S. Saleem Ahmed

Bio: S. Saleem Ahmed is an academic researcher from Indian Institute of Science. The author has contributed to research in topics: Product design & Product (category theory). The author has an hindex of 1, co-authored 6 publications receiving 3 citations. Previous affiliations of S. Saleem Ahmed include VIT University.

Form and Colour—Two Basic Elements of Design

Abstract: There is no consensus among the designers and design educators on the number of design elements. For well over 100 years of formal design education, design students are trained to use varying number of elements in their pursuit of designing products. In the design literature, there are different sets of design elements mentioned for the purpose of designing products. This inconsistency has often led to confusion among design students and designers about what really are the elements. This paper is an attempt to bring some clarity to this state of confusion. This also explains why there are varying number of elements used by designers and how one can expand the basic elements of design, Form and Colour, into varying number of elements for meeting their purpose. Results of this study will help designers to make use of the popular method of designing with more clarity and customize it to suit one’s requirements.

The Roles of Engineering and Spirit in Product Design

Abstract: This is an exploratory study on the nature of product design in which the role of engineering is seen analogous to role of spirit (life). Within the domain of product design if Product Experience (Desmet and Hekkert in Int. J. Des. 1(1):57–66, 2007 [1]) is recognized as one part, then Product Entity is present as the other part. The physical, emotional, and mental aspects that make up three distinct experiences, namely aesthetic experience, emotional experience, and experience of meaning, within the Product Experience, are also present in the Product Entity as embodiments. Any experience, including Product Experience, is something only those who have spirit (life) can realize in the sense that we human beings understand. Any product entity becomes a reality only due to engineering. In other words, engineering enables something to be a product entity and spirit (life) enables something to be a product experience. Therefore, the role of engineering is that of an enabler of product embodiment much like the role of spirit (life) as an enabler in product experience. Understanding of this nature could possibly help tackling the issues in development of product designs better.

The Role of Experimental Design Approach in Decision Gates During New Product Development

Abstract: Experimental Design Technique (EDT) in combination with stage gate strategy is a powerful tool for providing critical information to designers during New Product Development (NPD) as well as product redesign activities. It systematically evaluates new product design strategy and facilitates redesign of existing products. The benefit of applying this technique to NPD is to speed up the development process by allowing product design team to make more informed decisions based on the generated experimental design data. The risk that designers face every time when they take decisions at every stage of NPD is high. Going with right decisions and refusing the wrong ones should be the driving force throughout product development process. To understand the decision making challenges of a designer, this paper illustrates go-no-go decisions in a sample of graduate students who attempted to design a “green stool” as part of their class assignment. Factors common to and factors exclusive to the various design stages are analyzed and described using EDT. Although this integrated “experimental design go-no-go approach” was not used initially by the design students, our analysis on the process is done post factor.

NOVELTY— Not in Harmony, But in Unity

Abstract: This paper studies the role of novelty in the structure of beauty in product design. While designing a product,the design elements are arranged in accordance with the design principles until unity is achieved. Unity in a design is achieved only after harmony and variety in a design are achieved. Variety in a design is achieved because of the differentiating factors and is primarily responsible for the newness in a design. Harmony in a design is achieved because of the integrating factors and is primarily responsible for the sameness in a design.As novelty has been established as something new or different and unexpected, now it can be said that novelty is responsible for the newness in a design. Also from the structure of beauty in product design, it is evident that novelty lies in Variety. So, it is not in Harmony but in Unity.This paper will discuss on how newness is important in achieving visual order in product design

戦略的デザインマネジメント : デザインによるブランド価値創造とイノベーション = Design management using design to build brand value and corporate innovation

Abstract: 第１章 デザインの領域 第２章 デザインの歴史：パイオニアの肖像 第３章 デザインとビジネスのパフォーマンス 第４章 デザインマネジメント 第５章 デザインとマーケティング：デザインによる差異化 第６章 デザインとイノベーション：デザインによるコーディネーション 第７章 デザインと戦略：デザインによる変革

Visual Design Principles: An Empirical Study of Design Lore

Abstract: Many books, designers, and design educators talk about visual design principles such as balance, contrast, and alignment, but with little consistency. This study uses empirical methods to explore the lore surrounding design principles. The study took the form of two stages: a quantitative literature review to determine what design principles are mentioned most often in discourse on design, and a card sorting exercise to explore the relationships designers, design educators, and design students saw among the most common design principles. Along with the card sorting exercise, I used pre- and post-exercise surveys to gauge how participants felt and thought about design principles and their use in design practice.

The Connection Between Perceived Product Performance and Evoked Emotions

Abstract: To enhance emotional experiences of everyday objects, this study investigated how perceived product performance influences creating emotions. Fifteen pairs of participants were asked to share their experiences of everyday objects while they were looking at a list of products and personalities and attributing those personalities to products. Analysing the data from these co-discovery sessions showed that perceived poor performance of products causes negative emotions while satisfactory performance can lead to both positive and negative emotions. In creating both positive and negative emotions, functional aspects were more influential than symbolic and aesthetic ones. Results of this study can help designers to get a better understanding of interaction between people and products in order to design products which evoke positive emotions.

Are consumers willing to pay a premium for art-infused products?

Abstract: PurposeArt-infusion has become a common practice among brands across the globe. This is because marketers leverage the uniqueness and prestige of arts to earn superior profits. Hence, this research aims to understand and measure consumers' willingness to pay (WTP) for art-infused products.Design/methodology/approachA questionnaire was designed based on conjoint analysis and was responded to by 470 respondents from India. The estimation of preference functions in conjoint analysis was intended to use orthogonal arrays to measure WTP.FindingsThe study reveals consumers' utility and WTP for different art-infused products. The results indicated that consumers have the highest WTP for products that have artwork dominated by the visual elements of colour, shapes and space.Practical implicationsThe paper presents valuable findings for marketers to develop their product design and earn superior profits.Originality/valueThis is the first study in the domain of the art infusion phenomenon that measures WTP for non-luxury art-infused products. Also, this is the first study to measure WTP for different kinds of art forms.

NOVELTY— Not in Harmony, But in Unity

Abstract: This paper studies the role of novelty in the structure of beauty in product design. While designing a product,the design elements are arranged in accordance with the design principles until unity is achieved. Unity in a design is achieved only after harmony and variety in a design are achieved. Variety in a design is achieved because of the differentiating factors and is primarily responsible for the newness in a design. Harmony in a design is achieved because of the integrating factors and is primarily responsible for the sameness in a design.As novelty has been established as something new or different and unexpected, now it can be said that novelty is responsible for the newness in a design. Also from the structure of beauty in product design, it is evident that novelty lies in Variety. So, it is not in Harmony but in Unity.This paper will discuss on how newness is important in achieving visual order in product design