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The Graphic Translation by the Designer’s sensitive rationality<br />

6. Conclusion<br />

The needed for a strong brand is a fact, because the branding becomes<br />

one of the most valuable asset of a company. In a competitive<br />

market with several corporations offering similar services,<br />

differentiation is critical for the choices of users who fall into<br />

that provide them with greater emotional value. The design contributes<br />

to this differentiation, adding intangibles aspects to<br />

the visual identity. Currently, the business world considers the<br />

focus on a brand as a condition, a relationship of co-authoring<br />

user-sender of the message, a partnership in which the user<br />

participates in the production of value creation, or what is interesting<br />

to him, ie, the designer must interpret what is the vision<br />

of user value, making it a partner and co-producer of creation<br />

that results in innovation.<br />

Global trends in consumer behavior highlights the postmodern<br />

consumer, based on mindtyles, returned to the aesthetic<br />

sense, the sensory, and pleasure in every<strong>da</strong>y experiences. In an<br />

age of sensitive rationality and knowledge-based economy, the<br />

design makes the difference. In the case of communication directed<br />

to educational institution costumers, the character creation is<br />

effective, because they attract the attention and populate a child’s<br />

imagination, providing an emotional experience, which can be permanently<br />

related to the company’s brand.<br />

A sensitive rationality and the skills used by the designer (observation,<br />

empathy, imagination, and finally the configuration),<br />

as well as their specific competence, knowledge and attitudes in<br />

this case were crucial to this innovation. It possible to translate<br />

the character and graphic elements the value expected<br />

by customers, who associate this value to the organization,<br />

which turns into a positive emotional experience.<br />

References<br />

Alves, L. Z. 2011. O design emocional como estratégia aplica<strong>da</strong> a embalagens<br />

no setor de cosméticos: estudo de caso <strong>da</strong> linha Fun (O Boticário).<br />

125p. Monografia (Graduação em Design Gráfico) – Universi<strong>da</strong>de<br />

Estadual de Londrina.<br />

Brown, T. 2009. Change by design: how design thinking transforms organizations<br />

and inspires innovation. New York: HarperCollins.<br />

Chesbrough, H. 2012. Inovação Aberta: como criar e lucrar com a tecnologia.<br />

Porto Alegre: Bookman.<br />

Christensen, C; Anthony, S. 2005. A dinâmica <strong>da</strong> ruptura. HSM Manage-<br />

ment, v. 49, p.68-74, marco-abril 2005.<br />

Crossley, L. 2003. Building emotions in design. The Design Journal, Berg<br />

Publishers, v. 6, n. 3, p.35-45, 28 abr.<br />

Damásio, A. 2004. Em busca de Espinosa: prazer e dor na ciência dos<br />

sentimentos. São Paulo: Cia <strong>da</strong>s Letras.<br />

Demarchi, A. P. P. 2011. Gestão Estratégica de Design com a abor<strong>da</strong>gem<br />

de design thinking: proposta de um Sistema de Produção do Conhecimento:<br />

2010, 601f. Tese (Doutorado em Engenharia e Gestão do Conhecimento)<br />

– Universi<strong>da</strong>de Federal de Santa Catarina, Florianópolis.<br />

Desmet, P. 2003. A Multilayered Model of Product Emotion. The Design<br />

Journal, Berg Publishers, v. 6, n. 2, p.4-13, 28 abr.<br />

Ilipinar, G. et all. 2008. Design Thinking in postmodern organization. In<br />

International Dmi Education Conference, anais... France, Apr.<br />

Jor<strong>da</strong>n, P. 2000. Designing Pleasurable Products: An introduction to the<br />

new human factors. CRC.<br />

Maffesoli, M. 2008. Elogio <strong>da</strong> Razão Sensível. Petrópolis: Vozes.<br />

Norman, D. A. 2004. Design Emocional: porque adoramos (ou detestamos)<br />

os objetos do dia-a-dia. Rio de Janeiro: JPA.<br />

Ocde. 2007. Manual de Oslo: Diretrizes para a coleta e interpretação de<br />

<strong>da</strong>dos sobre Inovação. 3. ed., Tradução FINEP. Disponível em: www.finep.<br />

org.br.<br />

About the author(s)<br />

Ana Paula Perfetto Demarchi is doctor at Design Department at<br />

the Universi<strong>da</strong>de Estadual de Londrina. Interests about design<br />

management, Knowledge Management, design thinking, strategic<br />

design, visual communication. <br />

Cleuza Bittencourt Ribas Fornasier is doctor at Design Department<br />

at the Universi<strong>da</strong>de Estadual de Londrina. Interests about<br />

Knowledge Management, design thinking, design management,<br />

fashion design. <br />

Rosane Fonseca de Freitas Martins is doctor at Design Department<br />

at the Universi<strong>da</strong>de Estadual de Londrina. Interests about<br />

visual communication, design thinking, design management,<br />

editorial design for children and teens. <br />

Design Frontiers: Territiories, Concepts, Technologies 505

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