Communication between people is communicated through language, and communication between people and people is conveyed through the function and form of things. While creating product features, people have given it a certain form. The form can show a certain character, just as it has vitality from then on. People in the process of using things, will get all kinds of information, causing different emotions, which is the intuitive understanding of people's external things, generally known as the perceptual stage of understanding. When the design is such that the appearance, texture, and touch of a product are a “beautiful†experience or the product has a “human touchâ€, we call it an emotional design.
Modern products generally give people two kinds of information, one is knowledge, that is, rational information, as often mentioned product functions, materials, processes, etc.; the other is perceptual information, such as the product's modeling, color, use and so on. The former is the basis for the existence of products, while the latter is more related to the production of product forms.
For a long time, China's product forms have mostly adopted the face of decades of consistent systems. With the deepening of China’s reform and opening up in the past two decades, the country’s strength has increased and its products have become abundant. Many daily-use products have turned from supply shortages to oversupply. Many products not only use “reliable quality and durability†to gain market share, but also have great changes in appearance, which is very clearly reflected in the home appliances, clothing, furniture and other industries.
In fact, from the point of view of human nature, human sensibilities are more than rational ones. From this perspective, cold and mechanically-sounding “unfriendly†products can be said to be imposed on people by producers and are in violation of Human nature does not meet people's physical and psychological habits.
Among the many kinds of products, the hand tools for manufacturing and repairing products have a special status. Because, since human beings, human evolutionary history has been closely related to the creation and use of hand tools. The history of the development of hand tools can be traced back to the era of the monks, so hand tools are more closely related to people than other products. In the hand tools used by modern people, there are a large number of sizes that basically follow history, and there are common problems such as inconvenience in use, poor manufacture, low ergonomics, easy injury, or long-term use that will cause diseases. These products lacking the scientific application of human-computer relations are natural and human are not "friendly". Therefore, it is necessary to research and develop "perceptual" products that meet the physiological and psychological needs of modern people and "sensual" tools.
However, in the research and development process of the product, the inductive design of the product has more uncertainties than the function of the product and the manufacturing process, because it is difficult to quantify the physical quantity and the sensory quantity in the human perceptual domain. In this regard, we can at least analyze and study the following points.
First, the inductive design should first show the indication when using the product. That implies people use the product, operating procedures.
(l) Indication of use by means of the similarity of the styling image. If the paper knife's advance and retract knife button is designed as the thumb's negative shape and is designed with ribs, it not only facilitates the advance and retreat of the blade but also implies its use. Many fruits or choppers are designed to be negative to indicate the position of the hand. .
(2) Causal connection through modeling implies usage. For example, the shape of the knob utilizes the visual pattern of the number of sides and grooves on the peripheral side, and conveys whether the knob is a fine adjustment or a coarse adjustment. The size of the opening is used by the container to indicate whether it is valuable or not. How much and how long to save the time.
(3) Through the surface texture and color of the product suggest its use and remind people's attention. People have long found that fingerprints on the fingertips make the contact surface of the handle become a thin line of protrusions, which improves the sensitivity of the hand and increases the friction of the holding object. This design called a texture design makes the product In particular, the handle of the hand tool is effectively utilized and used as an indication of the strength and control of the hand. Color is more important in sensibility design. For example, the camera mostly uses black as the surface of the shell to show its opacity. At the same time, it reminds people to avoid light and gives people professional and precise rigor.
Second, the emotional design should also show the symbolism of the product. This is mainly reflected in the grade, nature and interest of the product itself.
(1) The technical symbol of the product is represented by the modeling language. The technical symbol is that the product function and internal quality are manifested through the product form to reflect the excellent quality and exquisite craftsmanship of the product, making people feel the technical precision. Specific to the product design is to handle the transition between the parts, the surface texture, color matching relationship, and to grasp the perceived accuracy of the product.
(2) Grasp the product's grade symbol by modeling language. Grades represent the grade and distinctiveness of a product, which is often reflected in product markings, commonly used local typical styling or color techniques, materials, and even price. The symbol "Blaus" symbolizes the incomparable grade of the razor, as well as the gold watch which symbolizes the richness and status of the owner but only for timing.
(3) Embodying the symbol of safety of products through modeling language. The sense of security is of great importance in electrical appliances, machinery and hand tools. The sense of security is reflected in both the psychological and physiological aspects of the user: a well-known brand, a full-fledged, meticulously meticulous craftsmanship, a calming tint that gives people a sense of psychological security, a reasonable size, and a push button switch that avoids unintentional touches. Design and so on will be painted in a physiological sense of security.
Third, the design of perceptual tools should make full use of the achievements of modern ergonomics and aesthetics, and scientifically increase the perceptual factors in product design.
(l) Reflect the product's sensibility through proper relationship design between people and tools. For example, a good tool handle is designed to withstand the impact of force on the pressure-insensitive palm and between the thumb and forefinger, so as to avoid numbness and tingling of fingers caused by prolonged use of tools, and to reduce Partial pressure strength; finger grips are made on the handles of some tools, which can affect the flexibility of the operation. The "proper" ergonomic design is not only visually comfortable but also "feeling good".
(2) Increase the inductive component of the product by selecting the appropriate molding material. In the selection of materials for making parts that are in direct contact with humans, assessments cannot be based only on the physical strength of the material, such as strength, wear resistance, etc., but also on the basis of the distance between the selected material and the human emotional relationship. Research points out that the materials most closely related to human emotions are biological materials (such as cotton and wood), followed by natural materials (stone, earth, metal, glass, etc.), and then non-natural materials such as plastic materials. In general, the closer one is to human beings, the more sensational it is and the more perceptual.
(3) Express the sensibility of the product by studying the modern aesthetic style. The beauty of a product is reflected in the inherent beauty generated by a reasonable human-machine relationship during the use of the product and the external beauty resulting from appearance. People's aesthetics are constantly changing, and the external beauty of products is even more so. The rich connotation of “beautiful beauty†also includes the aesthetic elements of change. The laws of proportion and scale, contrast and balance, rhythm and rhythm, etc. are all the rules that people pass through the product visual image. Harmonization is an aesthetic factor. Understanding the changing aesthetics of modern people is conducive to grasping the perceptual factors in products.
(4) Exploring the causes and manifestations of product sensibility through the study of the relationship between the phenomena of life and the morphology of objects. The beauty of an object is often manifested in whether the form of the object is full of vitality. The vitality of the form of an object is actually the form of leakage of the essence of the object. In the perceptual design of a product, the designed product must not only have a clear function and be of a reasonable material, but also have the appearance of the product's inner life like the charm of natural life. To this end, we can discuss the following two aspects: (1) Study and understand the relationship between the morphological characteristics of organic matter and inorganic matter and the life cycle process (ie gestation, birth, growth, death, regeneration, transformation) and the growth environment. . (2) Grasp the method of creating a vibrant object shape: a. Creativity dynamics; b. Create a sense of resistance to external forces; c. Create a sense of growth; d. Create a sense of unity; e. Break the flu and so on.
Modern products generally give people two kinds of information, one is knowledge, that is, rational information, as often mentioned product functions, materials, processes, etc.; the other is perceptual information, such as the product's modeling, color, use and so on. The former is the basis for the existence of products, while the latter is more related to the production of product forms.
For a long time, China's product forms have mostly adopted the face of decades of consistent systems. With the deepening of China’s reform and opening up in the past two decades, the country’s strength has increased and its products have become abundant. Many daily-use products have turned from supply shortages to oversupply. Many products not only use “reliable quality and durability†to gain market share, but also have great changes in appearance, which is very clearly reflected in the home appliances, clothing, furniture and other industries.
In fact, from the point of view of human nature, human sensibilities are more than rational ones. From this perspective, cold and mechanically-sounding “unfriendly†products can be said to be imposed on people by producers and are in violation of Human nature does not meet people's physical and psychological habits.
Among the many kinds of products, the hand tools for manufacturing and repairing products have a special status. Because, since human beings, human evolutionary history has been closely related to the creation and use of hand tools. The history of the development of hand tools can be traced back to the era of the monks, so hand tools are more closely related to people than other products. In the hand tools used by modern people, there are a large number of sizes that basically follow history, and there are common problems such as inconvenience in use, poor manufacture, low ergonomics, easy injury, or long-term use that will cause diseases. These products lacking the scientific application of human-computer relations are natural and human are not "friendly". Therefore, it is necessary to research and develop "perceptual" products that meet the physiological and psychological needs of modern people and "sensual" tools.
However, in the research and development process of the product, the inductive design of the product has more uncertainties than the function of the product and the manufacturing process, because it is difficult to quantify the physical quantity and the sensory quantity in the human perceptual domain. In this regard, we can at least analyze and study the following points.
First, the inductive design should first show the indication when using the product. That implies people use the product, operating procedures.
(l) Indication of use by means of the similarity of the styling image. If the paper knife's advance and retract knife button is designed as the thumb's negative shape and is designed with ribs, it not only facilitates the advance and retreat of the blade but also implies its use. Many fruits or choppers are designed to be negative to indicate the position of the hand. .
(2) Causal connection through modeling implies usage. For example, the shape of the knob utilizes the visual pattern of the number of sides and grooves on the peripheral side, and conveys whether the knob is a fine adjustment or a coarse adjustment. The size of the opening is used by the container to indicate whether it is valuable or not. How much and how long to save the time.
(3) Through the surface texture and color of the product suggest its use and remind people's attention. People have long found that fingerprints on the fingertips make the contact surface of the handle become a thin line of protrusions, which improves the sensitivity of the hand and increases the friction of the holding object. This design called a texture design makes the product In particular, the handle of the hand tool is effectively utilized and used as an indication of the strength and control of the hand. Color is more important in sensibility design. For example, the camera mostly uses black as the surface of the shell to show its opacity. At the same time, it reminds people to avoid light and gives people professional and precise rigor.
Second, the emotional design should also show the symbolism of the product. This is mainly reflected in the grade, nature and interest of the product itself.
(1) The technical symbol of the product is represented by the modeling language. The technical symbol is that the product function and internal quality are manifested through the product form to reflect the excellent quality and exquisite craftsmanship of the product, making people feel the technical precision. Specific to the product design is to handle the transition between the parts, the surface texture, color matching relationship, and to grasp the perceived accuracy of the product.
(2) Grasp the product's grade symbol by modeling language. Grades represent the grade and distinctiveness of a product, which is often reflected in product markings, commonly used local typical styling or color techniques, materials, and even price. The symbol "Blaus" symbolizes the incomparable grade of the razor, as well as the gold watch which symbolizes the richness and status of the owner but only for timing.
(3) Embodying the symbol of safety of products through modeling language. The sense of security is of great importance in electrical appliances, machinery and hand tools. The sense of security is reflected in both the psychological and physiological aspects of the user: a well-known brand, a full-fledged, meticulously meticulous craftsmanship, a calming tint that gives people a sense of psychological security, a reasonable size, and a push button switch that avoids unintentional touches. Design and so on will be painted in a physiological sense of security.
Third, the design of perceptual tools should make full use of the achievements of modern ergonomics and aesthetics, and scientifically increase the perceptual factors in product design.
(l) Reflect the product's sensibility through proper relationship design between people and tools. For example, a good tool handle is designed to withstand the impact of force on the pressure-insensitive palm and between the thumb and forefinger, so as to avoid numbness and tingling of fingers caused by prolonged use of tools, and to reduce Partial pressure strength; finger grips are made on the handles of some tools, which can affect the flexibility of the operation. The "proper" ergonomic design is not only visually comfortable but also "feeling good".
(2) Increase the inductive component of the product by selecting the appropriate molding material. In the selection of materials for making parts that are in direct contact with humans, assessments cannot be based only on the physical strength of the material, such as strength, wear resistance, etc., but also on the basis of the distance between the selected material and the human emotional relationship. Research points out that the materials most closely related to human emotions are biological materials (such as cotton and wood), followed by natural materials (stone, earth, metal, glass, etc.), and then non-natural materials such as plastic materials. In general, the closer one is to human beings, the more sensational it is and the more perceptual.
(3) Express the sensibility of the product by studying the modern aesthetic style. The beauty of a product is reflected in the inherent beauty generated by a reasonable human-machine relationship during the use of the product and the external beauty resulting from appearance. People's aesthetics are constantly changing, and the external beauty of products is even more so. The rich connotation of “beautiful beauty†also includes the aesthetic elements of change. The laws of proportion and scale, contrast and balance, rhythm and rhythm, etc. are all the rules that people pass through the product visual image. Harmonization is an aesthetic factor. Understanding the changing aesthetics of modern people is conducive to grasping the perceptual factors in products.
(4) Exploring the causes and manifestations of product sensibility through the study of the relationship between the phenomena of life and the morphology of objects. The beauty of an object is often manifested in whether the form of the object is full of vitality. The vitality of the form of an object is actually the form of leakage of the essence of the object. In the perceptual design of a product, the designed product must not only have a clear function and be of a reasonable material, but also have the appearance of the product's inner life like the charm of natural life. To this end, we can discuss the following two aspects: (1) Study and understand the relationship between the morphological characteristics of organic matter and inorganic matter and the life cycle process (ie gestation, birth, growth, death, regeneration, transformation) and the growth environment. . (2) Grasp the method of creating a vibrant object shape: a. Creativity dynamics; b. Create a sense of resistance to external forces; c. Create a sense of growth; d. Create a sense of unity; e. Break the flu and so on.