Nature
noitcudortnI
Conclusion
Pattern and Shape
Introduction
Bio-design
Emotion
face, listen to the spindrift When I was a child, I used of sea waves lapping on the shore, and watch the reflecting light of sunset on to lie on a warm sandy beach, enjoy the sea brthe sea surface. eeze gently touching my
The wonderful moment usually lasted until twinkling stars lit up the sky. I remember, when rushing home from school, that
my eyes were frequently caught by a splendid sunset glow. I usually stopped to gaze upon the beautiful scene as if
I were embraced in the bosom of _____.
I felt immensely relaxed whenever I was immersed in sunset.
Conclusion
“_____ has never been silent for me. _____ whispers in my ear all the time, and it is the same thing over and over. It is not “Love.” It is “Worship.” It is not ”Psst! Dig here!” _____ whispers, and sometimes, shouts, “Beauty, beauty, beauty, beauty.” Sharman Apt Russell
Pattern and Shape
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Bio-design
Emotion
The fascination of _____ always catches my attention and inspires my desire to study the close relationship of humans with _____.
of students from the DeIn the summer of 2007, partment of Science of Kenya Hara, a Japanese Design at Musashino Art designer and artistic director of MUJI, led a group
They wanted to develop a University on a climb of Mt. conceptual framework for Shirakami-Sanchi, where displaying plants in their native beech trees grow. design work in original ways.
Conclusion
Pattern and Shape
Introduction
Bio-design
Emotion
Later, Hara wrote a book, and perspectives in their Ex-formation Plant about bio-design work. this journey to demonstrate his students’ approaches
I was also impressed by the book, Book Edge, Unexpected Growth, designed by Fujim aki
Tsuguto, with ingenious ideas about bio-design.
Tsuguto cleverly applied both Chinese characters and English texts about
bio-design and tried to illustrate that plants could prosperously grow from unexpected crevices
anywhere, these two enlightening books inspired my desire to further study bio-design.
Conclusion
Pattern and Shape
Introduction
Bio-design
Emotion
As human beings we live ronment, and have had an on earth over the evolution intimately close relationship of thousands of years, hav- to _____. ing long adapted ourselves to the friendly living envi-
For generations, we learned from what we observed in _____, made use of objects or things surrounding us,
and developed ways to continue prospering in life, whereas _____ eternally continues its perennial development pattern.
In short, we live in _____ but also to continuously and learn from _____, inspire our minds by the which may lead us to app- Observing and learning rich and diverse living reciate and eventually from _____ not only allows love it. us to take advantage of it,
creatures that, together, combine to create the sensibility and beauty of the living environment.
Conclusion
Pattern and Shape
Introduction
Bio-design
Emotion
The patterns and shapes of natural elements organize themselves in a way that defines their mutual relationships.
Natural elements that we often take for granted in Designers may intuitively our daily lives can be well use the principles of _____ used as a visual structure in our design work.
to understand them, and more meaningful and learn to incorporate the patterns and shapes of powerful communication natural elements into their to their audience. design work with potentially
Conclusion
Pattern and Shape
Introduction
Bio-design
Emotion
A classic example of incorporating of _____ in biodesign is the Alhambra, an Islamic palace located in Granada, Andalusia, Spain.
The Alhambra is a unique example of architecture that has been listed as a UNESCO World Heritage site since 1984.
The Sal贸n de los Embajadores, the largest and most luxurious hall in the Alhambra, decorates
walls and ceilings with colorful tiles, on which complex patterns are derived from seashells, flowers, and stars.
M. C. Escher, a famous Dutch graphic artist, studied Moorish use of geometrical symmetries
in repetitive tile patterns during his Alhambra visit in 1922, which led to a rich
understanding of biodesign that had a significant influence on his subsequent work.
Conclusion
Pattern and Shape
Introduction
Bio-design
Emotion
Bio-design is based on natural elements stimulating creative It provides a rich databank thinking with bioor a handy toolbox for inspiration. design innovation, and
thus, is important for establishing the humanness and harmony of _____.
Bio-design not only makes design more vital and affinitive, but also enriches the ability of design lan-
guage to meet people’s psychological and spiritual needs.
In bio-design, between message and received language of _____'s
For example, a poster of pattern and shape help to Wabi Sabi Wasabi, frame the relationship before the message is read or processed.
by Kazuto Nakamura in 2011,
Conclusion
Pattern and Shape
Introduction
Bio-design
Emotion
used wasabi to decorate a sauce plate in the form of a bonsai as an analogy for mouth-watering light refreshments.
By incorporating the simple and natural patterns of a tree suitably into his poster design, Nakamura succ-
essfully added an emotional dimension to endorse the message of communication.
“Good design is obvious. Great design is transparent.� Joe Sparano
Bio-design uses visual relationships to communicate intuitively and
There is a desire among immediately with viewers people to return to _____, based on an innate understanding and appreciation of _____.
to meet the needs of their emotions, and their sense of sensory perceptions.
Conclusion
Pattern and Shape
Introduction Today, bio-design is frequently used by product designers. Bio-design
Emotion
The well-known example are the 2013 Red Dot Design Winners, Kazuyuki Kawase and Ken Okuyama
who worked for Ken Okuyama Design Co.
They were inspired by the organic appearance of naturally shaped branches in their design for EDA Cutlery.
numerous to enumerate, natural patterns in visual but there is little focus on communication. Although Examples of the incor- bio-design is application of _____ is sometimes unporation of natural shapes in product design are too
riod of time, we can still predictable and it can be find some simple models hard to clarify natural deve- and repetitive rules in lopment and changing _____. patterns over a short pe-
Conclusion
Pattern and Shape
Introduction
Bio-design
Emotion
Therefore, the goals of my study include: first, to research the history of bionics and clarifying the difference between it and biomimicry.
Through a better understanding of bionics and biomimicry, we can cl- early define and understand how to apply bio-design.
Second, to investigate the patterns and shapes of natural elements, as well as bio-design’s implied meaning.
Third, to study how designers innovatively integrate natural qualities into their works, in order
to enhance affinity and produce empathetic
resonance with an audience.
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Conclusion
Pattern and Shape “Bio� comes from Latin, meaning a unit of life. The term bionics, which was coined in 1958 by Dr. Jack Ellwood Steele, What are bionics and biomimicry? Bio-design
Emotion
Steele defined bionics as the study of biological sysa medical doctor and Air tems and organisms in orForce Colonel at the Aero- der to solve problems in nautics Division House at engineering. the Wright-Patterson Air Force Base, Ohio, was made public at a bionics symposium in 1960.
He enumerated some examples of bionics in military detecting systems, as radar and sonar systems which mimic the bio-sonar used by bats to eco-locate objects during flying.
Scientists have invented echolocation devices to locate flying objects in the air, i.e. radar, and to detect moving objects under water, i.e. sonar systems.
From this example, we can see that many of _____’s capabilities exceed those of humans. Adapting _____’s features and characteristics can, thus, significantly improve our quality of life.
Conclusion
Pattern and Shape Biomimicry is defined as the concept that studying Janine Benyus, a biologist the models, systems, proand innovation consultant cesses, and elements of at the Biomimicry Institute _____ will provide susin Missoula, MT, explained tainable design solutions biomimicry as “innovation to human problems. inspired by _____.” Bio-design
Emotion
The word “design” in the above sentence means to both mimic biological forms (including structure and patterns), and follow _____’s generative rules. In Latin, mimicry means “like or in the manner of.”
Thus, biomimicry also incorporates the idea that living creatures use a certain biological behavior and camouflage, shape, color, and patterns of behavior, to mimic their environment and protect themselves from hostile predators.
But in modern technology, we consider biomimicry as a mechanism for human beings to emulate and explore the use of biological processes in order to get the maximum benefit from it for the purpose of sustainability.
Benyus suggests that we consider _____ as our “model, measure, and mentor,� i.e. we should take models and measures from our mentor _____,
for example, by considering the way leaves produce energy through photosynthesis as models for creating solar cells that generate energy for our use.
Conclusion
Pattern and Shape
Bio-design
Emotion
As we look to _____ for some handy technical measures, we can examine what is possible and what might work for us; Believe it or not, spider silk is stronger than steel.
Shouldn’t we learn new to construct a strong web from the spider? Therefore, when looking at _____ as a mentor, we muse accept it as our teacher and learn from it.
As for biomimicry, there are different levels of forms or function that we can learn from _____. For example, Swiss chemist George de Mestral invented Velcro in 1948 by accidentally discovering that a cocklebur’s prickly stuck burr on his dog’s coat.
In contrast to biomimicry, the word “bionics” is a combination of biology and technics.
many of the characteristic forms and functions of By means of mathematics biological systems can be and biological science, bio- transformed or duplicated nics can be considered as to create work in the dea multidisciplinary sciensign field or to develop tific means of developing new products in material solutions to problems in science or high tech. engineering; i.e. by using engineering principles and techniques,
Bionics represents the use of biological prototypes in the design of man-made synthetic systems. In other words, bionics is the study of basic principles of _____ and the development of processes for applying those principles to meet the needs of human beings.
Bionics has long been researched in the fields of engineering, technology, and medicine when implementing biological functionality to create new artificial materials.
Conclusion
“The earth is round, all the heavenly bodies are round; they all move on round or elliptical orbits. This same image of circular globe-shaped mini worlds orbiting around each other follows us right down to the microcosmos. We are even aroused by round forms in species propagation related eroticism.� Luigi Colani
Pattern and Shape
Bio-design
Emotion
Bio-design: Although many people think design is primarily related to aesthetics,
design also shapes the way creative works communicate implied messages to viewers and users the way they are utilized, as well as the way they are appreciated by their intended audience or users.
He claims that the round Design is about form as forms are ergonomically well as function. German superior to traditional forms. industrial designer, Luigi Colani, developed a series of rounded organic forms.
For sure, _____’s creation is much better than humanity’s. Colani’s round design works are based on the concept that the uniAccording to Luigi Colani, verse — including earth _____ took hundreds of and planets — are round, millions of years to form and they all move on round our environment. or elliptical orbits.
Having designed many successful products for well-known automotive companies like Fiat, Alfa Romeo, Lancia, and VW,
Luigi Colani also served as a designer for Kusch and Co., where he introduced a lounge chair called TVrelax, which is still very popular nowadays.
Conclusion
Pattern and Shape
Bio-design
Emotion
Bio-design is the integration of design with biological systems; and thus, it can be considered as the cumulative result of the experience of learning from _____. Like bionics and biomimicry, bio-design often helps creative works be more sustainable.
In addition to biomimicry that mimics _____ or makes use of biology for inspiration, bio-design also incorporates living organisms and/or natural non-living objects in design as essential elements or building blocks.
Bio-design may use both logical and opportunistic means to harness the power and potential capability of living organisms and understand how they interact with the environment in order to bring design and the environment in harmony.
Moreover, bio-design can serve as a means of exploring human spiritual desires and potential opportunities in life, or as a technique for communicating and discovering synthetic biology.
In other words, bio-design uses visual communication methods by combining abstract or conceptual ideas from biological systems with characteristics of a designer’s individual language to express an original voice.
This is to say that we can incorporate conceptual ideas or emotional feelings This voice may be achieved about bio-inspired objects by transforming biological in our design work in order characteristics to design to create rich, bio-inspired work through symbolic or forms and shapes to conmetaphorical techniques. nect with and receive appreciation from an audience.
This form of visual communication may not only generate a close relationship between designer and audience, but also increase people’s connection to _____.
Conclusion
Pattern and Shape
Bio-design
Emotion
Bio-design application: As there are numerous ex- (1) Function-oriented bioamples of bio-design, we design, and (2) Structural can it can be helpful to pattern bio-design. classify them into two main groups —
An example of structural pattern bio-design is the way an army combat uniAn example of function- form serves as a good, oriented bio-design is the protective design from enway a submarine mimics emies, similar to the way the body shape of a dol- the striped pattern in a phin or whale, reducing moving zebra creates an the water resistance force optical illusion to confuse imposed on the ship. predators.
Likewise, Chinese hieroglyphic characters utilize imaginational symbols to mimic living organisms, non-living objects or things from which they take.
Therefore, hieroglyphic characters can also be considered as biodesigned symbols.
For example, a pictogram of a fish is created by conveying its meaning through its pictorial resemblance to the shape or form of a fish.
Conclusion
Pattern and Shape
Pictographs are often used in writing and graphic systems in which the characters are to some extent pictorial in appearance. Bio-design
Emotion
The ancient hieroglyphic character for fish, overtime, has become the current abstracted Chinese character.
Thus, ancient Chinese hieroglyphic characters are based on biological models in _____.
In his book, Design in _____, Mattheck indicated that the tree trunk conClaus Mattheck, head of tinuously improved its inthe Department of Bioobtained a Science Award ternal and external strucmechanics at the Institute from the Industrial Reture at the base close to for Materials Research at search Foundation for the the soil by adapting to its the Karlsruhe Research computer simulation of mechanical needs to conCenter, biological growth in 1991. front storms or winds at its top stems and leaves.
This is an excellent example of optimizing both its external shape and internal architecture, and can be incorporation biodesign as a means to achieve minimum weight and maximum strength.
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Conclusion
Pattern and Shape
Pattern “Pattern� in man-made design is a discernible repeating form that describes visual objects in _____.
Emotion
Visual object patterns are generally those created by symmetries of rotation and mirroring.
“The design and placement of patterns in _____ do not come from an artist’s hand but from the connected and dynamic interactions of natural objects in both space and time.� Bill Graham
A good example of repeating visual objects is the woodcut, entitled Sky and Water, created by a Dutch graphic artist, M.C. Escher, in 1938.
In Sky and Water, we can clearly see a series of repeating fish and bird patterns that are precisely placed into a kinetic image and that naturally interact with each other in harmony. Escher is known for his popular mathematical works in woodcuts, mezzotints, and lithographs. With natural inspiration, he was very good at incorporating spatial structures in his design.
Often, Escher transferred 3-dimensional natural objects into a planar image, which is impossible in a real life.
Conclusion
“What is a pattern in _____? A pattern in _____ is a set of dynamic organizing principles that, when applied, result in an interconnecting organic or inorganic form or process. Put another way, a pattern in _____ is a connected set of interrelationships that are manifested in some form or function.� Bill Graham
Pattern and Shape
The consistent feature of Escher’s incredible constructions, explorations of infinity, architecture, and tessellations can be seen in his consistent fascination with spatial characteristics.
Emotion
Overarching the dynamic interacting patterns that abound in _____ are so which may consist of an organism, a tree, a mouncalled complex adaptive tain, a stream, or even an ecosystem that is dynamisystems, cally formed according to a set of natural principles.
In the early stages of the Arts and Crafts movement (1860–1910), many artistic designers were inspired by studying natural elements. Hand-crafted furniture and ornaments mimicked natural elements.
Natural pattern in the Arts and Crafts movement reThis was a return to traditional craft methods with presented the search for romantic forms of decoration that symbolized a re- harmony with natural form, bellion against the emerging industrialization and function, and decoration. mass production. There are three principal characteristics of the Arts and Crafts movement:
First, preserving the natural qualities of the materials used to depict objects. Second, simple forms that emphasize the construction of objects with no extravagant decoration.
Conclusion
Pattern and Shape Third, natural motifs that reflect principles found seeking a main idea reWilliam Morris (1834–1896), a poet and artist, conpeated in natural sources. sidered the Arts and Crafts movement to be a combination of simplicity, good design and craft.
Emotion
He thought that industrial manufactured items lacked the genuineness of traditional craft. Inspired by fauna and flora, he applied natural patterns to most of his graphic works in textiles and wallpaper.
For example, the cover design of rhythmic floral patterns in the book, Wren’s City Churches, written by In its later stages, the Arts Arthur Mackmurdo in 1883, was considered to be a and Crafts movement gra- pioneer of the Art Nouveau movement. dually evolved into an abThe Art Nouveau movement stract art, one is rich with wanted to make art from dynamic forms and shapes. everyday life and eliminate the obstacles between the fine and applied arts.
Trying to redefine the meaning and _____ of the craft, Art Nouveau emphasized new ways of thinking about modern society and new production techniques to incorporate the _____ founded in everyday life.
Conclusion
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Emotion
Victor Baron Horta (1861– 1947) was a famous Art Nouveau Belgian architect and designer. Art Nouveau’s characteristics consist of the use of Popular natural forms used by curved lines as well as the asymmetrical arrangement many Art Nouveau designers of forms and patterns. were taken from the flowing curves of vines, grasses, and flowers as well as from fauna such as feathers, butterflies, and insects.
From the exterior appearance and the interior decoration of architecture designed by Horta, we can clearly see the seamless curvature patterns in it.
Horta combined an interior iron framework with curvilinear botanical forms, which later were called “biomorphic whiplash.” After receiving great acclaim for his work, Horta completed many well-known buildings His architecture is recogthroughout Brussels, the Hôtel Solvay (1895–1900). nized by the unique employment of iron and stone in his building exteriors and his elaborate iron interiors.
Conclusion
Pattern and Shape
_____ never gains or loses energy in the process of evolution, but constantly transforms this fundamental energy in its interaction with objects, maintaining simplicity in objects’ patterns without abrupt change. Learning to extract repeated clues from natural objects helps designers establish an effective way of visualizing natural patterns and frame a designer’s interpretation by capturing a natural essence.
Emotion
Anouk Omlo created a bio-design work, called Helica Ceramics, which is symbolic of current bio-rhythms: its spiral design and budding forms are taken from the For instance, in the 2008 shapes of flowers; the designer’s imaginations was Salone Internazionale del inspired by symmetrical patterns in _____. Mobile, one of the world’s Omlo’s work is based on most prestigious furniture repetitive natural patterns; fair in Milan, Italy, it is completely organic and reflects _____’s essential energy.
Conclusion
Pattern and Shape Shapes Geometric shapes are structured objects that can be easily recognized by their connected lines. They can be circles, ellipses, squares, rectangles, triangles, diamonds or any combination of either a part or a whole of these shapes.
Emotion
Circles, the simplest shapes of all, imply eternity, comThe regularity of tangrams pleteness, wholeness, and can depict the organized safety. Several ancient culstructure of natural forms. tures recognized the circle In mathematics, geometry as a symbolic sign of peris the study of shapes and fection. Circles are commtheir relationships. Most only used in architecture to geometric shapes tend to signify safety, or a shieldbe symmetrical by _____. ing place.
A good example of this is the plantation built by Thomas Jefferson, the third president of the United States. After inheriting a large area of land from his father, Thomas Jefferson, at the age of twenty-six, designed a plantation called Monticello, which is located outside of Charlottesville, Virginia. He used circles in the design of Monticello’s dome room to generate a conceptual sense of wholeness, integrity, and interconnection.
Circles are good candidates for symbols used worldwide for collaborative organizations that wish to provide a united image of wholeness. Squares and rectangles are commonly used shapes in man-made objects; most of what we see in a daily life takes their form.
Conclusion
Pattern and Shape
Emotion
They can also be used to describe faithfulness and solidity. With their visual simplicity, squares also project Because so many everyday a more honest or straightforward spirit than the other objects are comprised of shape groups. these shapes, squares and Triangles and diamonds can represent action or moverectangles are generally ment; an abruptly turn from one tipped point to another. considered as signs of popularity, security, and familiarity, in addition to symbols of conservatism.
With the same length on all sides and angles, equilateral triangles are considered the most stable triangle and shapes. In design, triangles and diamonds are Allandale House, triangular symbols of force and dynamic motion, in addition to cabin designed by architect energetic strength and aggression. William O’Brien Jr. He overturned the typical image of a cottage in the woods by giving it a triangular geometry of force and beauty.
Another example, a crayon advertisement (August 2012) for Caran d’Ache by Happy Together Agent, a whimsical example of biodesign that firmly catches consumers’ attention.
An illustration created by Oh Yeah Studio was used to depict nine strategies in branding and graphic design for the design agency Mission in Norway.
Conclusion
Pattern and Shape
The combination of overlapping geometric shapes and lines shows the unique way they connect many detailed abstract concepts to emphasize the design agency’s philosophy and methodology.
Emotion
Oh Yeah Studio organizes geometric and overlapping shapes in a logical way to communicate a sensible visual approach to its audience.
Natural shapes are typical representatives of shapes found in _____, such as plants, animals, human beings, microorganisms, or With these pleasing and eco-friendly of natural shapes, The power of geometric non-living objects that have bio-design works tend to be attractive and fascinating shapes guides the viewer’s characteristic looks and a to audiences. eyes to make sense of im- particular appearance, such In the poster that won the Ideological Posters category plicit information by organi- as the sun, moon, wind, in the 21st International Poster Biennale, Mark Gowing zing the abstract figures. snow, mountains, rivers, used dripping ink to represent a dropping bird, symborocks, and clouds. lizing the message of “oil kills peace.�
Conclusion
Pattern and Shape
Zen Perfume, designed by Igor Mitin at GOOD, in Kazakhstan, is a good example of the use of natural elements, synthesizing different forms and shapes in each bottle of perfume, which give a pleasing and attractive natural image to the bottle.
Emotion
To communicate that the natural fragrance immerses the user in a comforting atmosphere, Mitin incorporated natural shapes imposing a vivid sense of life and letting consumers feel as if they were embraced and touched by _____.
The natural shapes are free, asymmetrical forms and generate feelings spontaneously.
Application of morphological structure in bio-design Designers try to add implied ideological meanings to usually originates from a their bio-design in order to visually communicate their designer’s conceptual idea main idea and message to their intended audience. and their desire to contrast natural and man-made objects in provocative ways.
In 2009, a poster about the effect of global warming on earth by Leo Lin, a Taiwanese designer, successfully warned people that the melting of polar ice could cause a rise in the sea level.
Conclusion
Pattern and Shape
Emotion
In this poster, Lin used biodesign to impress people who live in lowlying shore areas island nations like Taiwan about the potential catastrophe of rising sea levels resulting from a heavy use of fossil fuel and a global temperature increase.
In another example, a package design for BZZZ Premium Honey by Backbone Creative Studio (2012), the designer cleverly packs a bottle of honey in a wooden sculpture in the shape of a beehive, which can be opened layer-by-layer from the top.
Abstracted shapes are simplified images or figures of natural shapes that provide a concise meaning or This design not only con- identity without the use of written language. nected with consumers and evoked a sense of Abstracted shapes often use an exaggerated concept resonance, it also won to emphasize a generally recognized image extant in several design prizes. people's minds rather than directly using actual natural shapes. Icons are abstracted shapes that portray a designer’s underlying ideas and concepts.
Conclusion
Pattern and Shape
The design of some abstracted shapes, however, are culturally-based, and are only recognized in some countries because abstracted shapes are used to communicate with audiences of a certain culture and evoke their attention or convey a clear and special meaning to gain respect and appreciation.
Emotion
For example, a logo that combines 0 and 1 represents a “power/on/off� symbol in some cultures and is considered to be a logic expression of true or false. Neither symbol is universally recognized.
Designers often take advantage of abstracted shapes to organize implicit information by connecting the separated signs that symbolize different ideas or create movement, texture and depth in order to convey a designer’s feeling and emotion to audience.
In other words, each of the shapes tells a story of progression and has, in particular, inherited some intuitive qualities that are clearly associated with its shape as far as its audience can imagine.
It is important for audiences to be able to visualize the ideas that are trying to communicate and generate reciprocal understanding, which evokes resonance and appreciation of the design work.
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Conclusion
Likewise, a delightful experience comes from a work’s beauty and the echo it produces.
A good design needs to be pleasing and appealing to attract an audience’s eyes; like a fine food, it needs to be tasty and flavored to make our mouths water. Design isn’t simply reliant on aesthetics and applicability, but can also create an impression and feeling of connection when we see it. We know that quality cooking adds a delicate savor to the taste of food.
Emotion
“Who ever said that pleasure wasn’t functional?� Charles Eames
All design consists of emotion-driven experiences, and these can give audiences more pleasant and vivid memories if skillfully designed in a harmonious way. In January of 2002, Teorema designed a popular trademark for the National Meat Institute of Uruguay. Teorema combined fresh and green grass with a bar code and brand name to communicate the notion for food safety, animal welfare and environmental sustainability.
This green bio-design not only evokes delightful memories of _____ but also impresses on us the idea that good quality meat can only be produced from fresh grass.
Conclusion
Emotion is an essential part of life, affecting how we feel, how we think and how we act. The emotional experience that design brings resonates is because we sense the empathy of a designer through his/her work. We feel as if we begin to understand them, we are strolling into an area which is designated precisely for us by the designer.
Emotionally attractive design not only makes an audience feel good and arouses their empathetic resonance, but also allows them to accept an advertisement’s claim or a company’s brand. Once a design work makes someone feel good, it has helped its subject stand out and be noticed in its most effective way. Psychologically and physiologically, it is easy for all of us to get acquainted with certain natural shapes and patterns that we typically enjoyed.
Emotion
By taking advantage of humans’ affinity for _____, bio-design can deliver a delightful, humorous and harmonious sensation to audience. Unlike the dispassionate sensation of mechanical design, bio-design can create an emotional feeling that satisfies consumers’ existential needs. It can elicit an empathetic resonance from an audience, while successfully delighting/influencing them.
A good example is the poster series designed by Kazuya Kuriyama for Panasonic Corporation. With Bio-design’s strong affinity these product posters, Kuriyama also won the 44th is based on the emotional Japan Industrial Advertising Awards in News. experience generated by consumers, which allows them to easily interpret a designer’s ideas.
Conclusion
Besides delightful experience and empathy, surprise Kazuya Kuriyama uses Mount Fuji, a well-known is an other important eleJapanese holy mountain, and the famous painting of ment in emotionally attracUkiyo-e (pictures of the floating world) to transform This poster series success- tive design, because it is a wave image into pure water, vegetables and hair, fully induces empathy with hard to delight someone symbolizing the nanotechnology water retention fea- consumers, and delivers a if a similar motif has been ture in Panasonic air purifier, refrigerator and hair surprising clear hi-tech me- seen before. dryer products. ssage, promising that water retention reliability is gu- Delight fades when a dearanteed in their products. sign is predictable, and this is why so many of the delightful experiences provided by commercial advertisements require an update, change or innovation. Consumers expect a certain amount of surprise from commercial design, but they are, usually delighted when they get more than what they bargained for.
Emotion
The simplest way to delight and surprise is through serendipity; unexpectedly showing something to someone may prompt surprise. It is the opposite of purposeful design for delight. Though the most important component of delightful design is empathy, emotional surprise is the easiest way to achieve empathy with an audience. Moreover, surprise requires an intimate understanding of an audience’s needs. The three-poster ad campaign designed by Kazuya Kuriyama not only prompts a warm, surprised feeling its communication with consumers, but also transmits a friendly-_____ed sensation to add to its value. Kuriyama tried to make his work pleasurable and delightful to intended consumers in order to enhance mutual understanding between him and his audience. In other words, without an audience’s empathy and delightful experience, a designer is often near-sighted in his/her design work, only seeing it as a set of problems to solve or challenges to master, rather than considering it as an opportunity to produce something that can improve someone else’s life.
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Conclusion
Bio-design, like bionics or biomimicry, is the integration of design with the biological systems of living organisms and non-living natural objects, connecting potential opportunities in _____ with design. Through designers’ creativity and innovation, biodesign uses visual communication methods to transfer abstract or conceptual ideas from biological systems to designed works in order to generate empathy with an audience and increase their connection to _____.
Bio-design includes the patterns and shapes of natural elements. Patterns generate a continuous stream of natural forms, visually representing natural processes and integrated design works;
whereas, shapes consist of connected points of visual information, delivering design’s message through relevant elements and objects. Successful bio-design may be achieved by applying biological characteristics on design through symbolic or metaphorical techniques. This is to say that we can incorporate our conceptual ideas or emotional feelings about bio-inspired objects in our design in order to create rich, bio-inspired forms and shapes that empathetically resonance with an audience.
Emotionally attractive bio-design not only makes an audience feel good and arouses their empathetic resonance, but also allows them to feel that they can accept a designers’ ideas and creativity completely.
Once bio-design makes audience feel good, it has successfully stood out and been noticed in the best possible way. In sum, bio-design can draw from _____’s ingenuity and incorporate natural elements in tandem with the designers’ creative thinking, to develop compelling communication with an audience.
Bibliography
Benyus, Janine. 1997. Biomimicry: Innovation Inspired by _____. First Edition ed. New York: William Morrow and Company.
Bergdoll, Barry, Gamboni, Dario, Ursprung, Philip, and Sachs, Angeli. 2007. _____ Design: From Inspiration to Innovation. Switzerland: Lars Müller Publishers. CNN Tech. “Luigi Colani: Transport Design '20 Years Ahead of the Rest.” Last modified November 22, 2011. http://www.cnn.com/2011/11/22/tech/luigicolani-design/
Design Quotes. “Inspirational & Informational Quotes For Designers.” Accessed April 13, 2014. http:// quotesfordesigners.com/ post/49175502594/whoever-said-that-pleasurewasnt-functional.
Free Art Lessons from Artyfactory. “William Morris – The Arts and Crafts Movement.” Accessed March 30, 2014. http://www.artyfactory.com/art_appreciation/ graphic_designers/william_morris.html.
Hosey, Lance. 2012. The Shape of Green: Aesthetics, Ecology, and Design. Washington, DC: Island Press. Kenya, Hara. 2010. Ex-formation Plant. Tokyo: Heibonsha Limited.
Macnab, Maggie. 2012. Design by _____: Using Universal Forms and Principles in Design. Berkeley, CA: New Riders. Mattheck, Claus. 1998. Design in _____. NeuIsenburg: Springer.
Patterns In _____“The Art, Soul, and Science of Beholding _____” Last modified Oct 2011. http:// www.patternsin_____.org/blog/2011/what-is-apattern-in-_____/.
ProQuest. “Hidden Histories: the Story of Sustainable Design.” Last modified June 2009. http://www.csa. com/discoveryguides/design/review4.php.