佛教艺术背景下的视觉设计

文章从视觉设计的思维及创作过程来探究佛教艺术对于现代设计的启示与影响,对佛教艺术中大量尚待了解的视觉图形是否能转化为视觉设计素材进行分析研究。在了解学习的基础上立足于设计实践,并从设计实践的过程中对佛教艺术的表现及影响进行探索性研究。     

论艺术设计教育中创造性思维的培养

创造性思维是艺术设计中处于核心地位的思维能力,它以发散性思维为主要特征,讲究科学理性和艺术感性的融合,并强调灵感和直觉的运用。在艺术设计教育中培养学生的创造性思维能力,要让学生突破思维定势,学会发散思维;了解创造性思维的过程,学会捕捉灵感,形成创意;要改进评价机制,营造富有竞争力的艺术设计教学氛围来激励和启发学生的创造能力。     

Local Traditions and Global Inspiration: Design Students in Singapore and Norway

Today’s graphic design students embody inspiration from sources associated with globalisation, not least online, as well as local impulses from everyday life. In this article, we draw upon the work of two student groups – one in Norway, one in Singapore – to investigate the relationship between input and how they are used to design the packaging of food products. Two classes got similar design briefs and worked simultaneously in two countries, communicating through a common Facebook group. By the end of the project, each class discussed and analysed their sources of inspiration. The design solutions were dissected in separate design elements to look for national characteristics, despite similar international digital inspiration. By investigating cultural differences and similarities in designing based on the hypothesis that design students in Singapore and Norway have the same online design inspiration, this article demonstrates how international sources of inspiration affect the local visual traditions of designers. However, the prioritisation of design elements reveals that despite living in a global network society, designers still adhere to national design traditions.     

Malleable Thought: The Role of Craft Thinking in Practice‐Led Graphic Design

This article considers the potential of craft processes as creative engagements in graphic design research. It initially discusses the uneasy history of craft within the discipline, then draws upon case studies undertaken by three established designers who, in their postgraduate theses, engaged with craft as a process of thinking. In doing so, the article discusses craft in relation to embodied creative experience, the culture of learning communities and disobedient thought.     

关于《图形创意思维与表现》课程设计的探讨

《图形创意思维与表现》课程通过图形训练有效地解决平面设计中的视觉创意问题,培养学生形象思维的能力。课程设计为图形创意概述、图形创意思维方法、图形创意构成形式、图形创意表现方法、图形创意程序、图形创意应用六大模块。     

论艺术设计人才原创思维模式的培养

中国经济的长远发展需要大量的创新型人才,高校设计专业教学应顺应时代的发展以建立符合社会需求的人才培养模式,特别是要引导学生养成独立思考的习惯,加强创意思维训练及将原创设计转化为实际产品的能力的培养。     

Co‐Design Education Based on the Changing Designer's Role and Changing Creativity

The field of fashion design relies on the originality of fashion designers and information on design trends, and design education also focuses on the creative ideas of designers; in this field, design through co‐design is a very limited area. However, with the proliferation of participatory culture, the need to diversify fashion design education methods has also emerged. The purpose of this study is to present an educational framework and an instructional strategy for co‐design based on the changing role of the designer and to obtain educational insight through the implementation of an actual education prototype. To do this, we developed an educational prototype and implemented it with six undergraduate students. Through this study, the participants engaged in the process of design development with the consumer and analysed the instructional insight. As a result, this study redefines the roles and design methods of designers for co‐design and identifies creativity characteristics through the co‐design process. The results of this study can be used as basic data for co‐design education and can contribute to the expansion of fashion design educational methods.     

Design as a Mode of Inquiry in Design Pedagogy and Design Thinking

The aim of this article is to provide a theoretical framework to strengthen design thinking and practice in the context of teaching through productive processes and using it to generate knowledge. The article explores three modes of inquiry inspired by Dewey and based on Schön, Barab & Squire and DiSalvo to investigate academic inquiry in design pedagogy and design thinking. These three modes are aimed at generating knowledge in three different areas: the design practice (in order to be a good designer and create good designs), a given research area, and societal issues. Based on empirical study from a design course at Aalborg University, Copenhagen, where these three modes were taught, we show the potential in using design processes as modes of academic inquiry directed toward different subjects. By teaching the implication of these modes of inquiry, students are provided with more opportunities for action as design approaches include exploring the subject through visualisation and materialisation, and the methods for knowledge production are expanded.     

现代平面设计中国画元素的应用

如何将中国画这个传统元素运用在现代平面设计中,一直是现代平面设计关注的焦点。中国画元素的运用使设计师的理性作品带有情感的魅力,并使感性的情感思想引导理性的设计作品彰显其所传播的文化内涵。平面设计师应将中国传统元素与现代平面设计相结合,利用中国画的艺术特点为中国平面设计的发展带来改变和创新。     

论现代艺术对平面设计风格的影响

西方现代平面设计作品的风格在20世纪初期发生了巨大的变化。这种变化的原因一方面来自于设计师们本身的努力,另一方面也来自于现代艺术潜移默化的影响。通过视觉元素与视觉元素的组合方式两方面分析20世纪初期平面设计作品相对于20世纪前平面作品的风格变化所在。同时,激发当代设计师向当代艺术家学习他们的观察能力和思维方式,以创造出更新颖的作品风格。     

如何培养学生的图形设计创意能力

图形是设计作品中最敏感和倍受关注的视觉中心,创意是图形设计中的创造性思维。在艺术设计教学中,加强学生创意能力的培养,其方法主要有:培养学生的想象能力、发散性思维能力、师从生活和自然的能力、讨论交流的能力。     

简论标志设计中文字图形化设计的意义

文字符号是用来存储信息和传递信息的,不同的文字符号其信息的表意和解读方式也不相同。文字图形化就是将文字符号传递的”意”和”形”转换成新的图形语言形式传递给受众。文字图形化设计可以跨越地域、种族、语言、文化等差异传达信息与情感。本文从创造性思维角度出发,对标志设计中文字图形化的表现性、典型性、准确性进行了探讨。     

在“概念书籍设计”教学中培养学生的创造性思维

基于＂概念书籍设计＂的概念,阐述在教学中通过加强发散性思维的训练、激发学生动手设计的灵感等途径来培养学生的创造性思维。同时,引导学生了解传统书、现代书以及未来概念书的设计之美,从而达到培养学生审美意识的目的。     

设计素描中的构想与表现

思维是人脑的反映控制机能,是人脑的产物,我们在学习、工作中不同的思维方式产生着不同的思维结果。在传统素描的教学方式下,学生们很难适应描绘想象的物象及其它的设计课题。如何有效的激发学生的创造性思维并使之达到体现构想、表达创意,并最终实现通过素描、认识自然、发现设计的目的,已经成为现代设计素描教学中的重要课题。     

图形创意中创造性思维之探究

在视觉艺术中,图形语言是信息交流中最直观、最简洁的传播媒介。图形是一切造型中最基本、最重要的元素,创意是图形设计的灵魂。所有的创意都以创造性思维为基础,创造性思维潜能的发掘离不开后天的培养与挖掘。从培养创造性思维主要途径,来探究图形创意中创造性思维的培养。     

电脑设计艺术呼唤"人机结合"

电脑技术带给设计的变革毋庸置疑,但同时应看到,电脑的应用也存在诸多的负面效应。电脑不是"一切",它是人脑的延伸和扩展,它无法替代人们的大脑,无法替代设计者的创造性思维。在具体的工作中,设计人员需要技术,运用技术,但在需要深刻理解技术的同时,也需要加强徒手训练,培养设计思维和启发创意灵感,提高其创造性思维。未来的设计师须掌握日新月异的电脑硬件和软件,并灵活把握视觉新语汇的表达,自如地运用电脑语言去表达自己的思想,这样人和电脑之间的交互才能真正达到"人机结合"的境界。     

The Creative Spirit of Design

If instructional designers hold limited views about their practice they sometimes adopt formulaic routines that do not help them accomplish the goals they believe are important, or develop instruction of a quality envisioned by the field??s innovative theorists. Fortunately, designers can avoid these unfavorable results in part by understanding and exemplifying the creative spirit of design. In this article the author examines the creative spirit of design, exploring its imaginative, creation-oriented, and inter-disciplinary character. The author also describes how the creative spirit can help instructional designers remain flexible and perceptive in their practice, and by so doing be better able to create effective and innovative instruction of a quality consistent with their ultimate ideals.     

创意在平面设计中的重要性

创意是平面设计的灵魂,是平面设计中永不干涸的生命源泉。一个好的创意往往是一幅设计作品成功与否的关键;它不仅需要设计者具有综合的表现能力,还需要找到一个好的创意构思方法。本文结合作者的创作实践论述了创意在平面设计中的重要性及提高创意水准的一些方法。     

设计中的图形创意本质探源

在概述图形创意和设计等相关概念的基础上，阐述艺术设计与图形创意的本质联系．论述图形创意在设计中的应用。图形创意已经成为艺术设计的重要课程．创意性思维是进行图形设计的关键。     

Apprehending the Creative Process through Drawing in the Foundation Design Studio

One of the main goals of design education is to enhance and enable creative thinking. Therefore, effectively teaching visual representational and interpretational skills is vital for the communication and articulation of such ideations. This article will explore examples from two specific introductory design studios where my personal pedagogical approach emphasises drawing as a creative language of reflection and critical conceptualisation. The aim of my approach accentuates the exploration any idea through drawing and thus allowing this graphic language to aid in the generation of creative thinking. Drawing, then, assumes the role of a research process concerned not only with the projection of thoughts, but with the study of correlations, and the consequent incorporation of perceptive and conceptual articulations.