Art and Design Commons^™

Benefits Of Video Presentations In Product Design, Alex Lobos

Articles

Product Design uses a human-centered process to develop solutions that solve unmet user needs. Because of the sequential nature of this activity, final designs are often presented in printed process books or digital slideshows, which visually communicate the development of the solution from start to finish rather than focusing just on the final result. Storytelling is a key element to consider when creating these process books in order to communicate the design solution as well as where it came from. An alternative to these presentations is the use of short videos, which offer the advantage of communicating the design process …

Introduction To Creativity: A Lecture And Curriculum Framework For Students Who Identify Themselves As Creative, Miriam Kelley

Creativity and Change Leadership Graduate Student Master's Projects

This project focuses on the creative person, process, product and press- the 4Ps of creativity as articulated by Rhodes (1961). A curricular framework was developed with an emphasis on enhancing the abilities of those who already identify themselves as creative, specifically undergraduate Freshmen and Sophomores looking to study various fields of Design at the university level. The objective of the framework is to not only identify the innate processes that may have led these students to identify themselves as creative- thereby choosing their major- but also to allow them to recognize, improve and be deliberate in those processes, to enhance …

Merging Creative Design And Cad Learning Activities In A Product Design Programme, Pearl O'Rourke, Colm O'Kane, Leslie Smith, Michael Ring

Conference Papers

Traditional learning and teaching methods for creativity differ from those used in a scientific context. Although the creative process can benefit from a certain level of prescription and structural constraint - with time allocated to research, problem definition, conceptualisation and idea development - flexibility and fluidity are necessary for creative innovation. In contrast, the more linear and rigid pedagogies associated with science and engineering education facilitate efficient learning of subjects such as those based on software packages, manufacturing and materials theory or mechanics. This paper describes the development of a project which aims to establish constructive links between the learning …

Is Retro Packaging Making A Comeback? Is Old The New “New”?, Andrea Hodgson

Graphic Communication

The purpose of this study was to investigate consumer perceptions of retro packaging vs. modern packaging. A survey was administered to different groups of people around Cal Poly asking participants which packages they preferred in terms of design and perceived quality. The participants indicated their preferences and then expressed their views freely with an open-ended question.

The results of this study indicated that consumers had a strikingly high favor to modern packaging design over retro in terms of design and perceived quality. There was no difference across generations.

Although retro packaging may look appealing, customers are not likely to purchase …

Baye Fadioul Niang: A Brief Biography Of An Ebeniste In Senegal, Katie J. Niang

Interior Design: Student Creative Activity

Baye Fadioul Niang described himself as a traditional European designer of wood furniture, doors, and trim. In 1945, at age 22, Fadioul began designing furniture as an apprentice in the state labor department of Kaolack. He settled in Dakar, where Fadioul not only designed and constructed furniture, but was a popular informal educator in the business. His furniture shop became a center for education in Menuserie and Ebenisterie, which is the art of furniture making. In 2005 Fadioul retired from furniture making because of deteriorating eyesight.

Includes photos taken in February 2013 in Dakar, Senegal.

Model For Interdisciplinary Collaboration In Packaging Design, Lorrie Frear, Alex Lobos, Sandra Turner

Articles

This paper explores a studio course in packaging design within Rochester Institute of Technology, which touches on three key elements: First, the course is designed as an interdisciplinary studio comprised of fourth year and graduate students in graphic design, industrial design and packaging science, allowing them to refine skills in their own disciplines while expanding their breadth in other methods of thinking. This model, commonly called “T-shape” profile, is crucial in today’s professional practice (Design Council 2006). Second, the course involves a Fortune 500 company sponsor, who challenges students to develop packaging solutions in an internal design competition. While collaborations …