| 1. |
- Abidin, Shahriman Zainal, et al.
(författare)
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The significance of form elements: a study of representational content of design sketches
- 2011
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Ingår i: [Host publication title missing]. - New York, NY, USA : ACM. - 9781450307543 ; , s. 21-30
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Konferensbidrag (refereegranskat)abstract
- The purpose of this paper is to understand the significance of form elements through the interpretations of design sketches. These interpretations are provided by designers themselves interpreting expressive characteristics of car images, and by students interpreting the sketches of designers' morphing sequences. In the experimental investigation of the sketching process through morphing sequence exercises, designers used individually driven styles and approaches when creating product form. These approaches produce characteristically different form ideas, which differ (but also show consistency) with respect to type of car category, expression, identity, recognition, format, composition, complexity, etc. Typically, assessment of generated sketch work and ideas is done using relative heuristic evaluation in a comparative design review. Given a large set of automotive sketches, general patterns of styling emphasis can be identified. The paper concludes that perceptions of designers are varied due to the representation format of the ideas as visual hand sketches. The visual hand sketches point out certain meaning and can be categorized with respect to perceptual characteristics according to the PPE framework and suggest that a tool to support evaluation and generation of early design concepts can be developed, and to support the generation of form ideas with desired characteristics for a brand, product category and market.
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| 2. |
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| 3. |
- Adank, Rodney, et al.
(författare)
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Exploring sensory perception, appraisal and concern: An approach to support design activity
- 2008
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Ingår i: Proceedings from the 6th Conference on Design & Emotion. - 9789881748928
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Konferensbidrag (refereegranskat)abstract
- The fundamental first stage of product interaction is through sensory perception, which generates cognitive and affective experiences. Product perception through sensory feedback is a major component in the end user product appraisal that precedes the elicitation of product emotion. Sensory evaluation is connected to a set of concepts including appraisal, concern and goal oriented objective. The interplay between stimulus (in this case from sensory feedback) and product concern, which forms the basis for product appraisal, is key to understanding how design effort can affect the end user's product perception. This research investigates the contribution that sensory information can make to the design process using a technique, Experience Continuum Sampling to explore the connection between sensory perception, appraisal and concern due to product interaction. This approach provides specific information related to product features experienced through sensory stimuli. The designer can weight sensory information and direct activity to optimise product design.
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| 4. |
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| 5. |
- Andersson, Torbjörn
(författare)
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Aesthetic Flexibility : Modularity of Visual Form in Product Portfolios and Branded Products
- 2016
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The increase in competition amongst companies that produce complex or large product portfolios has created a need to utilise modularity strategies not only to flexibly manage technical complexity in a costeffective manner but also for visual appearance. This research aims to understand how the visual appearance of products is affected by modular product development strategies. Specifically, the aim is to understand how such strategies induce constraints and generate possibilities for management of visual appearance in the design process.Five studies have been conducted during the course of this licentiate thesis. Two were conducted with professionals and students in design, while the remaining three are theoretical studies based on findings in the literature, theory building, and experimental research. The goal has been to investigate how designers work when they are put to the task of changing and developing the designs of complex products that are part of a portfolio. The challenge has been to study what suitable strategies exist that manage complex products and product brands, then investigate how these influence designers’ practices.The first study examined how coherence towards a product category influences the design of new products. The outcome of the study was a method to explore visual coherence and diversity in the appearance of a product category.The remaining four studies investigated how modularity, brand management and the redesign of product portfolios influence a design process. The second study described a design phenomenon known as aesthetic flexibility, which was further explored in studies three and five. The outcome from these studies was a proposal for four aesthetic flexibility strategies.The fourth study investigated in what way portfolio extension strategies found in brand management and design research are related, and how such strategies influence aesthetic flexibility. The results from study four were illustrated as a model.The main contribution of this work is the phenomenon of ‘aesthetic flexibility’, which helps understand the factors that influence designers when working with branded modular products. Understanding visual flexibility serves as a starting point in further investigations of how different development strategies affect the possibilities for visual product design.The findings of this work serve to illustrate and explain a complex and multi-facetted design phenomenon which many designers manage more or less intuitively today, thus advancing academics’, teachers’ and professional designers’ understanding of the field.
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| 6. |
- Andersson, Torbjörn, et al.
(författare)
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Aesthetic Flexibility in the Management of Visual Product Branding
- 2015
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Ingår i: Procedia Manufacturing. - : Elsevier BV. - 2351-9789. ; 3, s. 2191-2198
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Tidskriftsartikel (refereegranskat)abstract
- This paper will investigate the strategic design decision-making of an in-house designer in a company with a large product portfolio, with respect to how designers plan for future visual alterations of the product. In-house designers have to think strategically about the creation of recognition and differentiation through design because they influence the company's overall strategies. Therefore, while balancing aesthetic and semiotic qualities of the product, designers have to consider current as well as future needs for recognition and product differentiation. The ability to do so is affected by cost and brand positioning strategy. An exploratory study was setup to investigate what design strategies could be found in an industrial design team employed by a company. The study exposed how in-house designers could strategically incorporate aesthetic flexibility in product parts in order to create opportunities for faster facelifts or redesigns. The importance of managing carry-over details in larger product portfolios was also discovered. To carry over parts from different products is an important way for a company to save money, development time and at the same time increase brand recognition through repetition. Carry-over can be an aid to enhance visual recognition, but it can also be a hindrance when the designer needs to create differencing design values. Most products have a lifespan before they need to be updated or redesigned, which depends on the competition in a product segment. This makes it extra important for designers to have an understanding of when to incorporate carry-over details and when not to. A model was created to describe how carry-over details, design cues and aesthetic flexibility could be managed in a product portfolio. The model is based on Rune Monö’s works and brand management literature, with an emphasis on the brand positioning framework of Point of Difference, Point of Parity and brand extension by Keller et al.
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| 7. |
- Andersson, Torbjörn, 1976-, et al.
(författare)
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Desirability in the development of In-Car Infotainment Systems
- 2011
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Ingår i: Workshop: User Experience in Cars.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This paper describes a workflow for designing experiences whileinteracting with an advanced driver assistant system. Future driver assistancesystems that utilize sensors and Car2X-communication in order to detect threatsin the car environment can help the driver to avoid collisions. To increase theacceptance of such a system, the interaction between the driver and the systemshould be able to generate positive experiences. To generate those experiences,a story-based design workflow was used. Concepts created with this workflowshould be able to address specific psychological needs of the driver. Theimplementation of this workflow revealed different schemes of positiveexperiences during driver interaction in critical situations.
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| 8. |
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| 9. |
- Andersson, Torbjörn, 1976-, et al.
(författare)
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Product gist : An approach to identifying form characteristics of the current product sign
- 2013
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Konferensbidrag (refereegranskat)abstract
- In today's competitive market it is essential for companies to have a clear brand identity towards it consumers and users in order to be successful. Consumers have often a variety of products to choose from and the challenge for a company's products is to be discovered and remembered. An important factor is recognition of a product and how it is conceived through our perception which is mainly an identification process based on familiarity, resemblance or similarity. Furthermore, the visual part of the brain organizes the surrounding into patterns which are used as a guide for us, and to capture the surrounding is called getting its gist. The process of finding resemblance in a design space is often done by the designer as an implicit part in the design process. If this implicit knowledge could be more objectively visualised it might be a helpful tool to create a visual baseline of how consumers would experience the product segment. To show similarities and differences of design features quantitatively can facilitate the communication in a design development project. This paper explores how the concept of a product gist may be used to create a conceptual product sign and also how it could be used to analyse what the design space looks like in a given product segment. By quantitatively overlaying transparent pictures in a product segment visual pattern emerges that can be used as a communication tool in a design process when discussing brand recognition. In this paper a power drill is used as a simple application to illustrate the usage of the proposed product gist.
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