Sources of inspiration: a language of design

Eckert, Claudia; Stacey, Martin

doi:10.1016/s0142-694x(00)00022-3

Cited by 310 publications

(183 citation statements)

References 7 publications

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“…The features from these sources can be embodied in the design, and thus the product form is influenced by these sources. Similar observations were made by Eckert and Stacey [22], from their empirical research in the knitwear industry. They found that sources of inspiration help in defining the context for new designs, in the creation of designs, and in communicating designs by reference to those sources.…”

Section: Sources Of Inspirationsupporting

confidence: 82%

Aesthetic Design Process: Descriptive Design Research and Ways Forward

Jagtap

Jagtap²

2014

ICoRD’15 – Research Into Design Across Boundaries Volume 1

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Consumer response to designed products has a profound effect on how products are interpreted, approached and used. Product design is crucial in determining this consumer response. Research in this field has been centered on studying the relationship between product features and subjective responses of users and consumers to those features. The subject of aesthetic or styling design process has been relatively neglected despite the important role of this process in fulfilling intended consumer response through product design. In this paper, we present a review of descriptive design research on aesthetic design process, and highlight limitations of this research. We also suggest opportunities for further descriptive research on the subject of aesthetic design process.

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Section: Sources Of Inspirationsupporting

confidence: 82%

Aesthetic Design Process: Descriptive Design Research and Ways Forward

Jagtap

Jagtap²

2014

ICoRD’15 – Research Into Design Across Boundaries Volume 1

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“…There are many studies of design practice, focusing on different design disciplines and specific stages of the design process. These include studies with knitwear designers to facilitate communication within design teams [6], and of how product designers keep their informal collections of visual material [12].…”

Section: Design Practicementioning

confidence: 99%

“…In doing so, these studies have been mostly looking at design students and how they create and perceive mood boards. One notable exception is Eckert and Stacey [6] who analyzed the use of mood boards to study the role played by sources of inspiration in the knitwear industry.…”

Section: Mood Boardsmentioning

confidence: 99%

Funky-Design-Spaces: Interactive Environments for Creativity Inspired by Observing Designers Making Mood Boards

Lucero

2015

Lecture Notes in Computer Science

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“…Eckert and Stacey (2000) found that knitwear designers typically describe new designs as modifications of other individual designs, which suggests that memories of a wide range of individual garments play an important role in their design thinking. Eckert and Stacey (2000) argued that the shared context of remembered individual designs gives designers a language to communicate design ideas, partly because it is inherently difficult to describe the significant features of garments except in terms of variations from other designs. Knitwear designers have a vocabulary for garment features, but the range of available verbal labels for garment categories is very much smaller than the range of possible categories.…”

Section: Style Representations Are Interrelatedmentioning

confidence: 99%

Psychological challenges for the analysis of style

Stacey

2006

AIEDAM

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Analyses of styles in design have paid little attention to how people see style, and how designers use perceptions of style to guide designing. While formal and computational methods for analysing styles and generating designs provide impressively parsimonious accounts of what some styles are, they do not address many of the factors that influence how humans understand styles. The subtlety of human style judgements raises challenges for computational approaches to style. This paper differentiates between a range of distinct meanings of 'style', and explores how designers and ordinary people learn and apply perceptual similarity classes and style concepts in different situations to interpret and create designed artefacts. A range of psychological evidence indicates that style perception is dependent on knowledge, and involves the interaction of perceptual recognition of style features and explanatory inference processes that create a coherent understanding of an object as an exemplar of a style. This paper concludes by outlining how formal style analyses can be used in combination with psychological research to develop a fuller understanding of style perception and creative design.

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Sources of inspiration: a language of design

Cited by 310 publications

References 7 publications

Aesthetic Design Process: Descriptive Design Research and Ways Forward

Aesthetic Design Process: Descriptive Design Research and Ways Forward

Funky-Design-Spaces: Interactive Environments for Creativity Inspired by Observing Designers Making Mood Boards

Psychological challenges for the analysis of style

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