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- Type:
- Article
- Description/Abstract:
- Typography is an important visible element of a cultural festival’s brand mark, yet is overlooked within cultural festival research. An abundance of work has been published that examines cultural festivals from cultural, economic, tourism, and place-making perspectives, yet there is a shortfall in scholarly research addressing the key role typography performs to engage audience participation through cultural festivals’ primary brand driver – the brand mark. This paper critically considers triangulation as a constructive and effective research framework for enquiry into typography deployed in the brand marks of cultural festivals and provides a roadmap to further research. Offering an analysis of how and in what way typography is being used in the brand marks for cultural festivals, this paper contributes a discussion of appropriate research methods in the examination of this material. Triangulation is engaged as a research technique combining the methods 1) content analysis, 2) case study (text analysis) and 3) a semiotic analysis of typography as a framework to advantage three perspectives on typography, capturing the complexities of the phenomenon. Through a pilot study of 20 cultural festival brand marks from English speaking countries in 2016, the findings show that triangulation of three methods is beneficial to uncovering a rich and nuanced understanding of the role of typography in brand marks. Although many research methods are available to design researchers, the authors argue that triangulation, is an appropriate method to analyze typography used in the brand marks of cultural festivals as it allows for the emergence of a heterogeneous understanding of the discipline.
- Creator/Author:
- Meyrick, Tonya
- Submitter:
- Lora Alberto
- Date Uploaded:
- 11/28/2017
- Date Modified:
- 10/04/2018
- Date Created:
- 2017-10-31
- License:
- Attribution-NonCommercial 4.0 International
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- Type:
- Article
- Description/Abstract:
- Outside of academia, it is often hard for researchers to find the opportunity to continue our scholarship. As graduate students and PHD fellows, we spent years creating and testing our hypotheses, designing new methods, approaches and technologies and we are anxious to ascertain if our theories can survive in the real world. How does a lone researcher engage the business community and convince them to test and use new cutting-edge research methods? The flipside is also true, you are a corporate researcher who would like to engage new methods and approaches to advance learnings, but you have limited resources and a business that demands results. How can you trust new methods and engage in new approaches while minimizing risk and exposure? The authors will give a 50,000-foot view of a new design research methodology, The FlashDraw, and how it can be complimentary alongside traditional research methods. An overview and example of the research process will be illustrated. The poster will also explore the challenges and successes of the partnership between two researchers, a recent graduate student and a corporate researcher, and their on-going journey to explore and establish best practices for researching on the “edge of the new”.
- Creator/Author:
- Hertz, Tricia and Lutz, Eva
- Submitter:
- Lora Alberto
- Date Uploaded:
- 11/28/2017
- Date Modified:
- 01/11/2018
- Date Created:
- 2017-10-31
- License:
- Attribution-NonCommercial 4.0 International
-
- Type:
- Article
- Description/Abstract:
- In this study, based on the perception of older adults, fuzzy positioning of healthcare wearables and impacts of differentiated product positioning on human considerations and design communication strategies are studied. Empirical researches are performed by adopting both quantitative research (248 questionnaires for clustering and regression analysis) and qualitative research (15 cases for in- depth interview). The perceptions of older adults on product positioning are divided into three types: Tech-Aid, Fash-Acc, and Fash-Tech. Results indicate that the influential human considerations for each positioning were different from each other. Through coding and storyline analysis, diverse communication strategies are found for each positioning. The outcomes for each type are as follows. For Tech-Aid, wherein older adults lay emphasis on usefulness, ease of use, and privacy, the designers can adopt a calm communication strategy by giving priority to older adults’ control power, fitting symptoms, user-friendly, and cautious interconnection. For Fash-Acc, wherein older adults focus on personal image, aesthetic appearance, and ease of use, an active communication strategy for modeling a style for elderly fashion that agrees with aesthetic appreciation and simplified operation can be adopted. For Fash-Tech, wherein older adults require to integrate usefulness, ease of use, aesthetic appearance, comfort, privacy, and self-image, a persuasive communication strategy can be used, through which designers can offer older adults more data insights and entertainment, along with data association, and in the meantime, reduce data interferences and pay attention to style modality and appropriate display with context fusion and contact comfort.
- Creator/Author:
- Lee, Chang – Franw and Li, Chen
- Submitter:
- Lora Alberto
- Date Uploaded:
- 11/28/2017
- Date Modified:
- 12/01/2017
- Date Created:
- 2017-10-31
- License:
- Attribution-NonCommercial 4.0 International
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- Type:
- Article
- Description/Abstract:
- Design is essential in product development but several small and medium-sized enterprises (SMEs) relatively capable of manufacturing are suffered from lack of in-house design ability. For new product design, these SMEs typically employ external designers. In this clientdesigner interaction, designers propose design solution alternatives to their clients, which clients may accept or reject. In some cases, clients provide designers further design requirements. A study on how interactions are performed and what effects these interactions have on the results of product development is essential to determine what is needed to achieve successful collaborative relationships. Thus, this study analyzed three design development cases that were previously performed to understand how interactions work between clients and designers and its effect on the outcomes. In all cases, the design team developed designs for the clients based on their technological requirements. This study focused on the effect of client stance on the process and deliverables. Clients usually take various actions that accept or reject design solutions or give additional demands. This is because clients take initiative in decision making. Clients' stance was divided into receptive and expressive stances. As a result, a receptive stance ensured the design capabilities of design consultants, whereas expressive stance confined design capabilities to some extent but a new design direction may be proposed based on a client's knowledge, information, and judgment.
- Creator/Author:
- Lee, Haebin
- Submitter:
- Lora Alberto
- Date Uploaded:
- 11/28/2017
- Date Modified:
- 12/01/2017
- Date Created:
- 2017-10-31
- License:
- Attribution-NonCommercial 4.0 International
-
- Type:
- Article
- Description/Abstract:
- Despite the increased popularity of online tools for remote teamwork and meetings, moderated collaborative activities between multiple users in early conceptual design stages, such as brainstorming sessions, are yet not well supported. In this paper, we introduce All4One, a networked system that enables multiple remote users to participate in a moderated visual sketching session. Each participant can independently draw and share sketches using a tablet, and a moderator uses a set of tangible tools to arrange and manipulate sketches that are displayed in real-time on a whiteboard. We present our prototype in detail and the results from a workshop study simulating a brainstorming session with designers who tested the system in practice. Results show several usage patterns and the potential of All4One for use in early design stages, and the importance of the role of the moderator as the facilitator of the design process. The paper concludes by identifying weaknesses and strengths of the current system and possible directions for future work.
- Creator/Author:
- Lee, Hyelip; Bianchi, Andrea, and Je, Seungwoo
- Submitter:
- Lora Alberto
- Date Uploaded:
- 11/28/2017
- Date Modified:
- 12/01/2017
- Date Created:
- 2017-10-31
- License:
- Attribution-NonCommercial 4.0 International
-
- Type:
- Article
- Description/Abstract:
- Flexible interaction technology became a one of key technology in nowadays. On the other hand, there are relatively little works has been done to understand how it should be designed especially for feedback of it. In this study, we investigate the guidelines for design feedback to flexible interaction systems through based on user’s expectation on them. We conducted user participated design workshop to collect user’s perspectives about feedback when they use flexible interactions. We gave 8 sets of actions which are generally used in flexible interaction and let 6 participants to generated ideas about visual, sound, and haptic feedback of them. From discussion session in the design workshop, we found out key factors about feedbacks. As a result of design workshop, we build guidelines of designing feedbacks for flexible interactions. This result will lead system designers to build flexible interaction to create flexible interaction which can improve the user experience.
- Creator/Author:
- Lee, Jaemyung
- Submitter:
- Lora Alberto
- Date Uploaded:
- 11/21/2017
- Date Modified:
- 11/21/2017
- Date Created:
- 2017-10-31
- License:
- Attribution-NonCommercial 4.0 International
-
- Type:
- Article
- Description/Abstract:
- This paper presents the main process of a graduate course entitled ‘Generative Design Research for Sustainability’ offered in the Department of Industrial Design at Middle East Technical University in the spring semester of 2015/2016 through exemplary design research cases conducted by the graduate students at the doctoral level. These cases focus on the adaptation of the generative tool and the method, namely Experience Chart (EC) Guide tool (Kulaksız, 2016) and Experience Reflection Modelling (ERM) method (Turhan, 2013), in line with the graduate students’ particular research topics. First, the paper provides the course objectives, outcomes and process, then, it explains the EC Guide tool and the ERM method to be adapted and implemented within the context of the course. Then, these generative tool and method, and their adaptations are demonstrated through the exemplary cases (i.e. efficient use of working environment in design studios, lighting practices in kitchen environment, and interactive prototyping practice) selected from the submitted assignments considering their quality, originality and comprehensiveness. The main emphasis of this paper is on the adaptation and implementation of the EC Guide tool and the ERM method through providing the experiences, insights and suggestions of the graduate students who are also the co-authors of the paper. Based on that review, major conclusions and findings are presented through comparing and contrasting these cases for the future development of the course.
- Creator/Author:
- Boncukçu, Itır Güngör ; Oğur, Dilruba ; Doğan, Çağla ; Kulaksız, Mert; Turhan, Senem, and Paksoy, İsmail Yavuz
- Submitter:
- Lora Alberto
- Date Uploaded:
- 11/21/2017
- Date Modified:
- 12/01/2017
- Date Created:
- 2017-10-31
- License:
- Attribution-NonCommercial 4.0 International
-
- Type:
- Article
- Description/Abstract:
- In a few years, the number of apparatuses with touch panel displays like smartphones will increase. People who are visually impaired, hearing impaired and disabled can use tactile feedback for receiving incoming communications. However, opportunities for tactile feedback applications are limited. Our hypotheses follow: as there are haptics patterns suitable for use cases, we will design haptics samples of tactile feedback and inspect their effectiveness. This study focuses on haptics patterns showing a relationship between the user’s impression and various use situations. Previous studies have been insufficient, so our target subjects inspected a limited number of objects. This study consists of two inspections: 1) We collected various haptics patterns that users had defined and analyzed the first inspection. For the next inspection, we manufactured a smartphone prototype. We matched the impression of eight haptics patterns types that we got from the subjects in the first analysis with different situations and tested various replies. Tests were repeated and recorded for various situations. As different haptics vibrations were added to emails, we inspected whether subjects could distinguish a difference in their meanings. Thus, we added different haptics patterns that corresponded to various situations. We concluded the hypothesis was effective for subjects. We could inspect the hypotheses in relation to subjects’ impressions of the haptics pattern. 2) Additionally, we obtained different results between elders and youths. Consequently, we suggested design guidelines for the new tactile feedback of the smartphone application. We suspect that haptics will be possible for a variety of interactive designs.
- Creator/Author:
- Kubo, Masayoshi and Wakasugi, Jien
- Submitter:
- Lora Alberto
- Date Uploaded:
- 11/21/2017
- Date Modified:
- 02/15/2018
- Date Created:
- 2017-10-31
- License:
- Attribution-NonCommercial 4.0 International
-
- Type:
- Article
- Description/Abstract:
- Design processes are so complex that it is not easy to remember, reflect and record in detail after the actual processes are over. This paper proposes a notation to depict a design process as a whole while keeping its original complexity in terms of visual and structural aspects. The notion affords two types of structures to represent design processes, through activity units, a series of actions of the same kind, and design elements including ideas, prototypes and theories emerged, created, and applied during the design process. We use a design process of an actual design workshop as a case to derive the notation while using the online presentation tool “Prezi” as an interaction framework. We then investigated the depicted design process by re-experiencing the process as a first-person engagement using the designed notation. Prezi's animation mode allowed us designate a sequence along which viewers can experience the design process by zooming in some activity units and design elements, and its presentation mode allows us to look back the design process from the start to the end by following activity units arranged in the temporal order. Following the transitions among some design elements allows us to focus on essential objects in the design process. The depicted process illustrate that the two structures of activity units and design elements are not corresponding to but independent of each other.
- Creator/Author:
- Sakaguchi, Tomohiro; Kutomi, Nozomu; Kita, Yusuke, and Nakakoji, Kumiyo
- Submitter:
- Lora Alberto
- Date Uploaded:
- 11/21/2017
- Date Modified:
- 10/04/2018
- Date Created:
- 2017-10-31
- License:
- Attribution-NonCommercial 4.0 International
-
- Type:
- Article
- Description/Abstract:
- This research aims to investigate how Korean digital agencies practice design thinking for their website innovation. Based on a literature review on the design- thinking-driven web development process, multiple case studies of award-winning website projects were undertook. Through analyses of these cases, the following challenges and lessons were disclosed: (1) challenges – building a long-term, playful partnership with clients, leveraging decision-making executives’ design thinking awareness, and coping with limited resources (design thinking practitioners, budgets, and schedules) and (2) lessons – cross-functional collaboration, agile mobile-first development process, powerful visual storytelling, and compelling UX strategies and UI guidelines. Moreover, distinct approaches of design thinking practices were identified according to two website types: a brand promotion website – killer branding content-driven approach, and a service channel website – better UI/UXdriven approach.
- Creator/Author:
- Kim, Yujin
- Submitter:
- Lora Alberto
- Date Uploaded:
- 11/21/2017
- Date Modified:
- 11/21/2017
- Date Created:
- 2017-10-31
- License:
- Attribution-NonCommercial 4.0 International