Browsing by Subject "suunnitteluprosessi"
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(2015)The objective of my thesis was to develop knitting instruction that would guide the whole process from an idea to a ready product. The main focus of the instruction is to facilitate the design process with the techniques that I have developed using the theory of design thinking and studies of knitwear design. The method of the instruction is based on ready patterns and knitter's graph paper of the right gauge. With the use of the right graph paper is easy to see in which row to increase or decrease the stiches. The instruction includes base patterns for three most common types of sleeves in sweaters, each one in four different sizes. The adaptation of the patterns to user's own personal measures is explained in the methods among with the other techniques needed to design and execute a ready knit. The research task of my thesis is to develop comprehensible and usable instruction for designing and producing knit wear. The development process of this study was made in three parts. The first part was to obtain background information of existing instructions and literature of knitting. To deepen the knowledge I gathered user information to create criteria for a good knitting instruction. I used these criteria to develop a prototype of my own instructions. The second part of the study was to evaluate the prototype by its usability. With user experience I developed the first version of the instructions. The last part of the study was to make an expert evaluation, which I used to make a final product out of the prototype. Both the user and expert evaluation showed that the instruction made in this study was considered useful and motivational. The knitters chosen for the user evaluation commented the instruction from their personal point of views and the information revealed, which parts of the instruction were still unclear. The experts commented the instruction more than the knitters of user evaluation. Most of the comments concerned the structure and the terms used.
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(2016)The main goal of this study was to find out how sources of inspiration and sketching occur in fashion designers' design process and what kind of an affect they have on the process. Earlier studies (e.g. Eckert ja Stacey, 2003; Mete, 2006) have shown that sources of inspiration can be anything between material and immaterial. Sources of inspiration have also proven to have different roles in design process: e.g. they expand idea space and help to keep the design in its context (e.g. Eckert et. al., 2000; Laamanen & Seitamaa-Hakkarainen, 2014). Earlier studies have also shown that sketching is an important part of designing. Sketching also provides a vital tool for designers' ideation. Based on earlier studies two main questions were formulated: 1. How do sources of inspirations occur in fashion designers design process and how designers interpret and transforms them into new ideas? 2. How does sketching occur in fashion designers design process and how does it support and improve ideation? The method used in this study was the thinking aloud protocol. Three fashion designers were asked to design a spring jacket for women thinking everything aloud during their ideation. The designers were provided with 10 photographs as sources of inspiration which they could voluntarily use during their ideation process. The design experiment was also recorded on video and few of the designers' sketches were photographed. Material from the experiment transformed into litterate. After that material was analyzed using methods of qualitative content analysis. This study was observed to support earlier studies. Sources of inspiration and sketching were detected to be an important part of designers' ideation. The designers adapted elements from the provided sources of inspiration in their ideas. They were also proven to have abilities to use pictures as fabric materials. Sketching played an important role e.g. in adapting elements from the sources of inspiration into new ideas. It was also used as a tool to evaluate the aesthetic and functional features as well as the details of the designers' ideas. Sketches were also proven to be one of the sources of inspiration for the designers' ideation.
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(2022)The purpose of this study was to unravel the relevance of inspiration and ideation in subjective design process. Research deals with researchers own katazome design process. Katazome is a traditional japanese stencil dyeing method. The focus of the study being on sources of inspiration and ideation method in the stencil design process. Earlier studies have shown that sources of inspiration can both broaden and constrain the idea-space. During ideation the sources of inspiration are conducted in to new ideas by using different methods. (mm. Eckert & Stacey, 2000, Laamanen & Seitamaa-Hakkarainen, 2014.) Earlier studies also describe the ideation methods as ideation support while they enable continuation of ideation (Lavonen & Korhonen, 2020, 89–90). The research assignment was to clarify; What is the relevance of sources of inspiration and ideation method in a subjective design process. The research method for this qualitative study was autoethnography. The data was collected by diary method during five ideation sessions and five designing sessions. The data, resear-cher´s diary notes and design sketches, were stored in a weblog. Researchers daily life pho-tos served as sources of inspiration and an adaptation of Osborn’s scamper-method as ideation method. The data was analysed by qualitative and quantitative methods. The study results corresbond with earlier studies. The inspiration photos acted as a major trigger in the ideation process but elemets of them also transferred into final design. At the ideation stage sources of inspiration were first chosen by using selection and then adapted by using literal, simplification, association and variation. The ideation method helped to keep the process going. Emotions played a major role in the design process. Ideation method can well be utilized in textile design. A novice designer might also benefit from reduced sources of inspiration.
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(2015)The main purpose of this study is to describe and analyze teachers views of holistic craft and its realization in primary school. There were two research questions at this study: 1) How teachers understand the concept of holistic craft? 2) How does holistic craft come true according to the teachers. The research material was collected on social media (Facebook) by group interview. The group interview lasted six weeks (23.1-9.3.2015). There were six class teachers and subject teachers who took part in the interview. They had working experience from three to 21 years. Qualitative content analysis was used to analyze the data. The analysis was based on five themes rising from the theory and structuring the interview (conceptual perspective, perspective of value, perspective of process, perspective of pupils, perspective of teaching). The conceptual perspective showed that the concept of holistic craft was understood well. The teachers categorized concept to ideation, designing, making and evaluation. On the other hand holistic craft were mixed up mistakenly with the combination of textile craft and technical craft. The holistic craft were seen of a great value and it should be systematically realized already from the first grade. However, some of the teachers thought that it is also important to teach ordinary craft. Perspective of process showed that the holistic craft process needs frames, facilitation and time, so that implementation is possible. When the teachers spoke about the holistic craft, they spoke mostly about designing. The designing needs to be trained as much as making process because difficulties of designing in particular was felt resulting from a lack of experience. From the pupils' perspective pupils' experience of holistic craft seemed to affect pupils' attitudes towards holistic craft. When the pupils' get accustomed to working according to holistic craft since the first class, they would prefer holistic craft as normal approach. As a novel issue for teachers, holistic craft was experienced slightly challenging. Also, the teachers' own attitude had an impact on pupils' attitude. From the perspective of teaching, teachers' thought that craft science education and their working experience were important factors to the teaching of holistic craft.
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(2017)The aim of this thesis was to study how pupils experienced a design process, part of the Design challenge for Everyday activities. In the project, small groups of pupils brainstormed, planned and built prototypes to solve everyday challenges. The project was based on collaborative knowledge creation and learning through design. The process followed the learning by collaborative design model, in which sharing knowledge and collaboration are key. The interaction between the pupils, as well as the internal co-operation in the groups, was studied in detail. Analysis was also made of the way in which the pupils made design decisions and described their inventions. The study is part of the Co4Lab – research project on phenomenon learning in primary schools. The data for the study was collected from the first design trials at Espoo Koulumestari school during the autumn of 2016. The data comprised the written responses of 42 pupils. The pupils took part in the invention design project during the spring of their fifth school year, and wrote their text responses the next autumn. In the written responses, the pupils were asked to describe their design process and inventions from different aspects. The project continued through the next spring, and diary texts written by the pupils in the spring of 2017 were added to the material. The material was analysed using theory-directed content analysis. The pupils described the learning by collaborative design phases in varied ways. Sharing knowledge and collaboration were especially mentioned as reciprocative taking part, division of tasks, communication and taking others into account. Expert advise and collecting information were not mentioned, even though the visit of a design expert, as well as a museum trip were part of the project. The pupils described their inventions from the versatile perspectives of needs, usage, technology, looks, structure and marketing. They were able to divide their projects into distinct phases, even though they were not taught the learning by collaborative design model. They also were able to describe many aspects of their inventions, as well as give reasoned arguments for their specific design decisions.
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(2017)The learning and teaching of design is a widely researched phenomenon. Designing can be considered either as a cognitive process or from a situational perspective. These two approaches are combined in this study. Designing is defined as a process that includes three stages: the awakening of ideas, the processing of ideas and the verification of ideas. Designing is also understood as a reflective dialogue between the designer and the situation. The purpose of this study is to understand the design process from designers' perspective by identifying facilitators and barriers of the design process. The study also aims to deepen this understanding by exploring how these facilitators and barriers appear in different stages of the design process. The results are used to create a tool that helps to facilitate the design process. All participants in this study were students of Textiles Teacher Education at the University of Helsinki. The data was collected through 40 empathy-based stories and three interviews. The data was analysed using qualitative content analysis and this defines the structure of the study. The study identified 118 facilitators and/or barriers that were categorized into 10 main themes and 2 emotion-related themes. The themes of Design idea and Social space encompassed both facilitators and barriers. The themes of Motivation, Expectations, Time and pressure, Situational constraints, and the Designer's experience of the design process included factors which can act as either barriers or facilitators depending on the situation. The themes of Ways of working and Ways of developing the design included factors that were related to designers' choices which may either facilitate or hinder the design process. The theme of Understanding and reflection was considered as important in facilitating the design process as it did not include any factors which could hinder the process. The two emotion-related themes included both individual factors and situational factors. These emotional factors are either facilitators or barriers of the design process. The quantification of the qualitative data showed that some of the facilitators and barriers appear differently during different stages of the design process. Based on the findings of this study, a tool to facilitate the design process was created.
Now showing items 1-6 of 6