Metaphor： A Creative Thinking Model for Web Designers

Metaphors have been used in web user interface designs from the earliest stages of the web. As technology has evolved into various web fields, metaphors have become even more useful and at the same time more sophisticated. A current-generation site not only has an overall theme for the site, but the organization of the information and the navigational scheme is based on a metaphor of the theme, called a Web Metaphor. A web metaphor is a design element that helps the user to leverage their existing experience in the abstract environment of the web. In this study, an approach to a thinking process model for web design is proposed through the concept of metaphors, and a theoretical analysis based on creative thinking for solving design problems is studied. This study aims to provide a glimpse into the world of metaphors and how they can be used in user interface design, to analyze selected examples, and to introduce a model web design process. As the study of the essence of creative thinking in web design is ongoing, diverse possibilities for solving problems in web design can be found through the theoretical modeling of thinking in web design. This study will also explore strategic and effective web design by establishing a mental model for web designers based on the study of metaphors that will inspire the thinking of designers.

Discussion on Influence of Creative Thinking in Levi's Advertising Design on Audience's Psychology

World War I had brought great pain to people, old beliefs had been lost and new beliefs were badly-needed. On the road to discover new beliefs, therefore, the surrealism originated from so-called "surreal" and "super-reasonable" dreams became an attempt. As a leading brand of fashion and jeans, with its distinctive symbolic meaning Levi's is a typical symbol of American clothing. Much spiritual, cultural and artistic temperament was given to Levi as time changes, and Levi became a symbol of personality and rebellion ever since. This paper analyzed how designers of Levi applied the realism thinking in advertising design,and gave uniqueness and attraction to Levi's advertisement, based on which, the paper conducted a comprehensive theoretical research on Levi's design.

A Study of Systematic Theory Knowledge with Creative Methods and Techniques of Creative Thinking in Art Design

The essence of objective things is expressed through a unique and novel thinking activity, thus forming a multi-dimensional solution, and obtaining more effective solutions, that is, creative thinking. It is meaningful to master its manifestation and to study the application of creative thinking in solving specific problems. In this paper, based on the premise of art design, the connotation and manifestation of creative thinking were studied and discussed, and the application of creative thinking was expounded. This paper hopes to provide some theoretical help for the practical application of creative thinking in the future development of art design.

Study on the Innovative Design of Graphic Design

With the advent of the informatian age, people are working to build a new knowledge network, knowledge of the past gradually pieced together again. The new knowledge network includes not only advanced science and technology, but also includes the historical and cultural value, emotion and sense of innovation. Graphic design is a spiritual and material reality and artistic, aesthetic and practical disciplines integrated with each other. Always take the old approach to their creative confined in a narrow space, and this will inevitably lead to failure. Graphic design must rely on the sense of innovation, combined with the image of abstract thinking; ideas can really create unique designs. Therefore, to enhance training in graphic design innovative design capabilities, innovation and the development of graphic design is an important issue. In this paper, graphic design requirements and the role of innovation capacity will be explared, and the method of application of proposed innovative thinking in graphic design process will be provided.

Reflections on architectural design education： The return of rationalism in the studio

The design studio environment has remained the same throughout the past century. As the Studio Culture Task Force of the American Institute of Architecture Students （ALAS） （Koch et al., 2006） noted, the ongoing changes in architecture education are not aligned with today＇s fastchanging world, especially in the context of architectural practice. The AlAS analyzed the design studio problem and expressed doubts on the effectiveness of current studio practices in providing adequate design-thinking education. The report indicates that studio culture values project appearance instead of the actual design process. In recent years, similar problems have been the topic of debates in Khartoum. Criticisms are mostly centered on the observation that students show no interest in the design process and tend to focus on form making. As a result, efforts to teach design methods and to restore the balance between creativity and rationality in the design process have failed. The reason is related to the difficulties associated with the implicit nature of conventional design methods. These difficulties, which are common in architecture schools, include the lack of a clearly defined design methodology and the misunderstood role of the systematic approach to design in the studio. Nevertheless, signs of change are gradually emerging, as demonstrated by the global call for change in the studio environment. This call for change indicates a general agreement on the need for the reorientation of architectural design education toward an engaging policy that considers the social responsibility of architects. This study proposes that the route for change is through the return of rationalism in the studio. Since the 1960 s, many writers have recognized the importance of balancing rationality and creativity, which are mutually interdependent, in the design process. From this perspective, the research question is drawn： how can we bridge the gap between the rational and the creative design activities in the design process？ A theory that conceptualizes the idea of knowledge interdependence does not exist. The available design theories, such as rational problem solving and reflective-in-action theory, deal with different aspects of design activity. Both theories fail to describe the integration of the rational and the creative aspects of the design process. Therefore, we propose the integration of the two theories into a new theory called the integrated design paradigm. The proposed theory serves as a theoretical base upon which the interdependence of the rational and the creative phases of the design process can be conceptualized. We aim to bridge the gap between the two design phases by considering research knowledge interdependency as a unifying activity. The first phase is a systematic method involving research, the use of positive theory, and the production of basic principles. The creative practice phase also involves research and focuses on understanding the rational knowledge developed in the systematic phase, including the basic principles and design strategy, as well as on the application of these concepts to the design problem. The Department of Architecture and Urban Planning at the Ethiopian Institute of Technology EiT of Mekelle University （MU） is currently developing a research program in which the development of and reflection on design methods is a key research area. Within this framework, the present study is intends to be an introductory effort to guide future empirical research. The present study aims to describe the design process of architects, and introduces theoretical and technical frameworks. The integrated design paradigm as a system of inquiry within the spatial relationship strategy is framed.

创意思维在立体裁剪中的应用探讨

在人们对于观看美感要求逐渐提升基础上,立体裁剪设计师需结合目前人们的实际美感需求,应用创新理念和创意思维,全方位、多角度观察与思考,进而结合创意思维的内涵与特点在立体裁剪中注入其灵魂,激发设计师本身在设计领域中未知的一些设计灵感,进而创造出更加丰富的服装精品。本文基于此背景对创意思维和立体剪裁的内涵分别进行分析,进而全面探讨创意思维在立体剪裁中的重要应用。

艺术创意思维能力的培养:基于创意思维训练的展示设计课程教学实验研究

本研究从创意思维的角度,构建了基于创意思维训练的展示设计课程教学体系,通过标准化教学评价对教学效果加以论证。综合运用文献资料法和教育实验法,分析了目前高等职业教育展示设计课程教学改革的问题,从课程体系构建、教学方法和方式、教学评价等开展教学设计,通过实施一学期的课程教学实验,结果表明,实验班创意水平分数高于控制班,科学验证了教学实验的有效性,总结提炼了融合式创意思维训练教学模式,教学主体角色转变和教学评价标准优化等教学成果,为展示设计课程教学改革或人才培养模式做出了有益尝试。

“双创”背景下文创产品设计思维与发展路径研究

探索“双创”背景下文创产品的创新设计思维与方法。以文创产品设计为研究对象,通过对文创产品的当代价值及内涵进行深入剖析,分析和梳理当前文创产品设计存在的问题,总结出文创产品创新设计新思维,并以此为指导,构建文创产品设计创新发展路径。形成文创产品设计新思维和创新设计发展路径。该创新设计思维和发展路径可为文创产品设计开发和中华优秀传统文化“双创”发展提供新思路、新方法。

内蒙古传统乌拉特马鞍具设计研究

目的乌拉特马鞍是内蒙古地区使用的马鞍之一,其设计科学合理,体现了人与自然和谐发展的造物理念,契合了当地牧民的多维需求。对传统乌拉特马鞍设计的研究可弘扬其科学的设计理念与和谐共生的造物思想,并为乌拉特马鞍理论研究奠定基础。方法本文基于田野考察,从选材与工艺、造型设计、装饰设计三方面探求乌拉特马鞍的设计特征,剖析其核心设计理念与造物思想。结论乌拉特马鞍选材精良、造型小巧、工艺精湛,注重人与马的舒适性,装饰设计不仅体现了自然崇拜与宗教信仰,亦体现了自然造物的思想。

问题导向下的“主题创意空间设计”教学探索

“主题创意空间设计”课程的构想源于环境设计教学过程中对学生思维能力短板的观察与总结,通过对教学方式的系统性规划,课程以展览展陈空间、品牌零售空间和主题餐饮空间为基本类型,围绕主题的叙事性空间建构进行案例分析、理论讲解和以室内空间为主的建筑改造设计,培养学生的主题空间策划能力、整体空间塑造能力、概念设计表达能力、当代技术整合能力和自主创作创新能力。课程以教学问题为导向,在课程的各个环节贯穿针对性的应对策略,大处着眼、小处入手,以期为环境设计教学体系的完善提供参考。

“超学科”视野下的创意“泛化”:设计思维课程教学新探索

创新“超学科”视野下设计思维课程的教学实践,促进设计类学生创意的“泛化”,以面对现实世界中的复杂问题。从设计思维教学现状与问题展开分析,以“超学科”“设计思维”与“创意泛化”的概念与联系为理论基础,围绕“创意泛化”教学理念,采用实践为导向的项目式教学,分析学生在设计思维课程中的表现和成果,构建符合新文科要求的复合型创新人才的教学模式。创意“泛化”的教学模式下,学生设计思维在系统性、灵活性、适应性等方面得到显著提升。“超学科”视野下的设计思维教学实践可以有效促进创意“泛化”,为学生提供多元化解决问题的思路,发散设计思维,培养其解决新时代复杂问题的设计实践能力,并为同类课程的建设提供了借鉴与参考。

解析中国当代艺术中的文创设计思维--以徐冰的作品为例

中国当代艺术呈现出的实验性、观念性、民族性和前卫性等特征,以及其中所蕴含的设计思维,值得文创产品设计所借鉴。通过个案分析法,深入解析中国当代艺术代表人物徐冰艺术作品中的典型特征,如选取民族元素的典型性、符号重构的巧妙性、媒介材质的多样性、创作体系的延展性等,据此挖掘、提炼出传统文化的精确解读、跨越时空的巧妙嫁接、多元媒材的综合表达、长效设计的延展空间等文创设计思维,以期激发文创设计更全面的表达能力,丰富传统文化传承、创新与发展的多元路径。

交互式景观体验对创造思维影响的研究

随着科技发展与思想的进步,交互式景观在当代城市设计中日益突显。文中对交互式景观的类型与模式进行系统总结,并选择北京市内的玫瑰花园、京张铁路遗址公园和隆福美术馆作为研究对象,以托兰斯创造思维测验量表为基础,探究了交互式景观体验在交互模式、游览目的性、年龄等方面对创造思维各层面的影响,依此探寻成因并提出了引导参与者的专注度与情感投入、多感官交互促进创造性思维的发展和表达、减轻参与者的压力和期待感、引人动态元素建立即时反馈机制、遵循年龄差异等五个交互景观设计方法。研究旨在顺应城市设计的发展,为后续交互式景观在城市景观建设中的运用提供理论参考。

基于创意思维差异的服装设计评价研究——儿童创意思维对设计师的启示

现代工业对于产品研发与设计成果均提出了更高要求,对于创造力与创新意识也给予了更多关注。目前,大部分服装是以设计师视角为主导按照其惯性思维方式进行研发,设计师也逐渐形成了思维定势,这势必会对设计效果带来局限性。为摆脱设计师由于惯性认知导致的思维僵化,文章探究了设计师与儿童在服装设计过程中的思维特点及差异,借助儿童的创意思维亮点为设计师带来启示。本文以设计师的设计思维与儿童的创意思维作为讨论重点并且提出假设,首先对两组受试者进行服装造型创作实验,然后建立以创新能力指标为评价标准的问卷,通过量表法问卷调研的后期数据分析结果验证假设。研究结果表明,两者的创意思维在创作运用过程中具有较大差异,且儿童思维流畅度可为设计师提供启示。

视觉传达设计教学中学生创意思维的培养模式研究——以插画设计教学为例

本研究的目的是探讨视觉传达设计教学中有效培养学生的创意思维,使学生更好地将创意思维应用于实际项目中,从而增强他们的市场竞争力。笔者通过文献综述、案例分析和教学实践相结合的方法,对当前插画设计教学的现状进行分析,并提出了相应的人才培养模式,以期为教学设计者提供策略性的指导,从而促进学生创意思维的发展。结果表明,这些教学模式不仅提高了学生的插画设计技能,还促进了其创意思维的发展。因此,本研究得出结论,在视觉传达设计教学中,应采用多元化的教学模式来培养学生的创意思维,以达到更好的教学效果。

创意思维在展览设计中的视觉延异——以“龙跃黔海——贵州三叠纪的海洋世界”临展为例

旨在通过创意思维激发设计师灵感,为展览设计探索一种新思路。文章以展览设计中的创意思维为研究出发点,结合德里达的延异理论,以“龙跃黔海——贵州三叠纪的海洋世界”展览设计为例,阐述了不同的创意思维方式如何给展览空间带来不同的视觉延异过程,并总结了创意方法、设计思路和视觉规律。创意思维的运用使空间叙事充满个性,视觉呈现别具一格。创意思维使自然类博物馆的展览设计在空间叙事上更厚重,升华了设计的美感和意义,重新诠释和延续了展览的内涵和价值,为设计师和展览设计提供了新思路。

教学设计再思考:新文科视域下艺术设计专业“创意思维”课程

创意思维来源现代社会文化再生产对人的创造性思维与创造力的需要及探询,21世纪发展为现代社会生活及学生必备核心素养之一。中国高等教育艺术设计专业引入“创意思维”课程,设置为大学一年级和大学二年级的基础核心课程。新时代语境下,新文科技术与科学、艺术与科技的交叉视域对人的创造性思维能力培养提出新要求。面对其中机遇与问题导向,本文运用“文化再生产”方法,论述创意思维契合新文科建设路径,针对“创意思维”课程教学设计缺乏探询文化主体性的问题,提出改进教学设计的三个方向。

基于图形创意思维的广告艺术设计策略

目前,我国广告艺术设计模式急需转变,面临多重时代发展挑战,包括创意图形应用不足、广告设计模式陈旧等。鉴于此,我国广告设计人员应秉持现代广告设计原则,巧妙融合图形与色彩,科学应用手绘插画,适当增添小巧图形,灵活制造空间矛盾,以此提升广告艺术设计水平。

南京云锦中所蕴含的中国传统造物思维浅析

南京云锦是我国古代织锦艺术的巅峰,也是我国古代织锦艺术最后的里程碑。解析南京云锦这样集大成传统工艺的造物思维对其传承发展以及当代设计的发展都有较大意义。文章从设计学以及民俗学的视角,结合《考工记》《周易》等著作中所传达的传统造物思想,从物质环境、制度行为、精神观念3个层面解析南京云锦的造物思维。

服装设计与工程专业创意思维与表现课程教学改革实践

文章基于浙江理工大学科技与艺术学院纺织工程专业的创意思维与表现课程的教学改革,针对课程现状存在的问题,通过“六化”教学举措,包括课程目标多元化、学习任务清晰化、教学过程民主化、教学模式情境化、创意思政一体化等方面进行改革,提高课程质量和学生满意度。课程采用多尺度评价体系,包括课堂表现、平时作业和大作业。课程改革初具成效,不仅学生目标达成度高,还有助于激发学生学习积极性,提高学生创意思维能力,增强其自信心。