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designers</title> <meta name="description" content="Search results for: designers"> <meta name="keywords" content="designers"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="designers"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 512</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: designers</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">512</span> Fashion Designers' Role Towards Society through Ethical Designing</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vishaka%20Agarwal">Vishaka Agarwal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Fashion is a dynamic entity. With globalisation, fashion is being retailed out to every corner of the world, and people are becoming fashion aware and adapting to the latest trends and look. In this scenario, the role of fashion in providing social change in society is strong. Every product that we use has a design element in it, and consumers prefer to buy those products. The aim of the paper is to look at the ways in which social change can be brought into society through ethical designing by designers taking into consideration the IPR issues. Review of research done by earlier researchers in studying the work done by designers to achieve social change in the society and also discussions with designers to understand the future plans looking at changing world scenario would be done. The paper concludes that fashion has a dynamic role to play in achieving social change in society, and designers are virtually controlling what people buy, wear, and consume globally. This paper would be useful to the social planners and designers in planning the future of society. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fashion%20designers" title="fashion designers">fashion designers</a>, <a href="https://publications.waset.org/abstracts/search?q=ethics" title=" ethics"> ethics</a>, <a href="https://publications.waset.org/abstracts/search?q=intellectual%20property%20right" title=" intellectual property right"> intellectual property right</a>, <a href="https://publications.waset.org/abstracts/search?q=society" title=" society"> society</a> </p> <a href="https://publications.waset.org/abstracts/116973/fashion-designers-role-towards-society-through-ethical-designing" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/116973.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">193</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">511</span> Enhancing the Work of Art through Fashion Attire</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=A.%20N.%20Roslen">A. N. Roslen</a>, <a href="https://publications.waset.org/abstracts/search?q=S.%20A.%20Syed-Sahil"> S. A. Syed-Sahil</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20Musavir"> A. Musavir</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In Malaysia, there are only few fashion designers who are inspired by the work of artists when creating their collections. The researchers confirmed this statement by interviewing fashion experts in Malaysia. The objectives of this study are to: 1. Investigate the acceptance of fashion inspired by the work of art among consumers. 2. Encourage more designers to use work of art as their inspirations. 3. Promote Malaysian Artists through fashion. Thus, the researchers interviewed Malaysian fashion designers, image consultants, and one famous Malaysian Artist (Awang Damit). All of them had agreed that the fashion inspired by the work of art in Malaysia has a long way to go. Therefore, the researchers’ aim is to attract more fashion designers to use the work of local artists in their creations. The researchers had used interview, survey and experimentation as methods of this study. In the experimentation procedure, paintings of local artist, Awang Damit was used as a source of inspiration in creating a design Line. The result of this study had shown that fashion inspired by work of art is acknowledged and accepted by the designers and consumers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art" title="art">art</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion" title=" fashion"> fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=inspiration" title=" inspiration"> inspiration</a>, <a href="https://publications.waset.org/abstracts/search?q=local%20artist" title=" local artist "> local artist </a> </p> <a href="https://publications.waset.org/abstracts/24855/enhancing-the-work-of-art-through-fashion-attire" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/24855.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">459</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">510</span> Virtual Reality Design Platform to Easily Create Virtual Reality Experiences</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=J.%20Casteleiro-%20Pitrez">J. Casteleiro- Pitrez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The interest in Virtual Reality (VR) keeps increasing among the community of designers. To develop this type of immersive experience, the understanding of new processes and methodologies is as fundamental as its complex implementation which usually implies hiring a specialized team. In this paper, we introduce a case study, a platform that allows designers to easily create complex VR experiences, present its features, and its development process. We conclude that this platform provides a complete solution for the design and development of VR experiences, no-code needed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=creatives" title="creatives">creatives</a>, <a href="https://publications.waset.org/abstracts/search?q=designers" title=" designers"> designers</a>, <a href="https://publications.waset.org/abstracts/search?q=virtual%20reality" title=" virtual reality"> virtual reality</a>, <a href="https://publications.waset.org/abstracts/search?q=virtual%20reality%20design%20platform" title=" virtual reality design platform"> virtual reality design platform</a>, <a href="https://publications.waset.org/abstracts/search?q=virtual%20reality%20system" title=" virtual reality system"> virtual reality system</a>, <a href="https://publications.waset.org/abstracts/search?q=no-coding" title=" no-coding"> no-coding</a> </p> <a href="https://publications.waset.org/abstracts/132222/virtual-reality-design-platform-to-easily-create-virtual-reality-experiences" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/132222.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">156</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">509</span> A Drawing Software for Designers: AutoCAD</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mayar%20Almasri">Mayar Almasri</a>, <a href="https://publications.waset.org/abstracts/search?q=Rosa%20Helmi"> Rosa Helmi</a>, <a href="https://publications.waset.org/abstracts/search?q=Rayana%20Enany"> Rayana Enany</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This report describes the features of AutoCAD software released by Adobe. It explains how the program makes it easier for engineers and designers and reduces their time and effort spent using AutoCAD. Moreover, it highlights how AutoCAD works, how some of the commands used in it, such as Shortcut, make it easy to use, and features that make it accurate in measurements. The results of the report show that most users of this program are designers and engineers, but few people know about it and find it easy to use. They prefer to use it because it is easy to use, and the shortcut commands shorten a lot of time for them. The feature got a high rate and some suggestions for improving AutoCAD in Aperture, but it was a small percentage, and the highest percentage was that they didn't need to improve the program, and it was good. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artificial%20intelligence" title="artificial intelligence">artificial intelligence</a>, <a href="https://publications.waset.org/abstracts/search?q=design" title=" design"> design</a>, <a href="https://publications.waset.org/abstracts/search?q=planning" title=" planning"> planning</a>, <a href="https://publications.waset.org/abstracts/search?q=commands" title=" commands"> commands</a>, <a href="https://publications.waset.org/abstracts/search?q=autodesk" title=" autodesk"> autodesk</a>, <a href="https://publications.waset.org/abstracts/search?q=dimensions" title=" dimensions"> dimensions</a> </p> <a href="https://publications.waset.org/abstracts/151115/a-drawing-software-for-designers-autocad" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/151115.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">130</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">508</span> Principles of Editing and Storytelling in Relation to Editorial Graphic Design </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Melike%20Tascioglu">Melike Tascioglu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to combine film editing principles to basic design principles to explore what graphic designers do in terms of storytelling. The sequential aspect of film is designed and examined through the art of editing. Examining the rules, principles and formulas of film editing can be a method for graphic designers to further practice the art of storytelling. Although there are many research and publications on design basics, time, pace, dramatic structure and choreography are not very well defined in the area of graphic design. In this era of creative storytelling and interdisciplinary collaboration, not only film editors but also graphic designers and students in the arts and design should understand the theory and practice of editing to be able to create a strong mise-en-scène and not only a mise-en-page. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=design%20principles" title="design principles">design principles</a>, <a href="https://publications.waset.org/abstracts/search?q=editing%20principles" title=" editing principles"> editing principles</a>, <a href="https://publications.waset.org/abstracts/search?q=editorial%20design" title=" editorial design"> editorial design</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20editing" title=" film editing"> film editing</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20design" title=" graphic design"> graphic design</a>, <a href="https://publications.waset.org/abstracts/search?q=storytelling" title=" storytelling"> storytelling</a> </p> <a href="https://publications.waset.org/abstracts/3528/principles-of-editing-and-storytelling-in-relation-to-editorial-graphic-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/3528.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">330</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">507</span> Systems Approach to Design and Production of Picture Books for the Pre-Primary Classes to Attain Educational Goals in Southwest Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Azeez%20Ayodele%20Ayodele">Azeez Ayodele Ayodele</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper investigated the problem of picture books design and the quality of the pictures in picture books. The research surveyed nursery and primary schools in four major cities in southwest of Nigeria. The instruments including the descriptive survey questionnaire and a structured interview were developed, validated and administered for collection of relevant data. Descriptive statistics was used in analyzing the data. The result of the study revealed that there were poor quality of pictures in picture books and this is due to scarcity of trained graphic designers who understand systems approach to picture books design and production. There is thus a need for more qualified graphic designers, given in-service professional training as well as a refresher course as criteria for upgrading by the stakeholders. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=pictures" title="pictures">pictures</a>, <a href="https://publications.waset.org/abstracts/search?q=picture%20books" title=" picture books"> picture books</a>, <a href="https://publications.waset.org/abstracts/search?q=pre-primary%20schools" title=" pre-primary schools"> pre-primary schools</a>, <a href="https://publications.waset.org/abstracts/search?q=trained%20graphic%20designers" title=" trained graphic designers"> trained graphic designers</a> </p> <a href="https://publications.waset.org/abstracts/52170/systems-approach-to-design-and-production-of-picture-books-for-the-pre-primary-classes-to-attain-educational-goals-in-southwest-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/52170.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">247</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">506</span> Model Canvas and Process for Educational Game Design in Outcome-Based Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ratima%20Damkham">Ratima Damkham</a>, <a href="https://publications.waset.org/abstracts/search?q=Natasha%20Dejdumrong"> Natasha Dejdumrong</a>, <a href="https://publications.waset.org/abstracts/search?q=Priyakorn%20Pusawiro"> Priyakorn Pusawiro</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper explored the solution in game design to help game designers in the educational game designing using digital educational game model canvas (DEGMC) and digital educational game form (DEGF) based on Outcome-based Education program. DEGMC and DEGF can help designers develop an overview of the game while designing and planning their own game. The way to clearly assess players’ ability from learning outcomes and support their game learning design is by using the tools. Designers can balance educational content and entertainment in designing a game by using the strategies of the Business Model Canvas and design the gameplay and players’ ability assessment from learning outcomes they need by referring to the Constructive Alignment. Furthermore, they can use their design plan in this research to write their Game Design Document (GDD). The success of the research was evaluated by four experts’ perspectives in the education and computer field. From the experiments, the canvas and form helped the game designers model their game according to the learning outcomes and analysis of their own game elements. This method can be a path to research an educational game design in the future. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=constructive%20alignment" title="constructive alignment">constructive alignment</a>, <a href="https://publications.waset.org/abstracts/search?q=constructivist%20theory" title=" constructivist theory"> constructivist theory</a>, <a href="https://publications.waset.org/abstracts/search?q=educational%20game" title=" educational game"> educational game</a>, <a href="https://publications.waset.org/abstracts/search?q=outcome-based%20education" title=" outcome-based education"> outcome-based education</a> </p> <a href="https://publications.waset.org/abstracts/130973/model-canvas-and-process-for-educational-game-design-in-outcome-based-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/130973.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">354</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">505</span> Developing Integrated Model for Building Design and Evacuation Planning</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hao-Hsi%20Tseng">Hao-Hsi Tseng</a>, <a href="https://publications.waset.org/abstracts/search?q=Hsin-Yun%20Lee"> Hsin-Yun Lee</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the process of building design, the designers have to complete the spatial design and consider the evacuation performance at the same time. It is usually difficult to combine the two planning processes and it results in the gap between spatial design and evacuation performance. Then the designers cannot complete an integrated optimal design solution. In addition, the evacuation routing models proposed by previous researchers is different from the practical evacuation decisions in the real field. On the other hand, more and more building design projects are executed by Building Information Modeling (BIM) in which the design content is formed by the object-oriented framework. Thus, the integration of BIM and evacuation simulation can make a significant contribution for designers. Therefore, this research plan will establish a model that integrates spatial design and evacuation planning. The proposed model will provide the support for the spatial design modifications and optimize the evacuation planning. The designers can complete the integrated design solution in BIM. Besides, this research plan improves the evacuation routing method to make the simulation results more practical. The proposed model will be applied in a building design project for evaluation and validation when it will provide the near-optimal design suggestion. By applying the proposed model, the integration and efficiency of the design process are improved and the evacuation plan is more useful. The quality of building spatial design will be better. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=building%20information%20modeling" title="building information modeling">building information modeling</a>, <a href="https://publications.waset.org/abstracts/search?q=evacuation" title=" evacuation"> evacuation</a>, <a href="https://publications.waset.org/abstracts/search?q=design" title=" design"> design</a>, <a href="https://publications.waset.org/abstracts/search?q=floor%20plan" title=" floor plan"> floor plan</a> </p> <a href="https://publications.waset.org/abstracts/64492/developing-integrated-model-for-building-design-and-evacuation-planning" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/64492.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">456</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">504</span> Challenges for Interface Designers in Designing Sensor Dashboards in the Context of Industry 4.0</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Naveen%20Kumar">Naveen Kumar</a>, <a href="https://publications.waset.org/abstracts/search?q=Shyambihari%20Prajapati"> Shyambihari Prajapati</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Industry 4.0 is the fourth industrial revolution that focuses on interconnectivity of machine to machine, human to machine and human to human via Internet of Things (IoT). Technologies of industry 4.0 facilitate communication between human and machine through IoT and forms Cyber-Physical Production System (CPPS). In CPPS, multiple shop floors sensor data are connected through IoT and displayed through sensor dashboard to the operator. These sensor dashboards have enormous amount of information to be presented which becomes complex for operators to perform monitoring, controlling and interpretation tasks. Designing handheld sensor dashboards for supervision task will become a challenge for the interface designers. This paper reports emerging technologies of industry 4.0, changing context of increasing information complexity in consecutive industrial revolutions and upcoming design challenges for interface designers in context of Industry 4.0. Authors conclude that information complexity of sensor dashboards design has increased with consecutive industrial revolutions and designs of sensor dashboard causes cognitive load on users. Designing such complex dashboards interfaces in Industry 4.0 context will become main challenges for the interface designers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Industry4.0" title="Industry4.0">Industry4.0</a>, <a href="https://publications.waset.org/abstracts/search?q=sensor%20dashboard%20design" title=" sensor dashboard design"> sensor dashboard design</a>, <a href="https://publications.waset.org/abstracts/search?q=cyber-physical%20production%20system" title=" cyber-physical production system"> cyber-physical production system</a>, <a href="https://publications.waset.org/abstracts/search?q=Interface%20designer" title=" Interface designer"> Interface designer</a> </p> <a href="https://publications.waset.org/abstracts/110214/challenges-for-interface-designers-in-designing-sensor-dashboards-in-the-context-of-industry-40" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/110214.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">128</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">503</span> Sustainable Textiles: Innovation through Waste</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ananya%20Mitra%20Pramanik">Ananya Mitra Pramanik</a>, <a href="https://publications.waset.org/abstracts/search?q=Anjali%20Agrawal"> Anjali Agrawal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper traces the waste produced by the textile industry and evaluates the need for this waste to be reused or repurposed. From ancient times the textile industry has been a prominent part of all the economies of the world. It is famous for traditional as well as mill made fabrics. However the beauty and utility radiated by the textiles are juxtaposed by the piling amount of waste that the whole life cycle of a textile production and disposal entails. Waste happens in stages in a textile life cycle. It can be broadly categorised as pre-consumer and post-consumer waste. This research suggests suitable processes and techniques for channelizing post-industrial waste. It explores the scope of textile waste as a raw material for innovation and design. It discusses the role of designers in using waste to create useful and appealing designs. The paper examines the need of designers to create novel ideas to reuse textiles. This paper is based on secondary research. Most of the information used is taken from books and journals. The DEFRA report 2009 is also consulted for comprehensive data on textile waste percentage. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=designers" title="designers">designers</a>, <a href="https://publications.waset.org/abstracts/search?q=repurposing" title=" repurposing"> repurposing</a>, <a href="https://publications.waset.org/abstracts/search?q=textiles" title=" textiles"> textiles</a>, <a href="https://publications.waset.org/abstracts/search?q=waste" title=" waste"> waste</a> </p> <a href="https://publications.waset.org/abstracts/84920/sustainable-textiles-innovation-through-waste" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/84920.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">215</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">502</span> A Narrative Inquiry of Identity Formation of Chinese Fashion Designers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lily%20Ye">Lily Ye</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The contemporary fashion industry has witnessed the global rise of Chinese fashion designers. China plays more and more important role in this sector globally. One of the key debates in contemporary time is the conception of Chinese fashion. A close look at previous discussions on Chinese fashion reveals that most of them are explored through the lens of cultural knowledge and assumptions, using the dichotomous models of East and West. The results of these studies generate an essentialist and orientalist notion of Chinoiserie and Chinese fashion, which sees individual designers from China as undifferential collective members marked by a unique and fixed set of cultural scripts. This study challenges this essentialist conceptualization and brings fresh insights to the discussion of Chinese fashion identity against the backdrop of globalisation. Different from a culturalist approach to researching Chinese fashion, this paper presents an alternative position to address the research agenda through the mobilisation of Giddens’ (1991) theory of reflexive identity formation, privileging individuals’ agency and reflexivity. This approach to the discussion of identity formation not only challenges the traditional view seeing identity as the distinctive and essential characteristics belonging to any given individual or shared by all members of a particular social category or group but highlights fashion designers’ strategic agency and their role as fashion activist. This study draws evidence from a textual analysis of published stories of a group of established Chinese designers such as Guo Pei, Huishan Zhang, Masha Ma, Uma Wang, and Ma Ke. In line with Giddens’ concept of 'reflexive project of the self', this study uses a narrative methodology. Narratives are verbal accounts or stories relating to experiences of Chinese fashion designers. This approach offers the fashion designers a chance to 'speak' for themselves and show the depths and complexities of their experiences. It also emphasises the nuances of identity formation in fashion designers, whose experiences cannot be captured in neat typologies. Thematic analysis (Braun and Clarke, 2006) is adopted to identify and investigate common themes across the whole dataset. At the centre of the analysis is individuals’ self-articulation of their perceptions, experiences and themselves in relation to culture, fashion and identity. The finding indicates that identity is constructed around anchors such as agency, cultural hybridity, reflexivity and sustainability rather than traditional collective categories such as culture and ethnicity. Thus, the old East-West dichotomy is broken down, and essentialised social categories are challenged by the multiplicity and fragmentation of self and cultural hybridity created within designers’ 'small narratives'. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinoiserie" title="Chinoiserie">Chinoiserie</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion%20identity" title=" fashion identity"> fashion identity</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion%20activism" title=" fashion activism"> fashion activism</a>, <a href="https://publications.waset.org/abstracts/search?q=narrative%20inquiry" title=" narrative inquiry"> narrative inquiry</a> </p> <a href="https://publications.waset.org/abstracts/81928/a-narrative-inquiry-of-identity-formation-of-chinese-fashion-designers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81928.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">293</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">501</span> Organizational Ideologies and Their Embeddedness in Fashion Show Productions in Shanghai and London Fashion Week: International-Based-Chinese Independent Designers' Participatory Behaviors in Different Fashion Cities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zhe%20Wang">Zhe Wang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The fashion week, as a critical international fashion event in shaping world fashion cities, is one of the most significant world events that serves as the core medium for designers to stage new collections. However, its role in bringing about and shaping design ideologies of major fashion cities have long been neglected from a fashion ecosystem perspective. With the expanding scale of international fashion weeks in terms of culture and commerce, the organizational structures of these fashion weeks are becoming more complex. In the emerging fashion city, typified by Shanghai, a newly-formed 'hodgepodge' transforming the current global fashion ecosystem. A city’s legitimate fashion institutions, typically the organizers of international fashion weeks, have cultivated various cultural characteristics via rules and regulations pertaining to international fashion weeks. Under these circumstances, designers’ participatory behaviors, specifically show design and production, are influenced by the cultural ideologies of official organizers and institutions. This research compares international based Chinese (IBC) independent designers’ participatory behavior in London and Shanghai Fashion Weeks: specifically, the way designers present their clothing and show production. both of which are found to be profoundly influenced by cultural and design ideologies of fashion weeks. They are, to a large degree, manipulated by domestic institutions and organizers. Shanghai fashion week has given rise to a multiple, mass-ended entertainment carnival design and cultural ideology in Shanghai, thereby impacting the explicit cultural codes or intangible rules that IBC designers must adhere to when designing and producing fashion shows. Therefore, influenced by various cultural characteristics in the two cities, IBC designers’ show design and productions, in turn, play an increasingly vital role in shaping the design characteristic of an international fashion week. Through researching the organizational systems and design preferences of organizers of London and Shanghai fashion weeks, this paper demonstrates the embeddedness of design systems in the forming of design ideologies under various cultural and institutional contexts. The core methodology utilized in this research is ethnography. As a crucial part of a Ph.D. project on innovations in fashion shows under a cross-cultural context run by Edinburgh College of Art, School of Design, the fashion week’s organizational culture in various cultural contexts is investigated in London and Shanghai for approximately six months respectively. Two IBC designers, Angel Chen and Xuzhi Chen were followed during their participation of London and Shanghai Fashion Weeks from September 2016 to June 2017, during which two consecutive seasons were researched in order to verify the consistency of design ideologies’ associations with organizational system and culture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=institutional%20ideologies" title="institutional ideologies">institutional ideologies</a>, <a href="https://publications.waset.org/abstracts/search?q=international%20fashion%20weeks" title=" international fashion weeks"> international fashion weeks</a>, <a href="https://publications.waset.org/abstracts/search?q=IBC%20independent%20designers%3B%20fashion%20show" title=" IBC independent designers; fashion show"> IBC independent designers; fashion show</a> </p> <a href="https://publications.waset.org/abstracts/100706/organizational-ideologies-and-their-embeddedness-in-fashion-show-productions-in-shanghai-and-london-fashion-week-international-based-chinese-independent-designers-participatory-behaviors-in-different-fashion-cities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/100706.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">117</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">500</span> 'Ebru', the Art of Marbling in Fashion Design between the Functional and Beauty Purpose of the Designs</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nessreen%20Elmelegy">Nessreen Elmelegy</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Fashion is all about being fun, stylish and looking beautiful in your own way, whether it is with clothes, accessories, hairstyles, and even furniture. There are never ending ways and sources when wanting to seek inspiration. Fashion designers can get inspired by anything and everything that encompasses them in their everyday lives. When getting inspired, there are no boundaries or limits to when it comes to exploring one's originality and fashion sense. All designers focus on being unique, original and trendy when taking inspiration and transforming that into fashionable and wearable garments. Ebru is a Turkish art. The actual word 'Ebru' in Turkish means marbling. Marbling is the art which help designers to create innovative and rich and colorful patterns in fashion designs. By using this technique we will have countless unique designs in fashion because each design can never be repeated. It is a traditional Turkish art which is designated as one of the Intangible Cultural Heritage of Humanity by UNESCO in 2014. Ebru art has spread from the East to the West by way of Silk Road and other trade routes. So this research is focused on studying the history and the techniques of Ebru art in fashion as an amazing trend of fashion, which is still stranger to the Egyptian Fashion industry; also how we can benefit from the incorporation of Ebru art as into the garments designs while still maintaining the functional and beauty purpose of the design. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ebru%20Art" title="Ebru Art">Ebru Art</a>, <a href="https://publications.waset.org/abstracts/search?q=Ebru%20techniques" title=" Ebru techniques"> Ebru techniques</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion%20inspiration" title=" fashion inspiration"> fashion inspiration</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion%20trends" title=" fashion trends"> fashion trends</a> </p> <a href="https://publications.waset.org/abstracts/64517/ebru-the-art-of-marbling-in-fashion-design-between-the-functional-and-beauty-purpose-of-the-designs" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/64517.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">311</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">499</span> The Amalgamation of Fashion and Art: A Camaraderie of the Creative Abilities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Brar%20Prabhdip">Brar Prabhdip</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Art and fashion are coupled by a common bridge which is ‘Creativity’. For centuries art has influenced fashion and has been inspirational for modern-day national as well as international designers. Italian artists during the Renaissance period were highly influenced by art. 20th and 21st-century artists have often found themselves the muses of major fashion houses. Many times artists and designers like Andy Warhol, Damien Hirst, and Dior, Prada, respectively, have collaborated and successfully created prints, textiles, and silhouettes that have dazzled the art and fashion world. This paper nudges deeper and discourses the statement pieces of remarkable designers that have been influenced by art and adorned by international celebrities. Indian designer Manish Arora has been able to design a remarkable position for himself in the international fashion world. His clothes are avant-garde and favoured choice of celebrities like Lady Gaga and Katy Perry. The Manish Arora collaboration with Berlin-based artist Amrie Hoffstater has carved its space for a new segment. The latest collaboration, despite being in the pandemic, is between Sabyasachi (India) and Bergdorfs Goodman (New York). It boasts of the traditional Colonial Indian sensibility juxtaposed with the eclectic Western American mix for the new-age wearer. A qualitative and exploratory research design is steered towards both art and fashion as they reflect social, economic, and political changes. Social issues are highlighted through these platforms. Secondary data has been used for this paper to explain how designers have bridged the way for how one could wear fashion as a piece of art in and of itself. Conclusively we reach the perfect camaraderie between art and fashion. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art" title="art">art</a>, <a href="https://publications.waset.org/abstracts/search?q=artist" title=" artist"> artist</a>, <a href="https://publications.waset.org/abstracts/search?q=collaboration" title=" collaboration"> collaboration</a>, <a href="https://publications.waset.org/abstracts/search?q=designer" title=" designer"> designer</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion" title=" fashion"> fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=relationship%20commas" title=" relationship commas"> relationship commas</a> </p> <a href="https://publications.waset.org/abstracts/169840/the-amalgamation-of-fashion-and-art-a-camaraderie-of-the-creative-abilities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/169840.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">87</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">498</span> Fashion Accessory and Its Future: Design for Sustainability Applied to the Design Process as a Potential Approach</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Trinh%20Bui">Trinh Bui</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20Cappellieri"> A. Cappellieri </a> </p> <p class="card-text"><strong>Abstract:</strong></p> The fashion industry has become one of the most polluting industries in the world. In this context, designers can contribute solutions to the problem by applying Design for Sustainability (DfS) criteria, which will enable to promote designing products and services toward Sustainability. Therefore, 'Slow Fashion' movement has been receiving the attention of researchers, designers, and customers who are sensitive to sustainable development. The purpose of this paper is to contribute to a better understanding of DfS in fashion. In particular, how can apply sustainable design principles to the fashion accessory in order to minimize the negative impact on the environment and society? The research method of this study is qualitative, utilising a multi-method case study approach. Grounded theory analysis was applied to analyse the data of the case studies collected and the results obtained. Also, research findings indicate that DfS applied to Fashion Accessory design processes might have great potential and win-win approaches toward a sustainable future. An important implication is that understanding the concepts and applying DfS to fashion accessory design processes can support designers to face challenges and seize opportunities. Furthermore, identify the key concept of sustainability and social responsibility could raise awareness on sustainable fashion for both producers and customers more effectively. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=design%20for%20sustainability" title="design for sustainability">design for sustainability</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion%20accessory" title=" fashion accessory"> fashion accessory</a>, <a href="https://publications.waset.org/abstracts/search?q=sustainable%20fashion" title=" sustainable fashion"> sustainable fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=sustainability" title=" sustainability"> sustainability</a> </p> <a href="https://publications.waset.org/abstracts/88199/fashion-accessory-and-its-future-design-for-sustainability-applied-to-the-design-process-as-a-potential-approach" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/88199.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">281</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">497</span> Development of a Triangular Evaluation Protocol in a Multidisciplinary Design Process of an Ergometric Step</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=M.%20B.%20%20Ricardo%20De%20Oliveira">M. B. Ricardo De Oliveira</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20Borghi-Silva"> A. Borghi-Silva</a>, <a href="https://publications.waset.org/abstracts/search?q=E.%20Paravizo"> E. Paravizo</a>, <a href="https://publications.waset.org/abstracts/search?q=F.%20Lizarelli"> F. Lizarelli</a>, <a href="https://publications.waset.org/abstracts/search?q=L.%20Di%20Thomazzo"> L. Di Thomazzo</a>, <a href="https://publications.waset.org/abstracts/search?q=D.%20Braatz"> D. Braatz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Prototypes are a critical feature in the product development process, as they help the project team visualize early concept flaws, communicate ideas and introduce an initial product testing. Involving stakeholders, such as consumers and users, in prototype tests allows the gathering of valuable feedback, contributing for a better product and making the design process more participatory. Even though recent studies have shown that user evaluation of prototypes is valuable, few articles provide a method or protocol on how designers should conduct it. This multidisciplinary study (involving the areas of physiotherapy, engineering and computer science) aims to develop an evaluation protocol, using an ergometric step prototype as the product prototype to be assessed. The protocol consisted of performing two tests (the 2 Minute Step Test and the Portability Test) to allow users (patients) and consumers (physiotherapists) to have an experience with the prototype. Furthermore, the protocol contained four Likert-Scale questionnaires (one for users and three for consumers), that inquired participants about how they perceived the design characteristics of the product (performance, safety, materials, maintenance, portability, usability and ergonomics), in their use of the prototype. Additionally, the protocol indicated the need to conduct interviews with the product designers, in order to link their feedback to the ones from the consumers and users. Both tests and interviews were recorded for further analysis. The participation criteria for the study was gender and age for patients, gender and experience with 2 Minute Step Test for physiotherapists and involvement level in the product development project for designers. The questionnaire's reliability was validated using Cronbach's Alpha and the quantitative data of the questionnaires were analyzed using non-parametric hypothesis tests with a significance level of 0.05 (p <0.05) and descriptive statistics. As a result, this study provides a concise evaluation protocol which can assist designers in their development process, collecting quantitative feedback from consumer and users, and qualitative feedback from designers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Product%20Design" title="Product Design">Product Design</a>, <a href="https://publications.waset.org/abstracts/search?q=Product%20Evaluation" title=" Product Evaluation"> Product Evaluation</a>, <a href="https://publications.waset.org/abstracts/search?q=Prototypes" title=" Prototypes"> Prototypes</a>, <a href="https://publications.waset.org/abstracts/search?q=Step" title=" Step"> Step</a> </p> <a href="https://publications.waset.org/abstracts/124022/development-of-a-triangular-evaluation-protocol-in-a-multidisciplinary-design-process-of-an-ergometric-step" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/124022.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">117</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">496</span> The Intersection of Art and Technology: Innovations in Visual Communication Design</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sareh%20Enjavi">Sareh Enjavi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In recent years, the field of visual communication design has seen a significant shift in the way that art is created and consumed, with the advent of new technologies like virtual reality, augmented reality, and artificial intelligence. This paper explores the ways in which technology is changing the landscape of visual communication design, and how designers are incorporating new technological tools into their artistic practices. The primary objective of this research paper is to investigate the ways in which technology is influencing the creative process of designers and artists in the field of visual communication design. The paper also aims to examine the challenges and limitations that arise from the intersection of art and technology in visual communication design, and to identify strategies for overcoming these challenges. Drawing on examples from a range of fields, including advertising, fine art, and digital media, this paper highlights the exciting innovations that are emerging as artists and designers use technology to push the boundaries of traditional artistic expression. The paper argues that embracing technological innovation is essential for the continued evolution of visual communication design. By exploring the intersection of art and technology, designers can create new and exciting visual experiences that engage and inspire audiences in new ways. The research also contributes to the theoretical and methodological understanding of the intersection of art and technology, a topic that has gained significant attention in recent years. Ultimately, this paper emphasizes the importance of embracing innovation and experimentation in the field of visual communication design, and highlights the exciting innovations that are emerging as a result of the intersection of art and technology, and emphasizes the importance of embracing innovation and experimentation in the field of visual communication design. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=visual%20communication%20design" title="visual communication design">visual communication design</a>, <a href="https://publications.waset.org/abstracts/search?q=art%20and%20technology" title=" art and technology"> art and technology</a>, <a href="https://publications.waset.org/abstracts/search?q=virtual%20reality" title=" virtual reality"> virtual reality</a>, <a href="https://publications.waset.org/abstracts/search?q=interactive%20art" title=" interactive art"> interactive art</a>, <a href="https://publications.waset.org/abstracts/search?q=creative%20process" title=" creative process"> creative process</a> </p> <a href="https://publications.waset.org/abstracts/166755/the-intersection-of-art-and-technology-innovations-in-visual-communication-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166755.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">118</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">495</span> Integration Multi-Layer Security Modeling with Fuzzy Logic in Service-Oriented Architectures</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zeinab%20Ranjbar">Zeinab Ranjbar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Service-oriented architecture in the world today, it is proposed to exchange information and services of interest to those such as IT managers, business managers, designers and system builders scene. The basic architecture of the software used to provide service to all users.the worries of all people (managers, business managers, designers, and system builders scene) effectiveness of this model, how reliable it is in security transactions.To increase the reliability of multi-layer fuzzy logic Architectures used. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=SOA" title="SOA">SOA</a>, <a href="https://publications.waset.org/abstracts/search?q=service%20oriented%20architecture" title=" service oriented architecture"> service oriented architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=fuzzy%20logic" title=" fuzzy logic"> fuzzy logic</a>, <a href="https://publications.waset.org/abstracts/search?q=multi%20layer" title=" multi layer"> multi layer</a>, <a href="https://publications.waset.org/abstracts/search?q=SOA%20security" title=" SOA security "> SOA security </a> </p> <a href="https://publications.waset.org/abstracts/25727/integration-multi-layer-security-modeling-with-fuzzy-logic-in-service-oriented-architectures" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/25727.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">386</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">494</span> Optimising Apparel Digital Production in Industrial Clusters</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Minji%20Seo">Minji Seo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Fashion stakeholders are becoming increasingly aware of technological innovation in manufacturing. In 2020, the COVID-19 pandemic caused transformations in working patterns, such as working remotely rather thancommuting. To enable smooth remote working, 3D fashion design software is being adoptedas the latest trend in design and production. The majority of fashion designers, however, are still resistantto this change. Previous studies on 3D fashion design software solely highlighted the beneficial and detrimental factors of adopting design innovations. They lacked research on the relationship between resistance factors and the adoption of innovation. These studies also fell short of exploringthe perspectives of users of these innovations. This paper aims to investigate the key drivers and barriers of employing 3D fashion design software as wellas to explore the challenges faced by designers.It also toucheson the governmental support for digital manufacturing in Seoul, South Korea, and London, the United Kingdom. By conceptualising local support, this study aims to provide a new path for industrial clusters to optimise digital apparel manufacturing. The study uses a mixture of quantitative and qualitative approaches. Initially, it reflects a survey of 350 samples, fashion designers, on innovation resistance factors of 3D fashion design software and the effectiveness of local support. In-depth interviews with 30 participants provide a better understanding of designers’ aspects of the benefits and obstacles of employing 3D fashion design software. The key findings of this research are the main barriers to employing 3D fashion design software in fashion production. The cultural characteristics and interviews resultsare used to interpret the survey results. The findings of quantitative data examine the main resistance factors to adopting design innovations. The dominant obstacles are: the cost of software and its complexity; lack of customers’ interest in innovation; lack of qualified personnel, and lack of knowledge. The main difference between Seoul and London is the attitudes towards government support. Compared to the UK’s fashion designers, South Korean designers emphasise that government support is highly relevant to employing 3D fashion design software. The top-down and bottom-up policy implementation approach distinguishes the perception of government support. Compared to top-down policy approaches in South Korea, British fashion designers based on employing bottom-up approaches are reluctant to receive government support. The findings of this research will contribute to generating solutions for local government and the optimisation of use of 3D fashion design software in fashion industrial clusters. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=digital%20apparel%20production" title="digital apparel production">digital apparel production</a>, <a href="https://publications.waset.org/abstracts/search?q=industrial%20clusters" title=" industrial clusters"> industrial clusters</a>, <a href="https://publications.waset.org/abstracts/search?q=innovation%20resistance" title=" innovation resistance"> innovation resistance</a>, <a href="https://publications.waset.org/abstracts/search?q=3D%20fashion%20design%20software" title=" 3D fashion design software"> 3D fashion design software</a>, <a href="https://publications.waset.org/abstracts/search?q=manufacturing" title=" manufacturing"> manufacturing</a>, <a href="https://publications.waset.org/abstracts/search?q=innovation" title=" innovation"> innovation</a>, <a href="https://publications.waset.org/abstracts/search?q=technology" title=" technology"> technology</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20manufacturing" title=" digital manufacturing"> digital manufacturing</a>, <a href="https://publications.waset.org/abstracts/search?q=innovative%20fashion%20design%20process" title=" innovative fashion design process"> innovative fashion design process</a> </p> <a href="https://publications.waset.org/abstracts/143470/optimising-apparel-digital-production-in-industrial-clusters" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/143470.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">102</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">493</span> Urban Design via Estimation Model for Traffic Index of Cities Based on an Artificial Intelligence</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Seyed%20Sobhan%20Alvani">Seyed Sobhan Alvani</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Gohari"> Mohammad Gohari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> By developing cities and increasing the population, traffic congestion has become a vital problem. Due to this crisis, urban designers try to present solutions to decrease this difficulty. On the other hand, predicting the model with perfect accuracy is essential for solution-providing. The current study presents a model based on artificial intelligence which can predict traffic index based on city population, growth rate, and area. The accuracy of the model was evaluated, which is acceptable and it is around 90%. Thus, urban designers and planners can employ it for predicting traffic index in the future to provide strategies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traffic%20index" title="traffic index">traffic index</a>, <a href="https://publications.waset.org/abstracts/search?q=population%20growth%20rate" title=" population growth rate"> population growth rate</a>, <a href="https://publications.waset.org/abstracts/search?q=cities%20wideness" title=" cities wideness"> cities wideness</a>, <a href="https://publications.waset.org/abstracts/search?q=artificial%20neural%20network" title=" artificial neural network"> artificial neural network</a> </p> <a href="https://publications.waset.org/abstracts/187941/urban-design-via-estimation-model-for-traffic-index-of-cities-based-on-an-artificial-intelligence" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/187941.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">40</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">492</span> Methodology of Personalizing Interior Spaces in Public Libraries</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Baharak%20Mousapour">Baharak Mousapour</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Creating public spaces which are tailored for the specific demands of the individuals is one of the challenges for the contemporary interior designers. Improving the general knowledge as well as providing a forum for all walks of life to exploit is one of the objectives of a public library. In this regard, interior design in consistent with the demands of the individuals is of paramount importance. Seemingly, study spaces, in particular, those in close relation to the personalized sector, have proven to be challenging, according to the literature. To address this challenge, attributes of individuals, namely, perception of people from public spaces and their interactions with the so-called spaces, should be analyzed to provide interior designers with something to work on. This paper follows the analytic-descriptive research methodology by outlining case study libraries which have personalized public libraries with the investigation of the type of personalization as its primary objective and (I) recognition of physical schedule and the know-how of the spatial connection in indoor design of a library and (II) analysis of each personalized space in relation to other spaces of the library as its secondary objectives. The significance of the current research lies in the concept of personalization as one of the most recent methods of attracting people to libraries. Previous research exists in this regard, but the lack of data concerning personalization makes this topic worth investigating. Hence, this study aims to put forward approaches through real-case studies for the designers to deal with this concept. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=interior%20design" title="interior design">interior design</a>, <a href="https://publications.waset.org/abstracts/search?q=library" title=" library"> library</a>, <a href="https://publications.waset.org/abstracts/search?q=library%20design" title=" library design"> library design</a>, <a href="https://publications.waset.org/abstracts/search?q=personalization" title=" personalization"> personalization</a> </p> <a href="https://publications.waset.org/abstracts/142389/methodology-of-personalizing-interior-spaces-in-public-libraries" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/142389.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">147</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">491</span> Safety-Security Co-Engineering of Control Systems</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elena%20A.%20Troubitsyna">Elena A. Troubitsyna</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Designers of modern safety-critical control systems are increasingly relying on networking to provide the systems with advanced functionality and satisfy customer’s needs. However, networking nature of modern control systems also brings new technological challenges associated with ensuring system safety in the presence of openness and hence, potential security threats. In this paper, we propose a methodology that relies on systems-theoretic analysis to enable an integrated analysis of safety and security requirements of controlling software. We demonstrate how to create a safety case – a structured argument about system safety – with explicit representation of both safety and security goals. Our approach provides the designers with a systematic approach to analysing safety and security interdependencies while designing safety-critical control systems. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=controlling%20software" title="controlling software">controlling software</a>, <a href="https://publications.waset.org/abstracts/search?q=integrated%20analysis" title=" integrated analysis"> integrated analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=security" title=" security"> security</a>, <a href="https://publications.waset.org/abstracts/search?q=safety-security%20co-engineering" title=" safety-security co-engineering"> safety-security co-engineering</a> </p> <a href="https://publications.waset.org/abstracts/80090/safety-security-co-engineering-of-control-systems" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/80090.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">497</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">490</span> Labour-saving Construction Using Buildability Framework through Strengthening Designers in Delivering More Buildable Designs</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Muhammad%20Lawal%20A.">Muhammad Lawal A.</a>, <a href="https://publications.waset.org/abstracts/search?q=Abdullateef%20Abdulkarim%20Jimoh"> Abdullateef Abdulkarim Jimoh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study is to appraise the labour-saving construction methods achievable using a buildability framework through an improved design system. Adoption of labour-efficient technology and construction techniques will be necessary to supplement good buildable designs. Increased usage of prefabricated, modular, and standardized construction components, simplicity in the design, and the number of integrated elements all work to advance buildable design. The objectives of the study include `determining a more efficient buildability framework for designers to achieve labour-saving construction’. 20 completed building projects in Birnin Kebbi, Nigeria, is used as a case study to buttress the proposition that `a more buildable design using buildability frame result in labour-saving in construction adopting a Singapore study approach. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=buildability%20framework" title="buildability framework">buildability framework</a>, <a href="https://publications.waset.org/abstracts/search?q=buildable%20designs" title=" buildable designs"> buildable designs</a>, <a href="https://publications.waset.org/abstracts/search?q=construction" title=" construction"> construction</a>, <a href="https://publications.waset.org/abstracts/search?q=labour-saving%20construction" title=" labour-saving construction"> labour-saving construction</a> </p> <a href="https://publications.waset.org/abstracts/161508/labour-saving-construction-using-buildability-framework-through-strengthening-designers-in-delivering-more-buildable-designs" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161508.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">99</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">489</span> Approaches to Vibration Analysis of Thick Plates Subjected to Different Supports, Loadings and Boundary Conditions: A Literature Review</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Fazl%20E.%20Ahad">Fazl E. Ahad</a>, <a href="https://publications.waset.org/abstracts/search?q=Shi%20Dongyan"> Shi Dongyan</a>, <a href="https://publications.waset.org/abstracts/search?q=Anees%20Ur%20Rehman"> Anees Ur Rehman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Plates are one of the most important structural components used in many industries like aerospace, marine and various other engineering fields and thus motivate designers and engineers to study the vibrational characteristics of these structures. This paper is a review of existing literature on vibration analysis of plates. Focus has been kept on prominent studies related to isotropic plates based on Mindlin plate theory; however few citations on orthotropic plates and higher order shear deformation theories have also been included. All citations are in English language. This review is aimed to provide contemporarily relevant survey of papers on vibrational characteristics of thick plates and will be useful for scientists, designers and researchers to locate important and relevant literature/research quickly. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=mindlin%20plates" title="mindlin plates">mindlin plates</a>, <a href="https://publications.waset.org/abstracts/search?q=vibrations" title=" vibrations"> vibrations</a>, <a href="https://publications.waset.org/abstracts/search?q=arbitrary%20boundary%20conditions" title=" arbitrary boundary conditions"> arbitrary boundary conditions</a>, <a href="https://publications.waset.org/abstracts/search?q=mode%20shapes" title=" mode shapes"> mode shapes</a>, <a href="https://publications.waset.org/abstracts/search?q=natural%20frequency" title=" natural frequency"> natural frequency</a> </p> <a href="https://publications.waset.org/abstracts/33468/approaches-to-vibration-analysis-of-thick-plates-subjected-to-different-supports-loadings-and-boundary-conditions-a-literature-review" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/33468.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">323</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">488</span> Balancing Aesthetics, Sustainability, and Safety in Handmade Fabric Face Masks: A Testimony of Creativity and Adaptability</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anne%20Mastamet-Mason">Anne Mastamet-Mason</a>, <a href="https://publications.waset.org/abstracts/search?q=Oluwatosin%20Onakoya"> Oluwatosin Onakoya</a>, <a href="https://publications.waset.org/abstracts/search?q=Karla%20Tissiman"> Karla Tissiman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The COVID-19 pandemic that ravaged the world in 2020 brought about the need for handmade fabric face masks in South Africa and beyond. These masks showcased individuality and environmental responsibility and effectively aided our battle against the virus. These practical masks held significant meaning, representing human creativity, resilience, and commitment to sustainability in adversity. This paper examines how aesthetics, sustainability, and safety were achieved in the Handmade Fabric Face Masks. It analyses how their integration signified human agility and resilience to the pandemic while promoting dignity and environmental welfare. The research conducted a qualitative analysis to choose handmade fabric face masks and assess their aesthetic, sustainable, and safety features. The study involved interviewing a group of mask designers and users who evaluated the masks' efficacy in providing protection, aesthetics, and environmental sustainability. Although the designers demonstrated a high level of knowledge in the design aspects, the results indicated a need for more information regarding the functional safety measures and some environmental factors in mask selection and production. The mask analysis also revealed that the masks available in the market combined aesthetics and environmental protection but had limited safety measures. Despite the lack of balance of aesthetics, sustainability, and safety among the designers and the users of hand-fabric masks, functional aspects of fabrics and sustainability literacy are essential <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sustainable%20fashion" title="sustainable fashion">sustainable fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=fabric%20mask" title=" fabric mask"> fabric mask</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetics" title=" aesthetics"> aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=safety%20measures" title=" safety measures"> safety measures</a> </p> <a href="https://publications.waset.org/abstracts/179688/balancing-aesthetics-sustainability-and-safety-in-handmade-fabric-face-masks-a-testimony-of-creativity-and-adaptability" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/179688.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">64</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">487</span> Influence of Bondage Discipline Sadism Masochism (BDSM) On Fashion Industry on Fashion Industry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Utkarsh%20Goley">Utkarsh Goley</a> </p> <p class="card-text"><strong>Abstract:</strong></p> BDSM, or Bondage Discipline Sadism Masochism, is a controversial and often misunderstood practice that has had a presence in the fashion industry for decades. BDSM-inspired fashion can be seen in various forms, from leather harnesses and corsets to studded collars and latex clothing. BDSM fashion is often associated with edginess, rebellion, and sexuality. It has been embraced by subcultures such as punk, Goth, and fetish, as well as mainstream fashion designers looking to push boundaries and make a statement. However, the use of BDSM imagery in fashion has also been criticized for promoting objectification, exploitation, and the normalization of abusive behavior. Some argue that the fashion industry's depiction of BDSM often reinforces harmful stereotypes and misconceptions about the practice. Despite the controversy, BDSM-inspired fashion continues to have a place in the industry, with designers and consumers alike finding value in its aesthetic appeal and provocative nature. As with any aspect of fashion, the role of BDSM in the industry will continue to evolve and adapt to changing cultural norms and societal attitudes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=BDSM" title="BDSM">BDSM</a>, <a href="https://publications.waset.org/abstracts/search?q=leather" title=" leather"> leather</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion" title=" fashion"> fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=lycra" title=" lycra"> lycra</a> </p> <a href="https://publications.waset.org/abstracts/170139/influence-of-bondage-discipline-sadism-masochism-bdsm-on-fashion-industry-on-fashion-industry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/170139.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">176</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">486</span> Critical Design - Concepts, Methods and Practices for Innovative Societal Relationships</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Martina%20Maria%20Keitsch">Martina Maria Keitsch</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Critical Design (CD) confronts traditional design practice. Instead of reproducing and reinforcing contemporary perceptions of products and services, CD seeks to challenge them with the goal to stimulate debates and visions on societal innovation. CD methods comprise, among other narratives and design of critical objects. The oral presentation is based on a study that discusses concepts, methods, and applications of CD links CD to traditional design, and identifies CD benefits and challenges for design research and practice. The objective of the study is to introduce CD as an alternative for design researchers and practitioners supplementing commercially oriented design approaches. The study utilizes a literature review on CD concepts and methods based on current publications and online documents and illustrates CD practice with help of selected case studies. Findings of the study indicate that CD contribute, among others, to create new societal roles for designers, foster innovative relationships between designers and users, and encourage creativity through imaginative aesthetics. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=critical%20design" title="critical design">critical design</a>, <a href="https://publications.waset.org/abstracts/search?q=postmodern%20design%20theories" title=" postmodern design theories"> postmodern design theories</a>, <a href="https://publications.waset.org/abstracts/search?q=narratives" title=" narratives"> narratives</a>, <a href="https://publications.waset.org/abstracts/search?q=rhizome" title=" rhizome"> rhizome</a> </p> <a href="https://publications.waset.org/abstracts/142668/critical-design-concepts-methods-and-practices-for-innovative-societal-relationships" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/142668.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">171</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">485</span> Redesigning Malaysia Batik Sarong by Applying Quality Function Deployment</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=M.%20Kamal">M. Kamal</a>, <a href="https://publications.waset.org/abstracts/search?q=Y.%20Wang"> Y. Wang</a>, <a href="https://publications.waset.org/abstracts/search?q=R.%20Kennon"> R. Kennon</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Quality Function Deployment is a useful tool in product development with the application of voice of customer. In this paper, it aims to be applied as a product development tool in redesigning fashion and textile product. The purpose of these studies is to apply the effective use of Voice of Customer in redesigning cultural fashion product. The data collection from Voice of Customer or consumers’ feedback might help the producer to improve the quality of merchandise ahead. Voice of Customer could give a specific detailing for quality which needs to be redesigned according to customers’ requirements. Meanwhile, the next objective is to differentiate design specifications and characteristics using House of Quality. In product designing phase, it is very important to distinguish each specification and characteristic which translated from Voice of Customer to House of Quality matrix. This matrix would help designers to development according to qualities that customer wants for the better and successful product in the market. It is hope this research would indicate the customers’ requirements and production team idea might be measured and translated to a systematic data. The specific technical data could be planned ahead with specific design details as well. This could be a sustainable approach for a traditional product which could control the material that they use and sustain the quality as the past production. As a conclusion, this study would benefit the Small Medium Enterprises design team or the designers to style an item from customers view with organised projection of the product. The finding also could assist designers or batik producers’ to recognise specific details Batik sarong from consumers as well as in in advertising and marketing strategy plan. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=house%20of%20quality" title="house of quality">house of quality</a>, <a href="https://publications.waset.org/abstracts/search?q=Malaysia%20batik%20sarong" title=" Malaysia batik sarong"> Malaysia batik sarong</a>, <a href="https://publications.waset.org/abstracts/search?q=quality%20function%20deployment" title=" quality function deployment"> quality function deployment</a>, <a href="https://publications.waset.org/abstracts/search?q=voice%20of%20customer" title=" voice of customer "> voice of customer </a> </p> <a href="https://publications.waset.org/abstracts/29404/redesigning-malaysia-batik-sarong-by-applying-quality-function-deployment" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/29404.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">592</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">484</span> Visual Intelligence: Perception, Image and Manipulation in Visual Communication</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Poojitha%20Vemula">Poojitha Vemula</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Understanding how we use image manipulation to communicate through an audience’s perceptions and conceive visual intelligence. With the use of many software and high-end skills, designers have developed a third eye to combine two different visuals and create the desired image by using photoshop and other software skills. The purpose of visual intelligence is to convey a message to the targeted audience. For instance, the images of models are retouched on their skin to make it more convincing and draw attention from the audience. There are many ways of manipulating an image, such as double exposure, retouching photography inks or paint airbrushing and piecing photos together, or enhancing the brightness and contrast. To understand visual intelligence, a questionnaire survey as well as research was conducted on how image manipulation is used by both the audience and the designers. This depends on the message that needs to be conveyed by the brands. For instance, Fair & Lovely, a brightening cream for ladies use a lot of retouching and effects to show the dramatic change the cream takes effect on dark or dusky faces. Thus the designer’s role is to use their third eye to incorporate the message into visuals. The research and questionnaire survey concludes the perceptions and manipulations used in visual communication. However this is all to make an effortless communication between the designer and the audience by using the skills of the designer and the features provided by the software. The objective of visual intelligence is to covet the message of the brands that advertise their products or services by using visuals through softwares. Conveying a message through visual intelligence requires an audiences perceptions and understanding from the visuals created by the artists or designers. Visual intelligence determines how we use our technical skills to retouch and manipulate an image for a better understanding to convey the message to the targeted audience. This also bridges the communication between the brand and the audience. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=graphic%20design" title="graphic design">graphic design</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20communication" title=" visual communication"> visual communication</a>, <a href="https://publications.waset.org/abstracts/search?q=convey%20messages" title=" convey messages"> convey messages</a>, <a href="https://publications.waset.org/abstracts/search?q=photoshop" title=" photoshop"> photoshop</a>, <a href="https://publications.waset.org/abstracts/search?q=image%20manipulation" title=" image manipulation"> image manipulation</a> </p> <a href="https://publications.waset.org/abstracts/146002/visual-intelligence-perception-image-and-manipulation-in-visual-communication" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/146002.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">218</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">483</span> Modernism’s Influence on Architect-Client Relationship: Comparative Case Studies of Schroder and Farnsworth Houses</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Omneya%20Messallam">Omneya Messallam</a>, <a href="https://publications.waset.org/abstracts/search?q=Sara%20S.%20Fouad"> Sara S. Fouad</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Modernist Movement initially flourished in France, Holland, Germany and the Soviet Union. Many architects and designers were inspired and followed its principles. Two of its most important architects (Gerrit Rietveld and Ludwig Mies van de Rohe) were introduced in this paper. Each did not follow the other’s principles and had their own particular rules; however, they shared the same features of the Modernist International Style, such as Anti-historicism, Abstraction, Technology, Function and Internationalism/ Universality. Key Modernist principles translated into high expectations, which sometimes did not meet the inhabitants’ aspirations of living comfortably; consequently, leading to a conflict and misunderstanding between the designer and their clients’ needs. Therefore, historical case studies (the Schroder and the Farnsworth houses) involving two Modernist pioneer architects have been chosen. This paper is an attempt to explore some of the influential factors affecting buildings design such as: needs, gender, and question concerning commonalities between both designers and their clients. The three aspects and two designers explored here have been chosen because they have been influenced the researchers to understand the impact of those factors on the design process, building’s performance, and the dweller’s satisfaction. This is a descriptive/ analytical research based on two historical comparative case studies that involve several steps such as: key evaluation questions (KEQs), observations, document analysis, etc. The methodology is based on data collation and finding validations. The research aims to state a manifest to regulate the relation between architects and their clients to reach the optimum building performance and functional interior design that suits their clients’ needs, reflects the architects’ character, and the school they belong to. At the end, through the investigation in this paper, the different needs between both the designers and the clients have been seen not only in the building itself but also it could convert the inhabitant’s life in various ways. Moreover, a successful relationship between the architect and their clients could play a significant role in the success of projects. In contrast, not every good design or celebrated building could end up with a successful relationship between the designer and their client or full-fill the inhabitant’s aspirations. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=architect%E2%80%99s%20character" title="architect’s character">architect’s character</a>, <a href="https://publications.waset.org/abstracts/search?q=building%E2%80%99s%20performance" title=" building’s performance"> building’s performance</a>, <a href="https://publications.waset.org/abstracts/search?q=commonalities" title=" commonalities"> commonalities</a>, <a href="https://publications.waset.org/abstracts/search?q=client%E2%80%99s%20character" title=" client’s character"> client’s character</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a>, <a href="https://publications.waset.org/abstracts/search?q=modernist%20movement" title=" modernist movement"> modernist movement</a>, <a href="https://publications.waset.org/abstracts/search?q=needs" title=" needs"> needs</a> </p> <a href="https://publications.waset.org/abstracts/99253/modernisms-influence-on-architect-client-relationship-comparative-case-studies-of-schroder-and-farnsworth-houses" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/99253.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">149</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=designers&page=2">2</a></li> <li class="page-item"><a class="page-link" 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