Feelings - A New Generation of Designers Pays Attention to Topics (I)

The erratic things in the world are most likely to make people feel, but they are not necessarily understood by people. Faced with the colorful world of information, people are delighted, fearful, guilty, and disappointed. The first element that feels as an expression of human activity becomes more and more obvious. As a new generation of designers, how should we face the feeling that such a world presents to us?

For a modern society, designers can't blindly greedy for new ideas, and the result will inevitably lead to catastrophic miseries, and it will undermine our morale and illusion. The novelty is not all alive, and the shallow and boring issues will also have novel faces. In this era, design will also become more relaxed and more enjoyable. We must look at the world with a mindset of concern and look at the development of mankind. Only in that way can we pursue our design ideals and turn dreams into reality. Design becomes action.

In this era of changeable information, designers should rethink and ponder a problem, that is, how does the designer serve the modern crowd? How to reflect the value of their own design? How to find the cut-off point between products and consumers? It goes without saying that man, as the main body of society, controls the direction of the world. As designers, we may have overlooked the details of paying attention to the crowd and ignored the motives of the crowd. Now is the beginning of our search.

The substantive opinions of the design are widely contending. However, as a designer, we must have our own special opinions. We must have our own unique views, analytical judgments, integrated applications, information feedback, and values. Because this society is an exchange society, it is a changing society, and it is a personality society. Designers can only use their information to cover their own design motives and find their own design ideas. Only by following the feeling of the times can the designers embark on a beautiful growth spiral.

The study of perception in design is a very important topic hidden in the design. Designers over-calculate the specific issues of ontology and neglect the study of design objects. It is because of this that the design has become a muddy. Steep road. Needless to say, this era has already warned us: When we come to a crossroads, what we need to do is not to find the choice to go down that road, but to choose the way we can open our own path. Therefore, this era is an era that is suitable for the survival and development of pioneers. If a designer does not have passion, no feelings, no innovation, there is no life without thought. It will not produce design value.

Feeling design, a seemingly complex and simple issue

Prosthetic sensory system and allogeneic sensory system

What is the main body feeling? I think that the instinctive perception of our physical existence is our sense body, and the direct message conveyed by the sense body is the proprioception. This is a reverse process of thinking. Positive mental imagination process.

What is a different body feeling? The information of the appearance of the objective object presented to the sensory ontology is called the alien sense, which is a reverse output process of the thinking.

Proprioception and heterosexuality are a concept of integration rather than an independent concept. Both elements drive the design in the design.

Visual perception

The fortunate thing that we feel most fortunate at the beginning of a person’s life is to let everyone carry their eyes. Human beings can receive information from the outside world, such as the shape, color, material, how much light, and the strength of light. In this way, people's visual information is received unconsciously from the birth of the person, and this kind of information forms an image trace in their brains. In the information society today, most of our knowledge comes from our eyes. Therefore, the perception of the eye has a decisive role in the design. The first impression of the external appearance of the product is received by our eyes, so that our design should respect our eyes.

Everyone knows the role of the eyes long ago through the understanding of the human body. Our sources of information rely mainly on our own eyes. For the in vitro experience and understanding, our visual system has reached the leading position of perception. And how does vision require us to design?

People can perceive a certain amount of information through the eyes. A person we are familiar with can sometimes be discerned from any point of view. Perhaps it is something that many computers cannot do. For most people, it is second to humanity. Naturally, our eyes receive information from the outside world, and the constant discharge of the visual neurons will cause our mind to exercise and be perceived. Perceiving a pattern in the process of perception does not necessarily comprehend his content.

When a blurred static image is presented before our eyes, our image thinking is positive, and our logical thinking is also doing a positive reaction. This results in the diffusion and association of our thinking. Sources come from our active thinking. Of course, there are sometimes errors in the vision. At this time, what we need to grasp is the visually wrong conclusion. From a certain point of view, this kind of mistake is a special case of feeling correct and logically wrong, so when we see black blocks and yellow blocks of equal area, it always gives us a visual difference, and there is a special case in the movie. Sometimes the backgrounds are not always true, so there is a stage design, not so much talking about art as dealing with the eyes. Such a special case may be that we can be transformed into a design idea that is to apply our visual errors to the design, as long as it feels really need to rely on logic. This is called the non-logical aesthetic of vision.

When continuous static images are presented to us, they allow us to accept detailed information. For example, the visual media design is a special case. It uses the original static information to express a message over time. This is the original The static visual image of the extension extends the information of a time span, so it has the characteristic of time passing. The static time expression can only be solved in a descriptive way. Therefore, our image thinking is the main body of this way of perception, and logical thinking is relaxed. And this kind of thinking exercise is also a great source of design. What we need to consider for a product designer is not a fixed form of appearance, but what we need to consider should be a time span of product experience. We call it all-cause products here. The meaning of our designers is to do a process of giving life to artificial objects. For example, when a luminaire designer considers the luminaire he makes, the consideration of appearance is only one point in the problem, and its other synthesis may be his important point. Therefore, reality tells us that product design is the process of designing a product to fulfill its functions. Therefore, the design is merely the appearance feature of the design and not the entire product. This requires that our designers must learn to communicate with others and cooperate with others, or else they will create an embarrassing situation.

(to be continued)