Space is not a simple definition framed as an architectural place or a limited area; space is more extensive. In art fields such as cinema and animation, space is a living and evolving element in terms of narration. Space can function in different forms. It can either be the main theme of the narration or decor/background of the story. It may act as a preventive element affecting the events and fates of the characters in the story while it may play a role as an assistive element. Therefore, space becomes a main character in the storyline. Space design is a part of the concept space design and has a dramatic function during the writing process. Thus, it becomes a main element of the plotline. Some artists in the animation field will travel to other countries and geographies to experience the spirit of a certain space and transfer those impressions onto the story. Through the example of a student animation movie named “Our Eskişehir” completed in an introduction to video course, this study examines the effects of a space and its influence on the spirit of spaces and stories of spaces in relation to animation design (space-character and story design).
This article explores youth as a user market segment regarding perceptions and practices of clothing design, use and disposal and what it might take to create change. Educational strategies for fashion related product design are particularly difficult to consider in terms of sustainability because of the glut of mass produced apparel and the user behavior associated with purchase and rapid disposal of cheap goods. The user needs to be made aware of the problem of perpetual buying of products that will be in the landfill within a year and to provide the designer with best practices that lead to solutions. Earlier research with designers on their perceptions and practices of sustainable design revealed the need for an updated concept of best practices and excellent prototypes. An international call to designers for prototypes for sustainable design resulted in a juried exhibition. These prototype designs motivated youth to engage in an educational workshop focused upon encouraging application of these sustainable design ideas. Their responses to questions about sustainable best practices were analyzed and findings were then translated into design principles and related educational strategies.
With the latest developments in digital technology, new design software has changed the way that designers are able to visualize the built environment effectively. Designers no longer have to practice the traditional drawing methods where it was difficult to actualize the design work. By using design technology, designers don’t need to rely on technical or descriptive drawing skills because the illustration process is broadly placed at the fingertips of skilled digital artists. Today, designers have more tools to easily express their ideas and powerfully to transfer them to clients. This significant progress has shifted the design profession to a whole new horizon, where designers of the built environment are able to incorporate their ideas and concepts into a virtual representation and to display the projects’ essence. However, this development in the design software still leaves a barrier between the designer and the client. Therefore, the approach is how designers are able to come up with new, effective representation methods where the client has more opportunities to interact during the design process and digital representation to understand the virtual/spatial sense of place.