.

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Today, more and more products are made with multi materials, hybrid materials and compositematerials to fulfil the more and more requiring product needs. Therefore connections and joints play a keyrole in (product) design. How to connect different parts remains one of the core questions in the design ofproducts. In practice designers often fall back on a few known joining solutions. Tools like a joiningselection software can be useful but can also limit the creativity of the designer. Certainly, in the beginningof the design process. Existing creativity techniques, which are suitable for all types of problems, can beused, but are mostly holistic and superficial. Therefore there is a need for divergent and inspirationaltechniques that focuses on the design of products and their connections. In this paper the authors discussan experimental method called “product crossing”, in which a real product is used as inspiration during theidea generation. The method was tested with several students with different backgrounds (industrial(product) design and mechanical design). They translated product properties and aspects of the exampleproduct in the specific context of their design which resulted in surprising product idea’s. The different testcases are also discussed in this paper.

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Suyidno, Suyidno, Mohamad Nur, Leny Yuanita, Binar Kurnia Prahani, and Budi Jatmiko. "EFFECTIVENESS OF CREATIVE RESPONSIBILITY BASED TEACHING (CRBT) MODEL ON BASIC PHYSICS LEARNING TO INCREASE STUDENT’S SCIENTIFIC CREATIVITY AND RESPONSIBILITY." Journal of Baltic Science Education 17, no. 1 (February 20, 2018): 136–51. http://dx.doi.org/10.33225/jbse/18.17.136.

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The Creative Responsibility Based Teaching (CRBT) model is an innovative physics-teaching model designed to enhance students’ scientific creativity and responsibility. Therefore, this research aims to analyze the effectiveness of CRBT model to improve scientific creativity and first year students’ responsibility on Basic Physics learning in academic year 2016/2017. This research used one group pre-test and post-test design on 144 students divided into 4 groups at University of Lambung Mangkurat, South Kalimantan (Indonesia). The data collection methods were conducted by using: scientific creativity tests emphasized on unusual uses indicator, problem finding, product improvement, creatively science problem solving, creatively experiment designing, and creatively product design; questionnaire of responsibility emphasized on: participatory indicator, respecting others, cooperation, leadership, and delivering opinion; and interviews. The data analysis technique was done by using paired t-test / Wilcoxon test, n-gain, and ANOVA / Kruskal-Wallis test. The results showed that there was a significant increase in students’ scientific creativity and responsibility at α = 5%, with n-gain average of moderate category, and both were not different (consistent) for all four groups. Thus, the CRBT model is effective for enhancing students’ scientific creativity and responsibility. Keywords: creative responsibility based teaching, physics learning, responsibility attitude, scientific creativity, first year students.

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Springer, Leonardo. "Fostering a Creativity Culture." Convergences - Journal of Research and Arts Education 15, no. 29 (May 31, 2022): 89–95. http://dx.doi.org/10.53681/c1514225187514391s.29.135.

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Анотація:

Design has evolved into a comprehensive discipline, its core areas (communication, product, spaces, web, service) are a fraction of its wide-ranging outcome which has expanded into specialized fields of knowledge. The creative process greatly depends on previously acquired cognitive knowledge (socio-cultural and moral values). This usually originates within a cultural context, that provides visual, audio, and kinaesthetic manifestations, requiring interpretations and understanding of both the designer and the end-user. Design education had to adapt and evolve accordingly, applying methodologies and encompassing a transdisciplinary approach involving research, art, materials, technology, processes, and human interactions in the development of design solutions, emphasizing understanding over output. Global culture and cultural expressions have created a need in design schools to foster understanding, encouraging students to ask questions and develop awareness of wide-ranging design manifestations, thus addressing a variety of subjects without prejudice of individual beliefs. This learning and sharing of experiences can produce meaningful results, considering that civilization is influenced by cultural interactions, regarding users and products/services. These are assessed as good/bad and beautiful/ugly, depending on specific cultural background and distinct interpretations. Cultural unawareness impairs individuals to develop creative thinking and accordingly innovative solutions. The issue presents itself, how to encourage creativity among design students, many unaware of their cultural background, thus overcoming the fear of failure, developing curiosity, applying research methodologies, and engaging in discussions that foster a mindfulness about design.

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Hassankhouei, Elaheh, Alireza Rezvani, Vahid Ahmadi, and Fatemeh Haji arbabi. "Design and Validation product Creativity Evaluation Model in Architectural Design Education." Iranian Journal of Educational Sociology 4, no. 3 (September 1, 2021): 11–18. http://dx.doi.org/10.52547/ijes.4.3.11.

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Yilmaz, Seda, and Colleen M. Seifert. "Creativity through design heuristics: A case study of expert product design." Design Studies 32, no. 4 (July 2011): 384–415. http://dx.doi.org/10.1016/j.destud.2011.01.003.

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Yang, Song, and Ying Zhong. "Analysis of the Factors that Influenced on Team Creativity in Product Conception Design Stage." Applied Mechanics and Materials 101-102 (September 2011): 96–99. http://dx.doi.org/10.4028/www.scientific.net/amm.101-102.96.

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Now, the application of team is wider and wider, the studies about team are more and more. If a team can always maintain high design creativity, its advantage in the industry can last forever. In the industrial design activity, product design preliminary stage is the major part of creating process. Management of team makes it carry out the design effectively. Especially, the management of team creativity is crucial to team members, it makes team members keep efficient creativity and improve the team's kernel competitive power. This study discussed the industrial design team creativity in this particular field, summarized team’s responsibilities and factors that influenced on team creativity in product conception design stage. Team managers need to optimize and ameliorate these factors, and then they can further improve the design team creativity.

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LIN, JUSTIN J. Y. "CREATIVITY ENGINEERING FOR CONTINUOUS AND DISCONTINUOUS INNOVATION." International Journal of Innovation and Technology Management 04, no. 02 (June 2007): 209–24. http://dx.doi.org/10.1142/s0219877007001065.

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Concurrent engineering (CE) has been widely implemented in many industries so that developers can consider all elements of the product lifecycle during the product design phase. However, although concurrent engineering is a very effective approach for product design team-up, it does not help to generate new product concepts. To build a successful innovation model, research has investigated how concurrent engineering can be extended to a new concept which covers not only the downstream phase from design concept to the entire product design process, but also the upstream phase from brainstorming to the generation process of new product concepts. Results show that a product knowledge and innovation (PKI) system based on the concepts of creativity engineering (CE-II), which is extended from the current practice of concurrent engineering, can be used to achieve the goals for both continuous and fusion-type discontinuous innovation.

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Eytam, Eleanor. "Effect of Visual Design on the Evaluation of Technology- vs. Design-Based Novel Interactive Products." Interacting with Computers 32, no. 3 (May 2020): 296–315. http://dx.doi.org/10.1093/iwc/iwaa021.

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Abstract Novel product evaluations are challenging in that they occur under pre-use conditions in which users cannot rely on their past experiences with the product to determine its quality. The reported study explores the effects of innovation type and design simplicity level on novel interactive product evaluations. The results show that the type of innovation interacts with the visual simplicity level and affects one’s judgment about a product’s instrumental attributes, namely, its ease of use and functionality. While technology-based novel products are judged to be more innovative and more creative compared to design-based novel products when the designs are relatively simple, this trend shifts for complex designs where there is no significant difference between judgments of the two types of products. Finally, while innovativeness is a salient predictor for preference variance regardless of innovation type and design visual simplicity level, creativity is a predictor for preference variance of design-based innovation, when the design is relatively simple.

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Setiadi, Bayu Rahmat, Sugiyono ., and Thomas Sukardi. "Opening Students' Creativity and Innovation through CAD Learning in Collaboration with Small and Medium-Sized Enterprises." Journal of Engineering Education Transformations 36, no. 1 (July 1, 2022): 129–37. http://dx.doi.org/10.16920/jeet/2022/v36i1/22144.

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Abstract : Currently, student product design work is based on product design examples that the lecturer has determined. This can provide the scope of creativity and innovation of student product designs to be limited to old textbook-based designs and not real problems in the world of work. The research method uses an experiment with a One-Group Double Posttest-Only Design. Respondents are students who take CAD courses. The research scenario was the first week without treatment and the second until the fifth week of treatment with the CAD learning method in Small and Medium-sized Enterprises (SMEs). There are three SMEs as the research location. The research was divided into eight student groups. The data analysis technique uses descriptive statistics to represent the qualities of creativity and innovation. Combined and partial difference tests were carried out by analyzing variance from the experiment’s class. Learning CAD in SMEs requires preparation in planning, implementation, and evaluation. Conservatively, there is an increase in studentcreativity and innovation from time to time when they are in SMEs. Students give a good impression of improving their CAD skills with growing confidence and solving industrial product design problems. In addition, the inferential results show differences in student creativity and innovation from time-to-time experiments. Keywords: creativity, innovation, Small and Medium-sized Enterprises, CAD learning, design product

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McLoone, Hugh E. "Leadership in the Product Development Process." Ergonomics in Design: The Quarterly of Human Factors Applications 23, no. 1 (January 2015): 26–30. http://dx.doi.org/10.1177/1064804615571341.

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Creativity can be viewed as a chaotic or unplanned activity. The product design process often may seem like chaos as well, but this is not inevitable. Designers and human factors/ergonomics (HF/E) professionals follow a clear design process with phases, levels, and methods for creation of successful new products. Research methods are offered at the right time during this process to generate new concepts and to evaluate designs. We work together to create innovative, valued, and successful products via a generative, iterative, evaluative process.

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Ummar, Rakhshan, and Sharjeel Saleem. "Thematic Ideation: A Superior Supplementary Concept in Creativity and Innovation." SAGE Open 10, no. 3 (July 2020): 215824402094742. http://dx.doi.org/10.1177/2158244020947429.

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New products improve competitiveness through their creativity and innovativeness. Creativity and innovativeness are parallel yet non-identical concepts; newly introduced products are either somewhat thematically similar or taxonomically similar to the existing products. There is a need for the explication of creativity and innovativeness as separate or as unified concepts in newly developed products, in particular, thematic products. A mixed-method design was adopted to establish definitions and components of creativity and innovativeness in the ideas presented at the innovation summit through 489 perceptual reports on 14 feature-based and theme-based product ideas. On the whole, three components—originality, value, and commercial appeal—were derived and tested. Results revealed the significance of originality as a major component of creativity and innovativeness in all products. Perceived value was significantly related to originality in both taxonomic and thematic products. Originality and value predicted creativity whereas innovativeness was predicted by commercial appeal along with originality and value in all products. The underlying purchase intention in taxonomic and thematic product ideas was the product’s relatedness with lifestyle. A product idea to be implemented in business as innovation was found to be dependent on its creativity and commercial appeal. This asserted three factors mandatory at the Fuzzy Front End (FFE), namely, originality, value, and commercial appeal. Discussion includes the interpretation of results and future directions.

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Cropley, David H., and James C. Kaufman. "The siren song of aesthetics? Domain differences and creativity in engineering and design." Proceedings of the Institution of Mechanical Engineers, Part C: Journal of Mechanical Engineering Science 233, no. 2 (May 31, 2018): 451–64. http://dx.doi.org/10.1177/0954406218778311.

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For many years, researchers have debated the role of “domain” in creativity. Opinion remains divided, but a common view is that creativity is a combination of domain-general elements, coupled with domain-specific manifestations, usually in the form of different kinds of products. Discussions of domains and creativity frequently take place in very broad, thematic terms, differentiating only between Arts and Sciences, with less attention given to differences within domains. The goal of this paper is to explore a single technological domain, studying differences between the micro-domains of Engineering and Industrial Design. Do engineers and industrial designers differ when evaluating the creativity of products? If they differ, what might be the underlying drivers of these differences? Contrary to expectations, not only were there significant differences between these groups, but evidence presented in this study suggests that engineers have difficulty differentiating between aesthetics and functionality, as components of product creativity, in contrast to industrial designers, who seem to possess a more discriminating eye.

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Zhang, Xi. "Incremental Innovation: Long-Term Impetus for Design Business Creativity." Sustainability 14, no. 22 (November 8, 2022): 14697. http://dx.doi.org/10.3390/su142214697.

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In business, innovation thinking is expanding beyond product innovation, and it is being marketed as a catalyst for unique user experiences, businesses, and organizational and cultural change. Product design and design-driven business operations require an innovative mindset. In this study, we examined how progressive innovation thinking can be applied to three aspects using a combination of case studies: idea genesis, process, and decision making. We also examined thinking studies from relevant companies to investigate how to create user-pleasing experiences and details in products and to develop a framework for progressive innovation thinking strategies and implementation methods for designers. Our findings will help designers and corporate design teams find a steady flow direction in the execution of their design business, capture the first moments of brilliance and replicate ideas, generate a constant stream of creative ideas, maintain a constant flow of innovation in their design business, and enhance the overall business capability of the design team. This framework has academic and business ramifications: it can provide guidance and ideas to other design teams looking to execute their design business and act as a reference for adopting progressive, original thinking work and creative businesses.

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Abou Elsoud, Aziza. "Design studio challenge, as a creativity fostering tool for product Design students." Journal of Design Sciences and Applied Arts 2, no. 1 (January 1, 2021): 1–14. http://dx.doi.org/10.21608/jdsaa.2021.30287.1048.

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Han, Ji, Min Hua, Feng Shi, and Peter R. N. Childs. "A Further Exploration of the Three Driven Approaches to Combinational Creativity." Proceedings of the Design Society: International Conference on Engineering Design 1, no. 1 (July 2019): 2735–44. http://dx.doi.org/10.1017/dsi.2019.280.

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AbstractCombinational creativity is a significant element of design in supporting designers to generate creative ideas during the early phases of design. There exists three driven approaches to combinational creativity: problem-, similarity- and inspiration-driven. This study provides further insights into the three combinational creativity driven approaches, exploring which approach could lead to ideas that are more creative in the context of practical product design. The results from a case study reveal that the problem- driven approach could lead to more creative and novel ideas or products compared with the similarity- and inspiration-driven approach. Products originating from the similarity- and inspiration-driven approach are at comparable levels. This study provides better understanding of combinational creativity in practical design. It also delivers benefits to designers in improving creative idea generation, and supports design researchers in exploring future ideation methods and design support tools employing the concept of 'combination'.

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Fernandes, Rodrigo Bastos, and André Ogliari. "Enhancing creativity through Biological Stimuli during new products ideation." International Journal for Innovation Education and Research 6, no. 10 (October 31, 2018): 332–50. http://dx.doi.org/10.31686/ijier.vol6.iss10.1200.

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The development of new and innovative products consists in a competitive advantage, allowing companies to overcome competitors, maintain or even increase its market share. As the product development cycle is shortening, a greater effort is required at the ideation of new technologies and products. In this context, the bio-inspired design has been receiving attention as a creativity strengthening method. However, the majority of methods and tools proposed in this field present biological stimuli in the form of literature extracts, requiring a great cognitive effort from the design teams in abstracting principles to generate ideas. In this paper a systematic approach to biological stimuli development is presented, as well as its contribution during the ideation process. An experiment was conducted on the context of a product design course. As result, it was evidenced that the biological stimulators contributed to the increase of the ideas' utility and variety, favoring the innovation process.

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Chang, Chia Ling, and Ding Bang Luh. "A Development Model of User Creativity Platform." Applied Mechanics and Materials 311 (February 2013): 293–98. http://dx.doi.org/10.4028/www.scientific.net/amm.311.293.

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As the generation changes, the wide variety of information available has sparked a lot of creativities in the new generation of users. The users expect to modify or successively design the products after purchase according to their own creative needs. “User creativity orientation” becomes a focus in new product development. Products which facilitate user’s creativity can be viewed as a creativity platform. The development of software in this aspect has been going on for years, while the research and relevant discourses on physical products are still lacking. This study proposes a development model of User Creativity Platform (UCP) for physical products, which includes eight steps: (1) User creativity needs exploration, (2) Functionality classification, (3) Primary and secondary components development, (4) Creativity-friendly interface design, (5) Design prototyping, (6) Creativity potential confirmation, (7) Intellectual property protection, and (8) Implementation. According to the proposed model, a set of the storage furniture has been developed and successfully granted invention patent. The model opens up a new dimension for designers to develop a user-friendly interface for user creation, rather than merely for user assembly. The feasibility of the model was also validated on the flexible furniture and toy design for pre-school kids.

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Mountstephens, James, and Jason Teo. "Progress and Challenges in Generative Product Design: A Review of Systems." Computers 9, no. 4 (October 9, 2020): 80. http://dx.doi.org/10.3390/computers9040080.

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Design is a challenging task that is crucial to all product development. Advances in design computing may allow machines to move from a supporting role to generators of design content. Generative Design systems produce designs by algorithms and offer the potential for the exploration of vast design spaces, the fostering of creativity, the combination of objective and subjective requirements, and the revolutionary integration of conceptual and detailed design phases. The application of generative methods to the design of discrete, physical, engineered products has not yet been reviewed. This paper reviews the Generative Product Design systems developed since 1998 in order to identify significant approaches and trends. Systems are analyzed according to their primary goal, generative method, the design phase they focus on, whether the generation is automatic or interactive, the number of design options they generate, and the types of design requirements involved in the generation process. Progress using this approach is recognized, and a number of challenges that must be addressed in order to achieve widespread acceptance are identified. Possible solutions are offered, including innovative approaches in Human–Computer Interaction.

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SHAKER, Ban Muhammad. "THE CONCEPT OF OBJECTIFICATION AND ITS RELATIONSHIP TO THE DESIGN CREATIVITY OF INDUSTRIAL PRODUCTS." RIMAK International Journal of Humanities and Social Sciences 03, no. 06 (July 1, 2021): 307–21. http://dx.doi.org/10.47832/2717-8293.6-3.28.

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an is considered the most strange creature in life, as he searches for everything that is familiar and known in order to refer it to a strange product or to a strange term, or almost not without strangeness, employing the latest scientific and technological techniques and creatively, so the industrial designer transforms the concept of a thing from general to private and from the concept Just into something, that is, the mental embodiment of it through its use of creative design strategies that draw the human surroundings and its relationship to things and change from the spontaneous merging of the human being with what he has transformed into his merging through objectification resulting through the transformations imposed on the industrial designer who seeks to employ scientific, technical and technological development according to an innovative strategy. The current research aims to employ design creativity in designing industrial products that depend on the concept of objectification in the process of designing and implementing them. The first topic deals with the concept of objectification among contemporary philosophers, while the second topic represents design creativity and its reflection on the objectification of the industrial product. The research also included results, conclusions, and a list of sources and references.

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Kreitler, Shulamith, and Hernan Casakin. "Self-Perceived Creativity." European Journal of Psychological Assessment 25, no. 3 (January 2009): 194–203. http://dx.doi.org/10.1027/1015-5759.25.3.194.

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In view of unclear previous findings about the validity of self-assessed creativity, the hypothesis guiding the present study was that validity would be proven if self-assessed creativity was examined with respect to a specific domain, specific product, specific aspects of creativity, and in terms of specific criteria. The participants were 52 architecture students. The experimental task was to design a small museum in a described context. After completing the task, the students self-assessed their creativity in designing with seven open-ended questions, the Self-Assessment of Creative Design questionnaire, and a list of seven items tapping affective metacognitive aspects of the designing process. Thus, 21 creativity indicators were formed. Four expert architects, working independently, assessed the designs on nine creativity indicators: fluency, flexibility, elaboration, functionality, innovation, fulfilling specified design requirements, considering context, mastery of skills concerning the esthetics of the design representation, and overall creativity. The agreement among the architects’ evaluations was very high. The correlations between the nine corresponding indicators in students’ assessment of their design and those of the experts were positive and significant with respect to three indicators: fluency, flexibility, and overall creativity. On the contrary, the correlations of the rest noncorresponding indicators with those of the experts were not significant. The findings support the validity of self-assessed creativity with specific restrictions.

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Cullmann, Sabine, Claude Guittard, and Eric Schenk. "Participative creativity serving product design in SMEs: a case study." Journal of Innovation Economics 18, no. 3 (2015): 79. http://dx.doi.org/10.3917/jie.018.0079.

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Yuan, Xiaofang, and Ji-Hyun Lee. "A quantitative approach for assessment of creativity in product design." Advanced Engineering Informatics 28, no. 4 (October 2014): 528–41. http://dx.doi.org/10.1016/j.aei.2014.07.007.

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Shen, Hui-Cun, and Kun-Chieh Wang. "Affective product form design using fuzzy Kansei engineering and creativity." Journal of Ambient Intelligence and Humanized Computing 7, no. 6 (September 2, 2016): 875–88. http://dx.doi.org/10.1007/s12652-016-0402-3.

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Nurtanto, Muhammad, Farid Mutohhari, Fadli Rozaq, Suyitno Suyitno, and Alias Masek. "The Application of Innovation Visual Animation Media (VAM) at Electrical in Automotive Vocational Education." Journal of Physics: Conference Series 2111, no. 1 (November 1, 2021): 012007. http://dx.doi.org/10.1088/1742-6596/2111/1/012007.

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Анотація:

Abstract The purpose of this study is to apply the concept of learning to electricity in the automotive sector based on visual animation media (VAM) as a creative learning product and to assess learning products. One shoot case study was chosen as the research design. A total of 25 participants were involved in the VAM evaluation. Data collection uses product assessment sheets based on creativity, appearance, and product content validity. The results showed that it consisted of three important aspects, namely “mastery” of learning materials, “creative”, and “artistic”. Product creativity as an output is categorized as creative enough, the product display is quite good, and 64% of the products meet the content validity requirements, while 36% do not meet the exact criteria.

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Zhang, Ziran, Ying Yu, Shengxi Fan, and Yujing Tian. "The Study on Heuristic and Algorithmic Processing Creative Training on Product Design Education: Based on the Bags & Luggage design Course." MATEC Web of Conferences 167 (2018): 01006. http://dx.doi.org/10.1051/matecconf/201816701006.

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In the study, context-creativity of Teresa M. Amabile was used as The foundation to apply it in the bags & luggage design course. Moreover, the sectional creative training education mode of prior heuristic task and postpositional algorithmic task was proposed. 26 junior students in product design were used as the trial objects. The Consensual Technique for Creativity (CAT) was considered as the scoring standard of creative performance. In the end, the sectional theoretical framework of effective creative training in product design was finally proposed.

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Govindasamy, Parthiban, Noraini Binti Abdullah, Rohaizat Binti Ibrahim, and Yoong Soo May. "Conceptual Framework to Design and Develop Creativity Clay Module to Teach Special Educational Needs (SENs) Students with Learning Disabilities in Primary School." South Asian Journal of Social Science and Humanities 3, no. 4 (August 4, 2022): 79–94. http://dx.doi.org/10.48165/sajssh.2022.3407.

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This paper presents a conceptual framework for design and develop Creativity Clay Module to teach Special Educational Needs (SENs) students with learning disabilities in Special Education Integration Program (SEIP) in Malaysia primary schools. The Creativity Clay Module will be designed especially for students with learning disabilities based on Torrance Creativity Theory, Constructivism Theory, and Sidek’s Module Development Model. Thus, this paper presenting literature review on Creativity, Clay, Torrance Creativity Theory, Constructivism Theory, Sidek’s Module Development Model, Design and Development Research (DDR), Fuzzy Delphi Method (FDM), and SENs Students with Learning Disabilities. Literature review evidenced SENs students with learning disabilities are poor in creative skills. Therefore, there is a need to develop a specific teaching module for SENs students with learning disabilities to cultivate their creativity skills through teaching and learning. Thus, this study aims to present a conceptual framework to design and develop Creativity Clay Module. This study will employ Modified Design and Development Research (DDR) approach. There are three phases in this approach namely; phase one: need analysis; phase two: design and develop; and phase three: evaluation. After gone through the three phases of DDR, researcher will produce the Creativity Clay Module as end product. This Creativity Clay module is able to nurture creativity skills among SENs students with learning disabilities in primary school.

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Han, J., M. Hua, D. Park, P. Wang, and P. R. N. Childs. "COMPUTATIONAL CONCEPTUAL DISTANCES IN COMBINATIONAL CREATIVITY." Proceedings of the Design Society: DESIGN Conference 1 (May 2020): 177–86. http://dx.doi.org/10.1017/dsd.2020.36.

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AbstractCombinational creativity can play a significant role in supporting designers to produce creative ideas during the early stages of new product development. This paper explores conceptual distances in combinational creativity from computational perspectives. A study conducted indicates that different computational measurements show different conceptual distance results. However, the study suggests far-related ideas could lead to outcomes that are more creative than closely-related ones. This paper provides useful insights into exploring future computational design support tools.

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Ranjan, B. S. C., L. Siddharth, and Amaresh Chakrabarti. "A systematic approach to assessing novelty, requirement satisfaction, and creativity." Artificial Intelligence for Engineering Design, Analysis and Manufacturing 32, no. 4 (October 5, 2018): 390–414. http://dx.doi.org/10.1017/s0890060418000148.

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AbstractIt is well-known that creativity is crucial for sustaining a product against competition. Many factors have been proposed in the literature as indicators of creativity, among which outcome-characteristics-based factors are considered the most reliable; among these, the creativity of an outcome is often indicated by two major factors:noveltyandusefulness. Only a few studies address as to how creativity assessment methods and their results can be used during the design process. To systematically address the issue of how to influence creativity of design solutions, the following questions have been framed. (1) Which factors should be used as indicators of creativityconsistentlyacross different phases of the engineering design process? (2) How can creativity be assessed in terms of these factors during the engineering design process? In this work, we considernoveltyandusefulnessas the necessary factors forcreativity. It is found, however, that it is not possible todirectlyassess theusefulnessof outcomes during the design process. Therefore,requirement satisfactionis used as a proxy forusefulness. We propose a creativity assessment method that usesnoveltyandrequirement satisfactionas indicators for creativity; the method can be used for assessing not only complete products but also ideas or concepts, as they evolve through the phases of the design process. The application of the method in design is explained using a detailed example from a case study.

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Xu, Bing. "A competitive resource: consumer-perceived new-product creativity." Journal of Product & Brand Management 29, no. 7 (March 9, 2020): 999–1010. http://dx.doi.org/10.1108/jpbm-10-2018-2075.

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Purpose This paper aims to examine the influences of consumer-perceived new-product creativity (NPC) on consumers’ purchase intentions (PIs), along with the mediating effects of NPC meaningfulness between NPC novelty and PI, and between NPC communicableness and PI. Design/methodology/approach Data were collected through a self-administrated survey approach in the South West of the USA. Hypotheses were tested by using structural equation modeling and a sample consisted of 463 respondents. Findings The study shows that new-product novelty and communicableness are positively related to consumers’ PIs while new-product meaningfulness mediates these relationships. Research limitations/implications This research advances the existing creativity literature by probing the core component among different creativity constructs. The study also contributes to the consumer-behavior literature, which has rarely examined consumers’ perceived creativity. Practical implications This research offers theoretical foundations and guidelines for entrepreneurs and small firms to develop new products and promotion strategies. Usefulness as a dominant product/service factor should be emphasized in practice. Originality/value A research gap at the interface of new product development and consumer behavior is addressed by investigating the effect of consumer-perceived NPC on consumers’ purchase behaviors.

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Jovita, Jesslyn. "PERANCANGAN BRAND CAMPAIGN SEBAGAI MEDIA PROMOSI THE PETITE PROJECT." Jurnal VICIDI 11, no. 1 (June 30, 2021): 1–21. http://dx.doi.org/10.37715/vicidi.v11i1.1984.

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Creativity is very important to be honed, especially during the golden age of children, which is an important moment in the growth of every child which is very dear to miss and is a period that cannot be repeated. However, most parents still do not know the importance of honing children's creativity where they are still in the stage of growth and development, where their creativity needs to be honed as well as filling their children's spare time while at home. The design of this final project is carried out in order to educate the market about the importance of developing or honing children's creativity, so The Petite Project comes with a product, namely the DIY pom-pom kit which already contains tools and materials to make key chains that make it a more practical product without having to. buy tools and materials separately again. Because today many people use social media, the appropriate promotional media is social media to introduce and promote The Petite Project products in the form of a brand campaign. In collecting data for the purposes of writing a final project, the primary data and secondary data extraction method is used, where primary data is obtained through interviews with expert users and extreme users, while secondary data is obtained through literature sources from various books and journals. And the last one is done by distributing an online survey in the form of a Google Form with the aim of testing the design results that have been made to the target audience which will later be useful as criticism and suggestions for brand and product development from The Petite Project. The design results are in the form of a brand campaign to promote products as well as educate the market about the importance of honing children's creativity. Keywords: Craft, Creativity, Product for kids, Promotion media, Social media.

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Tekmen-Araci, Yasemin, and Llewellyn Mann. "Instructor approaches to creativity in engineering design education." Proceedings of the Institution of Mechanical Engineers, Part C: Journal of Mechanical Engineering Science 233, no. 2 (March 2, 2018): 395–402. http://dx.doi.org/10.1177/0954406218758795.

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Creativity is essential in the engineering design process. Researchers, academics, educators, and engineering organisations all agree that further improvement is necessary in training methods for fostering creativity in engineering education. Even though studies exist about how creativity should be taught in engineering education, there is still limited research about the challenges of practical implementation. To address this gap, an action research project has been conducted in two undergraduate Mechanical Engineering design subjects at a prominent university in Australia with the aim of enhancing creativity during the problem-solving process. The study shows the many challenges that arose when enhancing creativity in engineering design education, and the issues that surrounded this implementation. Although teaching creativity to engineering students is a challenge, this study illuminates the difficulties of convincing the engineering instructors to embed creativity in the subjects they teach. Overall, the study found that instructors' understandings and beliefs about creativity influence their teaching approach and what they value. These influences were around four main areas: the instructors' focus on the design product being produced, their educational backgrounds and training, the subjective nature of creativity and their beliefs about it, and the performance mindset of the instructors. These findings suggest that enhancing creativity among engineering students is not possible until the engineering educators and practitioners understand and value creativity practice.

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TURAN, İlkay. "DESIGN THINKING AND CREATIVITY AS A MEANS OF PROBLEM SOLVING IN THE FRAMEWORK OF SYSTEM APPROACH." IEDSR Association 6, no. 11 (February 24, 2021): 148–55. http://dx.doi.org/10.46872/pj.232.

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Design thinking has been used as a means of problem-solving by many successful international organizations such as General Electric, Proctor & Gamble, Sony, and Philips. Although the importance of design in organizations has been accepted, the contributions of design in innovation is better seen new product and new service development More recently, design thinking has become an important factor in organization strategy (Matthew & Wrigley, 2017: 41). Recent research indicates that companies who use design in their operations, perform better economically in the marketplace (Borja de Mozota, 2006; Moultrie-Livesey, 2009; Dell’Era vd., 2010). In this study, the design process will be examined to solve the problem of who will participate in the decision-making process and how creativity will be derived in systems thinking scope and the effect of the idealized design method proposed by Ackoff in revealing creativity will be set forth. As a result, creativity is the introduction of new and unconventional. Creativity shows itself either in product or in thought. In this context, it has been suggested that idealized design is the best way to reveal creativity.

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Modig, Erik, and Sara Rosengren. "Can advertising creativity affect product perceptions and retailer evaluations?" Journal of Product & Brand Management 23, no. 6 (September 9, 2014): 452–61. http://dx.doi.org/10.1108/jpbm-06-2014-0651.

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Purpose – This paper aims to investigate the impact of advertising creativity on consumer perceptions of product quality, value, retailer brand attitude and purchase intention. Design/methodology/approach – Two experimental studies were conducted. Study 1 shows the impact of creativity (high/low) for two product categories (mineral water and chewing gum) and one known retailer. The findings are replicated and extended in Study 2 for four categories (mineral water, chewing gum, batteries and detergent) and two known retailers. Findings – The results show that advertising creativity positively signals perceived product quality, which increases perceived value. These effects fully mediate a positive impact on retailer brand attitude and purchase intentions. The positive effect of advertising creativity on perceived product quality is mediated by perceived advertisement effort. Practical implications – This study introduces advertising creativity as a way for retailers to increase perceived product quality and value. The results show that advertising creativity increases perceived effort on behalf of the sender, which positively influences purchase intentions. Originality/value – The current study shows that advertising creativity can work as a signal of product quality, which has positive effects for retailers.

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Anwar, Is Rizal Khoirul. "TROLI BELANJA SEBAGAI KONSEP PERANCANGAN KURSI TERAS." SULUH: Jurnal Seni Desain Budaya 4, no. 1 (February 2, 2021): 47–58. http://dx.doi.org/10.34001/jsuluh.v4i1.2423.

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Human needs are increasing, chairs and tables are one of the supporting factors for human activity, the design of a process to create products for humans in their activities, in creating products, a research approach is needed so that the products created are really needed. The design process is a long series of work to create a product, design covers all possible aspects to be solved by imagination and creativity, so that innovative products are created. Sketches are selected at the initial stage in the product process, work drawings as a reference for product work, system construction or the method used to strengthen the product, finishing increases the beauty value of wood grain, durability, friction and punch strength can add value to the product, creating a product needs to explore shape and adequate study and supported by complete data.

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41

Hassan, Furat J., and Xiang Yang Bian. "Artistic Techniques for Developing Creativity in Design." Applied Mechanics and Materials 397-400 (September 2013): 862–65. http://dx.doi.org/10.4028/www.scientific.net/amm.397-400.862.

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The design of future will still be the most confusing and puzzling issue and misgivings that arouse worry and leading to the spirit of adventures to make progress and arrive at the ways of reviving, creativity and modernism. The idea of prevailing of a certain culture or certain product in design depends on the given and available techniques, due to the fact that the computer and their artistic techniques become very important and vital to reinforce the image in the design. Thus, it is very necessary to link between these techniques and suitable way to reform the mentality by which the design will be reformed, from what has been said, (there has no utilization for the whole modern and available graphic techniques in the design processes for developing the creativity in design).

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42

Lin, Rui Lin. "A Study of the Innovative Produce Design with the Laser Engraving Technology." Advanced Materials Research 711 (June 2013): 741–46. http://dx.doi.org/10.4028/www.scientific.net/amr.711.741.

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This study applied the idea of innovative design to integrate design aesthetics into models and colors of products through brain storming to help proprietors develop new products, for the purposes of reaching the breadth of processing material applications and the depth of innovative product development and improving creativity and aesthetics of laser-engraved products. Secondly, the idea of knowledge management was applied in this study. Some experts lead the creative teams to propose delicate graphics and creative ideas based on proprietors requirements in innovative products, for systematical categorizations and analyses to build a design knowledge base as a future reference of innovative product design for enterprises to improve their competitiveness in markets.

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Hendriyana, Husen, Martiyadi Nurhidayat, and Wuri Handayani. "Product Design Strategy Using Nirmana Dwimatra Concept." Mudra Jurnal Seni Budaya 37, no. 1 (February 28, 2022): 119–28. http://dx.doi.org/10.31091/mudra.v37i1.1969.

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This article is the result of designed research, and the writing is based on the practice-led research paradigm. This research's case study and background are based on classroom action research, specifically in the practice of 2D visual design. This design-practice study aims to provide models of creativity that can enrich the creative processes of similar designs with processes that are different from the existing ones. This work is created using the applicative approach of the Elementary Drawing Form, also known as Nirmana. To achieve the specified goals, the practice design method was carried out in four stages: understand (object & subject), exploration and experiment, define (point of view), ideate, prototype, and feasibility test. This Nirmana-dwimatra-inspired product design incorporates design fundamentals and principles to produce a valuable and meaningful work of design. This study affords models of creative processes based on a practice-led research instrument and indicator with aesthetic, artistic, and skill as its foundation.

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Hu, Yinze, EL-Sayed S. Aziz, and Constantin Chassapis. "Creativity-based design innovation environment in support of robust product development." International Journal on Interactive Design and Manufacturing (IJIDeM) 10, no. 4 (September 17, 2014): 335–53. http://dx.doi.org/10.1007/s12008-014-0242-3.

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45

Balraj, Noah Anburaj. "Management of Design Thinking and Growth in Product-Service Designs." Abstract Proceedings International Scholars Conference 7, no. 1 (December 18, 2019): 1194–203. http://dx.doi.org/10.35974/isc.v7i1.1583.

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The research paper deals with the study of products and services and its design thinking. Design thinking is one of the major branches of sciences that is fast developing with the economic development of nations around the globe. Design thinking could also be considered as a core human-centered, problem solving, and creative solutions to human living. There is a progressive modification of designs in the improvements of components both inside (functional components) and outside (aesthetics) of product-service design. The purpose of this study is to identify and understand the elements and the importance of design thinking and its implications in the management of design in products and services in organizations. Designs are the impact of the previous designs and the influences of human thinking on designs. Progressive learning on design thinking promotes a better understanding of consumer satisfaction. The methodology of the study was done with an observation method of product-service designs with a minimum of five years. The products considered are in the area of electronics (computer, mobile phones), service institutions, automobiles, road constructions, and houses. The data collected were of two categories, design patterns of aesthetics and functional components. Findings show there is progressive learning of human of physical factors on structural configuration and preferences relating to human physical, cognitive, spiritual and social need fulfillment. Designs fundamentally originate from human mind for ease of life (convenience), human behavioral factors, and structural implications. Design origins imply an understanding of consumers’ preferences by producers. Better designs generate demand. The inducement of designs in products and services improves consumers’ satisfaction. Further study could be undertaken on design functional thinking. Discussions on design thinking highlight design aptness in daily living, acceptance of design is subjective rather than objective, cost and design, creativity and design and the scope of design.

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Hatchuel, Armand, and Milena Klasing Chen. "Creativity under Strong Constraints: the Hidden Influence of Design Models." European Review 25, no. 2 (February 9, 2017): 194–207. http://dx.doi.org/10.1017/s1062798716000557.

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In engineering design, constraints can stimulate creativity but are also often cited as obstacles to innovation. So do constraints hinder or foster creativity? Despite a number of studies, the reason why constraints can have a positive or a negative impact on creativity is still unknown. In this paper, we will propose, theoretically and empirically, that the link between creativity and constraints is not determined by the type of constraints, but by the type of ‘design model’ used. Using C-K theory, a well-documented, general, and formalized theory of design, we first prove that the dual impact of constraints on creativity is predictable. Then we use C-K operators to distinguish two different design models: rule-based design and innovative design. We show that the first model organizes a negative link between constraints and creativity while the second model enables a positive effect. We illustrate these mechanisms through the analysis of several product developments based on both secondary and primary sources.

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Han, Sangyun, Zhifang Shi, and Yongkang Shi. "Cultural and Creative Product Design and Image Recognition Based on the Convolutional Neural Network Model." Computational Intelligence and Neuroscience 2022 (July 20, 2022): 1–8. http://dx.doi.org/10.1155/2022/2586042.

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The development in technology has resulted in the utilization of artificial intelligence systems in various fields. In this research, we are going to study cultural and creative product design and image recognition based on a convolutional neural network (CNN) model. A convolutional neural network is referred to as a type of artificial neural network (ANN) that is used to analyze visual images. Our proposed system deploys a convolutional neural network model for image recognition in the field of cultural and creative product design. Cultural and creative products are becoming more popular these days. The cultural and creative products are referred to as innovative products or innovative new product design which makes use of the cultural symbols and other cultural factors in their design. In simple words, it is the integration of culture and creativity in a new product design. The main aspect of cultural creative products is the incorporation of cultural features into a new product, thus obtaining a creative- and culture-based product. The study results have proved that CNN has provided an accuracy of 87%.

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Opiyo, Eliab, Santosh Jagtap, and Sonal Keshwani. "Conceptual Design in Informal Metalworking Microenterprises of Tanzania." Sustainability 15, no. 2 (January 5, 2023): 986. http://dx.doi.org/10.3390/su15020986.

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Product design is a key aspect of human intelligence and creativity, attracting not only experts but also people without any formal design training. Although numerous people in developing countries design and manufacture products in metalworking microenterprises in the informal sector, there is still little knowledge about their design process. This paper aims to fill this gap in design knowledge. We aim to investigate the design processes in metalworking microenterprises in the informal sector of Tanzania. In particular, we aim to explore how these microenterprises identify consumer needs and requirements, how they determine the specifications for the product, how they generate and evaluate alternative product concepts, and how they define product details. To address these aims, semistructured interviews were carried out in metalworking microenterprises operating in the informal sector of Tanzania. The findings reveal many facets of their design processes, providing a sound basis upon which design methods and tools can be developed to support their design activities.

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Deng, Xiao Shu. "Innovative Examples of Product Design Based on Material." Advanced Materials Research 228-229 (April 2011): 1043–46. http://dx.doi.org/10.4028/www.scientific.net/amr.228-229.1043.

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Material is physical basis and carrier of design, which is a very important part of product design. On the one hand, designers can make innovations on traditional shape through using new materials; on the other hand they can make it from new materials and techniques for reference. The author put forward a subject of “designing for sitting” in teaching, asked the students to think from the perspective of material and finish the prototype, good effect has been obtained through this training. The pictures used in this paper were schoolwork of partial students who major in art design of North China Electric Power University, thanks for their passion and creativity.

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Wahyuni*, Sri, Pramudya Dwi Aristya Putra, and Siti Anisa Hidayati. "Pengembangan Lembar Kerja Peserta Didik Elektronik berbasis Science, Technology, Engineering, and Mathematics untuk Meningkatkan Kreativitas Siswa SMP." Jurnal Pendidikan Sains Indonesia 10, no. 3 (July 20, 2022): 492–508. http://dx.doi.org/10.24815/jpsi.v10i3.24244.

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Electronic student worksheets or E-LKPD are teaching materials designed digitally to support the learning process based on science, technology, engineering mathematics or STEM to increase student creativity through project design, planning activity schedules or work plans. This study aims to develop a valid, practical, and effective STEM-based E-LKPD in increasing the creativity of junior high school students. The methodology used in this research is research and development (RD) with the ADDIE model, namely analysis, design, development, implementation, and evaluation. The analysis stage is to determine and define student needs through interviews with teachers and students. The design stage is done by designing a STEM-based E-LKPD that suits the needs in terms of design, language, and materials. The development stage is carried out by developing products that are validated by validators, namely material experts, media experts, and science subject teachers to determine the feasibility of the product. The implementation phase is a trial using STEM-based E-LKPD on student creativity. The evaluation stage is carried out with the final revision of the product developed in accordance with the input suggestions at the implementation stage. The results of the study can be concluded that the STEM-based E-LKPD on temperature and heat materials to increase the creativity of junior high school students shows results with valid, practical, and effective categories

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