Pub Date : 2020-05-20DOI: 10.1080/21650349.2020.1766379
Y. Borgianni, L. Maccioni, Lorenzo Fiorineschi, F. Rotini
ABSTRACT Idea generation is acknowledged to benefit from intentionally administered stimuli or designers’ processes that include the search for external sources of inspiration. Text-based and graphic forms of stimuli are the most leveraged in design literature, but it has not been yet demonstrated which form is most effective for boosting creativity. This is due to the fact that previous studies have employed many varying conditions which do not allow for comparisons to be made. The present paper presents an experiment in which three groups of 27 participants were asked to generate new ideas for new-borns’ outfits. To perform the task, the participants first considered five stimuli presented to them in one of the forms depending on which group the participants had been assigned to, i.e. textual, pictorial or combined (juxtaposition of the two). The stimuli were intended to share the semantic content, thus limiting potential bias due to different meanings. The outcomes of the experiment were evaluated in terms of creativity and non-obviousness. The presence of a pictorial dimension resulted in a significant increase in terms of rarity and non-obviousness of ideas, but did not affect quality, originality or quantity. The limited overlap among ideas emerging from the three forms suggests the potential value of developing design tools for idea generation that mix multiple forms of stimuli.
{"title":"Forms of stimuli and their effects on idea generation in terms of creativity metrics and non-obviousness","authors":"Y. Borgianni, L. Maccioni, Lorenzo Fiorineschi, F. Rotini","doi":"10.1080/21650349.2020.1766379","DOIUrl":"https://doi.org/10.1080/21650349.2020.1766379","url":null,"abstract":"ABSTRACT Idea generation is acknowledged to benefit from intentionally administered stimuli or designers’ processes that include the search for external sources of inspiration. Text-based and graphic forms of stimuli are the most leveraged in design literature, but it has not been yet demonstrated which form is most effective for boosting creativity. This is due to the fact that previous studies have employed many varying conditions which do not allow for comparisons to be made. The present paper presents an experiment in which three groups of 27 participants were asked to generate new ideas for new-borns’ outfits. To perform the task, the participants first considered five stimuli presented to them in one of the forms depending on which group the participants had been assigned to, i.e. textual, pictorial or combined (juxtaposition of the two). The stimuli were intended to share the semantic content, thus limiting potential bias due to different meanings. The outcomes of the experiment were evaluated in terms of creativity and non-obviousness. The presence of a pictorial dimension resulted in a significant increase in terms of rarity and non-obviousness of ideas, but did not affect quality, originality or quantity. The limited overlap among ideas emerging from the three forms suggests the potential value of developing design tools for idea generation that mix multiple forms of stimuli.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2020-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2020.1766379","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45113171","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-18DOI: 10.1080/21650349.2020.1763204
Munyaporn Pooripanyakun, A. Wodehouse
ABSTRACT Geometrical illusions are an intrinsic part of human perception but largely ignored in product design. This paper analyzes user perception of a functional, ubiquitous object – the plastic bottle – to provide new insights on how geometrical illusions can be harnessed for creative form finding based on the designer’s intent. Through the examination of 24 different bottles, a range of characteristics and properties are classified. A subset of five representative bottles are then used to explore user perceptions of form, relating these to geometrical design features. The main findings, based on observational tests and user feedback, suggest an overestimation of volumes in bottles that are taller, have wider shoulder angles, or have less occluded patterns. Furthermore, a number of prevalent features are considered in relation to optical illusions which can affect perception. Using these findings, design strategies and guidelines are suggested for creative form development and the utilization of geometrical illusions more widely.
{"title":"Utilizing optical illusions for creative form finding","authors":"Munyaporn Pooripanyakun, A. Wodehouse","doi":"10.1080/21650349.2020.1763204","DOIUrl":"https://doi.org/10.1080/21650349.2020.1763204","url":null,"abstract":"ABSTRACT Geometrical illusions are an intrinsic part of human perception but largely ignored in product design. This paper analyzes user perception of a functional, ubiquitous object – the plastic bottle – to provide new insights on how geometrical illusions can be harnessed for creative form finding based on the designer’s intent. Through the examination of 24 different bottles, a range of characteristics and properties are classified. A subset of five representative bottles are then used to explore user perceptions of form, relating these to geometrical design features. The main findings, based on observational tests and user feedback, suggest an overestimation of volumes in bottles that are taller, have wider shoulder angles, or have less occluded patterns. Furthermore, a number of prevalent features are considered in relation to optical illusions which can affect perception. Using these findings, design strategies and guidelines are suggested for creative form development and the utilization of geometrical illusions more widely.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2020-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2020.1763204","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41941202","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-03DOI: 10.1080/21650349.2020.1755368
K. Takashima, D. Senoo
ABSTRACT Intrinsic motivation is an important factor in design activity as it plays a role in achieving creative design outcomes. Previous studies suggested that designers can spontaneously initiate design activity even without the identification of a customer problem or need. The purpose of this study was to clarify the characteristics of the process underlying self-driven design activity based on the designer’s intrinsic motivation. In a case study targeting a professional graphic designer, we compared her process of self-driven design activity with that of customer-driven design activity aimed at solving a given customer problem. We compared both processes from two viewpoints: the sequence of actions and the decision-making strategy. During the design process, data were collected regularly using a question-based method and weekly using a retrospective-report method. The results suggest that the self-driven design activity process is an iteration of information gathering and idea sketching, whereas the customer-driven design activity process is a linear combination of actions. The designer starts information gathering without a clear customer problem and frequently switches among actions even late in the process. The results indicate that managers should support resource collection and allow flexibility of action even late in the process to improve self-driven design activity.
{"title":"Analysis of process of self-driven design activity based on designer’s intrinsic motivation: case study of a professional graphic designer","authors":"K. Takashima, D. Senoo","doi":"10.1080/21650349.2020.1755368","DOIUrl":"https://doi.org/10.1080/21650349.2020.1755368","url":null,"abstract":"ABSTRACT Intrinsic motivation is an important factor in design activity as it plays a role in achieving creative design outcomes. Previous studies suggested that designers can spontaneously initiate design activity even without the identification of a customer problem or need. The purpose of this study was to clarify the characteristics of the process underlying self-driven design activity based on the designer’s intrinsic motivation. In a case study targeting a professional graphic designer, we compared her process of self-driven design activity with that of customer-driven design activity aimed at solving a given customer problem. We compared both processes from two viewpoints: the sequence of actions and the decision-making strategy. During the design process, data were collected regularly using a question-based method and weekly using a retrospective-report method. The results suggest that the self-driven design activity process is an iteration of information gathering and idea sketching, whereas the customer-driven design activity process is a linear combination of actions. The designer starts information gathering without a clear customer problem and frequently switches among actions even late in the process. The results indicate that managers should support resource collection and allow flexibility of action even late in the process to improve self-driven design activity.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2020.1755368","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42624541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-02DOI: 10.1080/21650349.2019.1638835
Chaehan So
ABSTRACT This paper investigates how the immersion into a real-world user context influences design students’ design inspiration and mood improvement. To this aim, the present study analyzed the perception of 16 design students who immersed themselves into a dance studio and compared it with the external evaluation of 74 professional designers. Results indicate that (a) design students can attribute the immersion experience to multiple stimulus sources; (b) the mood improvement and design inspiration induced by the immersion experience predict their satisfaction level; and (c) the design inspiration induced by the immersion experience can be recognized by external observers. These findings can be harnessed for leveraging designers’ user research effectiveness by embedding it in an immersion experience.
{"title":"Embodied design: Design inspiration and mood improvement depend on perceived stimulus sources and predict satisfaction with an immersion experience","authors":"Chaehan So","doi":"10.1080/21650349.2019.1638835","DOIUrl":"https://doi.org/10.1080/21650349.2019.1638835","url":null,"abstract":"ABSTRACT This paper investigates how the immersion into a real-world user context influences design students’ design inspiration and mood improvement. To this aim, the present study analyzed the perception of 16 design students who immersed themselves into a dance studio and compared it with the external evaluation of 74 professional designers. Results indicate that (a) design students can attribute the immersion experience to multiple stimulus sources; (b) the mood improvement and design inspiration induced by the immersion experience predict their satisfaction level; and (c) the design inspiration induced by the immersion experience can be recognized by external observers. These findings can be harnessed for leveraging designers’ user research effectiveness by embedding it in an immersion experience.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2019.1638835","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41893474","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-02DOI: 10.1080/21650349.2020.1730613
G. Cascini, Y. Nagai, J. Zelaya, G. V. Georgiev
As the famous quote by Nigel Cross indicates (‘Everyone can – and does – design’), designing occurs whenever we plan and execute actions to create changes in the external world. Design is becoming increasingly complex especially when the goal is to produce something new and valuable to be adopted by some target community, i.e., when we are designing for innovation. Ample research has shown that creativity plays a key role in designing for innovation activities. Therein lies the importance of articulating design creativity research in diverse yet connected streams, so as to cover all stages of inspiration, ideation and implementation, including the final exploitation of the design outcome. The current issue of the International Journal of Design Creativity and Innovation represents well the multifaceted landscape of design creativity research, with contributions ranging from the impact of the design environment on design inspiration to the business-model innovation by design. More specifically, the first paper ‘Embodied design: Design inspiration and mood improvement depend on perceived stimulus sources and predict satisfaction with an immersion experience’ by So enriches the discussion about the influence of a stimulus-rich environment on design inspiration by analyzing the difference between stimulus categories such as location, and passive/active interactions. Furthermore, it shows howmood improvement serves as a catalyst for design inspiration. It is widely known that a very important role of designers is to anticipate how users and other stakeholders will perceive the products. Among influential factors, topological properties of a product shape can affect the user’s attention, as discussed through an experimental activity in the second paper, ‘Topological perception on attention to product shape’ by Fei and Nagai. As topological variations attract attention more than other types of variation, they could be used for highlighting technological shifts and, in general, the innovative features of a product. The investigation of user’s perceptions typically involves a prototyping stage to explore parallel design concepts and gather their feedback. Prototyping has paramount importance also in educational activities, as it allows developing richer competencies and skills that impact design choices and, ultimately, individual creativity. Less common is the exploitation of prototyping in Massive Open Online Courses (MOOCs), but the global diffusion of online learning platforms makes the topic extremely relevant for future developments in design education. On this thread, the paper ‘Exploring the diversity of creative prototyping in a global online learning environment’ by Jablokow et al. analyzes prototyping performance differences between genders, countries of origin and occupations. Understanding how this kind of characteristics of individuals are associated with different design performance measures could be helpful to further clarify the impact of
{"title":"Editorial","authors":"G. Cascini, Y. Nagai, J. Zelaya, G. V. Georgiev","doi":"10.1080/21650349.2020.1730613","DOIUrl":"https://doi.org/10.1080/21650349.2020.1730613","url":null,"abstract":"As the famous quote by Nigel Cross indicates (‘Everyone can – and does – design’), designing occurs whenever we plan and execute actions to create changes in the external world. Design is becoming increasingly complex especially when the goal is to produce something new and valuable to be adopted by some target community, i.e., when we are designing for innovation. Ample research has shown that creativity plays a key role in designing for innovation activities. Therein lies the importance of articulating design creativity research in diverse yet connected streams, so as to cover all stages of inspiration, ideation and implementation, including the final exploitation of the design outcome. The current issue of the International Journal of Design Creativity and Innovation represents well the multifaceted landscape of design creativity research, with contributions ranging from the impact of the design environment on design inspiration to the business-model innovation by design. More specifically, the first paper ‘Embodied design: Design inspiration and mood improvement depend on perceived stimulus sources and predict satisfaction with an immersion experience’ by So enriches the discussion about the influence of a stimulus-rich environment on design inspiration by analyzing the difference between stimulus categories such as location, and passive/active interactions. Furthermore, it shows howmood improvement serves as a catalyst for design inspiration. It is widely known that a very important role of designers is to anticipate how users and other stakeholders will perceive the products. Among influential factors, topological properties of a product shape can affect the user’s attention, as discussed through an experimental activity in the second paper, ‘Topological perception on attention to product shape’ by Fei and Nagai. As topological variations attract attention more than other types of variation, they could be used for highlighting technological shifts and, in general, the innovative features of a product. The investigation of user’s perceptions typically involves a prototyping stage to explore parallel design concepts and gather their feedback. Prototyping has paramount importance also in educational activities, as it allows developing richer competencies and skills that impact design choices and, ultimately, individual creativity. Less common is the exploitation of prototyping in Massive Open Online Courses (MOOCs), but the global diffusion of online learning platforms makes the topic extremely relevant for future developments in design education. On this thread, the paper ‘Exploring the diversity of creative prototyping in a global online learning environment’ by Jablokow et al. analyzes prototyping performance differences between genders, countries of origin and occupations. Understanding how this kind of characteristics of individuals are associated with different design performance measures could be helpful to further clarify the impact of","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2020.1730613","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41331235","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-02DOI: 10.1080/21650349.2019.1633960
Fei Fei, Y. Nagai
ABSTRACT A primitive and general function of the visual system is the perception of global topological properties. In fact, people prioritize attention to these properties over the local geometric properties of an object. In this study, we aimed to verify whether the perception of topological properties is applicable to product recognition. If a topological transformation occurs in the shape of a product, the product may receive more attention from customers and improved publicizing of the product’s innovative and nonvisual characteristics, such as function and experience, can be inferred. Therefore, topological properties may contribute to product innovation. We hypothesized that perceiving topological properties (e.g. holes, connectivity, and inside/outside relationships) occurs in product shapes, and human attention to products varies according to topological transformations in these shapes. Experimental results on bicycle recognition suggest that human attention varies according to topological transformations. A repertory grid was used to discover and discriminate the reasons for such variations. We extracted the mental constructs of the participants regarding the products with different topological transformations and identified the main reasons for visual attention. People pay more visual attention to the shapes of products with clear topological variations.
{"title":"Topological perception on attention to product shape","authors":"Fei Fei, Y. Nagai","doi":"10.1080/21650349.2019.1633960","DOIUrl":"https://doi.org/10.1080/21650349.2019.1633960","url":null,"abstract":"ABSTRACT A primitive and general function of the visual system is the perception of global topological properties. In fact, people prioritize attention to these properties over the local geometric properties of an object. In this study, we aimed to verify whether the perception of topological properties is applicable to product recognition. If a topological transformation occurs in the shape of a product, the product may receive more attention from customers and improved publicizing of the product’s innovative and nonvisual characteristics, such as function and experience, can be inferred. Therefore, topological properties may contribute to product innovation. We hypothesized that perceiving topological properties (e.g. holes, connectivity, and inside/outside relationships) occurs in product shapes, and human attention to products varies according to topological transformations in these shapes. Experimental results on bicycle recognition suggest that human attention varies according to topological transformations. A repertory grid was used to discover and discriminate the reasons for such variations. We extracted the mental constructs of the participants regarding the products with different topological transformations and identified the main reasons for visual attention. People pay more visual attention to the shapes of products with clear topological variations.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2019.1633960","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46648730","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-03-01DOI: 10.1177/0022034511409344
J. Laurence, Michael J. Franklin
{"title":"Appreciation to Reviewers","authors":"J. Laurence, Michael J. Franklin","doi":"10.1177/0022034511409344","DOIUrl":"https://doi.org/10.1177/0022034511409344","url":null,"abstract":"","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0022034511409344","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47352677","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-31DOI: 10.1080/21650349.2020.1717997
S. Bryant, Karla Straker, C. Wrigley
ABSTRACT In recent years, design research has increasingly focused on its use in the business model and innovation space. Despite this increased, little clarity exists surrounding the contribution of design in facilitating business model innovation outcomes. A literature review was conducted to answer the question: how does design contribute to business model innovation outcomes? 316 design and business model innovation (BMI) focused papers were reviewed, identifying five categories of design and BMI: functional design, outcome-based design, design as a methodology, design-logic orientation, and non-design. Reflection upon these 316 papers also highlighted a lack of repeatability and standardization amongst papers using design approaches to achieve BMI. This suggested a need to develop a clear, replicable design approach to achieving BMI outcomes in order to allow for the research field to build a consistent and rigorous evidence-base. Therefore, four meta-archetypes were identified for use as a first step toward building a consistent body of evidence for the contribution of design to BMI outcomes. The process describes the role of design in BMI processes, linking abstract and often external concepts, to tangible alternative business models – all in pursuit of better serving end-user needs and providing practitioners with replicable, transparent approaches to design and BMI.
{"title":"Business model innovation by design: a review of design’s role in business model innovation","authors":"S. Bryant, Karla Straker, C. Wrigley","doi":"10.1080/21650349.2020.1717997","DOIUrl":"https://doi.org/10.1080/21650349.2020.1717997","url":null,"abstract":"ABSTRACT In recent years, design research has increasingly focused on its use in the business model and innovation space. Despite this increased, little clarity exists surrounding the contribution of design in facilitating business model innovation outcomes. A literature review was conducted to answer the question: how does design contribute to business model innovation outcomes? 316 design and business model innovation (BMI) focused papers were reviewed, identifying five categories of design and BMI: functional design, outcome-based design, design as a methodology, design-logic orientation, and non-design. Reflection upon these 316 papers also highlighted a lack of repeatability and standardization amongst papers using design approaches to achieve BMI. This suggested a need to develop a clear, replicable design approach to achieving BMI outcomes in order to allow for the research field to build a consistent and rigorous evidence-base. Therefore, four meta-archetypes were identified for use as a first step toward building a consistent body of evidence for the contribution of design to BMI outcomes. The process describes the role of design in BMI processes, linking abstract and often external concepts, to tangible alternative business models – all in pursuit of better serving end-user needs and providing practitioners with replicable, transparent approaches to design and BMI.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2020-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2020.1717997","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43938406","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-20DOI: 10.1080/21650349.2020.1713897
K. Jablokow, X. Zhu, J. Matson
ABSTRACT In this paper, we examine the diversity of creative prototyping responses and perceptions in a global online learning environment through our investigation of a simple building task (i.e., ‘the Shoe Tower’) in the context of a Massive Open Online Course (MOOC) focused on creativity, innovation, and change. This simple creative task, which used common household objects (shoes), was designed and presented to a global community of online learners using the Coursera MOOC platform. Performance data gathered from the task outcomes (Shoe Tower metrics and number of build attempts) and student reflections (self-assessed beauty and creativity ratings) were analyzed with respect to gender, country of origin, and occupation. Our results show that gender and country of origin were associated with creative prototyping performance in statistically significant ways, while occupation was not. In addition, the self-assessment of individual creativity was independent of gender, country of origin, and occupation, while self-assessed beauty ratings were related to country of origin and occupation, but not gender.
{"title":"Exploring the diversity of creative prototyping in a global online learning environment","authors":"K. Jablokow, X. Zhu, J. Matson","doi":"10.1080/21650349.2020.1713897","DOIUrl":"https://doi.org/10.1080/21650349.2020.1713897","url":null,"abstract":"ABSTRACT In this paper, we examine the diversity of creative prototyping responses and perceptions in a global online learning environment through our investigation of a simple building task (i.e., ‘the Shoe Tower’) in the context of a Massive Open Online Course (MOOC) focused on creativity, innovation, and change. This simple creative task, which used common household objects (shoes), was designed and presented to a global community of online learners using the Coursera MOOC platform. Performance data gathered from the task outcomes (Shoe Tower metrics and number of build attempts) and student reflections (self-assessed beauty and creativity ratings) were analyzed with respect to gender, country of origin, and occupation. Our results show that gender and country of origin were associated with creative prototyping performance in statistically significant ways, while occupation was not. In addition, the self-assessment of individual creativity was independent of gender, country of origin, and occupation, while self-assessed beauty ratings were related to country of origin and occupation, but not gender.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2020-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2020.1713897","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46343587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/21650349.2019.1673825
Pablo Prieto, J. Briede, A. Beghelli, E. Canessa, C. Barra
ABSTRACT The ability of designing personality-based products is key for their successful launch in the market, since customers prefer products that have a similar personality to their own. However, the creative process designers use to imprint a given personality into a product is still a ‘black-box’ and lengthy process that requires expertise and successive customer validation. The research challenge here is how to systematize the creative process of defining new geometries of a product with an intended personality. Due to the complexity of this challenge, the focus of this paper is solely about the process of defining the shape of a product with a given personality. A 5-step systematic method to extract and define the key form aspects of a specific personality is defined to do this. The use of the method is exemplified by developing a shape which is representative of an elegant personality and its suitability is tested using questionnaires answered by both design and non-design trained people. Results show that customers better recognize the personality imprinted on the object when the steps of the proposed method are fully complied with. This work will assist designers with the creative process of product form definition.
{"title":"I like it elegant: imprinting personalities into product shapes","authors":"Pablo Prieto, J. Briede, A. Beghelli, E. Canessa, C. Barra","doi":"10.1080/21650349.2019.1673825","DOIUrl":"https://doi.org/10.1080/21650349.2019.1673825","url":null,"abstract":"ABSTRACT The ability of designing personality-based products is key for their successful launch in the market, since customers prefer products that have a similar personality to their own. However, the creative process designers use to imprint a given personality into a product is still a ‘black-box’ and lengthy process that requires expertise and successive customer validation. The research challenge here is how to systematize the creative process of defining new geometries of a product with an intended personality. Due to the complexity of this challenge, the focus of this paper is solely about the process of defining the shape of a product with a given personality. A 5-step systematic method to extract and define the key form aspects of a specific personality is defined to do this. The use of the method is exemplified by developing a shape which is representative of an elegant personality and its suitability is tested using questionnaires answered by both design and non-design trained people. Results show that customers better recognize the personality imprinted on the object when the steps of the proposed method are fully complied with. This work will assist designers with the creative process of product form definition.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2019.1673825","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48224903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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