Kooperativer Bibliotheksverbund

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Format: 55 pages : , illustrations ; , 1 supplement (16 unnumbered pages : illustrations ; 30 cm.). , 30 cm. +

Content: MACHINE-GENERATED SUMMARY NOTE: "Plastic waste and its repercussions on the environment is a widely discussed topic in today’s news. It appears as if the positive characteristics of oil based plastics, physical properties that made them gain popularity in the first place, get outshined by the excessive use, inadequate disposal and unsatisfactory recycling options available today. It is important for politicians, designers, producers and consumers alike to be aware of the plastic crisis and take responsibility in implementing change. A reference for positive sustainable adjustments are the principles of circular economies or cradle to cradle design. These adjustments demand changes in the way products are developed, produced, consumed and reclaimed, and take a long time to be implemented. For consumers, it can be disillusioning to see the effects of plastic waste getting discarded into landfill or littering city streets, and to know at the same time that recycling programs are not the optimal solution for these materials either. However, seeing creative, educational or scientific approaches to the problem can be an inspiration for tackling plastic waste on your personal account. In my research, I am going to break down the basics of plastic materials and the plastic crisis, as well as the concepts of sustainable design and its challenges. Analysing present attempts at tackling this crisis creatively is going to be the foundation for an experimental study on plastic waste, which will aim at finding ways to manipulate the material with simple techniques and household items. The findings from these experiments are going to be applied in designing a product line, whose step-by-step instructions will be shared in a community-driven database and can be reproduced by people of all ages and skill sets."

Note: DISSERTATION NOTE: bachelor thesis in Product Design, Berlin International University of Applied Sciences, 2019. , MACHINE-GENERATED CONTENTS NOTE: INTRODUCTION : Problem statement & aim -- Methodology -- Motivation -- PLASTIC : Introduction & plastic crisis -- Classification and types -- Physical properties -- Production & manufacturing methods -- Current waste management & its limits -- Future of plastic materials -- SUSTAINABILITY IN DESIGN : Urgency and challenges -- Cradle to cradle design & circular economies -- Sustainable plastic design examples -- Greenwashing -- Bottom-up design -- DESIGN BRIEF : Context & relevance -- Challenges -- Value proposition -- Competitor research analysis -- Target group -- User journey -- Conclusion -- Bibliography. , SUPPLEMENT NOTE: accompanied by a supplement entitled: Exploring a bottom-up circular design approach in an experimental study on plastic waste : project (16 pages).

Language: English

Keywords: Academic theses

URL: FULL  ((thesis and supplement))

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Format: 158 pages : , richly illustrated, plans ; , cm.

Content: MACHINE-GENERATED SUMMARY NOTE: "This thesis explores the concept of stereotypes, how they form and develop to understand and propose ways to overcome them. Understanding the problem’s roots and its potential solutions makes it possible to answer the research question: are interactive design exhibitions an effective means to help overcome stereotypes and prejudice by promoting intercultural dialogue? As a result of the research and its posterior analysis, a design project was developed to demonstrate the main findings and propose an effective stereotype breaking model based on dialogue. In light of the recent events involving the COVID-19 pandemic, this work covers the theme of prejudice, stereotypes, and communication also related to this crisis."

Note: DISSERTATION NOTE: submitted as bachelor thesis in Product Design, Berlin International University of Applied Sciences, 2020. , MACHINE-GENERATED CONTENTS NOTE: 1. Introduction 1.1 Problem statement and Aim..........13 1.2 Motivation.........................................15 1.3 Methodology....................................16 Theory 2. Stereotypes 2.1 Understanding stereotypes..........21 2.2 Stereotypes: formation and development...................................22 2.3 In-groups and out-groups.............23 2.3.1 In-group favoritism................23 2.3.2 Out-group derogation..........23 2.3.3 Out-group homogeneity.......24 2.4 Stereotype activation....................26 2.5 Stereotypes and prejudice...........28 3. Overcoming negative stereotypes 3.1 Overcoming negative stereotypes.....................................32 3.1.1 Stereotype replacement.....32 3.1.2 Counter-stereotypic imaging.....33 3.1.3 Individuation.................................33 3.1.4 Perspective-taking.......................34 3.1.5 Increasing opportunities for contact......................................34 3.2 Developing cultural awareness..........37 3.2 Intercultural dialogue and means to foster it..............................................41 4. Designing for behavior change 4.1 What is behavior change design?....46 4.2 How does behavior change design work?.........................................47 4.3 Psychological needs for behavior change....................................................49 5. Exhibition design 5.1 An introduction to exhibition design..............................................52 5.2 Interactive exhibits: contributions and challenges..............................54 5.3 Best practices for designing interactive exhibits.........................58 6. Key findings Praxis 7. Concept 7.1 Design brief....................................67 7.1.1 Context..................................67 7.1.2 The duality of the effects of Coronavirus on society.......68 7.1.3 Solution..................................70 7.1.4 Design proposal..................71 7.1.5 Target audience...................72 7.1.6 User journey..........................74 7.1.7 Scope.....................................76 8. Design 8.1 The exhibition room 8.1.1 Concept sketches.................82 8.1. Exhibition room and layout......................................84 8.2 Interactive table 8.2.1 Exhibit 1: Interactive table.......................................98 8.2.2 Mechanism - iris shutter....102 8.2.3 Mechanism - pulley system..................................104 8.2.4 Technical drawings...........106 8.3 Interactive mirror 8.2.1 Exhibit 2: Interactive mirror....................................111 8.2.2 Face tracking software....122 8.2.3 Interactive mirror structure and elements......................104 8.2.4 Technical drawings...........126 8.4 Exhibition overview 9. Conclusion Dedication Bibliography Appendix

Language: English

Keywords: Academic theses

URL: FULL

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Format: 113, [11] pages : , illustrations ; , 30 cm.

Content: MACHINE-GENERATED SUMMARY NOTE: "The main research question is: How can we connect people in the digital age? This is the digital age, where everything and everyone is connected and linked with each other. Communication is easier than ever, and information is available at anytime and everywhere. People like to share their adventures and thoughts online, and generally enjoy presenting themselves on social media in a positive way. It seems like people are living in a perfect world, where everyone is having a good time and living a good life. But reality shows, that people have their smartphone, tablet, computer or other electronic devices constantly in front of their face. Everyone is doing their own thing and is more interested in their online presence or connecting with others online, than what is happening right around them. People are connected in the digital world, but somehow disconnected in the real world. In this thesis, I will focus on the dining table, because the dining table is my medium to connect people in the digital age. Dining is a very intimate ritual, which is usually shared by family and friends or acquaintances. People eat, talk, laugh and share. Dining is more or less the only time of the day, where we feel relieved. We enjoy good food, good company and celebrate a successful ending of the day together. I will design a special dining table and a special event. The purpose is to connect people. I will create an environment and design, where people feel comfortable and enjoy the ‘here and now’. I want people to have a good time, enjoy good food, good company and have fun together."

Note: DISSERTATION NOTE: bachelor thesis in Product Design, Berlin International University of Applied Sciences, 2019. , MACHINE-GENERATED CONTENTS NOTE: THEORY : INTRODUCTION : Motivation -- A constantly moving & changing world -- Problem statement & aim -- Hello Fresh : concept -- Methodology -- FUNDAMENTALS & BASIS : The evolution of the dining culture -- Culture -- Importance of communication -- What is the perfect table shape? -- Observations -- Interviews -- The perfect shape -- Technology involved? -- PRAXIS : CONCEPT : Design briefing -- Fundamentals -- Product system -- URS : User Requirement Specification -- Target group -- Personas -- User journey event -- DESIGN : Colour concept app -- App interface design -- Material selection table -- Colour concept table -- C.O.D. measurements -- C.O.D. renderings -- CONCLUSION : Summary -- Future perspectives -- Special thanks -- APPENDIX : Images -- Literature.

Language: English

Keywords: Academic theses

URL: FULL

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Format: 60 pages : , illustrations ; , 30 cm.

Content: MACHINE-GENERATED SUMMARY NOTE: "This thesis deems that our daily lives are shaped by culture and argues that the designer’s own cultural values influence the products’ designs, while focusing on the main question; how can we create our own Turkish-German household archetype based on cultural differences. Taking culture into account during design activities can pave the way to the diversification of ideas for users who need satisfaction, consequently leading to innovation. It is necessary to redefine industrial design in order to subsume culture in the definition of industrial design as a goal for optimizing the lives of individual users. For this thesis, I will design a wall-mounted storage unit for the entryway of the houses, because this concept is my medium to connect cultures and to create a functional household object that people from a different cultural backgrounds can use in their houses easily. Key words: Cultural differences, archetypes, household objects, cross-cultural design, storage unit."

Note: DISSERTATION NOTE: bachelor thesis in Product Design, Berlin International University of Applied Sciences, 2019. , MACHINE-GENERATED CONTENTS NOTE: Abstract -- THEORY : INTRODUCTION : Methodology -- DEFINITIONS : Definition of culture -- Definition of cross-culture design -- Definition of universal design -- CULTURE AND PRODUCT DESIGN : Archetypes -- Turkish archetypes -- German archetypes -- INVESTIGATION : INTERVIEWS : Pelin Kazak Avıncı -- Sven Hansen -- Markus Schroer -- Analysis of the interviews -- PRAXIS : DESIGN PROPOSAL : Brief -- Problem definition, observation -- Analysis of the observation -- Persona -- Concept -- Material selection -- Entryway organizer -- Details -- Measurements -- Conclusion -- Future perspective -- Special thanks -- References -- List of figures.

Language: English

Keywords: Academic theses

URL: FULL

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Format: 41, 96 pages : , richly illustrated ; , 30 x 21 cm.

Content: MACHINE-GENERATED SUMMARY NOTE: "The bachelor’s thesis ‘The impact of algorithm-driven design on the visual languages of graphic and motion design industries’ is looking at an emerging design approach powered by computer algorithms. Algorithm-driven design is a new and slowly emerging graphical approach to the complex world of design. While staying in the niche, due to the requirement of coding knowledge from an artist, it is slowly getting to the mainstream as more user-friendly designed experiences in a form of AI-powered tools, which do not require the knowledge of code. It is speculated that, in the future, a majority of the designs will be done with AI, where the human designer job will evolve to a curator, who has to pick out the best design solutions presented by the AI software. The thesis aims to give a brief introduction to the topic, written accessibly to a curious designer who has interest in motion or graphic design, in order to spark the interest in the topic and prepare for a plausible AI-driven future. To achieve this, the thesis is looking at a mixture of primary sources, such are the interviews with industry professionals, who have experience with algorithms, supported by secondary sources, such are articles, design projects and books. Ultimately, the thesis will give a basic understanding of various algorithmic approaches to design and attempt to unfold the impact of the algorithmic technology on visual languages of motion and graphic design industries."

Note: DISSERTATION NOTE: submitted as bachelor thesis in Graphic Design, Berlin International University of Applied Sciences, 2020. , MACHINE-GENERATED CONTENTS NOTE: 3 Abstract 3 Introduction 5 Methodology 5 Body 5 Brief history of AI 7 Areas of design affected by algorithms 14 Five algorithmic works versus five non algorithmic works 19 Interviews with algorithmic designers 25 Algorithms as the future of motion and graphic design 28 Algorithmic limitations 29 Conclusion 30 Project 30 Introduction to the practical project 33 Acknowledgments 33 Bibliography 39 Figures

Language: English

Keywords: Academic theses

URL: FULL

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Format: 48 pages : , illustrations ; , 30 x 21 cm.

Content: MACHINE-GENERATED SUMMARY NOTE : We are living in the age of entertainment. It almost seems like every product and service is tailored to us. Let it be movies, shows, video games, smartphones, etc. Cars are no different. The automotive industry is changing rapidly. With most cars becoming electric and autonomous, the driver will not be the focus anymore because there will be no driver, only passengers sitting in a »moving living room. « With that, the automotive industry is also separating into two parts. One is for the »regular« people where the main focus is transportation – getting from point A to point B in the most non-obtrusive and comfortable way possible. And the other part is for more »adventurous« individuals if you will. Some people still want to own and operate their cars because it gives them a sense of freedom and control over their own lives – much like some people ride motorcycles, and some still like to ride horses. How one feels behind the steering wheel of a car is one of, if not the most important aspect of a car, let alone a hypercar. The sitting position, the driver's view, how one holds the steering wheel, and how one interacts with things in the interior contribute to better driving and the driving experience overall, especially in electric performance cars, or more specifically – electric hypercars. This research aims to explore car interiors, how they became what they are, how they will continue to change, and what makes the ultimate driving experience. This research aims to investigate car interiors, their evolution, how people viewed cars and driving in the past, how they do now, and how they likely will in the future. It explores what driving joy is, why do people like to drive and what makes a car fun to drive. Also, it focuses on what problems exist regarding the transition from internal combustion engine cars to electric cars and how to make the electric car interior which will provide the ultimate driving experience.

Note: DISSERTATION NOTE : submitted as b-pd Berlin International University of Applied Sciences, 2021 , MACHINE-GENERATED CONTENTS NOTE : 1. INTRODUCTION.................................................................................................. 6 Problem Statement...................................................................................................7 Research question ....................................................................................................7 Methodology ............................................................................................................ 7 2. CARS AND THEIR INTERIORS ............................................................................. 8 History of car interiors ..............................................................................................8 Cars and their interiors now ...................................................................................11 3. CHANGING SENTIMENT ABOUT CARS AND DRIVING .................................. 13 4. DRIVING: MORE THAN GETTING FROM POINT A TO POINT B..................... 15 Driving as an activity...............................................................................................15 What make driving fun?..........................................................................................15 Driving as a form of entertainment.........................................................................16 5. UNDERSTANDING THE DRIVING EXPERIENCE ............................................... 18 Different interiors for different types of cars ..........................................................18 Racing cars and their relation to road cars.............................................................19 Hypercars................................................................................................................ 20 User Experience......................................................................................................22 6. DESIGN PROJECT ............................................................................................. 26 .................................................................................................................................. 27 Briefing ...................................................................................................................28 6.1.1. Target audience ..........................................................................................................28 6.1.2. Goals ...........................................................................................................................28 Design Development..............................................................................................29 6.2.1. Design language .........................................................................................................29 6.2.2. Initial concept sketches ...............................................................................................30 6.2.3. Defining the concept...................................................................................................31 Concept .................................................................................................................. 33 .................................................................................................................................. 41 7. CONCLUSION ................................................................................................... 42 8. BIBLIOGRAPHY.................................................................................................. 43 9. LIST OF FIGURES............................................................................................... 45

Language: English

Keywords: Academic theses

URL: FULL

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Format: 65 pages : , illustrations ; , 30 x 21 cm.

Content: MACHINE-GENERATED SUMMARY NOTE : “Any sufficiently advanced technology is indistinguishable from magic.”- Arthur C. Clarke We are living in that future which about half a century ago Prolific Science fiction author Arthur C Clarke was professing in his attempt to define the boundaries of the possible future (Clarke 1962, 33). The technologies humankind has been using in their daily lives now are in many ways far more wondrous than the Entertaining Magics of old time with use of trickery and sleight of hand. We can comfortably say that our very common household remote controllers are even more capable than the magic wands of the wizards which they used to manipulate elements and objects (Fictional). We have reached an age where there is technological advancement to solve most of humanity's big problems if sufficient attention and effort is put into it. Although a bit slow, we see the sign of change with the focus shifting from fossil fuels to more sustainable forms of energy to address global warming issues. One area the technology integration has been excelling is the daily use products in common households. Our household devices which were clunky, cumbersome and somewhat difficult to operate have become slicker, smaller and so intelligent that they started to sense our needs and do what is needful for the moment. Heating systems are adjusting the temperature based on the user's preference of comfort, lights are turning on or off or even changing colors to match the mood of the user. More products are getting designed around the users and keeping their needs in the front and center. Technological advancements are being pushed to provide more understandability, convenience and ease of use of these kinds of products for many different demographics of users. These household devices are generally termed as smart consumer products because of their intelligence provided via sensors and connectivity with the internet. Consumers of these are slowly getting used to having household devices that can operate without conscious intervention. Interaction with these products are designed to be as optimal as possible, so that the users can receive the intended function without much effort of tinkering with the device itself. Also the interfaces are being brought down to context sensitive display screens on the device or just a smartphone that can connect to the device via bluetooth or wifi network. Two other other modes of interaction which are getting popular are voice and gesture. The benefit of these interface modes is that they use senses other than vision. That’s why these interfaces are opening up new paradigms of interaction that can be more natural and intuitive to human cognition. These are also greatly advantageous to ensure accessibility for the users who face challenges to operate vision reliant interfaces due to vision impairment. However these other modes of interaction are still in their relative infancy. Upon investigating Gestural interfaces I have found that although the technology for sophisticated human gesture recognition and implementation for common household use has been in the market for more than a decade (e.g. Microsoft xbox Kinect device introduced in 2010, Samsung gesture control tv introduced in 2012), yet gesture control interfaces are very rarely implemented in mass for mainstream devices. Despite its obvious limitations in accessibility Visual only interface is still dominating the market, whilst until very recently voice control interfaces are getting popularized through smart home devices as Google home or Alexa by tech giants like Google and Amazon respectively. Part of the problem for gesture interfaces not having mass market appeal is that there is no established standard for implementing gesture-based interfaces that will create a consistent and predictable experience across multitude of available devices consumers use in their day to day life. References of Gesture-based Interfaces portrayed in popular media (e.g. Hollywood movies like Minority Report from 2002 or Ironman from 2008) are interesting to look at but don't really translate to real world implementability. So to ensure an acceptable, functional and enjoyable gesture-based interaction experience between the device and the users a tried and tested set of guidelines needs to be in place (Norman and Nielsen 2010, 46). These guidelines will be the stepping stone whenever an interface designer approaches to design gesture based interface for a device. In this paper I am going to propose some of the guidelines for implementing gesture-based interfaces for smart consumer products starting with assumptions derived from ethnographic observation, user observation, user interview and literature study. I am going to test these assumptions through user tests with different types of users with a simulated gesture-interface test rig followed by interviews. A Gesture set for a common household device will be designed to demonstrate how the guidelines come into play while designing gestures for smart household objects. I believe the set of guidelines from my research will be helpful to save time and effort for future gesture-based interface designers. These also will help to provide a better experience for the fully able users as well as users with disabilities to interact with gesture-based devices in their day to day life.

Note: DISSERTATION NOTE : submitted as b-pd Berlin International University of Applied Sciences, 2021 , MACHINE-GENERATED CONTENTS NOTE : Table of Contents 2 Introduction 5 Gesture Interface 9 Smart Consumer Products 12 Considerations & Assumptions 15 Approachability 16 Acceptability 16 Inclusivity 16 Equitability 16 Approachability Assumptions (13) 17 Acceptability Assumptions (16) 18 Inclusivity Assumptions (10) 20 Equitability Assumptions (5) 21 Applied design research 22 User Test 22 Test Equipments 22 Personnels 22 Test Plans 22 Interview questionnaire 22 Test equipment Description 23 Personnel Role Description 23 Test Coordinator 23 Test Assistant 23 Test Participants 24 Test Plans 24 Interview Questionnaire 24 Performed Tests 25 Test Set 1 25 Test Setup 26 Test Plan 26 Test Outcome 28 Observation 28 Interview 29 Analysis of Outcome 31 Pattern of Gestures found 31 Findings 31 Assumption Status 32 Test Set 2 32 Test Setup 33 Test Plan 34 Test Outcome 35 Observation 35 Interview 35 Analysis of Outcome 38 Pattern of Gestures found 38 Findings 38 Assumption Status 38 Simulating other disabilities 39 Guideline for Gesture-based interface implementation 40 Use warm and welcoming Aesthetics 40 Provide additional mode of interaction 40 Provide Multi-sensory Feedback 41 Provide ongoing visual and audible cue when appropriate 41 Provide assurance on Privacy 41 Design gestures with room for inaccuracy 41 Calibrate the gesture recognition 42 Leverage the understandability and familiarity of Instinctive gestures 42 Have distinction between Interaction Gestures and Natural gestures 42 Design gestures that are performable without involving fingers 42 Check the gesture for cultural appropriateness 43 Gesture Design in Action 44 Designing Gesture set for a Household Device 44 Diagram with linear visual representation of performable gesture 48 Analysis of a Designed Gesture 50 Attributes of the gesture 51 Design Method 51 1. Identification of instinctive gesture pattern 51 2. Checking the gesture for inclusivity and equitability 52 3. Refining the gesture 52 4. Testing the gesture with user 52 5. Checking cultural appropriateness 52 Conclusion 53 Appendix 1 55 Design Project 55 Product Description 55 Design Scope 55 Design Approach 56 Features influenced by the Guideline 56 Shape and form Aesthetics 56 Multi Sensory Feedback 57 Ongoing visual and Audible cue 58 Assurance on privacy 58 Product feature and benefits 59 Product user demographic 59 Bibliography 60 List of Figures 63 Colophon 64

Language: English

Keywords: Academic theses

URL: FULL

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Format: 120 pages : , illustrations ; , 30 x 21 cm.

Content: MACHINE-GENERATED SUMMARY NOTE : This thesis describes the bond between human and dog, and an illness most people do not know it exists for dogs as well. Incontinence. In the next pages you will explore the reasearch if it is possible to treat a sick dog without medication and a new sus- tainable design for male dog diapers. With a working solution it may be possible to reduce early euthaniza- tion of dogs just because they can not controle their urine anymore. Every drop on the next pages is me- ant to remeind the dogs illness.

Note: DISSERTATION NOTE : submitted as b-pd Berlin International University of Applied Sciences, 2021 , MACHINE-GENERATED CONTENTS NOTE : 1.Introduction | 11 1.1. Problem statement and aim | 13 1.2. Motivation | 14 1.3. Methodology | 15 Theory 2. Dogs and their different life stages | 19 5. End of life challenges | 49 5.1. Weeks before | 5o 5.1.1. Owner view | 51 5.1.2. Dog view | 51 5.2. Days before | 53 5.3. The day | 54 5.3.1. Owner view | 55 5.3.2. Dog view | 55 5.4. Caring for other dogs | 57 Practice 6. Concept | 59 6.1. Design Brief | 61 6.1.1. Context | 61 6.1.2. User Journey | 62 6.1.2.1. Dog View| 62 6.1.2.2. Dog Owner View |64 6.1.2.3. How to order | 66 6.1.3. Target Group | 69 6.1.4. Scope | 70 7. Design | 73 7.1. Diaper in general | 74 7.2. Sketches & Prototypes | 78 7.3. Mechanism stretch band | 82 7.4. Mechanism buttons | 84 7.5. Mechanism velcro fastener | 86 7.6. Size Chart | 88 7.7. Material | 9o 7.8. Try on | 92 8. Conclusion | 96 Dedication | 100 Bibliography | 102 Appendix | 106 2.1. Puppy | 20 2.2. Teenage | 21 2.3. Adult | 23 2.4. Senior |23 3. Sickness of aging dogs | 27 3.1. Common symptoms |28 3.1.1. Losing eyesight and hearing | 28 3.1.2. Cancer & tumors |29 3.1.3. Incontinence | 32 4. Treatments for incontinence | 35 4.1. Surgery |36 4.2. Medical solutions and their effect | 37 on dogs 4.2.1.Available only on prescription |37 4.2.2. Over the counter |37 4.3. Non medical treatments and their |39 effect on dogs 4.3.1. Food |40 4.3.2. Cohabitation with other dogs | 40 4.3.3. Physiotherapy and |42 acupuncture 4.3.4. Dog diapers |42 4.3.4.1. Gender Difference | 43 4.3.4.1.1. Female dog diapers |43 4.3.4.1.2. Male dog diapers | 43 4.3.4.2. Reusable vs one-way diapers |44 4.3.4.2.1.Sustainable diapers |45 4.3.4.2.2. One-Way diapers | 45 4.3.4.2.3. Conclusion | 45

Language: English

Keywords: Academic theses

URL: FULL

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Format: [vi], 74 pages : , richly illustrated ; , cm.

Content: MACHINE-GENERATED SUMMARY NOTE: "This research paper investigates how luxury labels evolve to provide exclusive and interactive experiences online. It illustrates the opportunities and challenges of luxury brands in presenting their identity on digital mediums, particularly on website and mobile interfaces without compromising the ‘identity of luxury’. Representative examples of web and mobile initiatives from different luxury labels are analysed to understand how the look and feel of ‘luxury’ can be communicated in a digital screen interface. This paper should serve as an introductory guide to designers who are interested in the subject of user interface, user interaction and branding in the luxury space."

Note: DISSERTATION NOTE: submitted as bachelor thesis in Graphic Design, Berlin International University of Applied Sciences, 2020. , MACHINE-GENERATED CONTENTS NOTE: INTRODUCTION 10 —— 15 Definition of Luxury and Streetwear Cultural Shift: Luxury and Streetwear Become One Digital Migration of Luxury Streetwear Challenges of Luxury Streetwear in Digital Media Research Question METHODOLOGY 16 —— 17 Quantitative Qualitative WEBSITE & MOBILE LUXURY 18 —— 30 Visual Communication of Luxury Colour Interface Icons Photography Typography Layout Navigation Experiential Luxury GUCCI CASE STUDY 31 —— 55 Gucci Gucci Projects DISCUSSION OF FINDINGS 56 —— 57 Communication of 'Luxury' on Digital Screen User Interfaces (Website and Mobile Applications) PRACTICAL PROJECT 58 —— 69 Introduction to Practical Project Relevance and Application CONCLUSION 70 —— 71 Recommendation Future Research Direction BIBLIOGRAPHY 72 —— 74

Language: English

Keywords: Academic theses

URL: FULL

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Format: [vi], 107 pages : , richly illustrated ; , cm.

Content: MACHINE-GENERATED SUMMARY NOTE: "Color blindness, a condition in which people see less vibrantly or fewer color variations, affects almost 5 percent of the entire world population. Despite this being a fairly common condition, it is rarely considered in many designs. As a result, some designs become difficult to read or understand depending on certain design elements. This research addresses the different color perception of color blind people and how it, in turn, affects their perception of design. Most of this research is based on a few conducted interviews with both colorblind people and non-colorblind designers. An online survey was also conducted on color contrast to test whether or not some colorblind design elements improve designs for non-colorblind viewers as well. The results show how designs can be improved through colorblind design and how the different perception of color blind people can affect their view of certain designs. This research also tackles the different uses of color and how the less abstract ones can be adapted for colorblindness. The practical part of this thesis is in the form of an educational interactive exhibition raising awareness of color blindness for a more inclusive design process. Its aim is to educate designers on how color blind people perceive color, and the impact this has on their perception of design. Due to the time frame, the scope of this exhibition is an advertising poster series and three interactive exhibits all implementing the research findings."

Note: DISSERTATION NOTE: submitted as bachelor thesis in Graphic Design, Berlin International University of Applied Sciences, 2020. , MACHINE-GENERATED CONTENTS NOTE: Abstract Introduction 1.1 Scope 1.2 Methodology Color Perception and Color Blindness 2.1 Color Perception 2.2 Types of Color Blindness Color in Design 3.1 Color Blind Perception of Design 3.2 Uses and Importance of Color Designing for Color Blindness 4.1 Why Color Blindness is Overlooked 4.2 Colorblind Design Guidelines Research Methods 5.1 Interviews 5.2 Survey The Project 6.1 Scope 6.2 The Exhibits Conclusion References List of Figures Further Reading Appendix A : Interviews

Language: English

Keywords: Academic theses

URL: FULL