Showing 2 results for User Interaction
Mohammad Salimian Rizi, Farzaneh Paknejad, Rasoul Salimian Rizi, Nasser Koleini Mamaghani,
Volume 32, Issue 1 (1-2022)
Abstract
Designers can use the story, as a common language, to improve the packaging of cultural artifacts. Knife packaging, as one of the most important handicrafts of Zanjan province, can be a factor in supplying and selling this product in domestic and foreign markets. The main objectives of this research were to provide a design process for designing products related to emotions. To this end, a collection of stories related to this product was extracted; 30 users were surveyed and questioned as a sample. This study uses a descriptive-analytical method. In the descriptive part we have studied the storytelling method in the design process and in the analytical section we offered a checklist of stories and proverbs and examined them. Finally, the best story was chosen, and the knife was designed using the principles of storyboarding and scenario planning and considering the story-based packaging designed by principles. After taking time to make sure that the questionnaire was fully understood by the user and conducting the survey, the data were extracted, and statistical analysis was performed. The feedback of the users was reviewed and according to the results, it can be found out that the principles of the story in Zanjan knife packaging design have a significant effect on the interaction and emotions of users.
Nasser Koleini Mamaghani, Parisa Izadpanah, Mahdiyeh Jafarnezhad Shahri,
Volume 34, Issue 2 (4-2024)
Abstract
In today's global market, products that meet users' emotional needs are more likely to succeed. Emotional design involves designers incorporating affective thought and user emotions to create a strong emotional connection between the user and the product. Culture plays a significant role in emotional design and user interaction. This study focuses on redesigning dinnerware based on Iran's tradition and cultural heritage. From the viewpoint of design parameters, five historical pottery periods, namely the Samanid, Seljuq, Ilkhanid, Timurid, and Safavid periods, were analyzed, and results were collected. A cultural design model was then created using Kano's questionnaire, which was distributed to thirty participants, both male and female, who were presented with questions related to the redesign of dinnerware. Kano's questionnaire included 16 questions about glazes, colors, patterns, and some of the design ideas used in the vessels from each historical period. A graphical image representing the outstanding pottery of each era was prepared and shown to participants. The results were analyzed using statistical approaches, revealing the cultural-emotional needs of users when interacting with the product. The results indicate a higher preference among Iranian users for ceramic features from the Timurid period. Additionally, the findings suggest that incorporating Sasanian patterns and simple arabesques into the vessels will better attract Iranian users. This approach helps create a more effective and engaging product for users.
