Showing papers on "Environmental graphic design published in 2003"

Design-oriented human-computer interaction

Abstract: We argue that HCI has emerged as a design-oriented field of research, directed at large towards innovation, design, and construction of new kinds of information and interaction technology. But the understanding of such an attitude to research in terms of philosophical, theoretical, and methodological underpinnings seems however relatively poor within the field. This paper intends to specifically address what design 'is' and how it is related to HCI. First, three candidate accounts from design theory of what design 'is' are introduced; the conservative, the romantic, and the pragmatic. By examining the role of sketching in design, it is found that the designer becomes involved in a necessary dialogue, from which the design problem and its solution are worked out simultaneously as a closely coupled pair. In conclusion, it is proposed that we need to acknowledge, first, the role of design in HCI conduct, and second, the difference between the knowledge-generating Design-oriented Research and the artifact-generating conduct of Research-oriented Design.

Towards an ontology of generic engineering design activities

Abstract: This paper argues that there is no shared understanding (i.e. an ontology) of the design activities that designers perform in the design process. Hence the purpose of the paper was directed towards identifying and classifying a generic set of design activities from published literature into what are referred to as design definition activities, design evaluation activities and design management activities. In an attempt to achieve a shared understanding of these activities, a set of consistent and coherent definitions of these activities are deliberated and presented. A knowledge level representation based on Newell’s Knowledge Level hypothesis governed by the Principle of Rationality is used to represent a design activity that is motivated by a design goal of that activity through which input knowledge is changed into output knowledge by the design agent’s knowledge. The ontological completeness, clarity and coherence of activities are evaluated through a protocol analysis and the design process in the domain of electronic design (in particular System-on-a-Chip designs (SoC)).

No More Rules: Graphic Design and Postmodernism

Abstract: No More Rules was the first wide-ranging critical survey to focus on and explore postmodernism's impact on graphic design in the 1980s and 1990s, an era that transformed the discipline. Now re-issued in a new mini format, it tells the story of how designers and typographers threw away the rule book and forged experimental new approaches. No More Rules tells this story in detail, breaking down a broad and sometimes confusing field of graphic design activity into key developments and themes. Each of the book's key themes - the American new wave, punk and its aftermath, deconstructionist theory and design, the digital type revolution, typography grunge, graphic authorship and graphic agitation, retro and the vernacular and new conceptual approaches to design - is illuminated by stunning examples of work that changed the way in which designers and their audiences think about graphic communication.

A virtual environment for conceptual design in architecture

Abstract: We present a virtual environment application that has been developed for conceptual design in architecture and seeks to emulate aspects of a typical designer's work area. The environment provides a means of creating and manipulating basic geometry using a kiosk toolbox. More importantly, the environment provides simple means for using imagery and videos developed outside of the environment for use within the environment for both information and design. A DesignStation is provided within the environment to create a work area for the designer, concentrating imagery and information associated with the design as well as an area for reflecting upon, presenting and critiquing the design process. A unique aspect of the environment is the ability to work in more than one scale simultaneously.

Exploring the structure of design problems

Abstract: In this paper we will concentrate on exploring a subject that has been much neglected in Design Methodology: the structure of design problems. Design problems have been called ‘ill-structured’ or even ‘wicked’, but very little effort has been made to describe what ‘weak’ structure they have. This is an important subject, because this ‘weak’ structure must play a part in a designers’ decision to tackle a design problem in one way or the other. In a theoretical investigation we describe what we can find in Design Methodology about the structure of design problems. This will focus on the descriptions of design problems as ‘illstructured problems’, as ‘underdetermined problems’ and on the way design problems are treated within the two paradigms of design methodology. Then we develop an approach to the study of design problems, that takes the situated nature of design problems into account. A method for the empirical study of the structure of design problems is outlined, based on linkography.

Universal abduction studio - proposal of a design support environment for creative thinking in design

Abstract: This paper describes a new design support system that supports conceptual or creative design by dynamically integrating knowledge in different design domains We argue that abduction for integrating theories can be a basic principle to formalize such design processes Based on this principle, we propose Universal Abduction Studio, a design environment in which designers combine different theories to arrive at better design In this new approach to computational support of conceptual design, the system should offer various types of abductive reasoning from which designers can select an interesting design method We also discuss technologies to implement UAS and in this paper we propose to use analogical reasoning as abductive reasoning to discover relationships between knowledge from different sources We demonstrate that the system can discover a new idea in a design example taken from a real design activity

Design education in the information age

Abstract: We examine changes in design practice during the industrial and information ages from an evolutionary systems perspective. We conclude that: design practice and education have scarcely tapped the holistic sciences yet, despite their importance; new forms of practice are emerging as design becomes more embedded in society, and design becomes important to other disciplines; collaborative design will increasingly prevail due to growing design complexity and user involvement; technological developments like virtuality and pervasiveness will strongly affect design education; and rapid sociocultural change will require lifelong learning in design.

Indexing design knowledge based upon descriptions of design processes

Abstract: This work continues development and evaluation of a practical approach to a Design Research Methodology developed previously [1] and extended to practical application in [2] and concentrates on new empirical techniques for research evaluation. The methodological challenge was to seek, without preconceptions, a research approach that enabled insight into the unobservable organisation of designers’ knowledge of guideline content. A number of designers’ perceptions of the similarity between items in a collection of aerospace guidelines were collected using a triad comparison. An analysis was developed that combines nonmetric multidimensional scaling analysis with hierarchical cluster analysis in order to represent the inherent structure of the perceived similarity in this data. This structure was established by examining the groupings and linear dimensions formed in the analysis outputs and relating these to guideline content. The results, which are not directly related to the standard engineering guideline organisation, may be a new indication of designers’ mental models; suggesting that perceived similarity ratings and the analysis methods we have developed could be a powerful tool in eliciting designers’ knowledge in general.

Analysis of collaboration for design coordination

Abstract: Beyond the process to allocate resources to a design activity, it's necessary to focus on the collaboration between actors to increase the design teams' efficiency. This paper proposes an analysis of the collaboration which could appear in the design process to create adapted design actor's environment to direct them. The different design models and methods are described to underline the actor's design thinking. The involving collaboration mechanisms between design actors are analyzed then a taxonomy of the collaboration is pro-posed with three views: the process definition, the relationship freedom between actors and the experiment collaboration in the design team. During the engineering design progress, the project manager should be able to analyze each design situation then to promote collaborative situation apparition by creating adapted design environment. A design environment is characterized by the design situation observed and the expected objec-tives. The models to describe a situation then an environment are proposed. Finally the project manager actions are described according to the collaboration expectations to satisfy the projects objectives.

Field Design Sessions: Augmenting Whose Reality?

Abstract: The authors present a design case in which field design sessions are introduced to bridge the designers' imagination and the users' knowledge of the use context This approach entailed immersing design teams in the environment of the product-to-be during the conceptual design phase With a background in the Scandinavian tradition of participatory or cooperative design, the design team observed and talked to users, sketched and produced mock-ups, acted out scenarios, and received user feedback during these field trips Moving the design into the field provided the team with a number of advantages compared with traditional work in the design studio based on user field observations Designers achieved direct physical experience of the circumstances and a nonrepresented, nonabstracted introduction to the problems at hand Through on-the-spot mock-up design and user collaboration, valuable insights into the essence of work and use were gained, and design suggestions embodied by these mock-ups were put on the l

Design as Knowledge Construction: Constructing Knowledge of Design.

Abstract: In this article, I present a model of instructional design that has evolved from analysis and reflection on the process of designing materials for constructivist learning environments. I observed how we addressed the critical questions for instructional design, comparing the process to traditional instructional design models and to my emerging ideas of instructional design involving Layers of Negotiation. Observations of the design and development effort confirmed tentative assumptions that instructional design is a process of knowledge construction, involving reflection, examining information at multiple times for multiple purposes, and social negotiations of shared meanings. The design process evolved in a spiral fashion, progressing through stages of analysis, design and development, and evaluation. Through this project, the Layers of Negotiation model was confirmed, yet evolved to (a) identify critical areas around which negotiations should occur and (b) illuminate the nature of the recursive...

Towards an autochthonic black aesthetic for graphic design pedagogy

Abstract: This article serves several purposes. First, it posits that math is a source for the long sought after black cultural aesthetic [1] for graphic design. Second, it brings to designers research that has revealed the historical existence of advance mathematical principles in indigenous African art, architecture, and culture. Third, it recommends to African-American graphic design students the cultural artifacts of ethnomathematics as alternative sources for creative inspiration by showing how geometry (a relatively new discipline in western society) has been embedded historically in indigenous Africa. Fourth, it reports and analyzes empirical data from a test done on the design potential of the Cornrow Curves and Mangbetu Design software programs to generate mathematical visual patterns that are useful within the discipline of graphic design. Finally, it discusses the relevance of fractal geometry [2] to the visual semantics of the graphic designer's grid-based canvas-”a printed or electronic page or composition in which text and graphics are strategically positioned so that a diverse audience can access it for information and/or an aesthetic or cultural experience.

Exploring design through game

Abstract: A design project is a social process that typically involves social interaction and collaboration among people with different backgrounds. Within the process, the pattern of social interaction and collaboration is not always trivial. To cope with these challenges, a designer needs to be equipped with some good social skills to achieve an optimal professional work quality. Unfortunately, the typical design education is lack of emphasise in the development of social competence. In this paper, we propose a creation of board game as a means of exploring design in a context of a balance design repertoire development within a design education framework. A first-hand experience in the development of 4 Seasons board game serves its purpose to explore design through game. The results, conclusions, and observations of the study were parts of the design and development of the game itself.

Paper Engineering: 3D Design Techniques for a 2D Material

Abstract: Introduction and designer profile (Ron van der Meer - UK/Holland) techniques and designer profile function and designer profile.

A multi-agent Mah Jong playing system : towards real-time recognition of graphic units in graphic representations

Abstract: In architectural design, sketching is an important means to explore the first conceptual developments in the design process. It is necessary to understand the conventions of depiction and encoding in sketches and drawings if we want to support the architect in the sketching activity. The theory of graphic units provides a comprehensive list of conventions of depiction and encoding that are widely used among architects. These graphic units form useful building blocks to understand design drawings. We investigate whether it is possible to build a system that can recognize graphic units. The technology we are looking at is multi-agent systems. It was chosen for the following reasons: agents can specialize in graphic units, a multi-agent system can deal with ambiguity through negotiation and conflict resolution, and multi-agent systems function in dynamically changing environments. Currently there is no general approach or technology available for multi-agent systems. Therefore, in our research we first set out to make such a multi-agent system. In order to keep the complexity low, we first aim to make a system that can do something simple: playing Mah Jong solitary. The Mah Jong solitary system shares the following important features with a multi-agent system that can recognize graphic units: (1) specialized agents for moves; (2) negotiation between agents to establish the best move; (3) a dynamically changing environment; and (4) search activity for more advanced strategies. The paper presents the theoretical basis of graphic units and multi-agents systems, followed by a description of the multi-agent framework and its implementation. A number of systems that can play Mah Jong at various degrees of competence and accordingly degrees of complexity of multi-agent system, are distinguished. Finally, the paper demonstrates how the findings are informative for a system that can recognize graphic units.

Design issues in the visual era

Abstract: In art, "Design is composition. A design consists of parts arranged into a coherent whole." In computer science, "The design lays out the classes and objects needed in a program and defines how they interact." Are we not saying that software design is parts (classes and objects) arranged into a coherent whole? The paper looks at design principles as expressed in beginning courses in these two seemingly disparate disciplines. The majority of the paper is concerned with the presentation of a minimal working vocabulary for visual design issues. It concludes with some observations about the worldviews from computer science and from art, and the importance of making students aware of the worldview of the typical user of their products.

Photoshop Album 2.0: Ten Design Principles from Outside the Software Industry

Abstract: User-oriented fields such as graphic design, product design, architecture, and user interface design share common goals: for example, finding solutions focused on clarity, elegance, and economy of means. User-oriented fields outside the software industry significantly influenced the design of the user interface for the digital photography software application Adobe Photoshop Album 2.0. Ten principles derived from designers and architects outside of the software industry (Paul Rand, Edward Tufte, Robert Bringhurst, Adolf Loos, and Walter Gropius) are enumerated, and their impact on specific design decisions is analyzed.

Talking about the design of human-engineering

Abstract: By illustrating the conception and relationship of human-engineering and design, the essay further elaborates a superficial understanding to the relationship of the human-machine-enviornment system and the function of human-engineering upon the design subject. It points out that the human-engineering provides new thoughts for the design subject. Meanwhile, it puts forward that the content of the design subject should be the design of human and makes design fitting for the principle and characteristics of human-engineering, which shows respect and concerning towards the human-beings.

The Graphic Designer's Digital Toolkit

Abstract: Being a successful graphic designer today requires more than knowing the essential features of industry-standard software applications. It also requires an understanding of how to integrate these programs into a seamless whole while producing work that conforms to design principles and client expectations. This fully revised edition of The Graphic Designer's Digital Toolkit, 3rd Edition provides a full-color, comprehensive overview of Macintosh OS X and Windows Vista operating systems, design fundamentals, and the "Big 3" digital design programs used in the graphics industry today: Adobe Illustrator CS3, Adobe Photoshop CS3, and Adobe InDesign CS3. The book examines the essential features of each, then reveals in practical detail the skills and technology necessary for effective design for print and Web Media. This project-based book features a highly visual introduction to the essential tools and functions of each application from the perspective of the working designer. Readers are then given the opportunity to put what they learn to work by tackling design projects from concept to completion with assignments drawn from the everyday world of professional graphic designers.

Arts'Codes: generation of parallel-automata real-time systems, using a unifying diagrammatic component oriented design methodology

Abstract: We present a new method for real-time embedded applications development The method includes graphic design (Codes), and an execution platform based on parallel automata (Arts) The design method and the execution platform cooperate, so to win clarity in design and robustness in execution We place our emphasize on the design stage We introduce new ideas in graphic design to create a framework for the developer in order to arrange his/her thought The graphic design was influenced by diagrammatic reasoning researches, and their conclusions The design is component oriented; it is hierarchically homothetic and uses a minimum number of elements in order to minimize cognitive efforts It unifies in one sort of diagram, the architectural view and the behavioral view of the system to build A case study is presented in order to picture the method, and to compare the Arts'Codes method to other related ones

Organizing engineering / industrial design interface for innovation

Abstract: This text relates an innovative process carried out jointly by Renault both engineering and industrial design departments, which has showed the possibility of a new form of cooperation, and drawn the outlines of a new model for the design / engineering interface organization. While being a form of rationalization of the design / engineering relationship within new logics of the car development process, this model also constitutes a framework for managing the development of innovative concepts, for other fields but design innovation. We propose the structuring of this model using the "design objects" notion and the organization of "pre-exploration spaces".

A Fractal Geometry Logo-based microworld for Graphic Design graduate students

Abstract: We present a proposal of a course designed to introduce Fractal Geometry, in a meaningful way, to graduate students of Graphic Design, using Logo-based activities; we also present some results of the study we carried out to evaluate this proposal. The implementation of Fractals to Graphic Design responds to the need to handle new tools for the graphic designer that will allow him create new and more innovative design products. The challenge we faced was to produce a pedagogic proposal that would facilitate meaningful learning, so that students would be able to apply the new knowledge in their work.

When negative emotions effect positive change

Abstract: This paper introduces emotive aesthetics as visual language that expresses and/or evokes an emotion or a series of emotions from the target audience for a rhetorical purpose. (e.g. persuading them to make a positive change in a life-threatening behaviorial pattern). Historically, political graphics have been popular examples of products that use emotive aesthetics to promote positive social change. However, there's a problem today with the lack of time graphic designers have to devote their skills to the continued development of polemical products. A solution lies in broadening the scope of graphic design into a research discipline by demystifying the graphic design process with a methodological view of its components.

Designing without Boundaries.

Abstract: This thesis was written as a supporting paper for a graphic design exhibit for a Master of Fine Arts Degree. The focus of my design is the creation of successful pieces of expressive graphic design that defy many traditional or formal rules of design. This thesis begins with a brief explanation of my methods and what I feel makes for good expressive design. These include a heavy reliance upon intuition, the necessity of traditional design education, historical and contemporary influences. I then characterize my motivations and methods of creating graphic design. Followed by the relation of my work to historical and contemporary influences. I conclude with a summary of the design work achieved in pursuit of this degree.