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Matteschk, Katrin. "Corporate Design, na Logo." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-89671.
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In Firmen und Institutionen hat das Erscheinungsbild – das sogenannte Corporate Design – nicht in erster Linie etwas mit Mode zu tun, sondern mit der Gesamtheit der Merkmale, die das Unternehmen ausmachen und mit der Einheitlichkeit im Auftritt nach außen. Die Umsetzung dieser Merkmale in ein Logo, welches Grafik und Schrift enthält, ist eine große Herausforderung, denn es muss diese Merkmale auf einem Blick und möglichst einprägsam deutlich machen.
Im letzten Jahr stellte sich die SLUB ebenfalls die Frage nach dem Erscheinungsbild. Sie ergab sich aus diversen Anforderungen bei der Herstellung von Publikationen, die sowohl online als auch analog die SLUB in einem einheitlichen Layout präsentieren sollten. Schon im Dezember 2010 hat der Neustart der SLUB-Webseite moderne erfrischende Akzente in das Erscheinungsbild der SLUB gesetzt und indirekt seine Überarbeitung herausgefordert.
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Pimentel, Ronald Ward 1955. "Consumer preference for logo designs: Visual design and meaning." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/282334.
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Logo designs provide a quick visual shorthand for all the meaning, associations, and equity associated with a brand. Virtually all major companies utilize logos, but there is little theory-based research regarding logo design published in marketing and consumer behavior journals. Related research from psychology regarding preference for visual images has generally used special stimuli created for the laboratory that do not carry the meaning that logos acquire in the markerplace and consequently have very limited generalizability. This study seeks to begin to fill the void by examining preference for actual, familiar logo designs. An improved understanding of preference for logo designs can be a great advantage to a company considering a logo design change. The costs involved in such a change can be enormous. Beyond the cost of the services of graphic designers, a change in logo design incurs the cost of changing everything that displays the logo, and any lost sales that may result if the new design is ineffective in some way. The equity of the brand may be connected to the logo design, so a change in the design of the logo may have long-term implications. Many logos have evolved over the years through successive changes to keep the designs from becoming outdated. This study examined theoretical bases for such activity. According to adaptation-level theory (McClelland et al. 1953), individuals become adapted to an object or image due to experience with it. Slight changes to this adaptation level result in increased preference while drastic changes result in decreased preference. These effects are represented by the distinctive butterfly curve. The current study developed a technique that allows for differentiation of visual designs, indicating the degree of change. This was used to test whether adaptation-level theory applies to familiar logo designs. The results indicate a general preference for no changes in familiar logo designs. While practitioners make changes in logo designs that are consistent with adaptation-level theory, it appears that consumers react instead, in accordance with social judgment theory--they tolerate rather than prefer the changes.
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Fan, Xueqi. "A feedback tool for a better logo design experience." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/123025.
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This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.<br>Thesis: M. Eng., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2019<br>Cataloged from student-submitted PDF version of thesis.<br>Includes bibliographical references (pages 55-58).<br>In this thesis, I propose a system that helps users with various design backgrounds create a logo with tools that extract and analyze dominant colors and shapes from the input logo; and output a collection of inspirational images comprised of shape and color transformations of the original design and similar existing logos in the market. The system encourages collaboration between computers and the human users and contains components that feed the users information as well as components that allow the users to record and produce inspiring thoughts. The system also introduces randomness in the data returned to the user as part of the analysis and inspirations to reduce the amount of interference with the creative process during logo design.<br>by Xueqi Fan.<br>M. Eng.<br>M.Eng. Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science
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Black, Emily M. Fall Thierno. "Design and implementation of visual object-oriented LOGO using Prograph /." Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 1994. http://handle.dtic.mil/100.2/ADA285977.
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Black, Emily M., and Thierno Fall. "Design and implementation of visual object-oriented LOGO using Prograph." Thesis, Monterey, California. Naval Postgraduate School, 1994. http://hdl.handle.net/10945/30920.
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This thesis addresses the problem of how best to teach beginning programmers the necessary skills of object oriented programming. There is no established method of introducing object oriented concepts such as encapsulation, inheritance, and polymorphism, or providing an intuitive progression from simple programs to complex problem solving. The approach was to use two commercially available programming languages which we consider exemplify good object oriented programming techniques, to teach beginners how to program. We selected LOGO, which has been used successfully in the past as a first programming language for children. Then we added the concepts of visual programming through the use of Prograph, a language which provides a visual, object oriented, dataflow environment. The main result of our research is the design and implementation of a prototype language called Visual Object Oriented LOGO (VOOL). VOOL is intended for use at all levels of education to teach problem solving, object oriented concepts, and fundamental programming skills. VOOL was implemented on a Macintosh in the pictorial, iconic language of Prograph and fully supports the goals of this thesis.
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Bejr, Štěpán. "Corporate design." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-162775.
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The Master's Thesis deals with the issue of corporate design. The theoretical part specifies the integration of corporate design into marketing theory, introduces its basic components, principles and process of its creation. The practical part explores corporate identity changes in four significant Czech organizations - Czech Television, Czech Radio, Zoo Praha and Česká pojišťovna. It reveals specifics of each case, its positive and negative aspects and aims to find important factors that affect a success of corporate identity change in practice. Market research among consumers is used for these purposes, as well as expert opinions.
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Hasić, Benjamin. "Corporate design fakult VŠE." Master's thesis, Vysoká škola ekonomická v Praze, 2007. http://www.nusl.cz/ntk/nusl-2500.
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Cílem této práce je analýza a návrh zlepšení vizuálního stylu fakult Vysoké školy ekonomické v Praze. Vizuální styl fakult VŠE vychází ze základního kamene, kterým je nové logo vysoké školy. Je důleţité zmínit, že nové logo Vysoké školy ekonomické v Praze a jeho aplikace, jsou popsány v přidružené diplomové práci, která s touto tvoří nedělitelný celek. Pouze s přihlédnutím k oběma pracím, je možné získat celý obraz o zvažované změně corporate identity VŠE a jejich fakult. Odvozeným cílem je vypracování corporate design manuálu. Byly uvaţovány nároky, které jsou v současné době kladeny na komunikaci firem, především pak na tu vizuální. Tyto nároky jsou popsány v teoretické části, ve které je také definováno postavení corporate designu v rámci obecného komunikačního mixu. V praktické části práce je vypracován corporate design manuál, který obsahuje aplikace nového vizuálního stylu. Ke změně vizuálního stylu fakult VŠE bylo přistupováno jako ke změně vizuálního stylu komerční organizace. Tato diplomová práce obsahuje řadu rozšíření, která v současném grafickém manuálu fakult VŠE chybí. Zahrnuje například tvorbu jednotného orientačního systému nebo doporučení pro webové stránky.
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Harel, Idit Ron. "Software design for learning : children's construction of meaning for fractions and LOGO programming." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/75005.
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Nahum, Noemie Nelly. "Projeto urbano: instrumento de di?logo?" Pontif?cia Universidade Cat?lica de Campinas, 2017. http://tede.bibliotecadigital.puc-campinas.edu.br:8080/jspui/handle/tede/979.
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Previous issue date: 2017-06-30<br>Pontif?cia Universidade Cat?lica de Campinas ? PUC Campinas<br>It is proposed to reflect the research from the point of view of theory and practice, considering them inseparably related to the process of methodological reconstruction in the applied social sciences, especially in the area of architecture and urbanism. The discussion involves the development of an urban projectc in the Village neighborhood in Campinas, S?o Paulo, understanding it as a political and technical vehicle for dialogue among the social agents involved in it. Urban regeneration of public spaces is privileged, taking into account that, under dialogical conditions, the collective subject can guide the treatment of daily territory.<br>Prop?e-se refletir a pesquisa do ponto de vista da teoria e da pr?tica, considerando-as indissociavelmente relacionadas ao processo de reconstru??o metodol?gica nas ci?ncias sociais aplicadas, especialmente na ?rea de arquitetura e urbanismo.
A discuss?o envolve o desenvolvimento de um projeto urbano no bairro Village em Campinas, S?o Paulo, compreendendo-o como ve?culo pol?tico e t?cnico de di?logo entre os agentes sociais nele envolvidos. Privilegia-se a requalifica??o urbana dos espa?os livres p?blicos, levando em conta que, sob condi??es dial?gicas, o sujeito coletivo possa orientar o tratamento do territ?rio cotidiano.
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Lo, Ting-kau. "Lego TC logo as a learning environment in problem-solving in advanced supplementary level design & technology with pupils aged 16-19." Click to view the E-thesis via HKUTO, 1992. http://sunzi.lib.hku.hk/HKUTO/record/B38626305.
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Walsh, Eric. "How to Design for Impact in Games." Thesis, Rensselaer Polytechnic Institute, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10841207.
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<p> In this dissertation, I seek to define strategies designers might use to enhance the effectiveness of their game’s message. To do so, I adopt a rhetorical approach to impact that recognizes identification between the designer’s view of the world and that of the player as critical to achieving impact. Based on a review of relevant literature drawn from the fields of rhetoric, interactive narrative, and game studies; interviews with prominent game designers Tracy Fullerton and Jesse Schell; case studies of <i> Undertale, That Dragon, Cancer</i>, and <i>Papo & Yo</i>; and a design project creating a game to increase empathy for people with ADHD, I endeavor to present a framework for impact design that delineates major concerns relevant to the act of identification. This framework recognizes abstraction based on clearly presenting the designer’s message and agency based on encouraging the player to engage with that message as the cornerstones of promoting impact through identification. From their intersection, I extrapolate three related design concerns: authenticity, affectivity, and ambiguity. Authenticity captures the degree to which the game rings true to both the developer’s own beliefs as well as those of the player; affectivity describes the player’s emotional connection to the game; and ambiguity invites players to seek their own meaning by completing the game through their act of play. Throughout my work, I expand upon these three concerns to identify how they can serve as useful heuristics for impact design, suggesting concrete strategies at the level of a game’s mechanics, aesthetics, and narrative. I believe in the potential of games to improve people’s lives and make the world a better place, and I see my research as contributing to that greater effort. </p><p>
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Pelyhe, Daniel, and Tuna Memisoglu. "How can Electric Vehiclesbecome the Dominant Design?" Thesis, KTH, Entreprenörskap och Innovation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-42269.
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Due to technological developments and raising environmental concerns, vehicle industry is ina transformation process. Current dominant design in the industry is the internal combustionengine vehicle but there are already different alternative vehicles like electric vehicles (EV),hybrids, and vehicles running on ethanol or hydrogen. These alternatives started to expandand they are competing to have a strong position in the market. The question is whichtechnology (EV, hybrid, ethanol) will have an important position in the future. This studyfocuses on the progress of electric vehicles towards being the dominant design in the vehicleindustry and aims to give advices and suggestions to electric car manufacturers what theyshould develop and concentrate on in the future. To achieve this aim, interviews with Renaultand Stockholm Municipality is conducted and analyzed in detail. Many manufacturers areinterested in EV technology and started to invest in the technology to have a strong position inthe future. Although EVs are ready to expand, there are still some obstacles in their way.Some of these problems can be solved in a short term, while others, mostly technology relatedimprovements still require time.
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Richene, Gabrielly Del Carlo. "O processo de criação de um logo de jogo digital: estudo de caso da marca Penski." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/19283.
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Previous issue date: 2016-09-15<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>A new game developer has born and needs a visual identity to represent your brand. This
work covers the path used to create this identity, which seeks to analyze terms and materials
in graphic design, offering solutions and ways to develop a logo properly. These paths lead us
to study methods for analyzing the competition market, ranking terminologies of their visual
identities and create briefings on how to develop study methodology of shapes, colors,
sketches and uses to formulate a logo for that particular company<br>Uma nova empresa produtora de jogos eletrônicos nasce e necessita de uma identidade visual
para representar sua marca. Com esta pesquisa, pretende-se problematizar sobre as questões
que envolvem a criação da identidade visual de uma determinada marca. De fato, busca-se
analisar os aspectos que envolvem as características do design gráfico para a apresentação de
soluções e percursos para o desenvolvimento de um logo para uma desenvolvedora de jogos
eletrônicos. Os caminhos que serão apresentados nos levam a refletir sobre métodos para
desenvolvimento de uma identidade: elaboração de diagnóstico, análise da concorrência,
elaboração de um posicionamento para a marca a partir da imagem de seu logo, definindo
terminologias para essa identidade visual à partir de briefings que irão definir formas, cores,
características sintáticas e semânticas. Estas serão utilizadas para formulação da identidade
visual de uma empresa de jogos eletrônicos
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Biricik, Aslı Erkarslan Önder. "The role of logo design in creating brand emotion: a semiotic comparison of the apple and IBM logos/." [s.l.]: [s.n.], 2006. http://library.iyte.edu.tr/tezler/master/endustriurunleritasarimi/T000560.pdf.
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Olofsson, Emilia, and Ingrid Swahn. "How light becomes performance space." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23686.
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Det här är en text som är ett resultat av vårt examensarbete vi genomfört under den sjätte och sista terminen på scenproduktionsutbildningen på Malmö högskola. Texten och examensarbetet utgår ifrån frågeställningar som vi arbetat med under terminen i samband med att vi ljussatt två teaterföreställningar som satts upp av Teaterhögskolan i Malmös examinerande masterelever. Vi tar upp frågor och tankar om ljuset, scenrummet och ljussättarens roll i det kreativa teamet. Syftet med detta arbete har varit att utforska hur vi kan ta hjälp av ljus och ljusdesign i skapandet av scenrummet. Hur vi definierar de rum vi arbetat i och hur det är att vara en del en produktion. Vi har kommit fram till att trots att själva upplevelsen av ljus och rum är individuell, så är det just det som gör det till ett intressant område. Konkreta saker vi fått svar på är att färg och form påverkar människan, oavsett om vi är medvetna om det eller inte.<br>This text is the result of our thesis we implemented during the sixth and final semester at Stage Production program at Malmö University. We raise questions and thoughts about the light, room and illuminate the role of the creative team. The aim of this work was to how we can, through light and lighting design, explore the creation of the room, how we define the room we worked in and how it is to be part production. We conclude that although the experience of light and space is individual, this it what makes it an interesting area.
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Havlíček, Jakub. "Firemní design krajských a okresních měst ČR." Master's thesis, Vysoká škola ekonomická v Praze, 2014. http://www.nusl.cz/ntk/nusl-193035.
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This diploma thesis is focused on the analysis of Czech regional and district capitals attitude of their visual identity. It deals especially with management decisions which had been chosen by capitals in the phase of creation and implementation of the visual identity. Next to the facts connected with visual identity as with a complex system, this thesis evaluates also an approach of the capitals to the particular elements of a vizual identity. As a method a questionnaire research had been used. The questions had been put to the competent representatives of appropriate capital bodies.
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Liu, Zhaoran M. A. "Sustainability by Design: How to Promote Sustainable Tourism Behavior through Persuasive Design?" University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1554212530462799.
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Bergström, Mattias. "Probing for innovation : how small design teams collaborate /." Luleå : Division of Functional Product Development, Department of Applied Physics and Mechanical Engineering, Luleå University of Technology, 2009. http://pure.ltu.se/ws/fbspretrieve/2761050.
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SOUSA, LEONARDO DA SILVA. "UNDERSTANDING HOW DEVELOPERS IDENTIFY DESIGN PROBLEMS IN PRACTICE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=35860@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO<br>PROGRAMA DE EXCELENCIA ACADEMICA<br>PROGRAMA DE DOUTORADO SANDUÍCHE NO EXTERIOR<br>Um problema de projeto é a manifestação de uma ou mais decisões de projeto inadequadas que afetam negativamente requisitos não funcionais. Por exemplo, Fat Interface, um problema que indica quando uma interface expõe serviços não coesos, no qual dificulta a extensibilidade e a manutenibilidade de um sistema de software. Apesar de problemas de projeto serem prejudiciais aos sistemas, identificá-los é uma tarefa difícil, especialmente quando o código-fonte é o único artefato disponível. Embora pesquisadores venham investigando técnicas para ajudar os desenvolvedores a identificar problemas de projeto, há pouco conhecimento sobre o processo de identificar problemas de projeto. Por exemplo, anomalias de códigos, um indicador de problemas de projeto, têm sido usadas para ajudar desenvolvedores a identificar problemas de projeto. No entanto, ainda não sabemos se elas são suficientes para ajudá-los ou não. Em particular, nenhum estudo tentou entender como os desenvolvedores identificam problemas de projeto. Nesse contexto, nós realizamos alguns estudos para entender a identificação de problemas de projeto. Em nossos dois primeiros estudos, nós investigamos o papel que as anomalias de código desempenham durante a identificação de problemas de design. Nossos resultados indicam que as anomalias de código
são relevantes para os desenvolvedores na prática, por exemplo, eles são relevantes para indicar elementos a serem refatorados. Apesar da relevância, descobrimos que as anomalias de código não são suficientes para ajudar os desenvolvedores a identificar problemas de projeto. Nesse sentido, conduzimos outro estudo para investigar quais outros indicadores os desenvolvedores usam na prática e como eles são usados. Este estudo resultou em uma teoria sobre como os desenvolvedores identificam problemas de projeto na prática. A teoria revela quais são os indicadores que os desenvolvedores usam, como eles usam esses indicadores e as características de tais indicadores que os desenvolvedores consideram úteis. Os resultados encontrados nos forneceram uma melhor compreensão do processo de identificação de problemas de projeto, abrindo caminho para a elaboração de técnicas mais eficazes em ajudar os desenvolvedores a identificar problemas de projeto.<br>A design problem is the manifestation of one or more inappropriate design decisions that negatively impact non-functional requirements. For example, the Fat Interface, a problem that indicates when an interface
exposes non-cohesive services, hampers the extensibility and maintainability of a software system. Despite its harmfulness, identifying a design problem in a system is difficult, especially when the source code is the only available artifact. Although researchers have been investigating techniques to help developers in identifying design problems, there is little or no knowledge about the process of identifying design problems. For instance, code smells, microstructures that are a surface indication of design problems, have been used in several techniques to support developers during the design problem identification. However, there is no knowledge if code smells suffice to help developers to identify design problems. In particular, no study has tried to understand how developers identify design problems in practice. Thus, in this thesis, we have conducted a series of studies to understand design problem identification. In our two first studies, we investigated the role that code smells play in supporting developers during the design problem identification. Our results indicate that code smells are relevant for developers in practice; for instance, they are relevant to indicate elements that need to be refactored. However, we found that code smells, despite their relevance, do not suffice in helping developers to identify design problems. In this vein, we conducted another study to investigate what indicators developers use in practice, and how they use them. This study resulted in a theory about how developers identify design problems in practice. For
instance, the theory reveals the indicators that developers use, how they use these indicators, and the characteristics of such indicators that are perceived as helpful by developers. The results found by our studies provided us with a better understanding of the process of identifying design problems thitherto nonexistent. Moreover, our findings pave the way for the elaboration of more effective techniques to identify design problems in the source code.
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Hart, Emma. "How to do things with cameras." Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/28211/.
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The primary site for this research is artistic production, through exhibitions and performances presented in galleries between 2008-2012. The written thesis closely examines the large body of practical work I have made (documented and presented here on a DVD) through discussions with Dean Kenning, a viewer to all the artworks submitted. This is combined with a contextual analysis reflecting on the research behind and ideas provoked by this practical work. The research aims to create an encounter with the photograph or video where the lens-based image, still or moving, is not a window onto a world but operates as a presence sharing the viewer's time and space. I name this changed manner of encounter a live mode of address. I begin the thesis by describing video and films I feel go beyond providing a description and are experienced as a presence. Through looking at the work of Spartacus Chetwynd, John Smith, Laure Provoust, and Ryan Trecartin, I locate reasons for why my concept of a live mode of address happens. I then bring together the different ways it works and greatly expand its limits and possibilities through my own art making. The thesis operates within the field of fine art yet I am challenging the consumption of lens-based images within wider visual culture. This enquiry does not set out to change how the camera works, or question our conventional understanding of what a camera does; its mission is to change how we encounter what it produces. How can I, as an artist operating with a camera - a machine that can only repeat, describe and represent things from the past - engender a live mode of address between a viewer and a lens-based artwork? It is through the production of artwork that this question is explored. In this thesis the artworks are examined in the order they were made, as each one evaluates and takes forward research and ideas present in the previous work. They build on each other to form a cohesive and staged investigation, culminating with my exhibition TO DO (2011) Matt's Gallery. J.L. Austin's theory of performative speech is an important theoretical tool for this thesis. In his series of lectures How To Do Things With Words, Austin asked whether words can produce a reality rather than describe one? I pitch this question not to words, but to the lens-based image and the title of my thesis How To Do Things With Cameras reflects this performative investigation. I go on to examine how the performative use of the camera impacts on a live mode of address and, through considering work by artists including Vito Acconci and John Baldessari, how this must stretch beyond the making of the work to incorporate the artwork's installation. The major element ofthis PhD submission is the exhibition TO DO (2011) at Matt's Gallery, London. Bertolt Brecht's 'Learning Plays' are considered alongside production for this exhibition. TO DO (2011) produces a live mode of address and my examination of how this operates reveals a complicated exchange between the artwork and viewer. The experience of the lens-based images within TO DO (2011) are cut up, fractured, interrupted, non linear and different for each person viewing. They are without limits; they have gone beyond the frame. I describe this as being 'lifelike' - how we experience the world. The term lifelike is normally attached to appearances, which I outline as being the wrong target. A live mode of address has an important relationship to lifelikeness, once lifelikeness is redefined to mean a quality of the encounter.
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Wang, Fei. "Trend Transference: How to Transfer Trends to Design Concepts." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1282320567.
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Nilsson, Anders. "Investigation in how to design a marine current turbine." Thesis, Uppsala universitet, Elektricitetslära, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-135703.
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Zwahlen, Elizabeth Karen. "An Investigation of How Preservice Teachers Design Mathematical Tasks." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/3959.
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The tasks with which students engage in their mathematics courses determine, for a large part, what students learn. Therefore, it is essential that teachers are able to design tasks that are worthwhile for developing mathematical understanding. Since practicing teachers seldom incorporate worthwhile mathematical tasks in their lessons, we would expect that they did not become proficient at designing worthwhile tasks while in their teacher education programs. This thesis describes a study that investigated what preservice secondary teachers attend to as they attempt to design worthwhile mathematical tasks. Three participants were selected from a course at a large private university where preservice teachers are taught and practice the skill of task design. This "Task Design" course was observed, and the three participants were interviewed to determine what they attend to while designing tasks. There were seven main characteristics that the main participants in the study attended to the most often and thought were the most important: sound and significant mathematics, reasoning, appropriateness, clarity, communication, engagement, and openness. How the participants attended to these characteristics is described. Some implications for teacher education, such as requiring preservice teachers to explain how their tasks embody certain characteristics, are given based on the results.
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Mu, Shuai. "How Traditional Chinese Furniture Instructs Modern Office Furniture Design." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1554212280408733.
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De, Ferrari Lorena. "Visual identity of urban international destinations: typological analysis of the city logo and study of its value for city branding." Doctoral thesis, Universitat Pompeu Fabra, 2019. http://hdl.handle.net/10803/668177.
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Several cities are not using the logo as an instrument for enhancing the city brand. They made a logo without working on their city brand; therefore, these cities do not have a positioning strategy. Conversely, some cities have worked on their city brand but left their logo as the last priority. A brand's first identification is the logo. Logos adhere to people's minds and are a gateway to the brand since they work as a synthesis of the brand's values. However, a key question emerges, that is, whether city brands are taking advantage of this valuable tool. This research re-evaluates the role of logos in city branding. It examines whether the city brand's logos are supporting brand communication or are merely used as a decorative element. It also explores the current city logo panorama by identifying the most effective graphics development lines, the features that strengthen these logos, and the design strategies applied to them. The investigation performs a content analysis of the logos in the City Brands Index to judge their design quality and set a parallel ranking. We interview experts in place branding and identity design fields to compare their appraisals on the subject. The results indicate that high-quality design is compulsory for the correct operation of city logos. Provided that high-quality design is not applied to the city logo the message is lost, hence becoming a decoration. In conclusion, cities are not taking advantage of logos as design tools that serve the city brand.<br>Un elevado numero de ciudades no están utilizando el logo como instrumento para mejorar su marca ciudad. Han creado un logo sin tomar en cuenta la marca ciudad; por lo tanto, estas ciudades no tienen una estrategia de posicionamiento. Por el contrario, algunas ciudades sí han trabajado en su marca ciudad, pero han dejado el logo como última prioridad. La primera identificación de una marca es el logo. Estos permanecen en la mente de las personas, y además son la "puerta de entrada" a la marca ya que funcionan como síntesis de los valores de la marca. Sin embargo, cabe preguntarse si las ciudades están aprovechando esta valiosa herramienta. Este estudio reevalúa el papel del logo en la marca-ciudad. Examina si los logos de las marcas-ciudad respaldan la comunicación de la marca o simplemente actúan como un elemento decorativo. La investigación explora el panorama actual del logo-ciudad identificando las líneas de desarrollo gráficas más efectivas para una comunicación óptima, las características gráficas que fortalecen estos logos y las estrategias estructurales de diseño que fueron aplicadas. Se ejecutó un análisis de contenido a los logos de ciudad incluidos en el ranking City Brands Index para juzgar la calidad de diseño y establecer un ranking paralelo. Se entrevistaron expertos en el campo de marca y comunicación como también de diseño de identidad para contrastar sus valoraciones sobre el tema. Los resultados señalan que un diseño de alta calidad es indispensable para el correcto funcionamiento de los logos de las ciudades. Invariablemente en los casos en que no se aplica un diseño de alta calidad en el logo-ciudad, el mensaje se pierde, convirtiéndose así en un elemento decorativo que no respalda la marca-ciudad. En conclusión, las ciudades no están aprovechando los logos como herramientas de diseño para potenciar una marca ciudad.
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Domorád, Petr. "Branding vlastní značky s přesahem do obalového designu." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2016. http://www.nusl.cz/ntk/nusl-240608.
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This thesis deals with the development of my own brand, primarily by defining the basic and important information on the topic. Introduces the development of their own brand, its name, logo, color, character and visual forms. A key element of the silkscreen printed prototypes paper products and their presentation on the Web.
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Zhang, Lixia. "How to Apply Metaphors to Achieve Simplicity In Interaction." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367943800.
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Smith, Gillian, and gilliansmith@optusnet com au. "Misunderstood and mysterious : how design and designers are perceived by design professionals, design educators and the public." Swinburne University of Technology. National School of Design, 2005. http://adt.lib.swin.edu.au./public/adt-VSWT20060213.162953.
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This study is focused on the field of design. It examines how people understand and perceive designers and the design professions. The study draws on a phenomenologically informed interactive perspective to provide a methodological approach to understanding what the perception of design is. The relationships between design and occupational prestige, professional status and consumerism are the principal themes that run throughout the research, but the analysis also draws on the data obtained to profile the demographics of designers, particularly in relation to income, gender and education.
The research included an occupational prestige assessment, completed by 304 participants from Swinburne University and the University of the Third Age, using multidimensional scaling analysis to provide a mapping of the occupations. Overall, the results indicated that participants find it difficult to differentiate between individual design occupational specialties, but that they see design as distinct from proximate occupations such as artist and architect. The results also confirmed the premise that occupational prestige is multi-dimensional and that raters will use a variety of constructs (including service to the community, not just education and income), to determine their understanding of the perceived social standing of occupations. The findings were further explored within three focus group discussions involving both design and non�design students from Swinburne University. The results indicated that most participants, including the design students, knew relatively little about design and that what they did know was often skewed by media depictions and stereotypes.
The final research stage was the development of a mail-out survey questionnaire that was distributed to design educators, members of the Design Institute of Australia and to a non-design, public group. Seven hundred and fifty three questionnaires were completed. As expected the results showed that there are differences between the level of knowledge and understanding of the three participant groups. The lack of knowledge of design and designers, particularly by the public participants, was quite evident, with the two design groups tending to rate design as more professional and of greater importance to society and the economy than the public group. Analyses of the incomes and occupational situations of the design respondents revealed that the designers generally worked in a unique environment characterised by low to middle incomes and very small organisations (except for those in the education sector). Gender differences between income and the positions held in an organisation were also found and would be a useful area for further investigation.
The study was useful in that is served to clarify and quantify issues that have been raised in the literature about the poor understanding of design and designers. It provides a platform of information that could be further used in future studies to make more detailed examinations of specific issues.
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Cheung, Sunny. "How companies can leverage crowdsourcing." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/70819.
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Thesis (S.M. in Engineering and Management)--Massachusetts Institute of Technology, Engineering Systems Division, 2012.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 63-66).<br>Crowdsourcing is an increasingly popular phenomenon where companies solicit the help of the public in helping accomplish some of the activities commonly performed by employees or contractors. These activities can range from solving scientific problems that baffle the in-house experts to repetitive and boring tasks that are deemed too mundane for the employees. Other activities include content generation, product design, idea generation, and product reviews. The explosive growth of the internet has made the world a more connected place. One consequence of that is that crowdsourcing can now be carried out efficiently and inexpensively through websites. This thesis presents a survey of activities commonly crowdsourced and examines some popular websites that exemplify these types of crowdsourcing.<br>by Sunny Cheung.<br>S.M.in Engineering and Management
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Hands, David. "Design 'brief' management : investigating how organisations introduce crime resistant attributes into the design brief." Thesis, Birmingham City University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.418889.
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Segelström, Fabian. "Stakeholder Engagement for Service Design : How service designers identify and communicate insights." Doctoral thesis, Linköpings universitet, Interaktiva och kognitiva system, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-97320.
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Service design is a field emerging from the new-found interest in services as a design material by practitioners and academics of the human-centred design tradition. As such, the field can build on the knowledge from previous work in design as well as in service research. Introducing a new design material may however also introduce new challenges to practice. The research presented in this thesis investigates how the design research phase of the human-centred design process is affected by making services a design material. How users, staff and other stakeholders are involved in service design projects was studied in four studies. Two studies focused on getting a holistic view of how service designers engage stakeholders in their design research. The methods used for these two studies were interviews in one case and participatory observation in the other. The two remaining studies focused on specific aspects of the stakeholder engagement process. One compared how designers and anthropologists approach ethnography, whereas the second investigated the communicative qualities of service design visualisations. It is argued that service design is a stakeholder-centred design discipline. The tools used in service design are to a large extent borrowed from other qualitative research traditions, but design-specific tools do exist. The information gathered with the tools for stakeholder engagement is then transformed into insights through analysis and synthesis. These insights are visualised to provide easily accessible representations of service situations. The final section of the thesis identifies challenges ahead for service design practice, based on the findings of the thesis and based on existing theoretical frameworks for the discipline.<br>Tjänstedesign är ett fält som fortfarande håller på att växa fram. Dess ursprung kan hittas i när praktiker och akademiker inom människo-centrerad design blev intresserade av tjänster som designmaterial. Tjänstedesign byggs upp baserat på kunskap från design- såväl som tjänsteforskning. Dock så innebär detta möte av traditioner att tjänstedesignspraktiken ställs inför utmaningar som dess moderdiscipliner inte har ställts inför. Syftet med denna avhandling är att utforska hur involveringen av intressenter i designprocessen påverkas vid design av tjänster. Fyra studier har genomförts för att studera hur användare, personal och andra intressenter involveras i tjänstedesignsprojekt. Två av studierna fokuserade på att bygga upp en holistisk bild av intressentinvolvering. Dessa båda studier genomfördes med intervjuer respektive deltagande observation som datainsamlingsmetod. De båda andra studierna fokuserade i mer detalj på specifika aspekter av intressentinvolveringen. Av dessa två studier så studerade en skillnader mellan hur designers och antropologer närmar sig etnografi och den andra vad som kommuniceras av de visualiseringar av tjänstemiljöer som är vanligt förekommande inom tjänstedesign. Slutsatsen dras att tjänstedesign kan beskrivas som en intressent-centrerad designdisciplin. Verktygen som används inom tjänstedesign är till stor grad lånade från annan kvalitativ forskning, men även designspecifika verktyg förekommer. Den information som fås genom intressentinvolvering omvandlas till insikter genom analys och syntes. Dessa insikter visualiseras sedan i lättillgängliga representationer av tjänstetransaktioner.
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Summerley, Rory Keir. "Ludic dysnarrativa : how can fictional inconsistency in games be reduced?" Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13282/.
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The experience of fictional inconsistencies in games is surprisingly common. The goal was to determine if solutions exist for this problem and if there are inherent limitations to games as a medium that make storytelling uncommonly difficult. Termed ‘ludic dysnarrativa’, this phenomenon can cause a loss of immersion in the fictional world of a game and lead to greater difficulty in intuitively understanding a game’s rules. Through close textual analysis of The Stanley Parable and other games, common trends are identified that lead a player to experience dysnarrativa. Contemporary cognitive theory is examined alongside how other media deal with fictional inconsistency to develop a model of how information (fictional and otherwise) is structured in media generally. After determining that gaps in information are largely the cause of a player feeling dysnarrativa, it is proposed that a game must encourage imaginative acts from the player to prevent these gaps being perceived. Thus a property of games, termed ‘imaginability’, was determined desirable for fictionally consistent game worlds. Many specific case studies are cited to refine a list of principles that serve as guidelines for achieving imaginability. To further refine these models and principles, multiplayer games such as Dungeons and Dragons were analysed specifically for how multiple players navigate fictional inconsistencies within them. While they operate very differently to most single-player games in terms of their fiction, multiplayer games still provide useful clarifications and principles for reducing fictional inconsistencies in all games. Negotiation between agents (designers, players, game rules) in a game is of huge value to maintaining coherent fictional worlds and social information in some multiplayer games takes on a role close to that of fictional information in single player games. Dysnarrativa can also be used to positive effect in certain cases such as comedy games, horror games or for satirical purposes.
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Öqvist, Elin. "Noise pollution: How can we customize our sound experience?" Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135906.
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Charpentier, Axel. "Future waste collection : A vision of how we could collect waste year 2030." Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135931.
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<p>Avfallshämtning är i dagens läge ett fysiskt och psykisk krävande yrke där arbetaren befinner sig i en mycket stressfull arbetsmiljö. I och med den takt städer växer idag och kommer att göra i framtiden så kommer sättet vi hämtar och transporterar avfall behöva att ändras till en mer hållbar lösning. Som tur är befinner vi oss i en era av robotisering som kan hjälpa arbetsmiljön för monotoma och fysiskt krävande yrken. Jag har arbetat för att skapa en vision om hur systemet kring avfallshämtning skulle kunna se ut år 2030. I den här rapporten beskrivs min process och insikterna jag har gjort under vägen till mitt resultat. Slutresultatet är ett autonomt fordon för avfallshämtning i sammanband med ett system för hur de här fordonen ska användas. Fordonen i sig har flera fack för att frakta flera olika fraktioner av avfall samtidigt. Med mål att göra systemet så effektivt som möjligt. Fokuset ligger från att en person har slängt sitt avfall tills dess att det hamnar på en sopstation för att sorteras och sedan transporteras vidare till rätt fabrik beroende på materialegenskap.</p>
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Sharma, Sudeep. "Humanise Music : How can design bring emotions to the center of music consumption?" Thesis, Linköpings universitet, Institutionen för datavetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-166025.
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In today’s world music streaming is the most dominant form of music consumption. Introducing platform capitalism to music streaming has changed the music commodity and its effects serve as a motivation for this thesis. The role of emotions in music listening is explored and design research is conducted to find unmet latent needs of users in respect to the emotional side of music. Semi-structured user interviews are used to understand how users relate music to their emotional lives. Co-design workshops are conducted to identify unmet user needs and feelings. The data is analysed inductively and results treated through the theoretical lenses of emotional design (Norman D. (2003)) and psychological ownership theory (Pierce J.L., Kostova T., & Dirks K. Y., (2003)). The main themes generated by the research show that users want -- to know their music and their music service to know them; new ways to feel music, relive the “first time”; to connect music to their emotional and personal lives; to control music more easily. These findings motivate and inform the design of a conceptual artefact.
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Schaal, Lionel. "How to win the kayak Olympics : Or how to design and produce an innovative flatwater kayak paddle…" Thesis, KTH, Lättkonstruktioner, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-159266.
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A kayak is a very ancient way of riding in the water ; human-powered, it is propelled by means of a double bladepaddle. It is used nowadays to fish, to travel, or to compete at the Olympics. It is the 1,000 meters flat-waterrace that led this project, and particularly its improvement for Steven Ferguson, the actual New-Zealand kayakchampion. This report presents the different parts that have been investigated to improve the paddle efficiencyin the water, and therefore the speed of a kayak athlete on the water.Kayaks are 4,000 years old, and kept since the basic shapes of their hull and paddle. It is only in 1987 that aNorwegian team developed an improved paddle, which is still used nowadays. Every paddle currently availableon the market follow this design. Based on fashions and on the success of athletes, they were unable to suggestany major improvement since. This project suggests a way of significantly improve the performance of an athletein a flat-water kayaking competition.
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Brandenberg, Kristin. "Point of view : How printed patterns evolve through perspective." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-12395.
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’Point of view’ is an investigation of changeable surface patterns in the textile design field. The investigation is performed in order to get a deeper understanding of the relationship between changeable surface patterns and three-dimensional contexts to explore alternative methods. The aim is to design surface patterns in a three dimensional context developed through printing and layering techniques, and to explore how the patterns change depending on the observer’s perspective. Practice based design experiments were carried out to explore materials and printing techniques such as transfer, digital and burn out. The patterns were in turn placed on a cubic frame with inner and outer layers, and studied for their effects on one another. The project resulted in a series of surface patterns that were applied in a spatial context. The findings propose an alternative method for designing changeable surface patterns in a three-dimensional setting, using layers, transparency and distance as factors.
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Bylund, Jesper. "How to write an effectively communicating design document for games." Thesis, University of Skövde, School of Humanities and Informatics, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-1084.
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<p>In this reflexive report I detail my process for creating effective documentation for computer game design. I begin by explaining the background of my work, the goals and limitations I had during this thesis, my goal being to find good practices about writing effective design documents. One chapter is dedicated to the methods I used while writing both the documentation, as found in appendix A, and this report. I then document and discuss my work process and the choices I made as well as the basis of those choices, I also reflect on the effects of my changes. My analysis is based on my iterative work, external sources and private experiences. Based on my work I conclude that creating documents that are easily searched and that only document the information crucial for implementation leads to effective abstract design documents.</p>
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Hayes, Marion. "Creativity in consulting engineering: how civil engineers talk about design." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16263/.
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An appropriate civil infrastructure is vital to the wealth and wellbeing of cultures. Appropriateness is increasingly defined in terms of sustainability, aesthetics, innovation and cultural suitability. These expectations pose challenges for engineers to use their creativity, aesthetic appreciation, knowledge and character to predict and respond creatively with their designs. However, a treadmill of cost innovation in construction projects makes improved design challenging. This tends to reinforce the misconception that engineers are dull and uncreative, even though historically they have displayed considerable imagination and ingenuity. This thesis is based on an in-depth study conducted at the Brisbane office of Kellogg Brown & Root P/L (a large consulting engineering firm). A contemporary qualitative approach is used to explore how creativity is manifested in an engineering design context, and how it relates to phenomena such as knowledge, innovation, project culture and organizational environment. In-depth interviews reveal the authentic meaning of design and creativity for engineers and other company staff. The study highlights an important distinction between design-based and cost-driven innovation and unveils multiple influences that can stifle or nurture personal and group creativity.
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Bellefleur, Danielle Laura. "How to design a marine reserve for rabbitfish (Siganus fuscescens)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq24801.pdf.
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Fish, Jonathan C. "How sketches work : a cognitive theory for improved system design." Thesis, Loughborough University, 1996. https://dspace.lboro.ac.uk/2134/7418.
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Evidence is presented that in the early stages of design or composition the mental processes used by artists for visual invention require a different type of support from those used for visualising a nearly complete object. Most research into machine visualisation has as its goal the production of realistic images which simulate the light pattern presented to the retina by real objects. In contrast sketch attributes preserve the results of cognitive processing which can be used interactively to amplify visual thought. The traditional attributes of sketches include many types of indeterminacy which may reflect the artist's need to be "vague". Drawing on contemporary theories of visual cognition and neuroscience this study discusses in detail the evidence for the following functions which are better served by rough sketches than by the very realistic imagery favoured in machine visualising systems. 1. Sketches are intermediate representational types which facilitate the mental translation between descriptive and depictive modes of representing visual thought. 2. Sketch attributes exploit automatic processes of perceptual retrieval and object recognition to improve the availability of tacit knowledge for visual invention. 3. Sketches are percept-image hybrids. The incomplete physical attributes of sketches elicit and stabilise a stream of super-imposed mental images which amplify inventive thought. 4. By segregating and isolating meaningful components of visual experience, sketches may assist the user to attend selectively to a limited part of a visual task, freeing otherwise over-loaded cognitive resources for visual thought. 5. Sequences of sketches and sketching acts support the short term episodic memory for cognitive actions. This assists creativity, providing voluntary control over highly practised mental processes which can otherwise become stereotyped. An attempt is made to unite the five hypothetical functions. Drawing on the Baddeley and Hitch model of working memory, it is speculated that the five functions may be related to a limited capacity monitoring mechanism which makes tacit visual knowledge explicitly available for conscious control and manipulation. It is suggested that the resources available to the human brain for imagining nonexistent objects are a cultural adaptation of visual mechanisms which evolved in early hominids for responding to confusing or incomplete stimuli from immediately present objects and events. Sketches are cultural inventions which artificially mimic aspects of such stimuli in order to capture these shared resources for the different purpose of imagining objects which do not yet exist. Finally the implications of the theory for the design of improved machine systems is discussed. The untidy attributes of traditional sketches are revealed to include cultural inventions which serve subtle cognitive functions. However traditional media have many short-comings which it should be possible to correct with new technology. Existing machine systems for sketching tend to imitate nonselectively the media bound properties of sketches without regard to the functions they serve. This may prove to be a mistake. It is concluded that new system designs are needed in which meaningfully structured data and specialised imagery amplify without interference or replacement the impressive but limited creative resources of the visual brain.
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Levick-Parkin, Melanie. "How women make : exploring female making practice through Design Anthropology." Thesis, University of Sheffield, 2018. http://etheses.whiterose.ac.uk/21901/.
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This thesis explores the process of female making as a creative and socio-political act and how/where/why this creative labour gets ‘spent’, in terms of energy, outcomes and beneficiaries as well as how it might be situated in the context of contemporary Western Design ontology. Fieldwork took place over a period of 10 Months, with 11 female participants in two countries, during a number of repeat encounters, which included co-making, participant and ethnographic observations as well as informal interviews. The findings are presented as focused narratives based on three of the participants, through a series of ethnographic/auto-ethnographic accounts, which each conclude in a discussion based on my thematic analysis of that particular woman’s making. Drawing on the fieldwork with all 11 women, the three chapters which follow weave together data and theory into thematic discussions and analysis. The research documents and makes visible both the women’s making practices and things acting upon it, through observations of the participants making, and conversations and co-making with participants. A design anthropological approach of ‘anthropology as correspondence’ (Gatt & Ingold, 2013; Ingold 2013a) informed all data collection, with informal interviews providing the core data and focus of analysis, supported by analysis of visual data such as photography and moving image, as well as field notes and reflective auto-ethnographic writing, based on my experiences with the women and their making. As a design anthropological study, it situates and analyses female creative practices in a broader human ‘making’ context, whilst utilising a range of ethnographic, practice-led and co-creative methods, situated within a framework of a feminist inquiry and design discourse. Key theorists informing the analysis are Karen Barad (2007, 2008), Elizabeth Grozs (1999, 2010), Erin Manning (2016), Doreen Massey (2005) and Tim Ingold (2007, 2013a), whilst building on the work of Rozsika Parker and Griselda Pollock (1981), Cheryl Buckley (1986) and Sheila Rowbotham (1973/a, 1973/b), amongst many others. Key theories triangulated within the discussion and analysis stem from Material Feminism, Design Anthropology and Design Theory. This triangulation, woven around and into the observations and accounts of lived experiences, forms an emergent proposition which considers how female enactments of creative labour can provide us with ways to critique and un-ravel contemporary Design ontology, its modes of production and consumption. Drawing on post-capitalist scholars such as Kathy Weeks (2011), amongst others, and the writing of Raoul Vaneigem (1967/2006), the penultimate chapter ‘Implication for Design Pedagogy’ discusses why the implication my findings should be considered in relation to design pedagogy and education yet to come, and to ‘futures yet unthought’ (Grosz, 1999).
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Gaylord, Elizabeth (Elizabeth H. W. ). "Analyzing how optimization features impact people's use of design tools." Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/119958.
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Thesis: S.B., Massachusetts Institute of Technology, Department of Mechanical Engineering, 2018.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (pages 21-22).<br>Design is the first step in creating a product but can be the most challenging. Much design software has been created to meet these needs, but these tools consider only a small part of the design process. This limitation stunts creativity and provides challenges to designers when trying to solve complex problems. Better tools take into account the needs of designers throughout the process of creating, analyzing, and optimizing designs. To provide the best integrated solutions, it is necessary to determine what features of analysis and optimization most help designers explore the solution space and ultimately create better physical designs. Tacit was developed as research tool to create simple designs with analysis and optimization built-in to the software. The most optimized version of Tacit was used as the control in a new study, which utilized two new versions excluding certain optimization features. A comparison between these versions was done to examine how optimization features impacted overall result, solution space exploration, and user experience. The usefulness of these optimization features is highly dependent on the type of problem being solved, and these features do not guarantee the best solution or sufficient exploration of the design space. Results from this experiment allow researchers to identify what is most useful to designers and how better to design tools to help them.<br>by Elizabeth Gaylord.<br>S.B.
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Adler, Kajsa, and Rebecca Ljundahl. "How does text design affect reading comprehension of learning materials?" Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-41021.
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All humans are different and therefore they all learn in different ways. This research paperinvestigates what effect learning materials has on reading comprehension. The focus is not onthe content of learning materials, but on the text design of materials and what effect they haveon learners. This research paper focuses on aspects such as text design, typefaces and textspacing and how that affects reading comprehension. The primary search method used iselectronic which was done on the websites Libsearch, ERIC and SwePub. The results show thatchoosing typefaces and text spacing mindfully, has a positive effect on reading comprehension.
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Cleaver, Frances D., and Tom R. Franks. "How institutions elude design: river basin management and sustainable livelihoods." Bradford Centre for International Development, 2005. http://hdl.handle.net/10454/2964.
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Yes<br>This paper challenges ideas that it is possible to `get the institutions right¿ in the management of natural resources. It engages with the literature and policy specifying `design principles¿ for robust institutions and uses data from a river basin management project in Usangu, Tanzania, to illustrate the complexity of institutional evolution. The paper draws on emerging `post-institutionalist¿ perspectives to reject over-formalised managerial approaches in favour of those that accept the dynamic nature of institutional formation, and accommodate a variety of partial and contingent solutions. Data from Usangu suggests that external `crafting¿ is inevitably problematic because, to a certain extent, institutions elude design.
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Lindén, Felix. "How can we increase sociability amongst elderly through Interaction design?" Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21628.
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Detta projekt undersöker social isolering och ensamhet bland äldre. Målet med projektet är att öka sällskapligheten bland äldre. Metoderna bygger på en användarcentrerad strategi och med kvalitativ forskning och kvantitativ data som genereras. Som en del av en interaktionsdesignstudie. Teorier om vad som har gjorts i fältet presenteras och relaterat arbete för att förstå fältet. Insikten från den empiriska studien definierar problem i designprocessen, från intervjuerna och undersökningen. I designprocessen presenteras såväl metoder som används för att skapa idéer som resultatet. Designprocessen presenterar nio koncept som en lösning på forskningsfrågan. Avslutningen och diskussionen presenterar nya idéer och tankar om hur projektet kan ha tagits i en annan designmetod och utforskning.<br>This project explores social isolation and loneliness among elders. The goal of the project is to increase sociability among elders. The methods are based on a user-centered approach and with qualitative research and quantitative data generated. As part of an interaction design study. Theories about what has been done in the field are presented and related work to get an understanding of the field. The insights gained from the empirical study define problems in the design process, from the interviews and survey. In the design process methods that are used to create ideas are presented as well as the result. The design process presents nine concepts as a solution to the research question. The conclusion and discussion present new ideas and thoughts on how the project might have been taken in a different design approach and exploration.
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Mangcu, Nqaba. "The George Pemba Art Museum: how memory translates to design." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/5594.
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Johansson, Matilda, and Robin Sandberg. "How Additive Manufacturing can Support the Assembly System Design Process." Thesis, Tekniska Högskolan, Högskolan i Jönköping, JTH, Industriell organisation och produktion, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-30887.
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In product manufacturing, assembly approximately represents 50% of the total work hours. Therefore, an efficient and fast assembly system is crucial to get competitive advantages at the global market and have the right product quality. Today, the verification of the assembly system is mostly done by utilizing software based simulation tools even though limitations have been identified. The purpose of this thesis is to identify when the use of additive manufacturing technology could be used in assessing the feasibility of the assembly system design. The research questions were threefold. First, identifying limitations that are connected with the used assembly simulation tools. Secondly, to investigate when additive manufacturing can act as a complement to these assembly simulations. Finally, to develop a framework that will assist the decision makers when to use additive manufacturing as a complement to assembly simulations. The researchers used the method of case study combined with a literature review. The case study collected data from semi-structured interviews, which formed the major portion of the empirical findings. Observations in a final assembly line and the additive manufacturing workshop provided valuable insights into the complexity of assembly systems and additive manufacturing technologies. In addition, document studies of the used visualization software at the case company resulted in an enhanced understanding of the current setting. The case study findings validate the limitations with assembly simulations described in theory. The most frequent ones are related to visibility, positioning, forces needed for the assembly operator, and accessibility between different parts. As both theory and case study findings are consistent in this respect, simulation engineers should be conscious of when to find other methods than simulation for designing the assembly system. One such alternative method is the utilization of additive manufacturing. The thesis outlines a number of situations where additive manufacturing indeed could act as a complement to assembly simulation. The authors argue that the results and findings to a large degree are applicable to other industries as the automotive sector is very global and competitive in nature and encompasses a large variety of complex assembly operations. A structured framework was also developed that could act as a decision support. The framework takes into account three dimensions that are crucial for the decision; (1) the assembly simulation limitation, (2) the context of the assembly and which parts are involved and (3) the possible limitations of additive manufacturing in the specific context. This impartial decision framework could help companies with complex assembly systems to know when to use additive manufacturing, as well as for which parts and subparts additive manufacturing is applicable. To increase the longevity of the decision framework, new improvements of assembly simulation tools and additive manufacturing technologies, respectively, should be incorporated in the framework.
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Sung, Euisuk. "How Children Solve Engineering Design Problems| A Study of Design Process Patterns Using Sequential Analysis." Thesis, Purdue University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10843627.
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<p> The ability to solve problems in creative and innovative ways is more critical than ever in today’s rapidly-changing society. To support these demands, the educational curricula in the U.S. and other countries adopted engineering design as a learning platform to promote students’ creativity, communication and design skills, and innovative problem-solving abilities. When using engineering design, many educators use a variety of engineering design process models. However, little is known about the problem-solving processes in terms of design cognition. Therefore, in this study, the researcher examined the problem-solving patterns of students who engage in engineering design using a cognitive pattern approach. </p><p> This study was conducted as part of the NSF-funded Science Learning through Engineering Design (SLED) project for elementary science students’ grades three to six. The researcher adopted the sequential analysis method to identify students' problem-solving patterns. Sequential analysis is a statistical research method to detect behavioral or psychological patterns by analyzing repeated cognitive events. The researcher sampled a total of 48 Concurrent Think-Aloud (CTA)sessions to examine the statistical significance of the sequential analysis. Two coders independently conducted data coding using Halfin’s codes and confirmed a high range of inter-rater reliability with 97.22 % overall agreements and .86 Kappa coefficients. </p><p> The first research question aimed to identify the common cognitive strategies used by elementary science students in engineering design. The researchers pooled 48 CTA sessions to investigate the common cognitive strategies. The results indicated that the students largely concentrated on idea generation (DE) and sketching (MO) while less emphasized on questioning (QH), predicting (PR), managing (MA), and analyzing (AN). Moreover, the researcher confirmed that the upper level graders showed higher frequencies of cognitive strategies than lower graders. </p><p> The second research question aimed to investigate the common problem-solving sequential patterns of the engineering design process. After pooling the 48 CTA sessions, the researcher analyzed the statistical significances of two-event sequential patterns using GSEQ software. The statistical analysis yielded 14 significant two-event sequential patterns at the right-tailed 0.05 level and two-sided z distribution. Using the significant sequential patterns, the researcher built a pattern-based design process model. The model illustrates various iterations between the problem and solution strategies. The iterations in the problem strategies showed recursive cycles between defining the problem, analyzing, and managing. The solution focused iterations often began with questioning and proceeded to designing and modeling or designing and predicting. Moreover, the pattern model shows that managing and questioning played a key role in bridging problem and solution strategies. </p><p> The third research question was to identify how the cognitive strategies vary by design tasks. The researcher compared eight engineering design tasks used in the SLED project and confirmed that the structure of design problems was associated with the students’ problem-solving strategies. The results of data analysis showed that the participant students commonly emphasized on <i>Designing</i> and <i>Modeling</i> strategies. However, the researcher found that the modeling-driven design tasks required accurate mechanical designing lead students’ high concentrations on the <i> Modeling</i> strategy. </p><p> The last research question was to identify the differences of cognitive problem-solving patterns by design tasks. The study analyzed eight engineering design tasks and each task pooled six CTA sessions. The results confirmed that higher graders’ design tasks showed more complicated design pathways than younger graders’ design tasks. Additionally, the researcher found that each design task yielded distinct problem-solving pattern models. </p><p> Based on these results, the researcher suggested that engineering and technology educators need to highlight the multiple pathways of the engineering design process. The results showed many alternative problem-solving pathways rather than the standardized process models. The researcher also proposed that when adopting an engineering design approach in elementary curriculum, the program developers need to align its design procedure with learners’ sequential patterns of the design process. Engineering design problems provide rich opportunities to develop the cognitive abilities of young students. Additionally, the researcher encourages engineering and technology education programs to adopt multiple design process models aligned with the corresponding design problem types.</p><p>
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Barraca, Maria Ana Álvares de Barros Freire. "Brand logo and brand gender : how brand logo elements influence brand gender perceptions and affect towards the logo." Master's thesis, 2020. http://hdl.handle.net/10400.14/32073.
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Brands, as humans, may be different when it comes to their personality. Among the several traits building brand personality, brand gender is one of the most critical ones. Brand logos, as the primary design elements of a brand and as a critical communication cues, may significantly influence brand gender perceptions. With this research, we aim to examine how different brand logo design elements, more specifically the naturalness of logo design (organic and cultural designs), logo shape (angular and rounded), logo boldness (heavier and slender) and colour hue (light pink and dark blue) influence brand gender perceptions and, if, ultimately, brand-design-induced gender perceptions lead to positive affect towards the logo. First, an in-depth literature review is presented, where the variables analysed in this study are discussed. Based on this literature reviews, a research model was developed and research hypotheses were formulated. Subsequently, to investigate these topics, a quantitative research was held through an online survey. This relied on a sample of unknown and manipulated logos, used as stimuli for the analysis. This study counted with a total of 357 completed surveys, to a range of 32 manipulated logos. Results suggest that logo design elements significantly evoke brand gender perceptions, when properly combined and that affect towards the logo is enhanced by the congruence between the consumer perceived gender and the logo perceived gender, in the masculine gender perception.<br>À semelhança dos seres humanos, as marcas possuem personalidade, o que as carateriza como únicas. A personalidade da marca é constituída por diversos subconstrutos, sendo o género da marca um dos mais relevantes. Como primordial elemento visual de uma marca, ocupando uma posição de destaque no que diz respondei à estratégia de branding, o logótipo de uma marca possui, segundo a literatura, a capacidade de influenciar as perceções do género da marca. Com este estudo, pretendemos analisar a relação entres alguns elementos fundamentais do design do logótipo e a perceção de género da marca, e verificar se as perceções de género induzidas pelo design do logótipo levam a um afeto mais positivo para com a marca detentora desse logótipo. Esta dissertação apresenta uma análise crítica da revisão da literatura, onde as variáveis do estudo são detalhadamente analisadas. Com base nessa revisão da literatura, é apresentado um modelo de investigação e são formuladas hipóteses. De modo a confirmar essas hipóteses e responder, assim, às questões de investigação, é desenvolvido um estudo quantitativo. Os dados foram recolhidos através de um inquérito online. Um total de 32 logótipos foram utilizados como estímulo e analisados por 357 inquiridos. Os resultados demonstram que combinações adequadas de elementos de design do logótipo invocam, positivamente, perceções de género da marca. Adicionalmente, concluímos que o resultado da congruência entre o género percebido do logótipo e do consumidor se trata de um maior afeto do consumidor para com o logótipo.