产品设计中英文文献
中文译文
产品设计，语义和情绪反应
摘要
本文探讨了人体工程学理论与语义和情感内容的设计问题。其目的是要找到以下问题的答案：如何设计产品引发人心中的幸福；怎样的产品属性能够帮助你们沟通积极的情绪，最后，如何通过产品唤起某种情绪。换言之，这是对“意义”——可以成为一个产品，旨在与用户在情感层面上进行“沟通”的调查。
1、介绍
当代生活是促进社会和技术变革的代名词。同样，产品设计通过材料技术，生产技术，信息处理技术等工序的发展而正在迅速转变。在技术方面正在发生变化的速度和规模超出任何期望。数字革命的对象是逐步转向与我们互动成更小，更聪明的黑盒子，使我们很难理解这一机制或工作方法（博尔茨2000年）。
因此，在设计时比以前不同的框架，参照社会变革，资源和能源节约，新出现的环境问题，以及客户导向的趋势（大平1995年，琼斯1997年）。因此，无论是通过广告和营销推动战略，或潮流，时尚和社会活动，从消费产品的用户的期望也已改变。功能性，吸引力，易于被使用中，可负担性，可回收性和安全性，预计所有已经存在于一个产品属性。用户希望有更多的日常用品。最近设计的趋势表明了用户对激励对象的倾向，提高他们的生活，帮助触发情绪，甚至唤起梦想（詹森1999年，阿莱西2000年）。詹森预计，梦会快到了，下面的数据为基础的社会，所谓的信息社会（1999年）。他还说，作为信息和智力正成为电脑和高科技，社会领域将放在一个人的能力还没有被自动然而新的价值：情绪。功能是越来越多的产品中理所当然的，同时用户也可以实现在寻找一个完全不同的欣赏水平。想象，神话和仪式（即情感的语言）会对我们的行为产生影响，从我们的购买决定，我们与他人（詹森1999年）的沟通。此外，哈立德（2001：196）指出这是决定购买，可瞬间的，因此客户的需求可以被创建，速度非常快，而其他需要长期建立了'。
因此，情感和'影响'一般，都收到了最后一个（Velásquez1998）几年越来越多的关注。'影响'是指消费者的心理反应产品的符号学的内容。情绪和影响途径，可以研究在许多不同的层次，都提供不同的见解。正如Velásquez指出，一些模型已经被提出来的领域和多种环境。一些例子，他给包括情绪来创建逼真的品质和性格（贝茨1994年，克莱恩和布隆伯格1999年，埃利奥特1992年，赖利1996）系统合成剂，大约在叙事情感（艾略特等人在Velásquez1998年）。原因，在情绪处理系统，依靠调解社会互动（Breazeal在Velásquez1998年），该模型和体系结构，行为和学习情绪的影响
（Ca?mero1997年，北野1994年，与自我萨尔瓦多，纳塞尔等人在Velásquez1998年。）。不同的做法不同领域工作的最好的，并决定按照一方或另一方在很大程度上取决于具体目标和这些模型的目的。
设计导演的情感内容可以被看作是当前的设计实践，研究和教育的核心认为。正如保罗Hekkert（2002年），在设计与情感协会主席说：“它不再是足够的，设计良好的产品或服务，我们都希望设计经验，并产生愉悦或兴奋的感觉。““...但什么我们能真正了解这些经验和产品的能力，唤起的情绪？可以情感互动设计，如何设计和工业处理这个新的设计模式？“这项研究的目的是揭示在设计产品符号学性质的情绪反应，以及有关的方案，探讨影响产品设计之间的关系和人类的经验。
2、在物理和认知水平的产品语意
产品语意的开发和引进了Krippendorff和奶油（1984年：在莱利2001年），被看作是人为的形状象征性的特质研究其使用认知和社会背景，定义。因此，根据这个定义，产品语意关注的是用户与产品的一方面，而且对象的重要性，另一方面对业务和承担社会环境的关系。有意或无意，使所有出厂产品通过形状，形态，颜色，纹理等，他们与用户沟通，从来没有中立的声明内容相关。人们普遍认识到，可视化是重要的，当涉及到评估的外观，功能，生产的可行性，产品语意，人体工程学和（约翰森2000年）社会因素方面的一个产品的可行性。不管设计师如何使用颜色，形状，形式，并在设计产品的质地，邮件是通过发送通过一个产品结构的一部分，语言与意义，所谓的语义处理。这意味着，设计师和ergonomists不仅要知道什么样的信息（），他们希望传递和反应排序（县），可以预期从正在接收用户，而且形成的符号和属性的语言。
一个产品告诉我们，一些本身和在某些情况下，还对人类生命，谁拥有它。通过它的设计和功能，产品表现值，其重要性和价值的个人然后解释有一定的关系在接受或拒绝等方面的社会背景下，喜欢或不喜欢。然而，该产品可以通过加强其语意内容和表达，这其中一个或削弱创造积极或消极的看法，情感，价值观以及在个人（Wikstr?m1996）协会的方式这个角色。
我们遇到的产品有不同的功能，例如技术，实用和语义。莫诺（在Wikstr?m1996）定义了四种产品的语义功能：
?来形容-产品形态描述的事实（例如它的目的=定义的任务），使用方式，处理。
?为了表达-产品形态，表达了产品的价值和品质。
?要信号-产品形态敦促用户在一个特定的方式作出反应，例如要小心，要在他/她的工作精度。
?确定-确定产品的形态（如目的=建立的相似性），来源，性质和产品领域（与系统，家庭，产品种类等，以及各部分的功能??和位置连接）。
语义功能提供了可能性与沟通，通过一个明确的信息产品的设计师。这意味着设
计师必须明确向他/她什么，什么应该不应该通过产品（Wikstr?m1996）沟通。
黄油（Krippendorff和黄油1984:4），谁第一个提出了短语产品语义学'，声称设计师和ergonomists一个对如何使用设计功能可以'神秘化复杂的技术，提高工件之间的相互作用的认识和他们的用户和自我表达，提高的机会。据Wikstr?m（1996年），语义功能应该使产品的理解。无论是整个产品的各个部分，并应传达预期的信息，让用户知道产品应如何处理看它而已。例如，一个滚花旋钮说'把我';一个按钮的设计可以说'按我'，就像是杰克平面的形式，邀请特定的手柄;茶壶或瓷壶，上面写着'抱着我这里，我会为你倒'，一个椅子轻轻欢迎您轻松的姿势;形状或形式，表示'我朝这个方向'或'我进入那你身体的一部分适合。用户的反应是什么东西，以及如何处理这事应该是一种有效和直接的（语义）的程度，产品的设计是自我指导的迹象。复杂的产品需要一本手册，但简单的产品应该是自我指导。在那些图片，标签或说明适用于简单的事情，需要的时候，箭头或标签，以区别于推拉;设计师都未能通过沟通的对象（诺曼1988年）的形式。
然而，可理解性的要求是不相同的背景。在某些情况下，如Wikstr?m（1996）提到，该产品甚至是不可理解应该有一定的用户群，例如医药瓶，医药柜，儿童，以防止他们访问这些。在公共让人误解，但是，信息产品应进行自我指导。用户组集中在这里应该能够识别产品的用途，能使用它，并积极地使用，而无需额外的信息（如手册，文字）需要它。正在设计，在美国最重要的趋势之一，产品语意是一种方法，开发一个产品的视觉语汇，以便使它们成为主要的视觉线索（有时触觉和听觉），这成为可立即识别工具集设计人员沟通，通过他们的产品，帮助反映功能及相关文化协会（Zaccai1990年）。换句话说，产品语意是试图找出适当的视觉，触觉和听觉信息，并将其纳入产品设计中。了解人们如何融入陌生的产品是至关重要的语义在工业设计（格里芬1999年）的应用。它结合了诸如艺术，人体工程学，符号学，通讯，逻辑，哲学和心理学的各种学科。当产品语义应用得当，产品可以更情感和精神上的用户，雄辩和形状或细节表现让他们作出与客观对象的情感联系，否则，舒适。这些成为直观的产品，用户都知道它是如何工作以及它没有说明一样。两个诺曼（1988年）的基本原则，以协助建设一个心理模型的产品用户第一，提供了一个很好的概念模型，二，取得重要特征明显作为传播者。
3、Products和反射的意义
格林里芬（1999年），解释和解码，不熟悉产品的语义内容的过程涉及到两个不同的反应。第一个基于知识和对社会和文化背景有关，而第二个反应是情绪化。意义被解释的基础上，从以往的经验得出的关联。此外，情绪是密切相关的人的心理。如果我们看一个简单的这些因素，激活情感心理的定义，我们可以看到，情绪不受情况或事件，而是由我们的思想，信念，价值观和有关的情况或事件的态度引起的。的情绪反应是不是自动响应一个对象，事情，或一种情况。这是一个自动回复（在我们的
大脑深处）到我们的情况或对象关联的想法。
4、幸福和乐在产品使用
为了消遣，快乐和快乐的一些一般定义可以给予如下：
?快感：在愉快的情绪伴随着期望，收购或管有或需要的好东西。相关词幸福，幸福，快乐和激情。
?幸福：一个幸福美满的状态。
?乐趣：一个愉快或满足的经验;的福祉，成功引起的情感，或由一个藏有什么愿望的前景。
四个不同的类别，产品的使用乐趣，约旦给予（1997）：
1、生理愉悦-与接触，手持产品。
2、社会的乐趣-与社会关系和通讯产品启用。
3、心理愉悦-产品时获得帮助用户建立一个任务。
4、IDEO公司，快乐-相关的值，一个代表产品，其使用或支持。
满意是一个属性的可用性尼尔森的定义（1993年），是多么惬意的相关产品使用。可用性和功能性是无可否认的产品非常重要的属性，但不是他们自己的快乐和传达足够的幸福'给用户。事实证明，积极的情绪有重要作用，例如在决策，激励和社会互动（DeCatanzaro1999年，艾辛河1993年，马卡拉1999）基于任务的活动所需。越来越多的功能是在产品批准（商品）采取和用户的东西多看。
5、情绪反应或影响系统方案
在情感反应系统，在固有的心理结构，价值观念和程序，承担相似的，其中神经系统之间的相互作用涉及杏仁核，海马，前额叶皮质和被认为有调解情绪，比如分配方面的一些基础情绪价不同的刺激，活化的情绪行为和情感学习（达马西奥1994年，勒社1996年，Panksepp1995年，在Velásquez，1998）。工作从不同的理论家（埃克曼1992年，约翰逊莱尔德和奥特利1992年，Panksepp1998年）和随后的设计标准上的一个以前的研究基础，以良好的设计与评估获奖产品（Demirbilek和公园2001年），六个不同类型的影响方案涉及'快乐的感受，喜悦，或唤起梦想已经确定了这样如下：感官，乐趣，可爱，熟悉，转喻和颜色。
6、结论和未来计划
情感内容的设计得到了越来越多的人体工程学设计科学的重要性。到目前为止，有预测，评价和衡量这一人类产品的现象没有直接的方法。本文表明，更多的知识是在分析了三人之间关系的基本需要：情感，用户和产品设计。人们对产品的情绪反应，似乎不同世代之间变化，社会团体，民族和文化。ergonomists的属性和设计师可??以用它来提高产品的感受和期望很可能是在童年时代的社会，当他们的主要信仰，价值观和思想正在形成隐藏的情绪。这个复杂的课题需要研究在一个跨学科的方式，涉及认知工效
学，心理学，产品语意，和设计研究。
还需要进一步研究，以确定看法的幸福，快乐，幸福，放松，以及相关的日常生活环境中的感受和情绪。这项研究应该包括来自不同背景的实际用户和专注于自己的自动思维和梦想与快乐，更确切地说，愉悦的感受/经验。这样的研究将提供在产品的设计师和设计方面，ergonomists这种情绪反应属性有益的指导。据设想，该研究将采取的一个调查相结合，是对被采访的形式与用户完成。
英文原文:
Product design,semantics and emotional response
Abstract
This paper explores theoretical issues in ergonomics related to semantics and the emotional content of design.The aim is to find answers to the following questions:how to design products triggering‘happiness’in one’s mind;which product attributes help in the communication of positive emotions;and finally, how to evoke such emotions through a product.In other words,this is an investigation of the'meaning'that could be designed into a product in order to 'communicate'with the user at an emotional level.
1.Introduction
Contemporary life is synonymous with accelerating social and technological change.Similarly,product design is being rapidly transformed through materials technology,production technology,information-processing technology and other processes.The changes in technology are occurring at a speed and scale beyond any expectation.The digital revolution is progressively turning the objects with which we interact into smaller and more intelligent black boxes,making it difficult for us to understand the mechanism or the working method(Bolz2000).
Design therefore occurs in a different framework than before,with reference to social change,the conservation of resources and energy,emerging environmental problems,and customer-oriented trends(Ohira1995,Jones1997). Accordingly,whether driven by advertisement and marketing strategies,or by trends,fashion,and social events,users’expectations from consumer products have been also changing.Functionality,attractiveness,ease-in-use,affordability, recyclability,and safety are all attributes that are expected to already exist in a https://www.360docs.net/doc/4e7116684.html,ers are expecting more from everyday products.Recent design trends show an inclination towards objects that inspire users,enhance their lives,help in triggering emotions or even in evoking dreams(Jensen1999,Alessi2000).
Jensen predicts that the Dream Society is coming soon,following a society based on data,called the Information Society(1999).He adds that,as information and brainpower are becoming the realm of computers and high-tech, society will place new value on a human ability that has not been automated yet: emotion.Functionality is more and more taken for granted in products,and users are looking for fulfillment at an altogether different level of appreciation. Imagination,myths,and rituals(being the language of emotion)will have an effect on our behaviors,ranging from our buying decisions to our communication with others(Jensen1999).Furthermore,Khalid(2001:196) points out that‘the decision to buy can be momentary,so customer needs can then be created very quickly,while other needs are long established’.
Consequently,emotions and‘affect’in general,have received increasing attention over the last few years(Velásquez1998).‘Affect’being defined as the consumer’s psychological response to the semiotic content of the product.Approaches to emotions and affect can be studied at many different levels and all offer different insights.As Velásquez points out,several models have been proposed for a variety of domains and environments.Some examples that he gives include the use of emotions to create synthetic agents with lifelike qualities and personalities(Bates1994,Kline and Blumberg1999,Elliott1992, Reilly1996)systems that reason about emotions in narrative(Elliott et al.in Velásquez1998),systems that rely on emotional processing to mediate social interactions(Breazeal in Velásquez1998),and architectures that model the influences of emotions in behavior and learning(Ca?mero1997,Kitano1994, and Seif El-Naser et al.in Velásquez1998).Different approaches work best in different domains,and the decision to follow one or the other depends greatly on the specific goals and purposes of these models.
Design directed by emotional content can be regarded as the heart of current design practices,research,and education.As Paul Hekkert(2002),the chairman of the Design&Emotions Society,says:“It is no longer sufficient to design good products or services;we all want to design experiences and generate pleasurable or exciting sensations.”“…But what do we really know
about these experiences and products'ability to evoke emotions?Can affective interactions be designed and how do designers and industries deal with this new design paradigm?”The goal of this study is to reveal the semiotic nature of emotional responses in design products,as well as to explore affect programs concerning the relationship between product design and human experience.
2.Product semantics at the physical and cognitive level
Product semantics was developed and introduced by Krippendorff and Butter(1984:in Riley2001)and is defined as the study of symbolic qualities of man-made shapes,in the cognitive and social context of their use. Thus,according to this definition,product semantics is concerned with the relationship between the user and the product on one hand,and the importance that objects assume in an operational and social context on the other hand. Intentionally or not,all manufactured products make a statement through shape, form,color,texture,etc.They communicate with users and can never be contextually neutral.It is widely recognized that visualization is important when it comes to assessing the feasibility of a product in terms of appearance, functionality,production feasibility,product semantics,ergonomics and social factors(Johanson2000).Regardless of how designer use color,shape,form,and texture in designing the product,messages are being sent through products via a part of language structures that deal with meaning,called semantics.This implies that designers and ergonomists should not only know what message(s) they wish to transmit and the sort of response(s)that can be expected from the user being the receiver,but also the symbols and attributes forming that language.
A product tells us something,about itself and in certain cases also about the human being who owns it.Through its design and function,the product expresses values,whose importance individuals then interpret and value in relation to a certain social context in terms of acceptance or rejection,liking or disliking.However,the product can,through its semantic content and expression,either strengthen or weaken this role,in this way creating positive or negative perceptions,emotions,values and associations within the individual person(Wikstr?m1996).
The products that we encounter have different functions, e.g.
technical,practical and semantic.Mon?(in Wikstr?m1996)defines four semantic functions of products:
?To describe-The product gestalt describes facts(e.g.its purpose= define the task),way of use,handling.
?To express-The product gestalt expresses the product’s values and qualities.
?To signal-The product gestalt urges the user to react in a specific way,for example to be careful and to be precise in his/her work.
?To identify-The product gestalt identifies(e.g.the purpose= establish similarity),origin,nature and product area(connection with system, family,product range etc as well as the function and placement of individual parts).
The semantic functions provide the designer with the possibility to communicate a clear message through the product.This means that the designer has to make clear to him/herself what should and what should not be communicated through the product(Wikstr?m1996).
Butter(Krippendorff and Butter1984:4),who first made up the phrase product‘semantics’,claims that designers and ergonomists with an awareness of the how to use function of design can‘demystify complex technology,improve the interaction between artifacts and their users and enhance opportunities for self-expression’.According to Wikstr?m(1996),the semantic functions should make the product comprehensible.Both the whole products and its individual parts should communicate the intended message,so that the user knows how the product should be handled merely by looking at it.For example,a knurled knob says‘turn me’;a button so designed to say‘press me’;a form that invites a particular handgrip,like a jack-plane;a teapot or kettle that says‘hold me here and I’ll pour for you’;a chair that softly welcomes your relaxed posture;a shape or form that indicates‘I move in this direction’or‘I fit into that part of your body’.The user’s reaction to what something is and how this something should be handled is an effective and immediate(semantic)indication of the extent to which a product’s design is https://www.360docs.net/doc/4e7116684.html,plicated products require a manual,but simpler products ought to be self-instructing.In cases where pictures,labels,or instructions are needed for simple things,arrows or labels to differentiate push from pull;designers have failed to communicate through the
form of the object(Norman1988).
However,the requirement for comprehensibility varies with the context.In some cases,as Wikstr?m(1996)mentions,the product should even be incomprehensible to a certain user group,for example medicine bottles and medicine cabinets to children,in order to prevent them from accessing to these. In public milieus,however,information-carrying products should be self-instructing.The user group focused upon here should be able to identify the product’s purpose,be able to use it,and be motivated to use it without the need for additional information(e.g.manuals,text).Being one of the most important trends in design in the US,product semantics is an approach to developing a visual vocabulary in products in order to give them an immediately identifiable set of mainly visual clues(sometimes tactile and auditory),which become tools available to the designer to communicate through their products,helping to reflect function and underlying cultural associations(Zaccai1990).In other words,product semantics is an attempt to identify appropriate visual,tactile and auditory messages and incorporate them into product design.Understanding how people assimilate unfamiliar products is crucial to the application of semantics in Industrial Design(Griffin1999).It combines various disciplines, such as art,ergonomics,semiotics,communication,logic,philosophy,and psychology.When product semantics is properly applied,products can become more emotionally and psychologically comfortable for users,with eloquent and expressive shapes or details,allowing them to make emotional connections with otherwise impersonal objects.These become intuitive products where the user knows how it works and what it does without instructions.The two fundamental principles of Norman(1988)to assist users in constructing a mental model of the product are first,providing a good conceptual model,and second,making important features visible.
3.Products as communicators and reflectors of meaning
According to Griffin(1999),the process of interpreting and decoding the unfamiliar products’semantic content involves two different reactions.The first one based on knowledge and dependent on social and cultural background,and the second reaction being emotional.Meaning is then interpreted based on associations drawn from prior experience.Furthermore,emotions are closely
related to human psychology.If we were to look at a simple psychological definition of these factors that activate emotions,we would see that emotions are not triggered by situations or events,but by our thoughts,beliefs,values and attitudes about the situations or events.The emotional response is not an automatic response to an object,a thing,or a situation.It is an automatic response(deep inside our brain)to the thoughts that we have associated with the situation or the object.
4.‘Happiness’and pleasure in product use
Some general definitions for pleasure,‘happiness’and‘joy’may be given as follows:
?Pleasure:the agreeable emotion accompanying the expectation, acquisition,or possession of something good or desirable.Related Word bliss, felicity,happiness,and thrill.
?Happiness:a state of well-being and contentment.
?Joy:a pleasurable or satisfying experiences;the emotion evoked by well-being,success,or by the prospect of possessing what one desires.
The four different categories of pleasure in product use given by Jordan (1997)are:
1.Physio-pleasure--related to touching and holding a product.
2.Social-pleasure--related to social relationships and communication that a product enables.
3.Psycho-pleasure--gained when a product helps the user to establish a task.
4.Ideo-pleasure--related to values that a product and its use represent or support.
Satisfaction is one of the usability attributes in Nielsen’s definition(1993) and is related to how pleasant the product is to https://www.360docs.net/doc/4e7116684.html,ability and functionality are undeniably very important attributes of products but are not sufficient on their own to convey pleasure and‘happiness’to users.Positive emotions have proved to have important role e.g.in decision-making,motivation,and social interaction(DeCatanzaro1999,Isen1993,M?kel?1999)needed for task-based
activities.Functionality is more and more taken for granted in products (commodities),and users are looking for something‘more’.
5.Emotional response systems or affect programs
The emotional response systems,based on inherent psychological structures,values and processes,bear resemblance to some of the aspects in which the interactions between neural systems involving the amygdale,the hippocampus,and the prefrontal cortices have been considered to mediate emotions,such as assigning an emotional valence to different stimuli,activation of emotional behaviors,and emotional learning(Damasio1994,LeDoux1996, Panksepp1995,in Velásquez,1998).Based on work from different theorists (Ekman1992,Johnson-Laird and Oatley1992,Panksepp1998)and subsequent to a previous study on design criteria to assess good design related to award winning products(Demirbilek and Park2001),six different types of affect programs involving‘happy’feelings,joy,or evoking dreams have been identified such as follows:senses,‘fun’,‘cuteness’,familiarity,metonymy and color.
6.Conclusion and future plans
The emotional content of design is gaining more and more importance for Ergonomics and Design Science.So far,there are no direct methods for predicting,evaluating and measuring this human-product phenomenon.This paper shows that more knowledge is needed in analyzing the relationship between the basic trio:emotion,user,and product design.People’s emotional responses to products seem to vary between different generations,social groups, nationalities and cultures.The attributes that ergonomists and designers could use to enhance desired feelings and emotions in products may well be hidden in childhood socialization,when their main beliefs,values and thoughts are taking shape.This complex topic needs to be studied in a cross-disciplinary manner, involving cognitive ergonomics,psychology,product semantics,and design studies.
Further research is also required in order to determine the perceptions of ‘happiness’,‘joy’,well-being,relaxation,and related feelings and emotions in everyday environments.This research should include real users from different
backgrounds and focus on their automatic thoughts and dreams related to ‘happiness’,more precisely,pleasurable feelings/experiences.Such a study would provide useful guidance on the attributes of such emotional responses in the context of product design for designers and ergonomists.It is envisaged that the study would take the form of the combination of a survey and an interview to be completed with users.
产品设计中英文文献
中文译文 产品设计，语义和情绪反应 摘要 本文探讨了人体工程学理论与语义和情感容的设计问题。其目的是要找到以下问题的答案：如何设计产品引发人心中的幸福；怎样的产品属性能够帮助你们沟通积极的情绪，最后，如何通过产品唤起某种情绪。换言之，这是对“意义”——可以成为一个产品，旨在与用户在情感层面上进行“沟通”的调查。 1、介绍 当代生活是促进社会和技术变革的代名词。同样，产品设计通过材料技术，生产技术，信息处理技术等工序的发展而正在迅速转变。在技术方面正在发生变化的速度和规模超出任何期望。数字革命的对象是逐步转向与我们互动成更小，更聪明的黑盒子，使我们很难理解这一机制或工作方法（博尔茨2000年）。 因此，在设计时比以前不同的框架，参照社会变革，资源和能源节约，新出现的环境问题，以及客户导向的趋势（大平1995年，琼斯1997年）。因此，无论是通过广告和营销推动战略，或潮流，时尚和社会活动，从消费产品的用户的期望也已改变。功能性，吸引力，易于被使用中，可负担性，可回收性和安全性，预计所有已经存在于一个产品属性。用户希望有更多的日常用品。最近设计的趋势表明了用户对激励对象的倾向，提高他们的生活，帮助触发情绪，甚至唤起梦想（詹森1999年，阿莱西2000年）。詹森预计，梦会快到了，下面的数据为基础的社会，所谓的信息社会（1999年）。他还说，作为信息和智力正成为电脑和高科技，社会领域将放在一个人的能力还没有被自动然而新的价值：情绪。功能是越来越多的产品中理所当然的，同时用户也可以实现在寻找一个完全不同的欣赏水平。想象，神话和仪式（即情感的语言）会对我们的行为产生影响，从我们的购买决定，我们与他人（詹森1999年）的沟通。此外，哈立德（2001：196）指出这是决定购买，可瞬间的，因此客户的需求可以被创建，速度非常快，而其他需要长期建立了'。 因此，情感和'影响'一般，都收到了最后一个（Velásquez1998）几年越来越多的关注。'影响'是指消费者的心理反应产品的符号学的容。情绪和影响途径，可以研究在许多不同的层次，都提供不同的见解。正如Velásquez指出，一些模型已经被提出来的领域和多种环境。一些例子，他给包括情绪来创建逼真的品质和性格（贝茨1994年，克莱恩和布隆伯格1999年，埃利奥特1992年，赖利1996）系统合成剂，大约在叙事情感（艾略特等人在Velásquez1998年）。原因，在情绪处理系统，依靠调解社会互动（Breazeal 在Velásquez1998年），该模型和体系结构，行为和学习情绪的影响（Ca?mero1997年，
包装设计外文翻译文献
包装设计外文翻译文献(文档含中英文对照即英文原文和中文翻译)
包装对食品发展的影响 消费者对某个产品的第一印象来说包装是至关重要的，包括沟通的可取性，可接受性，健康饮食形象等。食品能够提供广泛的产品和包装组合，传达自己加工的形象感知给消费者，例如新鲜包装/准备，冷藏，冷冻，超高温无菌，消毒（灭菌），烘干产品。 食物的最重要的质量属性之一，是它的味道，其影响人类的感官知觉，即味觉和嗅觉。味道可以很大程度作退化的处理和/或扩展存储。其他质量属性，也可能受到影响，包括颜色，质地和营养成分。食品质量不仅取决于原材料，添加剂，加工和包装的方法，而且其预期的货架寿命（保质期）过程中遇到的运输和储存条件的质量。越来越多的竞争当中，食品生产商，零售商和供应商；和质量审核供应商有着显著的提高食品质量以及急剧增加包装食品的选择。这些改进也得益于严格的冷藏链中的温度控制和越来越挑剔的消费者。 保质期的一个定义是：在规定的贮存温度条件下产品保持其质量和安全性的时间。在保质期内，产品的生产企业对该产品质量符合有关标准或明示担保的质量条件负责，销售者可以放心销售这些产品，消费者可以安全使用。 保质期不是识别食物等产品是否变质的唯一标准，可能由于存放方式，环境等变化物质的过早变质。所以食物等尽量在保质期未到期就及时食用。包装产品的质量和保质期的主题是在第3章中详细讨论。
包装为消费者提供有关产品的重要信息，在许多情况下，使用的包装和/或产品，包括事实信息如重量，体积，配料，制造商的细节，营养价值，烹饪和开放的指示，除了法律准则的最小尺寸的文字和数字，有定义的各类产品。消费者寻求更详细的产品信息，同时，许多标签已经成为多语种。标签的可读性会是视觉发现的一个问题，这很可能成为一个对越来越多的老年人口越来越重要的问题。 食物的选择和包装创新的一个主要驱动力是为了方便消费者的需求。这里有许多方便的现代包装所提供的属性，这些措施包括易于接入和开放，处置和处理，产品的知名度，再密封性能，微波加热性，延长保质期等。在英国和其他发达经济体显示出生率下降和快速增长的一个相对富裕的老人人口趋势，伴随着更加苛刻的年轻消费者，他们将要求和期望改进包装的功能，如方便包开启（百货配送研究所，IGD）。 对零售商而言存在有一个高的成本，供应和服务的货架体系。没有储备足够的产品品种或及时补充库存，特别是副食品，如鲜牛奶，可能导致客户不满和流失到竞争对手的商店，这正需要保证产品供应。现代化的配送和包装系统，允许消费者在购买食品时，他们希望在他们想任何时间地点都能享用。近几年消费者的选择已在急剧扩大。例如在英国，20世纪60年代和90年代之间在一般超市的产品线的数量从2000年左右上升到超过18000人（INCPEN）。 自20世纪70年代以来，食品卫生和安全问题已成为日益重要的关注和选择食物的驱动力。媒体所关注的一系列问题，如使用化学添
产品设计外文文献及翻译
英文原文 Modern product design ---Foreign language translation original text With the growing of economices and the developing of technologies, the essential definition of Industral Design has been deepening while its extension meaning enlarging,which resulted in the transformation and renovation of some original design theories and concepts. In the new IT epoch, the contents, methodologies, concepts etc. of design have taken a great change from what they were before.However,the method of comparison and analysis is always playing a plvotal role, during the whole process of maintaining the traditional quintessence and innovating novel conceptions. 1.1 Traditional Design Traditional industrial design and product development mainly involved to three fields,vis.Art, Engineering and Marketing. The designers, who worked in the art field, always had outstanding basic art skills and visual sketching expression capacity as well as plentiful knowledge on ergonomics and aesthetics . So they could easily solve the problems of products about art . Works in the area of the project engineer with strong technical background, they used the method of logical analysis, you can design a detailed, in line with the requirements of the drawings of a total production, manufacture use. They can you good solution to the technical aspects of products. However, they often overlook the aesthetics of products that do not pay attention to fashion and cost-effective products in the market. In the field of commercial marketing staff proficient in the knowledge economy, will use marketing theory to predict customer behavior, they focus on products in the market development trends, but do not understand aesthetic and technical aspects of the problem. In a traditional industrial product design process, the three areas of general staff in their respective areas of independent work. Product engineers solve the technical problems so that products with the necessary functional and capable of producing manufactured, the product is "useful." Designers are using aesthetics,
机械设计外文翻译(中英文)
机械设计理论 机械设计是一门通过设计新产品或者改进老产品来满足人类需求的应用技术科学。它涉及工程技术的各个领域，主要研究产品的尺寸、形状和详细结构的基本构思，还要研究产品在制造、销售和使用等方面的问题。 进行各种机械设计工作的人员通常被称为设计人员或者机械设计工程师。机械设计是一项创造性的工作。设计工程师不仅在工作上要有创造性，还必须在机械制图、运动学、工程材料、材料力学和机械制造工艺学等方面具有深厚的基础知识。如前所诉，机械设计的目的是生产能够满足人类需求的产品。发明、发现和科技知识本身并不一定能给人类带来好处，只有当它们被应用在产品上才能产生效益。因而，应该认识到在一个特定的产品进行设计之前，必须先确定人们是否需要这种产品。 应当把机械设计看成是机械设计人员运用创造性的才能进行产品设计、系统分析和制定产品的制造工艺学的一个良机。掌握工程基础知识要比熟记一些数据和公式更为重要。仅仅使用数据和公式是不足以在一个好的设计中做出所需的全部决定的。另一方面，应该认真精确的进行所有运算。例如，即使将一个小数点的位置放错，也会使正确的设计变成错误的。 一个好的设计人员应该勇于提出新的想法，而且愿意承担一定的风险，当新的方法不适用时，就使用原来的方法。因此，设计人员必须要有耐心，因为所花费的时间和努力并不能保证带来成功。一个全新的设计，要求屏弃许多陈旧的，为人们所熟知的方法。由于许多人墨守成规，这样做并不是一件容易的事。一位机械设计师应该不断地探索改进现有的产品的方法，在此过程中应该认真选择原有的、经过验证的设计原理，将其与未经过验证的新观念结合起来。 新设计本身会有许多缺陷和未能预料的问题发生，只有当这些缺陷和问题被解决之后，才能体现出新产品的优越性。因此，一个性能优越的产品诞生的同时，也伴随着较高的风险。应该强调的是，如果设计本身不要求采用全新的方法，就没有必要仅仅为了变革的目的而采用新方法。 在设计的初始阶段，应该允许设计人员充分发挥创造性，不受各种约束。即使产生了许多不切实际的想法，也会在设计的早期，即绘制图纸之前被改正掉。只有这样，才不致于堵塞创新的思路。通常，要提出几套设计方案，然后加以比较。很有可能在最后选定的方案中，采用了某些未被接受的方案中的一些想法。
设计类外文翻译
贯穿绿色工程的原则 近年来,许多报纸、书籍、和会议的主题围绕出资行星上的负面影响,人类在其能力来维系生命。常,这些讨论,具体目标也应运而生,如,最大限度地减少浪费,接近可持续发展。目标语句可以提供非常有用的一个视觉所需要的实现,而且多数的这些的重要组成部分,有助于视力。然而,目标是当他们成为才生效。方法正在研制达到这些目标跨学门、工业、和部门。很明显,然而,这些方法目前既不系统也不全面。 绿色工程()着重论述如何通过科学和技术能否实现可持续发展( )。原则的绿色工程(参见页),提供了一个框架下对科学家和从事在设计新材料、产品、过程和系统,是“良性”健康和环境。一个设计基于原则行走基线工程质量和安全规格以、经济、社会因素的影响。宽的适用性的原则是重要的。当处理设计建筑,不管它是化合物分子结构要求、产品体系结构,以创造一个汽车、城市新建筑的建造一个相同的绿色工程原则必须适用、有效和适当的。否则,这些不会原则,而是一个列表的技术,已经成功地特定条件下。在这篇文章中,我们说明这些原则可以应用在一系列的鳞片。也适用于查看原则在一个复杂的、完整的体系。就像每一个参数优化系统不能在任何一个时间,特别是当他们在,也是同样的道理这些原则。有一些案例表明,协同的成功应用的一个最重要的原则提出了一个或更多的其他人。在其他情况下,一个平衡的原则将再保险——优化系统整体解决方案。然而,也有一些两个基本概念应该努力整合在每:生命周期的考虑和第一的原则的绿色工程。 生命周期和 材料和能量的生命周期阶段进入每一个每一件产品和过程有他们自己的生活周期。如果一个产品是有益于环保但是由危险废物或不可再生物质,其基本上已被转移到另一边的整体生活周期。例如,如果一个产品或过程具有高效节能甚至能源发电(例如),但生产过程中影响程度抵消任何能量的收获,没有樊笼可持续发展优势。因此应该考虑的整个生命周期,包括物料及能源的投入。生命周期的物料及能源开始采集(例如,挖掘、钻孔、收获),然后移动整个制造,分销,使用,和结束的生命。这是必须考虑所有的申请时,是需要绿色工程的原则。这一策略的选择进行了补充,更能减低我们固有的良性输入在生命周期阶段的环境影响。使产品、过程和系统更有益于环保一般情况下遵循的两个基本方法:变化的内在属性的系统或改变的情况下条件时才能被感觉到的制度。虽然可能固有的毒性,降低;一个有条件的一种化学物质,包括控制变化的,以及是否接触,有毒化学物质。者优先,原因也是多方面的,最重要的是,以避免“失败”。依靠控制系统环境,如空气净化器或废水的处理,有一个潜在的失败,这可能导致重大危险到人健康和自然系统。然而,随着更多的良性设计,无论在条件或情况下,变化的本质系统不能失败。 在这些情况下,该系统的固有属性是预先定义的,因此,它经常是很必要的,通过提高系统的变化情况和条件。虽然技术和经济因素的影响,往往可以排除通过系统设计具有更多的固有的良性、渐进性的变革在这种情况下,可以有很重大的影响,整个系统。选择一个之间的个人设计在最有益于环保和可持续的方式与设计了一个汽油发动的运动型多用途车是最能符合可持续发展。原则提供了一个绿色工程结构制造出和评估这些设计元素相关的最大限度的可持续发展。工程师可以使用这些原则为指导,以帮助确保设计的产品、过程或系统有基本的元件,条件,和被需要更稳定。 原则 虽然带来的负面影响的固有的有害物质(无论是毒理、乃至全球)可能会降到最低,这是
工业设计外文翻译
Interaction design Moggridge Bill Interaction design，Page 1-15 USA Art Press, 2008 Interaction design (IxD) is the study of devices with which a user can interact, in particular computer users. The practice typically centers on "embedding information technology into the ambient social complexities of the physical world."[1] It can also apply to other types of non-electronic products and services, and even organizations. Interaction design defines the behavior (the "interaction") of an artifact or system in response to its users. Malcolm McCullough has written, "As a consequence of pervasive computing, interaction design is poised to become one of the main liberal arts of the twenty-first century." Certain basic principles of cognitive psychology provide grounding for interaction design. These include mental models, mapping, interface metaphors, and affordances. Many of these are laid out in Donald Norman's influential book The Psychology of Everyday Things. As technologies are often overly complex for their intended target audience, interaction design aims to minimize the learning curve and to increase accuracy and efficiency of a task without diminishing usefulness. The objective is to reduce frustration and increase user productivity and satisfaction. Interaction design attempts to improve the usability and experience of the product, by first researching and understanding certain users' needs and then designing to meet and exceed them. (Figuring out who needs to use it, and how those people would like to use it.) Only by involving users who will use a product or system on a regular basis will designers be able to properly tailor and maximize usability. Involving real users, designers gain the ability to better understand user goals and experiences. (see also: User-centered design) There are also positive side effects which include enhanced system capability awareness and user ownership. It is important that the user be aware of system capabilities from an early stage so that expectations regarding functionality are both realistic and properly understood. Also, users who have been active participants in a product's development are more likely to feel a sense of ownership, thus increasing overall satisfa. Instructional design is a goal-oriented, user-centric approach to creating training and education software or written materials. Interaction design and instructional design both rely on cognitive psychology theories to focus on how users will interact with software. They both take an in-depth approach to analyzing the user's needs and goals. A needs analysis is often performed in both disciplines. Both, approach the design from the user's perspective. Both, involve gathering feedback from users, and making revisions until the product or service has been found to be effective. (Summative / formative evaluations) In many ways, instructional
工业设计产品设计中英文对照外文翻译文献
(文档含英文原文和中文翻译) 中英文翻译原文：
DESIGN and ENVIRONMENT Product design is the principal part and kernel of industrial design. Product design gives uses pleasure. A good design can bring hope and create new lifestyle to human. In spscificity,products are only outcomes of factory such as mechanical and electrical products,costume and so on.In generality,anything,whatever it is tangibile or intangible,that can be provided for a market,can be weighed with value by customers, and can satisfy a need or desire,can be entiled as products. Innovative design has come into human life. It makes product looking brand-new and brings new aesthetic feeling and attraction that are different from traditional products. Enterprose tend to renovate idea of product design because of change of consumer's lifestyle , emphasis on individuation and self-expression,market competition and requirement of individuation of product. Product design includes factors of society ,economy, techology and leterae humaniores. Tasks of product design includes styling, color, face processing and selection of material and optimization of human-machine interface. Design is a kind of thinking of lifestyle.Product and design conception can guide human lifestyle . In reverse , lifestyle also manipulates orientation and development of product from thinking layer.
产品设计翻译英文
Modern product design ---Foreign language translation original text With the growing of economices and the developing of technologies, the essential definition of Industral Design has been deepening while its extension meaning enlarging,which resulted in the transformation and renovation of some original design theories and concepts. In the new IT epoch, the contents, methodologies, concepts etc. of design have taken a great change from what they were before.However,the method of comparison and analysis is always playing a plvotal role, during the whole process of maintaining the traditional quintessence and innovating novel conceptions. 1.1 Traditional Design Traditional industrial design and product development mainly involved to three fields,vis.Art, Engineering and Marketing. The designers, who worked in the art field, always had outstanding basic art skills and visual sketching expression capacity as well as plentiful knowledge on ergonomics and aesthetics . So they could easily solve the problems of products about art . Works in the area of the project engineer with strong technical background, they used the method of logical analysis, you can design a detailed, in line with the requirements of the drawings of a total production, manufacture use. They can you good solution to the technical aspects of products. However, they often overlook the aesthetics of products that do not pay attention to fashion and cost-effective products in the market. In the field of commercial marketing staff proficient in the knowledge economy, will use marketing theory to predict customer behavior, they focus on products in the market development trends, but do not understand aesthetic and technical aspects of the problem. In a traditional industrial product design process, the three areas of general staff in their respective areas of independent work. Product engineers solve the technical problems so that products with the necessary functional and capable of producing manufactured, the product is "useful." Designers are using aesthetics, ergonomics and other subjects in the form of product design, product with a reasonable visual, tactile, and other effects, and we look forward to products "useful." The marketing staff is the product marketing and user comments, and to forecast the future market feedback to the above-mentioned two groups of designers, so that they understand product popularity, prompted designers to improve or update the design, so that users " Want to use "designed products. In this process, is often a certain area of personnel in their own fields of expertise in the work done after the exchange and other fields. Due to lack of overall management of the unified design, will be out of line and the link between the crux of the design cycle, the product can not be truly useful and attractive products. 1.2 Modern Design With the social and economic development, human standard of living continues to increase. People no longer meet the low-level way of life, the requirements of the product greatly improved as the "globalization" of the emergence of various regional
工业设计外文翻译---中国要有自己的创新之道
1.Creative China must find its ownPath 网站截图： https://www.360docs.net/doc/4e7116684.html,/baidu?word=%B9%A4%D2%B5%C9%E8%BC%C6%D3%A2%CE%C4 %CE%C4%CF%D7&tn=sogouie_1_dg 原文： Creative China must find its own Path Justin 0'Connor It is commonly said that China needs to ‘catch-up’ with `the west' or the `developed world'. This phrase implies a singular path; there may be short cuts and `late-comer advantages' but the destination一a modern, developed country一is the same. But just when it seems China is within touching distance, the `developed world' changes the definition of what it is to be `developed' and puts more obstacles in the path of those trying to catch-up. In English we call this `moving the goal-posts'. After manufacturing, services and high-technology seemed to present clear goals for China, the cultural creative industries arrive as the new `value-added' product and service sector, posing yet more problems for the country's policy-makers. Many in the West have argued that China will take a long time to catch-up in these areas and that this provides a new source of competitive advantage to the West. Indeed, for some, the absence of a competitive cultural creative industries sector is evidence that China is not, and maybe can never be, fully `developed'. Much of this can be dismissed as another example of the West's superiority complex; however, there can be no doubt that the cultural creative industries present great possibilities but also great challenges for China. These industries一from visual and performing arts, to recorded music, film and TV, to digital animation and new media services, through to fashion, design and architecture一are highly creative and innovative products and services, relying on complex flows of knowledge and intellectual property. They are also cultural or symbolic products that reflect and influence our pleasures and ambitions, and our individual and collective sense of meaning and identity. For these reasons all nations have sought to protect and develop their own national culture and traditions by investing in cultural infrastructure and expertise. In the second half of the twentieth century this was expanded beyond `the arts，一galleries,
工业设计英文文献
industrial design design of products made by large-scale industry for mass distribution. Designing such products means, first, planning their structure, operation, and appearance and then planning these to fit efficient production, distribution, and selling procedures. Clearly, appearance is but one factor in such a complex process. Nevertheless, in consumer goods especially, appearance design is widely accepted as the principal virtue of industrial design; it is that portion of the whole least subject to rational analysis and, like craft secrets of the past, most advantageous in commercial competition. On the other hand, design of equipment for production, for services, and for sports is expected to demonstrate utility; but in these products, too, appearance design is increasingly important. Industrial design is supplied to manufacturers by three kinds of designers: staff designers, fully employed by one firm; designers under contract, who may serve several clients simultaneously, generally avoiding conflicts of interest; and free-lancers, who sell designs, often with royalty agreements, to the best-paying manufacturer. The first industrial designer recognized as such worked under admirable conditions: Peter Behrens (1868–1940) in 1907 was hired by the Allgemeine Elektrizit?ts-Gesellschaft in Germany to be their architect, industrial designer, and graphic designer—in fact, to give unified visible character to the numerous activities of a giant enterprise. Behrens had other clients and professional duties besides. A member of the architectural profession, Behrens applied its standards and ethics to his work as industrial designer, founding in 1907, with others, an important association of designers and businessmen, the Deutscher Werkbund. As a direct result, a number of these German and Swiss associations became well-established professional organizations of industrial designers. In the United States and Great Britain industrial designers initiated legally recognized professional associations, with codes of conduct, educational standards, etc. In London the Royal Society of Arts designates qualifying practitioners as Royal Designers for Industry; in the United States the Industrial Designers Society of America grants memberships only to those subscribing to codes and limitations of practice. In Britain the Council of Industrial Design was established in 1944 to advise on design, recommend designers, and provide courses in design appreciation for trade and exhibitions for the public. The International Council of Societies of Industrial Design was founded in London in 1957, and within 25 years it had members in more than 40 countries. Industrial design has evolved no unified style, even for industries in which handwork is minimized. There have been, however, four significant style trends. The first of these is an emphasis on impersonality that Behrens was the first to establish. Design for industry, whether determined by an individual or by a group, shows a certain neutrality of expression. Impersonality has, on the one hand, been acclaimed as a natural aspect of mass production and marketing, of average taste in a democratic community; on the other hand, it has been criticized as submission to the machine, contradictory to free, individual expression. The style has, so far, persisted. A second trend in industrial design is packaging, such that the designer provides a protective case for a product, leaving the inner workings to engineers. Complicated mechanical and electronic