Creative Design

A logo is recognized as a form of visual communication to represent individuals, organizations and enterprises in a form of a graphic mark (sign), symbol or emblem. In the field of graphic design, “Logo design”, is an important area as well as a most difficult challenge to perfect. Therefore, to design a logo, designers need a
systematic design process to guide them for reaching to an effective and efficient solution. As such, logo design process as a methodical series of steps or formulation that designers employ in creating ‘functional logo’ design has been wide studies by design academia and professionals.

In this paper, to respond to the research scholarly interest in graphic design, the researcher has made an attempt to propose a creative design process for logo design, known as Five-I Design Process. The research is written based on autoethnographical research approach in discussing creative design process which focused on logo
design practice. The paper is organized into three sections. (1) Review and discuss logo design processes (2) Propose “Five-I Logo Design Process” for logo design and development. (3) A case study on the implementation of “Five-I Logo Design Process”. It is hoped that this paper will provide insights into an understanding of creative design process implementation particularly for logo design practice.

The "architecture without architect" in Cappadocia has always been fairy due to its volcanic stone formations and transforming silhouettes. In 1973, French architect Jack Avizou highlighted the essence of cave houses as vernacular building types and their potentials for local tourism beyond conventional notions of architectural heritage. Upon completing the restoration of cave houses in Uçhisar and transforming them to boutique hotels, he was nominated for Aga Khan Award for Architecture in 2010. On the other hand,
Aga Khan Award winner Turkish architect Turgut Cansever had also been advising for Argos Hotel project in Uçhisar since 1996. He gave importance to the concept of "protection" and preserved vernacular identity and characteristics despite the demands of the tourism sector. This paper aims to explore Avizou and Cansever’s design solutions in Uçhisar’s local context. Building and spatial relations in interiors will be analyzed with cluster analysis and ranked according to levels of novelty. Hence, the achievement of creativity through transformation, combination and variation of original designs, will be displayed. Understanding Avizou’s and Cansever’s visions on revitalization and adaptive re-use are substantial since their creativity shall be a source of inspiration for future sustainable tourism and building practices in a local and global context.

The City Beautiful movement played a major role in the origination of city planning concepts and practices employed today. This paper attempts to outline the history of the movement citing key figures, concepts, projects and dates while discussing briefly how these experiences may relate to the professional experiences of today and the future.

Abstrak— Wayang kulit merupakan salah satu animasi tertua, namun hingga kini belum ada penulisan lebih lanjut yang membahas tentang hubungan animasi dengan wayang kulit itu sendiri. Dengan demikian, tulisan ini bertujuan untuk memperlihatkan hubungan antara animasi yang kita kenal saat ini dengan pertunjukan wayang kulit, menggunakan 12 prinsip dasar dari animasi sehingga terlihat persamaan penggunaan teknik yang ada dalam hubungannya dengan proses yang lainnya. Kata kunci— Teknik animasi, 12 prinsip animasi, wayang kulit Abstract— Wayang Kulit has been known as one of the oldest animation; however, there is no definitive methodology that supports the development process of these animation performances that we know nowadays. This paper aims to give an overview of using the famous 12 principles of animation in the Wayang Kulit performance. A qualitative study of the Wayang Kulit Performances is described, aiming at finding the similarities between the traditional animation techniques and those techniques used in this shadow puppet shows.

Abstract
Purpose
This paper aims to study the impact of innovation climate (IC) on co-creating modular mass-customisation (CMMC) in terms of cost effectiveness, volume effectiveness, responsiveness, product modularity and collaborative assembly. Additionally, this research paper investigates the effect of IC and CMMC on the value to customer (VC) in a modular jewellery emerging market that includes international companies.

Design/methodology/approach
After conducting a comprehensive literature review, the authors suggested a conceptual framework and examined it using mixed methods approach. In addition to qualitative focus groups, questionnaires were filled – across five-point Likert scale format – through 63 depth interviews carried out with subject-matter-experts working at 14 international organisations in the Egyptian modular jewellery market. SmartPLS software was used for structural equation modelling analysis.

Findings
Results showed that CMMC positively and significantly affects VC. Furthermore, IC positively and significantly affects both CMMC and VC.

Practical implications
Recent industrial developments that can be observed in such international modular jewellery sector can be enhanced by the empirical evidence of this research regarding the importance of developing IC for more creative manufacturing approach of modular mass-customisation and better VC.

Originality/value
To the best of our knowledge, it is the first empirical study that investigates the relationship between CMMC, IC and VC in a unique jewellery market, which recently generated high customer involvement in the assembly/reassembly processes. Conceptually and empirically, it consolidates and adds to the literature of production and operations management (mass-customisation), organisational studies and innovation science (organisational climate for innovation) and applied social sciences.
Keywords: Customer value, Innovation climate, Product modularity, Co-creating mass-customization,
Collaborative assembly, Jewellery market, Creative product designs
Paper type: Research paper

Designing requires the simultaneous application of diverse modes of thinking and making; the administration of a set of competences, among them creativity, ranked most important by Hong Kong Polytechnic University School of Design faculty members. An introductory design thinking subject offered by the School uses Play as a means to foster best design learning experiences. It leverages Play's integrative cultural agency to facilitate students' acquisition of creative and instrumental thinking skills. From the formulation of a hypothesis and identification of a context, to subsequent iterative development and testing of a design proposition, the acquisition of fundamental creative design thinking skills are facilitated by play and demonstrated over the course of a project. A survey questionnaire (N=219) and subsequent factor analysis revealed positive student feedback. This chapter describes how the subject was implemented, and suggests how this blend of international cultural influences informing design education could serve China's creativity and innovation industries.

In recent years, the traditional clothing market has been threatened by many other new shopping channels. However, few researches on fashion marketing have been found to give systematic suggestions for traditional fashion stores in order to improve their marketing strategies to compete with other strong competitors. Therefore, this paper was aimed at understanding consumer’s purchase intention in traditional clothing purchase channel, in order to put forward corresponding marketing methods for traditional fashion stores to improve their strategies. Based on five purchases decision-making stages of EKB model, this study employed structured questionnaires and hypothesis testing with a sample of consumers from three prosperous cities in Nigeria (South West, South East and North West) using cluster approach. The results reflected on the link between consumer behavior and traditional clothing market, and provided guidelines for fashion store managers to improve their marketing strategies. Sentiment analysis through collection of responses (likes, shares, comments, re-tweets) helps the fashion store managers to analyze every aspect of consumers demand from the most loved colour to the most acceptable fits. Using these tools, the paper analyzed several designs to derive visual insight, producing a first-of-its-kind analysis of per-city fashion choices and spatio-temporal trends of modern civilization.

The importance of creativity in technological design education is now clearly recognized, both in everyday understanding and also in formal curriculum guidelines. Design offers special opportunities for creativity because of the “openness” of problems (ill-defined problems, a variety of pathways to the solution, no pre-specified “correct” solutions). However, teachers are still confronted by the question of how to specify which designs are creative and why, how to identify where the creative strengths of designs lie so that students can build on these, and what advice to give on how to change designs to make them more creative. There are also still open questions concerning design pedagogy. A “functional” model of creativity offers guidelines for making plain to students what they are expected to achieve with their designs and for diagnosing the creativity of the designs they offer. These yield, in turn, guidelines for design pedagogy.

Among the many challenges that the apparel export industry faces in this era of increased global competition, one is the increasing pressure on manufacturers to reduce new product development cost and turnaround time while increasing the number of options and reducing the quantum of errors at the sampling stage. This study aims to bring forth the changing reality of the product development process. It focuses on the emergence of virtual product development, the integration of digital platform and virtual prototyping in the apparel industry and the possible significant impact it can have in the process of apparel product development for exports to help in meeting these challenges. The objectives of this study are to to study the current scenario in the apparel export industry in India regarding the extent of usage of digital platform in the process of apparel product development for exports; and to study the emergence of virtual product development in the apparel industry and illustrate  the significant results those have been achieved by integrating digital platform and software in the process of apparel product development.

In this research paper, we adopt an integrative view of user
involvement in software development; where, a user’s
psychological state, at various phases of development, is linked to the contribution of user involvement in the success of software development. We explore the link between creativity and emotional design in order to evolve a conceptual framework for studying creativity in the fast growing area of mobile applications (apps) development. Action research, which is regarded as participatory, emancipatory and contextual, was adopted in this study. The study used a case study design and a survey of 1,502 students registered for a first year course in Management Information Systems at a large urban University in South Africa. Results from this study found that for app development to be more creative and innovative, emotional design should be part of the broader process of improving requirements engineering in Information Systems Development (ISD). We also found that in situations where emotional feedback is genuine, requirements engineering problems related to the “misinformation effect” common in ISD can be minimized. The third claim we affirm stronger is how users in ISD play a closer role as co-developers of mobile apps in order to realize true creativity and innovativeness. This study further demonstrated how subjective feelings in ISD
can be evaluated using visual artifacts such as the Emocard.

ÖZ İnsanların yaşam deneyimlerini duygu, düşünce ve hayal gücüyle biçimlendirerek mevcut algıyı değiştirme eğilimleri ve bulunduğu çevreyi sorgularken sorunlara çözüm getirme arayışları geçmişten günümüze devam etmektedir. Tasarlama olarak tanımlayabileceğimiz bu eylem tarih boyunca süregelen değişimlerin ve dünya düzeninin bir sonucudur. Bu nedenle tasarlama eylemi ile doğru bir sonuca ulaşılabilmesi için çeşitli yöntemler geliştirilmiş, bu yöntemler teoride ve pratikte deneyimlenmiş ve birçok eğitim modeli geliştirilmiştir. Söz konusu eğitim modellerinde ortak kavram olan yöntem; yaratıcılığı teşvik etmek ve geliştirmektir. 11-Nisan-13 Haziran 2013 tarihleri arasında Salt Galata'da Marmara Üniversitesi Güzel Sanatlar Fakültesi bünyesinde 6. Uluslararası Öğrenci Trienali kapsamında, " Connecting The Dots / Noktaları Birleştirelim " temalı " Nokta Detay: Algıda Seçicilik " başlıklı bir workshop gerçekleştirilmiştir. Söz konusu workshop'un amacı tasarımda yaratıcılık için geliştirilen yöntemler dikkate alınarak bir tasarımcının eğitimi boyunca öğrendiklerini teorik ve uygulama çalışmalarıyla birlikte tasarım eyleminin nasıl yapılması gerektiğine ilişkin bir yöntem önerisi ile öğrencilerin farkındalıklarının artmasını sağlamaktır. Eğitimci gözüyle tasarımda yaratıcılık söylemi söz konusu çalışmanın süreci ve ortaya çıkan sonucun söylemidir. ABSTRACT People's life experiences, by feelings, thoughts and imagination are changed the perception of reformatting existing trends and make the search for solutions to problems where querying the environment has been continued from the past to present. This action can be described as design is the continual changes throughout history and is a result of the world order. Therefore, various methods have been developed in order to reach a correct conclusion and designing action, these methods as theory and practice are tested and has been developed many educational model. Methods that are common concept of such training models; It is to promote and develop creativity. Between 11-Apr-June 13, 2013 at Salt Galata, Faculty of Fine Arts of Marmara University, 6. Within the International Student Triennial "Connecting The Dots / Points My Combining" themed "Point Detail: selective perception" was conducted a workshop titled. A method of how to service the design action with said the workshop aims to theoretically what they learned during the training of a designer considering developing methods for creativity in design and implementation work is to increase the awareness of students with the proposal. The process of design through the eyes of educators such discourse is a discourse of creative work and outcomes. TASARIM GERÇEKTE NEDİR? Tasarımın gerçekte ne olduğunu tanımlamak için sayfalar dolusu yazı yazmak mümkündür. Tasarımı tanımlamak için tasarım kavramının uygarlıklarla ilişkilerini incelemek geçmişi sorgulamak, felsefe ve kuramına değinmek, toplumsal değerleri ve kültürü ele almak, teknolojiyi tanımak gerekmektedir. Bununla birlikte algı, anlam, kimlik ve göstergebilim gibi kavramları özümsemek, tasarımla ilişkili

The "architecture without architect" in Cappadocia has always been fairy due to its volcanic stone formations and transforming silhouettes. In 1973, French architect Jack Avizou highlighted the essence of cave houses as vernacular building types and their potentials for local tourism beyond conventional notions of architectural heritage. Upon completing restoration of cave houses in Uçhisar and transforming them to boutique hotels, he was nominated for Aga Khan Award for Architecture in 2010. On the other hand, Aga Khan Award winner Turkish architect Turgut Cansever, had also been advising for Argos Hotel project in Uçhisar since 1996. He gave importance to the concept of "protection" and preserved vernacular identity and characteristics despite the demands of tourism sector. This paper aims to explore Avizou and Cansever's design solutions in Uçhisar's local context. Building / interior design elements and spatial relations in interiors will be analyzed with cluster analysis and ranked according to levels of novelty. Hence, achievement of creativity through transformation, combination and variation of original designs, will be displayed. Understanding Avizou's and Cansever's visions on revitalization and adaptive re-use is substantial since, their creativity shall be a source of inspiration for future sustainable tourism and building practices in local and global context.

It is important to ensure and extend that education has modern, rational, scientific and democratic attributes at every level. An education programme has been developed in order to support personal, social and academic development of teachers and students in high schools. The programme had been carried out in Ümraniye and Gaziosmanpaşa districts of Istanbul by the Ministry of Education during 2011-2012 education term. The programme consists of series of education, seminar, workshop, culture and art activities for supporting personal, social and academic development of teachers. This study reveals if the programme caused any change on teachers. The aim of the study is to measure the effectiveness of the programme that has been carried on the teachers of two different districts and to assess the social, emotional and intellectual changes in teachers caused by the programme. According to the results of the study, emotional intelligence of teachers increased from 47% to 56% in Ümraniye and from 50% to 54% in Gaziosmanpaşa and leadership skills increased from 53% to 57% in Ümraniye and from 53% to 54% in Gaziosmanpaşa.

İnsanların yaşam deneyimlerini duygu, düşünce ve hayal gücüyle biçimlendirerek mevcut algıyı değiştirme eğilimleri ve bulunduğu çevreyi sorgularken sorunlara çözüm getirme arayışları geçmişten günümüze devam etmektedir. Tasarlama olarak tanımlayabileceğimiz bu eylem tarih boyunca süregelen değişimlerin ve dünya düzeninin bir sonucudur. Bu nedenle tasarlama eylemi ile doğru bir sonuca ulaşılabilmesi için çeşitli yöntemler geliştirilmiş, bu yöntemler teoride ve pratikte deneyimlenmiş ve birçok eğitim modeli geliştirilmiştir. Söz konusu eğitim modellerinde ortak kavram olan yöntem; yaratıcılığı teşvik etmek ve geliştirmektir. 11-Nisan-13 Haziran 2013 tarihleri arasında Salt Galata'da Marmara Üniversitesi Güzel Sanatlar Fakültesi bünyesinde 6. Uluslararası Öğrenci Trienali kapsamında, "Connecting The Dots / Noktaları Birleştirelim" temalı "Nokta Detay: Algıda Seçicilik" başlıklı bir workshop gerçekleştirilmiştir. Söz konusu workshop'un amacı tasarımda yaratıcılık için geliştirilen yöntemler dikkate alınarak bir tasarımcının eğitimi boyunca öğrendiklerini teorik ve uygulama çalışmalarıyla birlikte tasarım eyleminin nasıl yapılması gerektiğine ilişkin bir yöntem önerisi ile öğrencilerin farkındalıklarının artmasını sağlamaktır. Eğitimci gözüyle tasarımda yaratıcılık söylemi söz konusu çalışmanın süreci ve ortaya çıkan sonucun söylemidir.

Imagination and its relation to creativity are among the most important issues related to the design category in various areas of architectural inquiry such as architectural design, whose function and role have changed in recent decades due to use and application of computers in the architectural design processes.The purpose of this research is to explore the concept of creative imagination from the point of view of the phenomenological philosophers, especially Jean-Paul Sartre, as well as to compare the differences between the role of creative imagination and its role in the digital and non-digital architectural design processes. This article first explores the concept of the imagination from the perspective of Sartre's phenomenology, and then analyzes different kinds of imagination related to the design and function of creative imagination in the design process. After that it introduces the salient aspects of the digital architecture design on the process of architectural creativity, and examines the role of creative imagination in the design process of digital architecture. In the last segment of the article and by a way of conclusion, the authors compare creative imagination in the digital and non-digital architectural design in order to provide various schematic presentations of the role of creative imagination in both processes.


Keywords: Imagination, Creative Imagination, Architectural Design Processes, Non-Digital Architectural Design Processes, Digital Architectural Design Processes.

Sustainability has emerged as the most current and striking concepts of the 2000's. Every field, every subject, and every thought generated its sustainable counter part, and sustainability has come to symbolize the future. In fact, when sustainability researchers study design, they usually consider the sustainability of design. On the other hand, since it is of the essence of design, as in the essence of creativity, to conceive an original idea, to make new syntheses and to express them as an out of the ordinary image with seeable, tangible, olfactible, audible, and tasteable indicators, it is essential that the basic features of design should include knowledge about the future projections of design in the context of sustainability of design. Accordingly, it becomes a requisite to bring together all the information that is necessary to protect and sustain environments, habitats and nature that support life and evaluate it in shaping the future of product design and teach it as accumulated knowledge.

Reflection-in-and -on-action are key elements of creative design. While reflection-in-action has been often studied, reflection-on-action has received less attention. In this paper, we fill this gap by first reporting results from indepth interviews (N=12) with practicing designers aimed at understanding activities related to reflection-on-action. We found that activities related to reflection-on-action are intentional, repetitive and frequent, design materials are the primary aids for reflective activities, and there is a strong need for better reflection support tools. To address this need, we designed, implemented and evaluated a novel interactive visualization tool -ReflectionSpace. The tool uses file meta-data and naming conventions to map design materials to the appropriate design phase and context of use and places corresponding representations in a time-and activity-centric visualization that can be navigated at different levels of detail. User feedback from a comparative study reveals that such a representation of design process is more beneficial and preferred relative to the traditional filecentric approach for fostering reflection-on-action.

The creative design process is often characterised by high task uncertainty and tight dependency on other functions both within a firm and with external parties. Coordination thus plays a key role in integrating different functions related to the design process in attaining a common objective of delivering products to end customers. This paper examines coordination mechanisms and their determinants in the creative design process of a fashion firm. It is argued that coordination mechanisms are driven by a set of three determinants, namely responsibility interdependence, uncertainty, and conflict. Findings from the case study are presented and areas for future research are provided.

Keywords: Design, Fashion, Supply chain management

The Conceptual Design refers to the creative phase of the design process which, according to authoritative approaches in literature [Pahl 1996, Ulrich 2001, Hubka 1992], is placed between the product planning phase and the embodiment design phase. In other words, it includes all logical processes which, as from the task clarification phase, lead the designer or the project team, to

It is very frequent that in engineering design education students work in teams organizing themselves in face-to-face work meetings as well as by means of online applications to share documents and communicate when they are in different physical places. The aim of this work is to analyze the students' opinion about developing creative design tasks by means of virtual teams editing a sketch file synchronously and communicating by chat. An experiment was done in which 21 teams of three students each one generated creative ideas both by face-to-face and virtually. Their opinion has been evaluated by means of a questionnaire. The results show that the students find that the interface is pleasant and they have enjoyed the experience of using it. They feel satisfied with the amount of information available and the organization of the information in the screen. Design students also think that it is easy to learn to use the IT tool and that it is fine to develop a creative design task in virtual teams. However, students think that the assigned design task is more difficult to do in virtual teams and that it can be solved in a better and faster way in face-to-face teams. A 30% of the students have felt equally satisfied, but a 46% have felt more satisfied in the face-to-face. As a conclusion of the study this kind of creative design tasks are more efficient, in the opinion of the students, in face-to-face teams than in virtual teams using chat.

ATINER's conference paper proceedings series are circulated to promote dialogue among academic scholars. All papers of this series have been blind reviewed and accepted for presentation at one of ATINER's annual conferences according to its acceptance policies (http://www.atiner.gr/acceptance).

Presented is a concept that forms the basis of a larger research project which aims to understand the university lecturers design practices to foster creativity. The research findings of author’s PhD dissertation show that the university teachers’ design practice can be improved by paying more careful attention to explanation of the rationale for each designed task. When the communicative function of a task design is given proper emphasis – acknowledging the need for students to make designed tasks meaningful – then better outcomes become more likely.

This ten-week course on Creative Design examines the creative process of using meta words to describe empirical forms in political science. Mid-term unit essay examination graded at 25 percent. End-term bound essay examination graded at 50 percent. Topic: How meta words imply empirical forms in Marx and mathematics. Unit 1