Significance of sketch in creativity process related to graphic design education

2016 ◽  
Author(s):  
Ezgi Karaata
Keyword(s):  
Design Process ◽  
Creative Process ◽  
Graphic Design ◽  
Design Problem ◽  
Design Education ◽  
Education Students ◽  
Technological Tools ◽  
New Ideas

Sketching holds significance for graphic design as well as it does in any other design process. The contribution of sketching to graphic design process comes in the form of generating new ideas and developing concepts. The solution of a design problem will not be the best one, if the designer uses technological tools, such as computers, directly in order to solve the design problem. The significance of sketching includes also the graphic design education. Even though computers are the mostly used tools in today's graphic design education, students should grasp the benefits of sketching. In this study, the role played in creative process by sketches that students do related to their projects during a course that is in the curriculum of a university’s Graphics Department will be discussed.Keywords: Design, graphic design, sketch, design process, creativity. 

EMULATION TO THE NATURE IN BASIC DESIGN EDUCATION OF LANDSCAPE ARCHITECTURE

2021 ◽  
Vol 0 (22) ◽  
pp. 0-0
Author(s):  
Banu BEKCİ ◽  
Çiğdem BOGENÇ
Keyword(s):  
Design Process ◽  
Design Problem ◽  
Design Education ◽  
Spatial Organization ◽  
Common Ground ◽  
Rural Landscape ◽  
Basic Design ◽  
Architecture Education ◽  
Analogical Thinking ◽  
Design Elements

Aim: The main purpose of the study is to create a recreational spatial organization with basic design elements and principles by emulating nature in increasing visual literacy. With this study, it was aimed to stimulate students' imagination and make them design spatial organization by emulating geological rock sections in sustainable design approaches of rural landscape areas. Method: The process of producing solutions to the design problem given was carried out by using (i) 14-week basic design training, (ii) taking thin samples from geological rocks for petrographical studies, and (iii) the analogical thinking method which was the inspiration of Goldschmidt and Smallov (2006) and Cardoso and Badke-Schavub (2011) for the transformation of their ideas into forms. Findings: By analyzing the concepts related to the given problem, the solution of the design problem began, and the designers’ abstract ideas were concretized and handled within the framework of the concept. Students, who received the subject of study during the design process, completed the product they prepared in line with the basic design education they received in order to obtain a product from the concept whichthey created in their mind by emulating geological rock sections. The process was successfully completed by adding something to the obtained product, removing something from the obtained product, and combining something with the obtained product in this process. Result: The ability to have a versatile perspective in design education, which finds common ground forart and architecture education, is vital. This study showed that in architectural education, the design process can collaborate with different disciplines and that the products may be unique and sensitive to ecosystem services.

Design. Create. Learn. Repeat.

2021 ◽  
Author(s):  
Manuel Reventós ◽  
Jaume Guàrdia
Keyword(s):  
Design Process ◽  
User Experience ◽  
Creative Process ◽  
Point Of View ◽  
Theoretical Point ◽  
Technological Tools ◽  
Non Linear ◽  
Complex Forms ◽  
First Time

<p>The designing process of a footbridge is complex, many variables must be considered that are non-linear and feedback on each other. The creative process is iterative, approximating and depending on the conditions of the environment. In this process is very important the intuition of the designer, or expert, which leads the result in one or another direction.</p><p>But how is born this intuition? How is it created? It's hard to narrow down, it's like trying to teach a child how to ride a bike. You have to pedal, for the first time you fall, but after a few hits on the ground you start to ride alone. Intuition is learned through experience and not with books, you learn designing, building, creating.</p><p>Every new project we face is fed with our previous experiences. In this article we explain our design process through our most recent projects, both successful and problematic.</p><p>In this moment the technological tools have reached to us the most complex forms. We must think about if this should define our way of designing and the footbridges we make. Technology and technique are the tools we have to define forms and materials. But there are other aspects such as the location, its itinerary of the path, the accesses, how it relates to the environment, the user experience and the constructive details, that are elements which define the solution and it cannot be analysed from a theoretical point of view. Each situation is unique and is where the experience of the expert cannot be replaced.</p>

CAUSE AND EFFECT: ANALYSING THE ROLE AND EFFECTIVENESS OF A DESIGN STUDENT'S PROCESS BOOK

2011 ◽  
Author(s):  
J. Park ◽  
H. Kang
Keyword(s):  
Design Process ◽  
Graphic Design ◽  
Visual Communication ◽  
Design Education ◽  
Creative Thinking ◽  
Design Thinking ◽  
Individual Work ◽  
Research Questions ◽  
Design Students ◽  
Graphic Work

The research's main goal and motive is to help find way to improve graphic design education. Most design student use "process book", which includes written notes, research, drawings, as method of capturing and facilitating design thinking. This study poses the following research questions: What role does the process book practice to design student and tutors? How the process book be used as an effective tool for student's cognition of graphic work and helpful tutorial tool for visual communication? Survey was proceeded on BA Graphic design students at design universities in Korea, how design process materials have been using and efficiency of design process book for an individual work, tutorial, or creative thinking and producing design outcome eventually.

scholarly journals Investigating Creativity in Graphic Design Education from Psychological Perspectives

2017 ◽  
Vol 6 (01) ◽  
pp. 69
Author(s):  
Salman Amur Alhajri
Keyword(s):  
Problem Solving ◽  
Cultural Production ◽  
Graphic Design ◽  
Design Education ◽  
Review Of Literature ◽  
Education Students ◽  
Cultural Research ◽  
Cross Cultural Research ◽  
Western Perspective

<p class="Abstract">The role of creativity in graphic design education has been a central aspect of graphic design education. The psychological component of creativity and its role in graphic design education has not been given much importance. The present research would attempt to study ‘creativity in graphic design education from psychological perspectives’. A thorough review of literature would be conducted on graphic design education, creativity and its psychological aspects. Creativity is commonly defined as a ‘problem solving’ feature in design education. Students of graphic design have to involve themselves in the identification of cultural and social elements. Instruction in the field of graphic design must be aimed at enhancing the creative abilities of the student. The notion that creativity is a cultural production is strengthened by the problem solving methods employed in all cultures. Most cultures regard creativity as a process which leads to the creation of something new. Based on this idea, a cross-cultural research was conducted to explore the concept of creativity from Arabic and Western perspective. From a psychological viewpoint, the student’s cognition, thinking patterns and habits also have a role in knowledge acquisition. The field of graphic design is not equipped with a decent framework which necessitates certain modes of instruction; appropriate to the discipline. The results of the study revealed that the psychological aspect of creativity needs to be adequately understood in order to enhance creativity in graphic design education.</p>

Creative patterns and stimulation in conceptual design

2010 ◽  
Vol 24 (2) ◽  
pp. 191-209 ◽  
Author(s):  
Yan Jin ◽  
Oren Benami
Keyword(s):  
Conceptual Design ◽  
Design Process ◽  
Cognitive Processes ◽  
Creative Process ◽  
Protocol Analysis ◽  
Cognitive Model ◽  
Creative Design ◽  
New Ideas ◽  
Support Methods ◽  
Design Ideas

AbstractConceptual design is a creative process. Designers create functions to satisfy customer needs and behaviors and forms to fulfill their functions. Although cognitive processes are at the center in developing new ideas, they are rarely taken into account in research and development of design support methods and systems. It is conceivable that if one understands how cognitive processes are stimulated to generate design ideas, then more effective methods and tools can be developed to support conceptual design. In this article, a cognitive model of conceptual design is developed to capture the relationships among design entities, design operations, and cognitive processes. A protocol analysis is performed to evaluate the model, and a cognitive experiment carried out to study the creative patterns and stimulating relationships. The results show that designers exhibit patterns of creative design behavior, and that these patterns can be captured and instilled into the design process to promote creativity.

scholarly journals Triple-Helix Structured Model Based on Problem-Knowledge-Solution Co-evolution for Innovative Product Design Process

2020 ◽  
Vol 33 (1) ◽  
Author(s):  
Qian Hui ◽  
Yan Li ◽  
Ye Tao ◽  
Hongwei Liu
Keyword(s):  
Product Design ◽  
Design Process ◽  
Design Problem ◽  
Triple Helix ◽  
Problem Solution ◽  
Innovative Product ◽  
Innovative Design ◽  
Structured Model ◽  
Knowledge Spaces ◽  
Product Design Process

AbstractA design problem with deficient information is generally described as wicked or ill-defined. The information insufficiency leaves designers with loose settings, free environments, and a lack of strict boundaries, which provides them with more opportunities to facilitate innovation. Therefore, to capture the opportunity behind the uncertainty of a design problem, this study models an innovative design as a composite solving process, where the problem is clarified and resolved from fuzziness to satisfying solutions by interplay among design problems, knowledge, and solutions. Additionally, a triple-helix structured model for the innovative product design process is proposed based on the co-evolution of the problem, solution, and knowledge spaces, to provide designers with a distinct design strategy and method for innovative design. The three spaces interact and co-evolve through iterative mappings, including problem structuring, knowledge expansion, and solution generation. The mappings carry the information processing and decision-making activities of the design, and create the path to satisfying solutions. Finally, a case study of a reactor coolant flow distribution device is presented to demonstrate the practicability of this model and the method for innovative product design.

Design thinking in printing graphic design approaches for animation films

2021 ◽  
Vol 26 ◽  
pp. 709-728
Keyword(s):  
Key Words ◽  
Design Process ◽  
Graphic Design ◽  
Scientific Theory ◽  
Design Thinking ◽  
Film Industry ◽  
Optical Illusion ◽  
Design Work ◽  
Aesthetic Awareness

Art of animation as an analysis of movement is based on the theory that the vision remains on the eye after the disappearance of the actual image, and this scientific theory is the same that the film industry was built upon. Recently, various techniques and ideas have entered the print design process as a means of expressing a phenomenon subject to the human will to change and elevate our aesthetic awareness and feelings, which rise in various forms of designs that reveal themselves in design work and are embodied in animation films. The design artwork falls within a group of intertwined elements fused with each other, reflecting the peculiarity of this work, as it is innovation and creating new and interesting things, so that the design is suitable for the desired purpose and beautifully. Perhaps the simplest type of optical illusion that can clarify to us the idea of the impression of the existence of an image that does not actually exist is represented in the decree paper. Key words: Design thinking, Typography, Animation films

The impact of virtual visualisation: perception and design of spaces in ethnographic projects

2019 ◽  
Author(s):  
Juan Carlos Márquez Cañizares ◽  
Juan-Carlos Rojas
Keyword(s):  
Design Process ◽  
Design Education ◽  
Field Investigation ◽  
Ethnographic Research ◽  
Evaluation Instrument ◽  
Information Analysis ◽  
Public Park ◽  
The Public ◽  
Design Students ◽  
The Impact

"The use of VR technology within education is an area that has generated great interest in recent years, so this work follows that trend and contains nuances related to user-centred design education. The objective of this work is to identify students’ perceptions of the use of VR technology for ethnographic research. A group of 20 industrial design students from Tecnologico de Monterrey conducted a field investigation, which included interviews and surveys, using HMD with videos and stereoscopic images of a public park in Monterrey, Mexico. Based on the research and information analysis, areas of opportunity were identified and urban furniture proposals for the public park that place were generated. Once the design process was completed, an evaluation instrument was applied to measure, through statistical analysis, the students' perceptions of their experience using technology in the design process; gender, qualification obtained and the relevance of the technology used was also considered."

THE METHOD OF BIONIC SHAPING IN TEACHING BACHELORS OF INDUSTRIAL DESIGN (experiment results)

2020 ◽  
Vol 1 (3) ◽  
pp. 19-28
Author(s):  
A. V. Strizhak ◽  
◽  
N. U. Kazakova ◽  
Keyword(s):  
Higher Education ◽  
Design Education ◽  
Industrial Design ◽  
Design Experiment ◽  
Educational Design ◽  
Teaching Design ◽  
Institute Of Design ◽  
New Ideas ◽  
Design Objects ◽  
Artistic Images

Nowadays design, as a discipline, is still in the process of evolving. The consequences of this process can be seen in changes of classical forms of teaching design in higher education. One of the most popular methods of obtaining new ideas of shaping in design is experiment. The authors of the article also consider it to be one of the most effective forms of design education for students. In order to prove it and obtain new forms and methods of design training at the Industrial Design Department of the Institute of Design of the RSU named after A. N. Kosygin а pedagogical experiment was conducted. The experiment in design education was considered as a way to get new ideas in shaping of industrial products. In the course of the pedagogical experiment students used artistic images of wildlife for the formation of design objects based on associative-shaped modeling. According to the results of the pedagogical experiment, a new methodology of educational design in the direction of "Design" was developed, based on the principles of bionic shaping of objects of graphic and industrial design — by the method of associative-shaped modeling. The use of the developed methods resulted in the increase of the level of term and graduation projects of students of the Industrial Design Department, what was repeatedly noted by specialists in the field of design.

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