Sources of inspiration and mental image in textile design process

Laamanen, Tarja-Kaarina; Seitamaa-Hakkarainen, Pirita

doi:10.1386/adch.7.2.105_7

Cited by 9 publications

(5 citation statements)

References 22 publications

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“…The Finnish National Curriculum for Basic Education (FBNE, 2014) suggests that in first and second grade, the design and implementation of the craft process should be based on utilising imagination, stories, drama, play, games and the natural and built environment. When craft design starts from personal life experiences, sensations and narratives, it transitions from a traditional technique and product-centred craft towards the holistic craft process, where design and production progress alongside skill and expression (Laamanen & Seitamaa-Hakkarainen, 2009). In early years education, the crafting aims to develop knowledge and skills in the expression, design and making of crafts so that pupils accumulate experience and learn to design and implement their own craft products via textile and technical work techniques.…”

Section: The Pupil As a Designer And Maker Of Crafts In A Pedagogical...mentioning

confidence: 99%

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Rönkkö,

Aerila

2024

Techne serien

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Arts-based and creative learning processes should be utilised more in craft education. With the NaCra approach, craft processes are connected to other creative content, mainly narratives. This NaCra study explored pupils' holistic craft processes that incorporated stori-fied elements and the aim was to clarify the key elements of individual craft processes supported by storification. The study involved 12 pupils from the second grade (7–8 years old) in Finnish primary education. Despite the novelty of the holistic approach, all pupils successfully planned, created and evaluated their soft toys. The storification method permeated every stage of the holistic craft process, aiding not only the ideation and design phases but also motivation and increased concentration in the making and evaluation phases. The findings suggest that pupils' holistic craft processes incorporating storified elements work well together as a means for pupils to express their thoughts and imagination into assignments. Furthermore, storified elements make pupils' experiences come to life in the creative crafting process. Pupils should have more opportunities with holistic craft processes where the outcome is uncertain at the beginning of the process.Keywords: pupil, holistic craft process, crafting, storification, storified elements, soft toy

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Section: The Pupil As a Designer And Maker Of Crafts In A Pedagogical...mentioning

confidence: 99%

A Friend to Milli Mörriäinen

Rönkkö,

Aerila

2024

Techne serien

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“…Sources of inspiration generate ideas, which provide a basis for the entire process (Petre et al 2006), and help a designer to find design ideas, develop those ideas, and move from the first vague mental image of an artefact to the final design (e.g. Laamanen and Seitamaa-Hakkarainen 2009). Sources of inspiration both expand the design space and direct the design process .…”

Section: Sources Of Inspiration As Triggering Forces For Creative Desmentioning

confidence: 99%

“…Previous studies concerning sources of inspiration in the design processes have mainly concentrated on the different types of sources of inspiration, the role of sources of inspiration in design processes, and how designers gather and use sources of inspiration Laamanen and Seitamaa-Hakkarainen 2009;Petre et al 2006). Furthermore, the ideation and design processes of novice designers, such as students, have been studied intensively (Lahti et al 2016).…”

Section: Introductionmentioning

confidence: 99%

Creating sources of inspiration through eCollage, the FEA model, and a future visioning concept design project

Riikonen

2019

Int J Technol Des Educ

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This article presents an approach to creating sources of inspiration through a collaborative concept design that was developed and observed during a future visioning concept design project concerning the theme of "performance wear," which was conducted at the University of Helsinki for second-year textile student teachers. During the project, the students created future scenarios; used the functional, expressive, and aesthetic (FEA) consumer needs model for apparel design (Lamb and Kallal in Cloth Text Res J 10(2):42-47, 1992) when considering what performance wear could be like in a future scenario; and created digital collages (eCollages) to present their concepts. In the course that followed the concept design project, the students designed and made actual clothes using the concepts developed during the concept design project as one of their sources of inspiration. The outcomes of the process are described in this article through four research questions: (1) What type of future scenarios did the teams create, what types of eCollages did the teams make, and how did the teams use information and communication technologies (ICT) in their collages? (2) How did the use of eCollages enrich the concept presentations? (3) How were the three dimensions of the FEA model utilized and presented in the eCollages and team presentations? (4) How did the future visions of the concepts and the eCollages act as sources of inspiration in the students' clothing designs? Five of the six teams studied created a global future scenario that envisioned the world as a dystopia. The high level of technical and visual executions of all the eCollages was surprising. The ECollages played an important role in every team presentation and enriched them considerably. The FEA model, on the other hand, both provided a supporting framework for the concepts and guided the students to direct their attention to apparel within their future scenarios, as well as to consider different dimensions of it. The concepts especially inspired students to create aesthetic elements to their design and to consider the expressiveness and functionality of the garments from the concept's perspective. The students also challenged themselves to find technical solutions to design ideas they created through being inspired by the concepts. Furthermore, the students often described gaining inspiration from the story or atmosphere of the concept or other non-visual elements of it, and thereby it seems that our approach indeed succeeded in promoting multi-sensory inspiration.

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“…Thus, suggesting that there is no singular way to approach design. Commonalities have been identified across fields (Gagnon et al 2012;LaBat and Sokolowski, 1999), however, and varied approaches have been adopted and modified for application in diverse fields, and especially for the advancement of education in those fields (LaBat and Sokolowski, 1999;Laamanen and Seitamaa-Hakkarainen, 2008). For example, Lamb and Kallal (1992) explored the importance of the design process in the development of apparel for disabled consumers.…”

Section: Literature Review Design Processmentioning

confidence: 99%

The process of designing interior textile products & the influence of Design for the Environment (DfE)

Calamari

Hyllegard

2015

Fashion and Textiles

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This study examined the processes involved in the design of interior textile products, with emphasis upon processes undertaken by designers' who are committed to a Design for the Environment (DfE) orientation. Handfield et al. (IEEE TEM 48:189-208, 2001) model of product design and development provided a context by which to explore inclusion of environmental performance criteria within the design process. Data were collected through interviews with twelve professional designers of interior textile products. Analyses revealed six themes or stages in the design process for interior textile products: resources and research, consumer need and trend identification, inspiration, creative exploration, product samples, and design completion. DfE-oriented designers and conventional designers did not differ in their narratives regarding design process however, the focus and scope of decision-making within each theme or stage allowed for an additional component to the DfE-oriented design and development process of interior textile products.

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Sources of inspiration and mental image in textile design process

Cited by 9 publications

References 22 publications

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Creating sources of inspiration through eCollage, the FEA model, and a future visioning concept design project

The process of designing interior textile products & the influence of Design for the Environment (DfE)

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