Running head: ART AND DESIGN 1

ART AND DESIGN

[Author Name(s), First M. Last, Omit Titles and Degrees]

[Institutional Affiliation(s)]
ART AND DESIGN 2

Table of Contents

Introduction..........................................................................................................................3

Importance of Art design.....................................................................................................3

Example of Art Design........................................................................................................3

Difference between art and designs.....................................................................................4

Questions.............................................................................................................................4

Literature Review................................................................................................................5

Design and art are based on ideas, events............................................................................7

Arts And Society..................................................................................................................8

Incorporated The Concept, The Idea And Language...........................................................9

Aesthetic And Social Phenomena........................................................................................9

New Technological Supports.............................................................................................10

Art is deeply linked to the student as a comprehensive and creative medium..................10

What could be the contributions that Art offers from the perspective of modern times?..13

Method...............................................................................................................................16

Art and Culture as individual expression and collective need of a society.......................17

Difference between arts and design...................................................................................18

Design has an element of taste, but the difference between good and bad design is

largely a matter of opinion ........................................................................................................19

Conclusion.........................................................................................................................20
ART AND DESIGN 3

Introduction

My topic of interest in art and design. The design tries to find solutions to problems and therefore

always aims for a specific result. Art, on the other hand, has no specific objective. It is described as an

independent act of freedom, which often raises questions and creates space for debates and discussions.In

my opinion, art and design is not only an expression of the author's own emotions but also creating a new

kind of lifestyle through being creative. Art and design are a wide field therefore narrowing it down to the

design of consumer products will allow me to research the area well.

Importance of Art design

The importance of art design is that it helps people get a variety of more valuables and also

improves the quality of people’s lives in different forms. Designers thrive well when they have a working

concept and allow them to shape their ideas by focusing on their creative energy. It makes life more

simple, comfortable, natural, and efficient. Thus, art and design is an essential thing in humanity.

Example of Art Design

A good example of art and design is presented by steve jobs; the apple company changed the

design of its products to unique ones. The outstanding art design in Apple attracted more consumers thus

increasing sales revenues and profits of the company. The rationale behind changing the Apple art design

by Jobs was to change the world, to serve the consumers, to use disruptive technology, pioneering design

activities as well as to achieve this goal. Right art design products can change or touch the world in

different ways. Secondly, the characteristics of art design are scientific and reasonable.

Art and design lead to a competitive industry meaning if one has the skills, they cannot lack a job

opportunity. Job areas for Art and design include: being an artist, fashion designer, graphic designer,

museum curator, community worker, etc. It all depends on the field of specialization. Art and design is a

discipline that requires strong teamwork to come out with perfect work. Art designers should have not

only the talent of art design but also have the spirit of cooperation and the ability to plan the whole
ART AND DESIGN 4

process reasonably. A good art designer should be able to plan him/herself well and think in a creative

way.

Difference between art and designs

I come to know that there is differentiate between art and designs. Art is personal, it is human

expression in which the feelings of an individual or a group of them. There is a very fine line between Art

and Design, but it must be quite clear that neither can ever be the other thing or become such at the same

time. I think that if an artistic work were to become a design and vice versa, then we are talking about

finding a particular function to the object (I understand by object anything conceived and made by man).

Artists and designers all create visual compositions using a common knowledge base, but their

reasons for doing so are quite different.The thin line maybe because visual objects (in the absence of a

word that is in the middle of art and design) "behave" in an interesting way through the years (Laurel, &

Mountford, 1990). Perhaps this happens more often with purely visual pieces; perhaps today a

promotional designed for a political campaign is considered absolutely design because it has a very clear

purpose, function, and communicative objectives; and it may be that within a few decades it is considered

a work of art, by the production methodologies of the time? Why the techniques? we have before us a

phenomenon that from my humble knowledge and perspective evolves in a non-linear way, like a diffuse

cloud of possibilities.

Questions

My research will seek to answer the following questions:

• How life arts culture, civilization, and arts can influence our values?

• What is the importance of art and design in our economy, culture, and society?

• What is the difference between art and design?

• To what extent does excellent art or good design inspire people?

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Literature Review

The literature review will help us to understand more about the importance of the arts and design in

our culture. First, we will examine the importance of arts and design in our economy, culture, and society.

It is not enough to think about the association between social structures, society, social systems, social

institutions, and so on one side while everyday life activities on the other side. It is difficult that human

society exists without people having certain values, ideas, beliefs, ways of thinking, and norms. The

importance of design in today's society is that the social life that is communicated through the image,

everything around us is an image from the billboard of a movie to release until an advertising logo of an

important company. The current design creates visual communication, transforms the common

environment from letters to an icon. Even the design that may seem simpler, can represent a whole

subculture to surroundings.

Art is a God gifted talent for all some people. The importance of design in today's society lies in

being able to communicate ideas through the image, color, and all techniques known as design theory.

Design not only sells, good design knows how to sell and especially how to communicate and implant as

part of society. We can say it in another way that every society requires and runs on the basis of

“Culture”.

The book culture and everyday life by David Ingis talk about how culture in its various expressions

impacts on everyday life. The book discussed cultural definitions in detail. for instance, in the early

1950s, the American anthropologists Alfred Kroeber and Clyde Kluckhohn had reviewed all of the

diverse definitions of culture. They observe that cultural definitions have a close conceptual relation with

civilization. They find almost 163 definitions of culture. Similarly, Raymond Williams (1976), wrote in a

well-known paper that culture is one of the most complex words in the English language because there

are different meanings for it in every different region of the world. A lot of meaning have been muted

over time. However, the main central idea of culture that is predominant in the present day appeared to be

a) High culture refers to words like civilizations and arts;

b) Cultural products and objects refer to films, TV shows, and books;

ART AND DESIGN 6

c) Personal Refinement refers to a person who is a cultured person;

d) Working-class culture or Japanese culture refers to a given group of people.

This meaning involves defining the word culture as the way of believing, feeling, thinking, acting and

thinking “characteristics” of a particular group of people that cannot be the same for another group.

Therefore, culture can be referred to as either popular culture or high culture. It comprises patterns of

ideas beliefs and values common to a particular group of people their characteristic way of thinking and

feeling.

The Book “Emotional Design” by Donald Arthur Norman reflects on the three styles of arts and

design based on different dimensions. The research will seek to expound on the emotion in the design of

critical status and role. It will profoundly analyze how emotional effects can be incorporated into the

design of products; solve the problem of long plagued design staff - availability of the item, and the

contradiction between the visual appearance. With the development of science and technology,

consumers and manufacturers put forward higher requirements for products to meet people's

psychological needs. With the improvement of people's consumption demand and market competition

increasingly fiercely, humans perceive mental demand got unprecedented attention.

However, people no longer meet material needs they are more inclined on how the products look. It

is a form of the interactive open economy at the same time, the main emphasis on the unique aesthetic

experience of the business activities to consumers. Emotional design is a creative tool that expresses and

realizes designers' ideas and design goals. With the development of time, this innovative tool will

become increasingly sharp. Man is a visual animal, and the observation and understanding of form are

instinctive. If a visual design is more intuitive, it is more likely to be accepted and liked.

The Design of Everyday Objects, there are given many examples to help designers improve their

products. However, in Emotional Design you just describe the emotions that certain products can

produce and describe the factors involved in the process (Ettedgui, 1999). Some designers have missed a

more didactic approach in your latest book. Where should we look for designers to find the

methodological keys that lead us to make a good emotional design?

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Campbell's label by Andy Warhol explains the creativity, both parties require this same ingredient. If

we change angles, we can enter many conflicts. This is where my understanding to differentiate between

design and art comes into play: What differentiates them from each other is a function, perspective, and

intention. But why differentiate them? Because it is necessary to be very clear to us designers that

although some have the power to make art, what we do in design is simply to solve problems.

Perhaps a more direct sentence is:

 Art is subjective, while Design is objective.

 Design directs and Art suggests

They direct and suggest emotions, behaviors, feelings, attitudes, ideas, thoughts ... what is

indisputable, is that the power of the images in both cases is very large and that is why I believe that both

an activity and the other entail a certain degree of responsibility

Knowing different disciplines enriches us as people, broadens our map of the world (Richard

Bandler tells us that the map is not the territory, but it is an approximation ), our consciousness is

widened to capture even more with the senses; in this way, the combination of the torrent of perceptions

gives us new possibilities to imagine, new experiences, new tools. Nowadays it costs more and more

work to do something totally innovative.

Design and art are based on ideas, events

Design and art are based on ideas, events. Today we can know what a person on the other side of the

planet thinks directly through their words instantaneously, with a completely different culture from ours,

and be inspired to create from this same. We can visualize museums in a virtual way that are hundreds of

kilometers away, "at least". The mutual feedback between virtually any activity with a constructive and

progressive purpose is extremely enriching. It then becomes like a tool belt that helps us in solving

different problems. "We cannot efficiently tighten a screw with a hammer. It is not even possible! Right?

Nor can we drive it with a screwdriver."

ART AND DESIGN 8

Designers (in fact this applies to all people) must be attentive to what happens around us; as sentient

beings that we are, in terms of perception, observing becomes an activity of utmost importance. Observe

not only with the eyes but take advantage of each of the senses we have; With this, we accumulate

references, experiences that yield valuable information before doing anything. Art in all its forms is a

source of experiences and inspiration for a designer because practically every day we face the power of

it: architecture, sculpture, music, dance, painting, literature ... today we could add to cinema,

photography, and perhaps many other disciplines since in our time it has become complex to define what

is an art and what is not (Shannon, 1997).

Arts And Society

Art links to society after it perceives examines and concepts for its languages that demonstrate it in

its applicable constitutive features, joining practical needs in this assignment: style, the objectivity of use,

amalgamable dealings by inhabited space, and connected to those who they inhabit it. In sum, the artist's

works has built supportive and individual cosmogony that above time, evidence and cultural choices

have transposed into imaginative works. The relationship between art and culture is given from the start

of life. The environment, containers of being endow art with significances, however also build structures,

tools, and actions that are established as pertinent for the individual groups represent in the similar

means, human beings in public, make a belonging and representativities.

Culture by these problems and circulations of parts, which often control gender, builds types of

depiction through history, presenting us its development making it possible to perceive the individualities

that reside geographies, manipulating aesthetics and other indicators that today, more artificial, continue

through a great mystical charge, in special and cooperative individualities. Corporality welcomes and

displaces these identities, the need to differentiate arises in the groups, almost without exclusion, for

which significant symbols, colors, designs, and ornaments play a relevant role. In pertinent cases they

keep a deep connection by the environment they tend to reunify with the environment that surrounds

them.This process originates a part of cultural identity, which would be constituted by a more complex

development of existence, philosophical and psychological approaches, even the ones that folklore would
ART AND DESIGN 9

consign in a more anecdotal way, adding elements that combine the real with the unreal. This conjugated

look (the real and the unreal) is what Marc Chagall's work does in part, a contribution to the reading of

contemporary art when he integrates peasant stories from his native village to pictorial creation.

Incorporated The Concept, The Idea And Language

The artist has incorporated the concept, the idea, the story, (which have been kept in the language

and has been distributed with it) to his work, using materials and supports that have been used for

centuries, that is, the contribution would lie in how the artist has translated this language-narrative by

constructing it from his knowledge and articulation of compositional elements that he has considered

pertinent, to a chromatically singular two-dimensional plastic with a surreal, dream or playful reading

with forms that belong to the world of the real but inhabiting the playful. This proposal in an

environment that observed Art as a photograph of the real and of the real, usually the most conservative,

came to establish that society and Art carries, transfers, adds and integrates all existences, even the most

stigmatized. for what is official and politically correct, demanding that society be able to observe in Art

production an attitude that discerns on how significant phenomena do not become productive modes with

clearly economic and consumption ends, in this regard posture of the student movements of the sixties

and later, of the seventies and eighties, have ended in fashions, evolving into an eclectic aesthetic that

does not speak or maintain the original idea, conversely, breaks it down into a visual apparatus.

Aesthetic And Social Phenomena

The analytical capacity of these aesthetic and social phenomena will reverse cartoonist-decorator's

reductionist attitude. It is the society that builds physical spaces where it establishes habitability,

recreation, leisure, health, and work, among others. Art provides the opportunity to investigate these

spatialities in order to recognize what is happening with the human groups that live there. In this

exercise, the relevance of Art is observed not only in the creative field, to which the teaching of

traditional Art directs almost all its efforts but as a dialogue with the real, the daily and the functional.

Permanent habitability is characterized by the use of objects for purposes and occasions.Recognizing
ART AND DESIGN 10

them as part of the cultural heritage, influence, and needs to develop the criteria regarding their quantity

and real need. In the same way, some representative forms of those who manipulate them, in this sense

the aesthetic analysis come in providing us with the necessary compositional rules for objectivity and

room that maintains a unit and retains, if appropriate, links with the original antecedent ( ethnic,

emigrant), becoming a vitalized place and shelter of history and events relevant to those who inhabit it.

New Technological Supports

The new technological supports (TICS) are new creative possibilities. Art brings people closer to

these media from the critical and open perspective offered by questioning the pragmatism of a single-use,

a single possibility. Such acknowledgments will facilitate future members and social actors to better

access all kinds of information sources with the possibility of knowing that they harbor Art. In the

information society, students are usually found as passive recipients, the possibilities of response are less

when the technological tools are unknown and, even more, when the answers lack originality, however, it

should not be ignored that On the other hand, the creation of multimedia messages facilitates collective

work. The educational process, due to its procedural nature, facilitates reaching this place, in a dynamic,

transversal and experimental way, despite this, it is observed how the establishments have not yet

generated a culture in this regard, despite the same interests raised by the students, continuing a school

education that is rather related to the enlightened and behavioral approach of the 19th century.

Art is deeply linked to the student as a comprehensive and creative medium

Art is deeply linked to the student as a comprehensive and creative medium, and in the same way, it

brings them closer to the understanding of the society in a sensitive, transformative, innovative and

critical way, which enhances other areas of knowledge and develops sensitive aspects of their personality.

determining a vision of the world as Art. However, it must be recognized that the school is the socializing

space par excellence, ensuring selective learning that tends to the growth and subsequent social insertion

of the individual. Attention has focused then, on the student individual and the guiding construct, school,

which presents an open and transversal guide, of participation and collaboration.What can Art in general,
ART AND DESIGN 11

and Visual Arts in particular, do to increase the quality of individual and social life? How does it

contribute to existence?

The relevance of Art as a school discipline is given by the contribution it makes when opening new

spaces, revitalizing existence in a society that tends towards uniformity. The creative act adds new

possibilities, in the eyes of Eisner (1998): If Art is something, it is a personal satisfaction that is

appreciated without anyone else. In a social request, which will in general urge individuals to treat

objects and others not as instruments, the Arts cause to notice the non-instrumental parts of life. Crafted

by visual workmanship is an approach to investigate outwardly, the rhythms of the work, its shape, its

condition, it is shading, make it advance in a subjective way. The stylish experience is a procedure that

rises up out of Art itself. Not at all like such a significant number of different sorts of human exercises,

the experience that comprises Art doesn't start when the examination has completed; it isn't something

that is toward the finish of an excursion, it is a piece of the excursion itself (Eisner, 1998: 255).

According to the various phases of auxiliary training in Chile in the forte of Visual Arts. To be

specific, when the creator decides to "investigate outwardly", this discernment, isn't just possible to

contain in the perception of the work yet observed as a thought, it elevates the capacity to comprehend

being and possess a spot. It very well may be related with the principal level of auxiliary instruction,

(Art, nature, and creation), where "investigating and enrolling, acknowledging, developing and

communicating thoughts" are a major piece of the substance identified with the earth, similarly, advance

consideration and duty towards it. Art comes to deepen the possibilities of understanding the society that

the student inhabits from an environmentally friendly perspective.

At the second level (Art, person, and society), the idea that Art emerges from their own experience,

makes it possible to recognize themselves as gender (feminine and masculine), and these throughout

history, later, in functions and Actions; then, how human beings have given themselves various points of

encounter and disagreement.

The analysis of works, their creation, and research, make it possible to learn from history by

recognizing that these human events, rites, and meetings are a result of wills, coincidences, and
ART AND DESIGN 12

disagreements that involve society on various scales of participation and responsibility. Thus, collective

and personal identities are reaffirmed. Art values the contributions that life makes in society, making this

practice an inclusive situation due to the importance it gives to specific groups. Eisner (1998), in his

lucid perception of Art, facilitates the arrival at the third level of secondary education (Art, environment,

and everyday life). At this stage, he understands the youth universe and its characteristics, such as

valuing and reflecting on artistic processes and products.

The endless journey that Eisner proposes is found concatenated with society and people. By

observing the 20th century we can clearly see that youths have manifested, found, and developed various

expressive modalities intervening in the medial and social world. Art, and specifically architecture,

grants a vision of a society, even though these constructs are not important and only reflect factual groups

of reduced interest. The experience of recognizing this phenomenon will enable the construction of

spaces that contain a diverse and transcendent view based on collective perception.

In the fourth level, Eisner (1998) brings us closer to the last stage of secondary education: Art,

culture and technology, due to the connection with various languages, especially contemporary ones,

characterized by a strong technological load, causing a fundamental relationship in the areas human

relations such as work, family and social. Among other aspects, it takes into account the fragility caused

by the lack of communication and exchange. In other words, enjoying the creative process as an

achievement, which produces a qualitative reward in the process and development of life with others,

with others. Despite the previous arguments, Eisner (1998), with the same lucidity, stirs us ...

“In a time when the need for sensitive people has never been greater, it is paradoxical that so little

attention is paid to developing sensitivity in schools. But it could be speculated that, to the extent that

men are calloused with each other and against the environment in which they live, the probability of

increasing the quality of life is undoubtedly small. It would be an exaggeration to say that education in

the Arts is enough; however, without it, the prospects seem bleak ”(p. 257)
ART AND DESIGN 13

What could be the contributions that Art offers from the perspective of modern times?

The experience of Art is transversal because, like existence, it does not have a certain beginning or

end, from the theoretical as well as from the aesthetic postulate, it is a journey, and this journey is the

most important thing than the need to reach a certain result. due to diverse demands, in the words of

Eisner (1998), “Thus, an important contribution of the Arts to contemporary society is to serve both as

experience and as a reminder that life should not be considered as a series of means to achieve the

desired end. Art reminds us that the act of intensely observing, of opening sensitivity to the environment,

produces a qualitative reward in the process of living ”( Eisner, 1998 pp. 255 and 256). From the above,

it follows that Art, to a great extent, builds living and inhabiting a place. The experience of Art and those

who relate to it and, even more, those who recognize it in their daily actions, establish more quickly the

areas of selection and the specific. Eisner (1998) proposes that the Arts give men the possibility to start,

continue and conclude what they start, whoever does it identifies and takes responsibility for it, that is,

man becomes homo faber again. It promotes the ability to appreciate or develop a microcosmic vision; It

moves away from the monumental, it approaches the internal aspects of life in society and personal that,

by the way, have a relationship with the collective, from its acceptance and rejection. The human scale,

according to Eisner (1998) "allows us to make sense of the world". Art provides, as we have seen, sense,

and also sensitivity.

What are the demands of what it means to work with Art? Some of them are: "perfection, selection

and organization of qualities" they must be developed to achieve a sensitivity towards the phenomena

with which they are faced. Therefore, work in Arts places special demands on those who do it ”( Eisner,

1998 p. 257). This explains, to a large extent, that the 20th century is an explosion of trends and schools

that have been able to read its history. In socio-critical views (German expressionism), the new

technological possibilities (futurism), the rejection of the materiality and visual language of neoclassical

conservatism, the internal world of the human being (surrealism), existentialist phenomena (abstraction
ART AND DESIGN 14

and conceptualism), the criticism of consumerism (pop art), life as a work of art and its relationship with

the depersonalization generated by meta-communication (multimedia installations).

These proposals also confirm the documentary nature of the Arts. Is it perhaps this character that

annoys the technocratic criteria of education? Or the possibility that Art offers students and society to

freely recognize themselves? Some of the results of this ignorance or denial of the Arts and their natural

meaning for life in society, it is feasible to observe it already at the beginning of the different stages of

education and, later, in the future life in society.In Eisner's voice, "When a social order ... assigns values

to so-called cognitive fields to the detriment of the Arts, the ability to respond to the subtle dimensions of

qualitative life probably will not develop in young people" ( Eisner, 1998 pp. 1998, p. 257).

Regarding the above, Dewey (1998), points out that "social effectiveness" implies the enjoyment of

common activities. He argues that this is impossible without culture. Along the same lines, Eisner (1998)

clarifies that: “you cannot participate in the exchange with others without learning, without obtaining a

broader point of view and without perceiving things that would otherwise be ignored. And there is,

perhaps, no better definition of culture than to consider it as the ability to constantly expand the range of

action and the precision of one's perception of meanings.

The importance of valuing Art in education as an antecedent or way of understanding and relating to

society has its origin in precisely the opposite: consumerism (supposed key to well-being), job stability,

and education as a way towards the aforementioned key. Having established some relationships that have

duality, "Art and Society", it is important to expose in a more concrete way what makes the teaching of

Art lose more and more ground and, in the best of cases, it is seen as a recreational act-therapeutic by

many students and parents. When the student is seen as an adult, without the possibility of modification,

it is transformed into a suffocating perception, so that pretending to be sensitive is almost impossible.

Markusen, & Gadwa, (2010), comments on the human being and his role in society, points out that

this "educational orientation" provides an ideology of the submission and homogenization of education,

where the storage of information is promoted, parcelling out the act itself, points out that "it is a
ART AND DESIGN 15

pedagogy consistent with a society that forces one to divide one's personality, fostering a lack of personal

projection in what is done and in social relations" (Markusen, & Gadwa, 2010, p. 163).

As Markusen, & Gadwa, 2010 point out, pedagogy by objectives, contrary to the spirit that animates

the Arts and its relationship with society, promotes homogenization. What would Art be in this situation

permanently? In this sense, the contents that are they teach are outside of personal and social experience

” (Markusen, & Gadwa, 2010, p. 163). Even, the knowledge acquires a utilitarian character, almost

verification and its importance is based on the acquisition of skills, far from models of thought, which

“help man to understand himself and the world around him. The utility within the efficient model is a

behavioral and material performance. It has been seen that despite the deep links between art and society,

today it is evident how the curriculum in an aggressive way transports the human being to a role,

eliminating all his creative, sensitive and transformative possibilities, worse still this attitude is clearer

for the sectors to which the unequal distribution of income hits more clearly.

Today it has become easier to do "small works" that are only limited by our imagination and the

skills we have. Does it sound similar to something already known? We also call that art, right? Nowadays

it has become every day to find art exhibitions that combine science and technology as well as other

disciplines. The art design of the Coca-Cola bottle cap is an excellent example of emotional design. Coca

Cola provides a variety of bottle caps with different functions for people for free. Only by twisting on the

old coke bottle, the bottle can be made versatile. It can be turned into a water gun, brush, lamp, pen

sharpener, and other vital tools, giving the bottle a second life. This kind of functionality and fun also

makes the Coca-Cola brand image more deeply rooted in people's hearts. The real value of the product is

to meet people's emotional needs.

The most important one is to establish their self-image and their status in society. Love occurs when

the exceptional quality of an object makes it part of our daily life when it deepens our satisfaction. Real

design is meant to impress, convey emotion, evoke memories, and surprise. Only by establishing an

emotional bond between products, services, and users and influencing self-image, satisfaction, and
ART AND DESIGN 16

memory through interaction, the brand can be recognized and loyalty is cultivated. The brand becomes

the representative or carrier of emotion.

Method

There are two ways I will use to answer my research questions. The first is to conduct a

questionnaire survey on consumers of different groups, which will be done on the basis of product

satisfaction and historical purchase record. Art and design not only focuses on the design concept of

products but also need to cater for the image of enterprises and the psychological feelings of consumers

from product packaging to advertising. The emotional design mentioned above demonstrates this point of

view. The second is a literature review to show the previous successful case studies, such as the case of

the Coca-Cola Company mentioned before. We can get useful information from these case studies.

Emotional design can determine consumers' consumption intentions.

By measuring the different emotional responses regarding objects (and their parts), more effective

designs can be achieved, more satisfactory for their users. The car manufacturer Mazda opted from the

beginning for this approach. He hired Nagamachi and his team to lead the MX5 design. They studied

everything, from the radius of the curves to the sound of the doors closing and ended up designing the

bestselling sports car in the world. Pat Jordan, a former Philips design director, spent many years studying

how usability could help improve the design. Over the years, he came to a very revealing conclusion: "the

traditional approach to usability is dehumanizing." How do you reach such a conclusion? Usability seeks

to adapt objects and systems to users, to make them more human. However, from the beginning, it has

only taken into account the cognitive aspects, leaving aside the emotional ones. That is, it has only been

fixed on what happens in the left hemisphere, ignoring the right. Human beings are the reason, but also

emotion. For Jordan, any design that only considers one of the two facets is dehumanizing, since it does

not consider people as a whole.

Some design researchers have dedicated themselves to providing the necessary methods for

designers to make an emotional design in a rigorous way. Pieter Desmet has devised PrEmo, a software

tool used to evaluate the type and intensity of emotions generated in real users. Marco van Hout
ART AND DESIGN 17

published, a few months ago, a protocol for interaction designers to incorporate emotional design through

simple but rigorous exercises. Those who seek a synthesis of all these works should look at Donald

Norman, the great disseminator of usability. Norman has dedicated almost his entire career to evangelize

about the importance of usability in design. With very entertaining prose, he has written about the

psychology of objects and the factors that make them more or less intuitive. Just now that he has a legion

of blind followers who cheer for the cry of "usability, usability," he has been surprised by his latest

proclamation: attractive things work better.

Art and Culture as an individual expression and collective need of a society

Art and Culture as individual expression and collective need of society and of those who constitute

it. The act of artistic creation has been, as we have seen, a necessity for man to preserve life in ancient

times; But in the 21st century, where we don't need to hunt to survive, it has been for the maintenance of

good mental health, among other things. It is then that art and culture appear as a possible means of

dealing with the stress and sedentary lifestyle of modern life. A work of art, or a classical symphony, or a

play, or an architectural work, or a novel of world literature that at first glance seems to have no message,

will suddenly wrest the viewer from his reality, make him forget of himself and will introduce him

completely to a new world, a world that was first in the imagination of the painter, of the composer, of the

writer, of the architect, and will free him from his worries for some time, after which he will return with

new vigor and energy recharged to your daily life. An architect who designs a house for his client hopes

to make him a better social being, qualitatively improving the conditions in which he lives, so that he

faces life in a more positive way. Fine arts should then be considered not as a luxury, but as a social and

individual need within any community, just as much as shelter, food and security.

Norman goes on to explain how the process by which we hate or desire objects conforms to three

cognitive functions: visceral, conductive and reflexive. Our visceral response to objects is the first

instinctive reaction we show. For example, the new BMW Mini produces a positive first impression on

people. The cognitive response is the one produced by the pleasure of using an object efficiently. When

we verify that the Mini drives easily, our brain generates a cognitive response. Finally, the reflexive
ART AND DESIGN 18

responses are those that occur in the long term. They are the sensations and evocations that can arouse the

use of certain objects: pride when the object denotes social status, nostalgia when it reminds us of past

times, etc. In this book, Norman surprises the reader with a lot of very recognizable and funny examples

of what he is telling us. Highly recommended for anyone interested in the psychology behind the design.

A breath of fresh air after so many years of functional boredom.

For example, will you need to obtain informed consent? How will you accomplish this?

In the process of artistic design, problems may arise due to the lack of considerations. The rights of

respondents who will be answering questionnaires will not be undermined and their safety will be given a

priority. The respondents will also be given enough respect and privacy protected. I will also ensure there

is honesty with my research participants. With the continuous development of economy, profound social

changes in all aspects, the same is true for art, Therefore, in the process of product design, we should

make timely corresponding changes to products according to the characteristics to avoid problems in the

long run. My study will seek permission from the relevant authorities to ensure I conduct the research in a

free manner.

Difference between arts and design

Artists make the art of sharing this sense of others, to permit observers to refer to it, learn from it,

or be motivated by it. The furthermost famous (and successful) works of art nowadays are those that

create this strong expressive bond among the artiste and his audience. Instead, when a designer plans to

make an innovative composition, he almost always has a stable starting opinion, be it communication, an

image, knowledge, or an act. The designer's job is not to create somewhat new, however, to communicate

somewhat that already happens, for a specific purpose. This goal is almost always to inspire the public to

do somewhat: buy an item, use a facility, visit a site, learn particular information. The most positive

designs are those that communicate their message most efficiently and motivate their consumers to do

something about it.

ART AND DESIGN 19

Art unites people in diverse ways because it is interpreted in a different way .

Da Vinci's Mona Lisa has been interpreted in various ways and has been the subject of discussion

for many years. Let us ask ourselves a simple question, why was she smiling? Researchers state it is a

dream made by your fringe vision. Sentimental people say she is infatuated. Cynics states there is no

explanation. None of them isn't right. The configuration is the exact inverse. Many will say that if a plan

can be "deciphered", it has flopped in its objective. The key target of the configuration is to convey a

message and persuade the spectator to accomplish something.

The design has an element of taste, but the difference between good and bad design is largely a

matter of opinion

A simple design can generally be effective without being exactly as you would prefer. On the off

chance that it achieves its objective of being comprehended, and inspires individuals to make the best

choice, at that point whether it is acceptable or not involves a conclusion. A craftsman has a characteristic

capacity. Obviously, since the beginning, the craftsman develops by drawing, painting, chiseling and

building up his capacities. In any case, the genuine estimation of a craftsman is in the ability (or normal

capacity) with which he was conceived. There is some cover here: great craftsmen positively have the

aptitude, yet aesthetic expertise without ability is, point of fact, useless. Plan, notwithstanding, is actually

an aptitude that is educated and learned.

Numerous creators view themselves as specialists since they make something outwardly

engaging, something they would be glad to see individuals hold tight a divider and appreciate. In any

case, a visual structure planned to achieve a particular errand or to convey a specific message, regardless

of how excellent, isn't craftsmanship. It is a type of correspondence, basically a window on the message it

contains. Barely any specialists view themselves as fashioners since they appear to comprehend the

distinction better. Craftsmen don't make their work to sell an item or to advance assistance. They just
ART AND DESIGN 20

make it as a method for self-articulation, so it tends to be seen and increased in value by others. The

message, in the event that we can consider it that, isn't a reality yet an inclination.

Art pattern is identified with feelings from numerous points of view: now and then we have a ton

of fun utilizing certain items, at times we blow up when we experience difficulty utilizing them. We

appreciate thinking about certain things and we love to wear others since they cause us to feel

extraordinary. There are objects that bring us recollections, for how they smell, for their touch, and others

that we would prefer not to discard and we like how they age. It has consistently been realized that

structure can inspire feelings, yet the manner by which this marvel happens has never been altogether

considered. Art is the reflection of human culture, that is why it serves to preserve the cultural heritage of

a people and transmit it from generation to generation. In addition, it is subjective, it is expressed in a

universal and understandable language for any human being since it appeals to our senses, emotions, and

faculty of thinking. Education today is still based on artistic works from the past, because these - in their

different manifestations - have never lost their importance for society.

Conclusion

I finally conclude that we are pointing to a place where our needs require that there be a communion

between the arts, the sciences and that thing that is supposed to solve our problems called technology. I

believe I do not pretend to be an expert on the definition of what art is and what it is not, but I know that

if we look at the differences between art and design, we will see a very clear line between both. An

engineer, if given the exact coordinates to place different colored pixels in specific places, could make a

beautiful site or a beautiful advertisement simply by following the instructions; most design projects have

a set of precise instructions and most designs are based on current trends and influences. An artist, on the

other hand, can never receive specific instructions in creating a new, chaotic and unique masterpiece

because his emotions and his soul dictate the movement of his hands and the impulses for it.
ART AND DESIGN 21

Finally, developing creativity in students, as well as generating spaces to enhance their

particularities, is possible through the development of the Visual Arts, sensitizing them to the complexity

of the family, school and societal environment. For example, computer programming, this area of

engineering with its complexity, nowadays anyone with the drive and desire can learn quickly; this thanks

to the advances of pioneers who have revolutionized the ways in giving instructions to a machine and

making it increasingly readable and close to human language. There are several different families

studying this phenomenon at the same time, each from different approaches or on different disciplines:

graphic, product, interactive design. Norman proposes a very interesting example to support this

statement of principles. Japanese and Israeli researchers proved that aesthetic appearance makes us

believe that objects work better. These researchers evaluated different ATM designs with real users. All

the cashiers had the same buttons and the same functions, but some of them had more careful designs on

the structure, the arrangement of the buttons and the appearance of the screen. Most users felt that the

most attractive ATMs worked better than the least attractive ones. Norman explains this phenomenon as

follows: "attractive things make people feel better, which leads us to think more creatively. How does that

translate into better usability? It is very simple, making people find solutions to your problems more

easily.
ART AND DESIGN 22

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