A Contradiction-Based Approach for Innovative Product Design

Traditional culture is gradually gaining attention. Whether a country's cultural heritage is complete represents a country's cultural confidence. However, with the advent of the technological era and the impact of foreign cultures, some traditional Chinese cultural crafts have gradually been neglected. Although some are known by more people under the vigorous publicity of the country, young consumer groups often only pay attention to their appearance and photo effects, but ignore the process and cultural significance behind them. For example, the specific crafts of Miao batik and Miao silver have not received enough attention and inheritance. The rise of cultural and creative product design has brought new opportunities for traditional cultural publicity. By combining Miao costumes with cultural and creative design, it can effectively promote publicity and make it more widely recognized and inherited. This study mainly uses research methods such as literature review, case analysis and comparison, focusing on how to better spread the Miao costume culture on the basis of preserving traditional culture through natural integration with cultural and creative design, and enhance young people's recognition and interest in traditional culture. The survey shows that consumers show a high degree of acceptance and interest in products with Miao elements, and integrating Miao costume elements into cultural and creative product design can enhance the attractiveness of products, so the integration of traditional culture and modern design has great market potential. So in summary, the combination of Miao clothing elements and cultural and creative product design can not only promote the protection and inheritance of traditional culture, but also bring new vitality to economic development.

Generating repeatable guidelines for designing creative products has long been an aim of the design research community. Even so, a widely trusted or agreed-upon process has not yet emerged. As a first step toward this goal, it is important to take stock of the reported connections between creative design processes and creative design outcomes. Thus, we conducted a scoping review focusing on creative prod-uct design. Our search identified 130 papers published from 1969 to 2021. The most frequent study type was a proposal paper (n = 53). Twenty-seven of the included papers used experimental methods. When connecting the creative design process to the outcome, 72 papers theorized about how the targeted design process could influence design outcome creativity; 58 papers used empirical methods to assess outcome creativity. These findings suggest that more empirical studies are needed to examine the process-to-outcome association in creative product design.

<span lang="EN-US">Creativity, a crucial skill in the fourth industrial revolution (IR4.0) is highly demanded in the workforce to drive innovation in product design. Therefore, it is important to cultivate creativity in product design through design and technology (D&T) education. However, many past studies encountered challenges regarding D&T teachers’ teaching creativity which might affect creativity cultivation among students. Thus, this article aims to identify the challenges faced by D&T teachers in cultivating student creativity within product design development. Utilizing the systematic literature review (SLR) method using reporting standards for systematic evidence syntheses (ROSES) in three databases, Web of Science, Scopus, and Google Scholar. Based on thematic analysis, this SLR leads to three themes: i) lack of pedagogical competence; ii) different thinking styles; and iii) lack of motivation. Addressing these challenges highlights the importance for educational institutions to align their curricula with current industry demands, ensuring students are well-prepared to tackle the complexities of contemporary product design. This effort requires collaboration among educators, industry leaders, and policymakers to update teaching methods, incorporate practical experiences, and enhance an environment that cultivates creativity.</span>

Lingnan Intangible Cultural Heritage (ICH) has a long history and contains rich and unique regional culture, which can provide new thoughts and ideas for cultural and creative product design. In this paper, firstly, the cVAE-GAN network model is utilized to extract the features of the modeling symbols of Lingnan intangible cultural heritage, which helps to obtain the modeling symbols of Lingnan intangible cultural heritage for cultural and creative product design. Secondly, the HSV color space model realizes the refinement of the color elements of Lingnan intangible cultural heritage, which promotes the application of color diversity in the design of Lingnan cultural and creative products. Then, the two methods are combined with artificial intelligence technology to construct the Lingnan emotional interactive cultural and creative product design framework, which enables the computer to integrate the designer’s design emotion on the basis of learning modeling and color and promotes the enhancement of the emotional value of Lingnan non-heritage cultural and creative products. Finally, to verify the effectiveness of the method described in this paper, a relevant test analysis was conducted. The results show that when the computational order is more than 60 orders, the cVAE-GAN network in this paper extracts the styling symbol features in only about 115ms, the PSNR improvement of the HSV color space model under different color blocks is more than 2dB, and the RSD of H-channel can be found to be in the range of 0.5% to 5.0% after performing color noise removal. Carrying out the cultural and creative product design of Lingnan intangible cultural heritage in the era of artificial intelligence needs to be more clear about the shape and color of the intangible heritage and fully combine with the designer’s emotion in order to make the Lingnan intangible cultural and creative products revitalized with new vitality.

This paper delves into the utilization of Chinese rich traditional carved symbols in the realm of Cultural and creative product design. Initially, it traces the historical journey and evolution of these symbols, highlighting their classification and distinct characteristics. This exploration reveals the profound cultural significance and the inherent advantages they offer in enhancing the aesthetic and symbolic value of cultural and creative products. the paper delves into the methodologies and strategies for effectively incorporating these traditional symbols. It outlines key application principles that serve as guidelines for designers, alongside innovative design concepts that blend tradition with modernity. Case studies are presented to illustrate the practical implementation and impact of these symbols in various product designs. the paper summarizes the key findings, emphasizing the importance of preserving and promoting Chinese cultural heritage through such design interventions. It also acknowledges the limitations of the current research and provides directions for future explorations in this fascinating field.

In order to improve the production efficiency of traditional non-legacy cultural heritages and create non-legacy cultural and creative products in line with modern aesthetics, the paper combines traditional non-legacy cultural heritages manufacturing technique and modern advanced processing technique, which is conducive to improve the design of traditional techniques of Wuhu iron painting. First of all, this paper analyzes the connotation of traditional non-legacy cultural heritage technology, the categories of modern advanced processing technique and the traditional forging technique of Wuhu iron painting, and introduces the strategy and development history of traditional non-legacy cultural heritage manufacturing technique. Taking Baogong cultural and creative product design as an example, this paper innovates the processing technique of iron painting through cutting and processing, and the design theme is fully realized in the innovative iron painting, which to a certain extent realizes the unity of technique and art, and shows the effectiveness and practicability of modern advanced processing technique in non-legacy cultural and creative product design.

Through the analysis of the development and status quo of cultural creative product design and the analysis of the characteristics of national cultural concepts, the author tries to propose the key points of the national cultural creative product design method from the perspective of internationalization. Using the literature research method, it sorts out the development and current situation of the design concept of cultural and creative products; it also carries out functional classification of cultural and creative products; and it discriminates the concept of national culture; Finally, through the summary of the existing research directions and contents of the combination of national culture and creative product design, it is proposed that from the perspective of internationalization, designers can only accurately convey the image of national culture to users through creative products if they have a deep understanding of all aspects of national culture. Through the grasp of three aspects of emotion, inheritance and interactivity, it can help designers to effectively carry out innovative design of national cultural products from the perspective of internationalization.

This topic makes an exploratory research on the teaching mode of cultural and creative product design. Besides, via the research method of semantic combination, we make a product redesign of Liaoning traditional culture. Through the cognitive construction and semantic innovation of the semantic vocabulary of regional characteristics, crowd characteristics, innovation characteristics and metaphorical features, it provides new ideas for the innovation and dissemination of regional cultural product design. Verify the design hypothesis through the practice of design model, so as to obtain the solution of Liaoning cultural product design.

The subject of this study is the artistic aesthetics of the Sino-Russian "Great Tea Road" and its transformation into contemporary cultural and creative design. The aim of the study is to systematically identify the key aesthetic dimensions of the material heritage of the Tea Road and develop a scientifically grounded methodology for adapting it to create cultural and creative products. The methodology is based on an interdisciplinary synthesis of art history and artistic design. The analysis relies on material artifacts (tea bricks, trademarks, packaging, utensils, advertising posters, and vehicles) using Peirce's triadic semiotics and the concept of intercultural aesthetic adaptability. Results: A three-level structure of the aesthetics of the Tea Road has been established: material (a synthesis of Chinese ornamentation and Western design), communicative (ritualized forms of intercultural exchange), and spiritual (the values of fair trade and cultural inclusiveness). A logic of aesthetic transformation has been developed: "decoding symbols – aesthetic translation – reconstruction of functions – cultural translation." A theoretical framework for the cultural and creative design of "intercultural aesthetic symbioticity" is proposed. It includes four levels: the value core of symbiosis, the transformation of bicultural symbols through the "key + auxiliary symbols" model, functional adaptation to differentiated consumer scenarios, and a digital translation matrix. Scope: designing cultural and creative products for the Chinese-Russian market, intercultural artistic exchange, and cultural and tourism projects along the Tea Road. The novelty lies in the systematization of the aesthetic parameters of intercultural heritage through the analysis of authentic artifacts and the creation of an operationalizable design methodology that ensures a balance of cultural authenticity and contemporary adaptability. Conclusions: The contemporary inheritance of traditional intercultural heritage requires the integration of art history as the foundation of cultural continuity and artistic design as a tool for activating traditional aesthetics. Cultural and creative products serve as an effective medium for transmitting intercultural aesthetic values and facilitating Chinese-Russian cultural dialogue.

The purpose of this paper is to present systemic creative product design methods based on usage-style. According to the basic meanings of usage-style, the logical hierarchical structure of usage-style was outlined and established. Combining with product design principle, this work focused on the product values system and product structure system, established the design frameworks of ‘value forming from usage-style’ and ‘structure forming from values by symbols’, presented product creative design ideas and methods, and resented some practical case studies. The results indicated that usage-style includes three levels of operational activity, such as usability, friendliness and desirability. And by analysing different levels of usage-style, designer can achieve physiological and cognitive ability of user, comfortable and conventional usage values, psychological and emotional values, cultural and aesthetic values, and can achieve some design ideals, such as functional design, barrier-free design, universal design, personal and emotional design, and cultural and aesthetic design. These design ideals can make design origin change from product or market to usage-style and make products meet the reasonable multiplex usage-styles of users' expectation.

In recent years, with the interaction and integration of modern cultural and creative industries with Chinese excellent traditional culture, various innovative cultural and creative products have been introduced, ushering in new opportunities for the inheritance and development of Chinese excellent traditional culture. In order to integrate Chinese cultural elements into the design of cultural and creative products. This paper draws on the characteristics of DNA inheritance and mutation in living organisms to construct a multi-objective optimization model of DNA elements, and by applying the model to the analysis stage of cultural and creative product design, the designed products can be more completely integrated into the elements of Chinese characteristic culture to effectively guide the design practice of cultural and creative products. This paper takes Dunhuang Tang Dynasty Feitian cultural elements as an example for practical research through the integration of Dunhuang Tang Dynasty Feitian cultural elements of a series of cultural and creative products for the satisfaction survey from the symbolic perception, beautiful shape, functional and practical, cultural connotations, innovation and novelty of the five dimensions of the design effect assessment, the furniture category of cultural and creative products scored the highest, the average value of 4.766, the cultural and creative products in the symbolic perception of the dimensions of the score is high. It shows that in the Dunhuang Tang Dynasty, Feitian cultural and creative products can be perceived as symbols of the characteristic culture of the period.

During the New Product Development (NPD) cycle, it is important to focus and integrate relevant information into the stages of product conceptualisation, design and development so that they can be used for product and process design effectively. In this paper, a Generic Product and Process Development System (GPDS), which integrates knowledge-based technologies of Rule-Based Expert System (RBES) and Case-Based Reasoning (CBR), is proposed to facilitate product and process development. Although RBES is adopted for sorting product design criteria, relevant past cases are retrieved by the CBR system during product and process design stages. In doing so, previous knowledge in terms of rules and past practices will be made use of during the product and process design stages, resulting in an enhancement of the efficiency of design and operations. By applying GPDS in Hasbro Fast East Limited, the new product design life cycle is greatly shortened with significant reduction in the total development cost.

In the context of the research on local architectural culture of Macao, this paper explores how architecture’s cultural elements can be integrated into cultural and creative product design at the pre-development stage. Therefore, local culture can be effectively disseminated through the medium of cultural and creative products. However, in the process of product design, seemingly, designers often rely on their experience as the main way to develop ideas and designs. This approach can fall short in generating sufficient cognition and interpretation between culture and product design, and the product may fail to truly reflect cultural and creative values. This paper focuses on the cultural elements and the designer’s cognition in design development of cultural and creative products. It applies theoretical concepts of Kansei engineering theory as the basis, and, combined with the Semantic Differential Method, tries to extract the most powerful product image elements that influence designers for better understanding of the cultural elements in design development. This paper aims to employ scientific methods to enable designers to better develop designs with cultural and creative connotations, thereby improving the success rate of cultural and creative products. It further proposes a model process of image perception to be employed by designers in early design research and the development stage. By enhancing the resonance of cultural elements for cultural and creative products, the model may shorten the perceptual distance between the designer and the local culture, improve the designer’s product development efficiency, and increase consumer satisfaction with the design outcome through added cultural and creative value. As such, the model can optimize the design development for cultural and creative products to achieve the public’s aesthetic and cultural expectations, as well as for a sustainable design approach.

Chinese calligraphy, inscribed in the UNESCO Intangible Cultural Heritage list, is one of China’s most significant contributions to world civilization. It is possible to uncover the emotional expressions embedded in the creator’s writing process by capturing the visual perception of calligraphy. This provides a valuable approach for understanding consumer preferences in the design of cultural and creative products. Based on these insights, designing products can not only enhance their cultural attributes but also position them as new mediums for promoting Chinese calligraphy.This research, grounded in the theories of visual perception and emotional expression, focuses on the character "永" as the central theme. It uses four visual styles from prominent Chinese calligraphers—Wang Xizhi, Su Shi, Huang Tingjian, and Mi Fu—known for their distinctive xingshu (semi-cursive script). These styles serve as prototype samples for analysis. By employing affective engineering measurement methods, the study quantifies consumer preferences and emotional responses to these calligraphic styles, providing an empirical analysis of how different calligraphic forms influence consumers’ emotional preferences.The results of this study will offer valuable insights for cultural and creative product designers, helping them understand individualised consumer preferences from the perspective of calligraphic style. This understanding will enable designers to use new technological approaches to create culturally relevant and aesthetically appealing products. By integrating these insights into product design, the study aims to advance the precise design of cultural products and promote Chinese calligraphy, thereby enhancing its cultural significance through modern design practices.

With the progress of science and technology and the development of society, the emotional needs of users have been paid more and more attention by academia and industry. At the same time, the market has also put forward new requirements for the rapid iteration of intelligent cultural and creative products. The emotional design of intelligent cultural and creative products can endow intelligent cultural and creative products with emotional characteristics and bring users a beautiful and pleasant experience. A lot of research work has been carried out at home and abroad. This paper aims to study the reinforcement learning algorithm of intelligent cultural and creative product design based on data mining technology. This paper will firstly guide the content of industrial design in the information age, aiming at comfort and ease of use, briefly summarize the research of domestic and foreign scholars in the field of traditional industrial design of intelligent cultural and creative products, and take these research contents as For reference, study the design elements of intelligent cultural and creative from the aspects of shape, material and color, and analyze the influencing factors of related elements; and then study the intelligent cultural and creative system from the three dimensions of intelligent cultural and creative interaction, interactive content, and interactive behavior elements of interaction design. Secondly, design and practice the appearance of intelligent cultural and creative based on the elements of appearance design, analyze and research intelligent cultural and creative from the perspective of ergonomics and product aesthetics, design corresponding conceptual sketches, screen modeling and rendering to obtain plans, and evaluate corresponding design scheme and complete the physical construction of the scheme. Finally, based on the development trend of interaction design in the future, the interaction method and interaction content in this intelligent cultural and creative solution are designed, and an easy-to-use application product is designed based on the above design elements. Experiments have shown that the user satisfaction of intelligent cultural and creative products designed by algorithms has reached more than 90%.