Journal of Design and Textiles (JDT)

Volume 2 Issue 1, Spring 2023

ISSN(P): 2959-0868 ISSN(E): 2959-0876
Homepage: https://journals.umt.edu.pk/index.php/jdt/index

Article QR

Title: Defining the Design Process: Methodology and Creation

Author (s): Furat Jamal Hassan

Affiliation (s): University of Baghdad, Iraq

DOI: https://doi.org/10.32350/jdt.21.02

Received: April 23, 2023, Revised: May 15, 2023, Accepted: May 22, 2023, Published:
History: June 20, 2023

Citation: F. J. Hassan, “Defining the design process: Methodology and creation,” J. Des.
Text., vol. 2, no. 1, pp. 20–35, June 2023, doi: https://doi.org/10.32350/jdt.21.02

Copyright: © The Authors

Licensing: This article is open access and is distributed under the terms of
Creative Commons Attribution 4.0 International License
Conflict of
Interest: Author(s) declared no conflict of interest

A publication of
School of Design and Textiles
University of Management and Technology, Lahore, Pakistan
Defining the Design Process: Methodology and Creation
Furat Jamal Hassan*
University of Baghdad, College of Fine Arts, Iraq
ABSTRACT The current study is unique in its emphasis on investigating
design operation and concept from multiple scientific perspectives:
including invention, technique, and design components. This research
tends to study the methodology and creation of design process in a holistic
manner so that the readers may grasp their characteristics and properties
down to its minute epistemological detail. The investigation of the design
concept is where the real groundwork and pressing need for the study
begin. Creation and methodology are two primary concepts in relation to
design these relationships can be formed in any design because of the
various forces that act upon it. The primordial objective of this study is to
evaluate the relationship between methodology and creative sides of
design on epistemological grounds.
INDEX TERMS Creation, design process,methodology, scientific
evaluation, thoretical framework.
I. INTRODUCTION
Distinct design approaches have distinct stories to narrate regarding their
intellectual vision. The creative potential inherent in the act of designing is
lost once the groundwork is laid for systematic and organized labor. The
design work, in a broader sense, is a methodical strategy for integrating
traditional and innovative production techniques.
Thus, this study's primary objective is to pinpoint the overarching, primary
design concept by tying together its creative and methodological aspects.
So, the study begins with the declaration and submission of the research
problem, which is “the total knowledge view for the relationship between
the methodology and creative sides of the design operation". The current
study has been segregated into four sections:
• The first section focuses on the design's over-lapping goals; and the
discussion in relevance to the blueprints.

* Corresponding Author: dr.furathassan@cofarts.uobaghdad.edu.iq

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• In the next section, we will discuss the creative process in design; and
will identify its fundamental elements.
• In the third section, we will discuss the factors that influence design;
and the entire thought process regarding them. The study is a bird’s
eye view towards developing an overarching framework for how to
approach design and the steps involving it.
• In the closing section, we will do a comprehensive analysis of the
overarching structure of nascent theories and how their relationship
with design. Moreover, the study will also integrate the preceding
discussion of the significance of thinking and creativity-theories.
II. VISION OF THE GENERAL THEORY
A. EFFECTIVENESS OF THE DESIGN (GENERAL FRAMEWORK)
Initial interpretations of designer thought (Lawson) suggested that
designers’ approach problems in two ways: either through an act of design,
that involves various generic applications in everyday life; or others more
specialized in the domain of knowledge (such as industrial design and
engineering design etc.) where there is an eminent difference between
designs and these fields [1]. According to J. Watson, this has shifted the
focus on process rather than the product design, even if the study was
geared toward finding a solution. He also addressed the issue throughout
the design phase. In lieu of this, a requirement list has been generated that
the designer must comprehend and verify by comparing them to implicit
knowledge criteria in order to form or create the design Afterwards, the
designer may relate the concept to the client [2].
Design, in a broader sense, is the process of simultaneously illustrating the
issue and its resolution. Without few probable solutions, the issue cannot
be grasped fully. In addition, one ought to adopt a proper thinking-
approach as a designer in order to comprehend the core essence of the
issue. This is, in fact, the major step in resolving it. Some academics see
the issue as one of design effectiveness even when they are working to
define the design problem. In contrast, they asserts that their prime focus
is on the working of the designs instead of designers’ or the process of
design itself [3]. Only then it will enable the designers to comprehend the
strategy used in the thought process of creating the designs. The following

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table shows how the designer, J. C. Jones, plans the nomenclature of

definitions in his work Design Method.
TABLE I
PLANNING FOR NOMENCLATURE [4]
Sr.
Researcher The Definitions
No.
The adoption of the penalty as a means of
1 Asimov
decision making in the face of ambiguity.
Locate the proper structural or chemical make-up
2 Alexander
of the substance.
Author engages in extensive mental modeling of
3 Booker
the eventual product or process.
Any part of a product that is used by or related to
4 Feer humans will require some degree of
modification.
By instructing the designers' thought processes for each design problem,
you can see that, the overall vision and the philosophy of design has been
built on forms either naturally or artificially. This serves as a pre-requisite
to vividly comprehend standards, indications, and determinants. The
current study examines the preliminary stages of analysis with regard to
design. Whereas, the indicators not only offer answers; but occasionally
they cross paths and may also produce new design hypotheses.
B. THE IMAGINATION OF CREATIVITY
Researchers have attempted to identify some kind of conceptual
relationship between the actions of the mind and the processes of fashion:
given that the design process is a collection of mental operations that often
appears to be unrelated and do not follow a single model. Despite the fact,
most researchers discussed a model of thought based on stages (such as
analysis, synthesis, and evaluation). However, it is challenging to identify
these connections in a more general sense due to the overlapping and
permeable nature of the elements involved [5].
According to Zeisel, there are three overlapping patterns of thought
involved in the design process: imagination, view, and testing. Moreover,
the test arrives with two forms of information which in turn stimulates the

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imagination in the form of knowledge that disappears to operate in a spiral

design pattern [6].

FIGURE 1 Conceptualization is a mental procedure [7].

Additionally, the analytical assessment and evaluation activities are
synthesized by the intellectual interactions that take place during the
design process. Due to this reason, it became practically impossible to
segregate them. Moreover, it undermines to ascertain as to what extent the
content’s tasks has been finished timely [8].
Given that creativity and innovation depend on mental capacity of
possessing those thought-processes, Hegel claims that the imagination—
and the creator in particular—are viewed as a process. It is challenging to
explain to someone that Homer created poetry while dozing off or without
thinking. Without any comparisons, the artist is unable to manage the
content of the selection process's [9].
More specifically, B. Tversky, claims that when attempting to comprehend
or actualize the visual challenges, the designer is frequently tempted to
mentally engage in pictorial events or the process of creating forms.
C. THE CREATIVITY (FRAMEWORKS AND VERIFICATION
RANGES)
In order to create an interconnected coordinated image, the Theories of
Scientific and Technical Needs require a more pronounced imagination.
Humans are the source of all scientific and artistic discoveries since they
are the ones who creates art [10], [11]. Rochka believe that qualities and
characteristics that are connected to creativity, such as the ability to be
emotionally and mentally motivated, are important, especially in the field
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of design. Fluency, adaptability, inventiveness, and originality were

identified as the four criteria of creativity [12].
Design scholars agree that individual’s harbor striking and distinctive
design elements. Numerous researches have established connections
between the characteristics of both form and content. While the majority
of evidence favoring form in terms of structural elements. When a new
concept is introduced, it must be met on all fronts, from the depth of
thinking to the novelty of the individual components, thus integrating the
creative idea of the designer.

FIGURE 2. Stages of creativity [12].

III. THE REAL SITUATION OF SYSTEMATIC
A. THE SYSTEMATIC
The German philosopher Heidegger upheld the custom of introducing a
novel understanding of man and life to the world through common
experience by raising philosophical issues. Akin to him, the framework of
creativity serves both to identify the design process; and to vividly
delineate the possibility of incremental improvement. Consequently, the
path taken by this philosopher can be summed up as follows:
1) METHODOLOGY
The procedures or approaches in question that are formulated in the right
ratio to the production process are known as the method. Likewise,
methodology is a group of techniques, but there are rules that tell you how
to use them in a certain way. These rules are often needed when
"methodology" refers to the widest and most important techniques.

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Many philosophers have endeavored to link the logical approach to

research methodologies and analysis. Jean Piaget claims that scientific
crises inevitably arise whenever a mistake is made or the veracity of a
theory is questioned, particularly when using traditional scientific
procedures [13]. We can sum up this strategy by saying that it involves in
organizing activities that best befits the current situation. The link with the
theoretical side is also strengthened by the vision narratives specialist
approach to design, which is used to analyze problems; and come up with
logical solutions and to stress how important it is to clarify the adopted
curriculum [14].
The usefulness of a creative and systematic conceptual vision in
determining a thorough approach and the best strategy to be adopted and
applied to the topic of design in general and design in particular. In order
to address the issue of theoretical study, which states: “There is no
understanding of how the systematic design process and the creative side
of the mind work together"[15].
For the research to go in the right direction, the following goals must be
met:
• By looking at methodological and creative thinking issues, we can
build a theoretical base for cognitive perception.
• Individual indications and design components are represented through
the application of cognitive model theory.
• It is critical to strike the right balance between being creative and
methodical during the design process.
2) CONSTRAINTS OF DESIGN
The design effort is exposed to variety of internal and external limitations.
Representation of the interior is the underlying problem because the
receiver uses it as a constraint, and the designer adopts it in order to find
answers. The second one, which has a time and spatial border [16]
represents the substance of the situational problem related with the results
of the solutions. Consequently, the following restrictions can be used to
segment the design problem:
• Radical restrictions: Are the constraints that address the system's aims
and contain the main issue?

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• Practical limitations: This type is in charge of the technical details and

aesthetic design since it deals with production-related issues that
enable a product's functionality.
• Symbolic restrictions: These give meaning to aesthetic design because
it is responsible for the expressive parts of design that serve as the
symbolic communication.
B. THE THOUGHT-PROCESS OF DESIGN
The designer’s notion is the initiating point from where he seeks to
transmit his entire experience and heart’s impulse on paper to generate
forms. Before deciding on the model's content or shape, the designer
demonstrates how closely the design concept connects the designer's
creative talent. The art work is accurate and intended to be mindful of the
circumstances [17].
To achieve full integration, the designer must create a loop relationship
between the, the customer and the receiver. To identify this missing link,
we might argue that the designer organizes the integration process via
expressing his experience. Moreover, the designer seeks to combine social
ideals and cultural history into the design to ensure that the results are in
accordance with the values and norms of the society. To achieve this,
following sources are commonly used to establish the Design idea:
• An online resource
The designer usually incorporates traditions, social norms, and cultural
history into the design in order to ensure that the finished product is in
accordance with the values and norms of the society.
• Discerning source
The idea is applied to a variety of aspects that are related to the designer.
• Impressionist sources
There is a back-and-forth relationship between what it takes to design, the
knowledge to store, the information to gather; and the experience of the
receiver in order to come up with final ideas that support the theme of the
design.
• Influential source

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The substance of a form significantly impacts a designer's capacity to

devise a concept that will elicit the desired response from the recipient.
The field of design integrates intuitive reasoning with the process of
transitioning between two states in order to establish coherent modes of
operation. The initial stage involves posing preliminary inquiries, whereby
the solution is already stored in memory. The objective is to resolve
design issues and to organize research into three cognitive phases of
analysis, synthesis, and evaluation.
IV. THE COGNITIVE PROCESSES OF DESIGNERS?
In an effort to progress towards this approach, Jones espouses the
perspective that design is fused with the realm of intuition and logic,
progressively transitioning towards the concrete steps that culminate in
rationality. This approach equips designers with techniques to: regularly
externalize their information from memory [18].
According to him, the three stages of thought in the design process are:
• Diverse thought: To get the most out of the issue, extend it in all
directions.
• Consider thought: It is intended to be the point at which a solution is
created, and in this instance, the objective is to alter how people
perceive the issue in order to make it more straightforward and
understandable.
• Formal thought: A basic set of guidelines for what determines
proportions, color, texture, and other things is established by
addressing the qualities or optical organization of the visual system
and the performance of form.
• Converging ideas: Reductionism is a cognitive approach that arises
from decisions made in the initial phase.
To ascertain the exact solution, it is necessary to evaluate the general or
partial solutions that have been proposed. The field of design integrates
intuitive reasoning; and the interplay between two scenarios to establish
consistent mechanisms of operation. The approach under consideration
acknowledges the interdependence of the initial phase with the
formulation of fundamental inquiries, whose responses are already
retained in the cognitive system, to resolve design predicaments.

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Additionally, it segments the investigative process into three cognitive

phases that pertain to design, namely analysis, synthesis, and evaluation.

FIGURE 3. Stages of the design work for the kinds of thinking [19].
V. THE FRAMEWORK OF KNOWLEDGE PERTAINING TO
DESIGN
This discussion pertains to the frameworks utilized by a cognitive adopter
in alignment with the principles previously expounded upon. The three
main phases of the design process: namely, analysis, synthesis, and
evaluation acknowledge the significance of the cognitive perspective of
the design process in determining the boundaries and limitations that
constitute the fundamental aspects of the design problem.
The notion of ownership and coverage, even in the context of private
entities, presents a spectrum of opportunities for innovation that can be
explored within the boundaries of these limitations.

FIGURE 4. Preliminary vision to study the problem[19]

A. BUILDING FRAMEWORKS
The investigations demonstrate that the knowledge frameworks use four
design theories to describe the origins of shape; or four classes, techniques,
and designs that interact to create a type of knowledge. The ultimate result
of a vision tends to exhibit a greater degree of creativity than being

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systematical. It can be inferred that these frameworks are established on a

set of scenarios that stem from the initial design process [20], [21].
1) TYPICAL PERCEPTIONS
The comprehension of sources regarding the advancement of the stages of
production concept is influenced by distribution patterns.
2) VIEWS OF SPECIFICS
Within the parameters of the analysis process, indicators are what
determine when a product will emerge. Product phase composition
emerges based on indicators that are on the systematic side. Through
overlap and systematics, indicators from the creative side's evaluation
phase determine how a product emerges.
3) OPINIONS ABOUT CREATIVITY
Adopting a variety of roles, identifying the conceptual nexus between
synthesis and analysis.
4) APPLICATION OF IMAGINATIVE CREATIVITY
The concept draws a line between analysis and evaluation through the
application of imaginative creativity. The concept, which embraces the
zeitgeist, simultaneously serves as a synthesis, analysis and evaluation
point.
5) ADAPTATION TO SOCIAL AND ECONOMIC CIRCUMSTANCES
Design impressions can refer to the overall aesthetic impact or visual
appeal of a design. Utilitarianism is a philosophical approach that
emphasizes the practicality and usefulness of a particular style or approach.
The concept of symbolic style refers to the use of symbols or symbolic
language in artistic expression. It is a technique that has been employed by
artists throughout history to convey complex ideas and emotions in a
concise and impactful manner. This style is often characterized by the use
of metaphor, allegory, and other forms of symbolic representation to
communicate meaning to the viewer or reader.
B. DESIGN PATTERNS
The design has various aesthetics; and is manufactured to resemble
naturally occurring forms by using contrast to direct the designer's
thinking. As we've already mentioned, this depends on both the creative
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and systematic sides, but what are the key elements that inspired them to
come up with the idea [22], [23]?
Between analysis and synthesis, pattern depends on function for the
interpretation of shape before stabilizing. The examination of the pattern
depends on the creative imagination. Whereby, the design parameters
determine the pattern. This pattern, in turn, is backed up by the formal
constraints.
VI. THEORIES OF DESIGN
Prior to proceeding, it is imperative to establish a mutual comprehension
of the parameters that define the concept of design and those that do not.
The concept of design is ambiguous due to the existence of multiple
theories pertaining to it, originating from diverse design-related disciplines,
all of which warrant inclusion in the discourse. Prior to contemplating the
adaptation of design theory, individuals must possess a comprehensive
understanding of the definition of design and ensure that the associated
terminology is unambiguous [24].
According to Lawson, there exists a distinction between engineers' and
designers' designs, with the former being associated with technical aspects
and the latter with imaginative aspects. This differentiation is evident in
the execution of designs. Both of these characterizations are somewhat
exaggerated as effective engineering necessitates a significant amount of
ingenuity and yields unforeseeable outcomes, while proficient fashion
design is improbable without a substantial amount of technical proficiency.
Consequently, numerous design modalities encompass both precise and
ambiguous notions, demand both methodical and disordered thinking, and
mandate both innovative idealization and technical calculation [25].
Furthermore, design is a collaborative process that involves a group of
individuals working within the confines of scientific rationalism, drawing
upon the freedom of artistic creativity, and being motivated by the
traditions of craftsmanship to produce novel creations. The act of
designing involves the systematic development of a product or system that
can be recorded and formalized. This volume presents design as dialectic.
This study pertains to the deterministic and procedural constrained field of
planning, while its underlying philosophy draws from post-structuralism
and critically creative principles of art [26].

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To attain a comprehensive understanding of this particular set of concepts,

it is advantageous to examine the design definitions put forth by preceding
scholars. The definition proposed by Christopher Jones, one of the oldest
and most influential writers in design theory, is the one that highlights the
strength and power of a designer. He states that design is: "Initiating
change in objects manufactured by humans [27], [28].
Additionally, he categorizes the design theories as follow:
1) As per the initial concept, the process of design involves the creation
of a structure that is derived from the intended purpose.
2) The second hypothesis posits that the form in question was generated
through the use of imaginative creativity.
3) The third theoretical perspective posits that the configuration of the
community is derived from the circumstantial evidence.
4) The fourth notion posits that the configuration is fashioned in
accordance with the prevailing social and economic conditions.
5) The fifth conjecture maintains that the shape is derived from the
principles of the eternal form.
According to the designer, the ability to perceive a developing path instead
of a chaotic mess enables them to design strategy. The author places
significant importance on comprehending the concepts of identity and
emergence. Hence, the discipline of design can be perceived as a cognitive
process, a cognitive disposition and a philosophical framework that
employs these constructs [29].
VII. CONCLUSION
The concept of design involves emulating the visual characteristics of
natural phenomena as well as the human-made artifacts. The approach
facilitates designers in contemplating a design problem from various
perspectives that are contingent upon the design discipline they opt for.
Furthermore, the proper functioning of systematic creativity is contingent
upon two factors. Whereas, utilizing one’s innovative and creative abilities
act as a catalyst for generating novel ideas.
One approach to achieve this objective involves establishing a workable
methodology that fosters ingenuity and innovation. Thus, enabling the
individuals to produce artifacts that align and corelates with their enduring,
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time-bound, and spatial circumstances. By replacing the distinct stages of

design work (namely analysis, synthesis, and evaluation) with the notion
that encompasses a meticulous duration of the suitable boundaries helps in
establishing the design language of the issue at hand. It is possible to
modify the subject perception by external parties. Formulate perspectives
on knowledge that are grounded in its originality and its potential
applications, its initial conception, or its functional mechanisms. The study
examines the distributional patterns of knowledge within a context that is
both pluralistic and overlapping. The concept is uniformly distributed
across the three phases of the production process. Through the utilization
of two distinct analytical methodologies, two disparate structural
classifications, and one evaluative approach.
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