The specializations that industrial designers can focus on are:.

Field of work:

The creation of material objects has been a historical universal of all human cultures, whose intention is to be extensions of the body and mind, with the relationship between the material evidence of artifacts and human evolution being indissoluble. There is no human group that does not make some type of material object, no matter how rudimentary and primitive it may be.

With the emergence of human societies, the conception and elaboration of artifacts gradually fell into certain social groups, the artisans, who came to jealously guard the secrets of their trades, consolidating guilds that gave them power and social renown. Ceramics, metalwork, jewelry, textiles, weapons, among many other objects, were the subject of commercial exchanges motivated largely by the unique attributes that only artisans from a certain region of the world could give them. Examples of this are Chinese porcelain") and Toledo steel swords.

The artisans created objects that were not only necessary for daily life, but also beautiful, functional and of high quality, but at the same time expensive and difficult to access for a large part of the population.

The industrial revolution began to take shape in England in the middle of the century and with the systematic introduction of the machine in the production process, the mechanization of work began, replacing manual labor. This new production system separated the tasks of conception from those of construction. Initially the creators were inventive artists and craftsmen who were successful due to the favorable economic circumstances of the time and the use of the steam engine and electricity.

During the first half of the century, the objects manufactured by the new production system were not precisely characterized by the quality of the design, which caused questions and criticisms that emerged on the occasion of the Great International Exhibition of 1851 in London. There, the technological advances of the time were exhibited and everything that technology allowed us to produce, from locomotives and mechanical looms to everyday objects. The quality of the exhibits, which imitated the appearance of handmade ones, was generally poor. Industrial production sacrificed quality and finish for quantity.

In the context of criticism of industrial production, Henry Cole, a specialist in decorative arts, began a movement to reconcile art with industry. He edited a monthly magazine called Journal of Design and Manufacturers which was the first publication on design applied to industry. The questioning of industrial production was followed by other personalities such as John Ruskin and William Morris, both inspirations of the Arts and Crafts movement.

The Arts and Crafts movement proposed a return to artisanal production and the medieval spirit as a valid alternative to recover the balance between arts and crafts. The movement attempted to revive craftsmanship and design in Victorian England. It was characterized by materializing the unity of form, function and decoration, a balance that had been broken as a consequence of the new industrial manufacturing system. At first he rejected the use of the machine, and the forms tended to be rustic, simple and elegant, generally without ornamentation. The shape did not hide its function and instead showed its construction, leaving nails and pegs visible forming designs on the surfaces of the furniture. The second generation of movement designers was more overcoming and fully accepted the help of the machine. While Arts and Crafts managed to revive craftsmanship, it could not do the same with design applied to industry, although the movement was a significant step towards the abstraction of form and functionalism in industrial design.[5]​.

It is considered that the first institution that taught the foundations of industrial design was the Bauhaus (construction house), a German school of art, design and architecture founded in 1919 under the direction of Walter Gropius, which operated until 1933, being a reference for any other school of Design.

In Spain, until the Civil War, design had only been the subject of study by a few. The greatest advance in the matter occurred in the 1950s, thanks to the efforts of a group of architects, such as Carlos de Miguel, Luis Martínez-Feduchi, Javier Carvajal, Antoni Moragas and José Antonio Coderch, among others, who promoted a series of initiatives with which they sought to raise awareness in society of the need for “good design.” Among them were the holding of exhibitions and competitions, as well as the creation of institutions for industrial design such as SEDI and IDIB.[6]​.

Nowadays, industrial design has spread throughout almost the entire world, with education at the university level. Most countries have official organizations that promote design. The process of designing a product includes, in addition to industrial designers, product engineers, plastics, metallurgy, electrical, electronic, industrial systems and all those who are required in accordance with the specific requirements of the product, as well as the company that is to produce the industrial item.

Current postmodern societies are immersed in an immense number of objects resulting from serial industrial production, from simple packaging to automobiles. These objects are studied and analyzed by industrial designers, who synthesize the information provided by market, functional, anatomical, cultural studies, etc., in order to develop and design products appropriate to the market and its expectations.

Contenido

En un sentido amplio, el derecho de los creadores de un diseño industrial, a ser los únicos en producirlo, venderlo, etc. se protege de dos formas: el derecho de autor y la propiedad industrial. Según la política de cada país, ambas protecciones pueden acumularse o no. Por ejemplo, en España se permite la acumulación mientras que en Francia no.

Protection as industrial property

It is a more complete protection, but of a shorter duration, since according to international conventions, such as the Treaty on Trade-Related Aspects of Intellectual Property (TRIPS), the minimum duration is 10 years. Most countries offer a maximum duration of 25 years. In order for an industrial design to be protected by industrial property, it must meet a series of requirements, with the conditions of the requirements being established by TRIPS. This is how novelty is usually asked for "Novelty (industrial property)") and unique character. The first requirement is that nothing like it exists, while the second establishes that nothing like it exists. For most legislations, design should not have a technical function, but rather its objective should be aesthetics only. In the case of having a technical function, it will be protected by a patent or a utility model.

Another requirement that is not so generally accepted is visibility, that is, that the part where the design is provided can be seen during normal use of the product.

Protection as copyright

For an industrial design to be protected by copyright, it must meet the fundamental requirement of originality. The duty of an industrial designer is to fully satisfy the needs of a user. The duration of this protection usually lasts the entire life of the creator of the protected industrial design, plus a variable number of years depending on local legislation. It is usually 60-70 years old.

From a systemic point of view, the main output of the design process is the communication of a design concept; the design professional requires tools that allow him to carry out this communication, in the clearest way possible for the recipients.

Thus, for the designer the most basic tool he has is the drawing, (the reason that gave name to the profession since the Italian word for drawing is Disegno) even so, the drawing is sometimes insufficient to fully communicate the design concept, which is why he usually resorts to the construction of three-dimensional models and/or prototypes that allow him to show and transmit all the ideas, forms or functionalities of his design concept. This is why designers require training in the plastic arts, as a means of communicating their design concepts. Technological development has led to the creation of tools that allow the communication of design concepts to be carried out in less time, with fewer resources, achieving good understanding of the receiver. Among these tools we have computer-aided design, rendering, 3D printing, CNC, among others.

Additionally, there are strategic tools for project management in industrial design, such as "design thinking" (a method that is even used in education). This strategy consists of analyzing a problem in a multidisciplinary way. We know that the role of the designer is to detect problems and generate solutions for them, regardless of whether it is through a product, a service or an experience; In this case, "design thinking" is used to examine the causes of the problem, such as: culture, context, personal experience and the life processes of the individual, as mentioned by Maurício Vianna"), Ysmar Vianna"), Isabel K. Adler"), Brenda Lucena") and Beatriz Russo") in their book Design Thinking Business Innovation. It is necessary for the designer to take into account all these elements and different types of perspectives when evaluating a problem in order to reach practical and truly solutions. efficient.

The specializations that industrial designers can focus on are:.

Field of work:

The creation of material objects has been a historical universal of all human cultures, whose intention is to be extensions of the body and mind, with the relationship between the material evidence of artifacts and human evolution being indissoluble. There is no human group that does not make some type of material object, no matter how rudimentary and primitive it may be.

With the emergence of human societies, the conception and elaboration of artifacts gradually fell into certain social groups, the artisans, who came to jealously guard the secrets of their trades, consolidating guilds that gave them power and social renown. Ceramics, metalwork, jewelry, textiles, weapons, among many other objects, were the subject of commercial exchanges motivated largely by the unique attributes that only artisans from a certain region of the world could give them. Examples of this are Chinese porcelain") and Toledo steel swords.

The artisans created objects that were not only necessary for daily life, but also beautiful, functional and of high quality, but at the same time expensive and difficult to access for a large part of the population.

The industrial revolution began to take shape in England in the middle of the century and with the systematic introduction of the machine in the production process, the mechanization of work began, replacing manual labor. This new production system separated the tasks of conception from those of construction. Initially the creators were inventive artists and craftsmen who were successful due to the favorable economic circumstances of the time and the use of the steam engine and electricity.

During the first half of the century, the objects manufactured by the new production system were not precisely characterized by the quality of the design, which caused questions and criticisms that emerged on the occasion of the Great International Exhibition of 1851 in London. There, the technological advances of the time were exhibited and everything that technology allowed us to produce, from locomotives and mechanical looms to everyday objects. The quality of the exhibits, which imitated the appearance of handmade ones, was generally poor. Industrial production sacrificed quality and finish for quantity.

In the context of criticism of industrial production, Henry Cole, a specialist in decorative arts, began a movement to reconcile art with industry. He edited a monthly magazine called Journal of Design and Manufacturers which was the first publication on design applied to industry. The questioning of industrial production was followed by other personalities such as John Ruskin and William Morris, both inspirations of the Arts and Crafts movement.

The Arts and Crafts movement proposed a return to artisanal production and the medieval spirit as a valid alternative to recover the balance between arts and crafts. The movement attempted to revive craftsmanship and design in Victorian England. It was characterized by materializing the unity of form, function and decoration, a balance that had been broken as a consequence of the new industrial manufacturing system. At first he rejected the use of the machine, and the forms tended to be rustic, simple and elegant, generally without ornamentation. The shape did not hide its function and instead showed its construction, leaving nails and pegs visible forming designs on the surfaces of the furniture. The second generation of movement designers was more overcoming and fully accepted the help of the machine. While Arts and Crafts managed to revive craftsmanship, it could not do the same with design applied to industry, although the movement was a significant step towards the abstraction of form and functionalism in industrial design.[5]​.

It is considered that the first institution that taught the foundations of industrial design was the Bauhaus (construction house), a German school of art, design and architecture founded in 1919 under the direction of Walter Gropius, which operated until 1933, being a reference for any other school of Design.

In Spain, until the Civil War, design had only been the subject of study by a few. The greatest advance in the matter occurred in the 1950s, thanks to the efforts of a group of architects, such as Carlos de Miguel, Luis Martínez-Feduchi, Javier Carvajal, Antoni Moragas and José Antonio Coderch, among others, who promoted a series of initiatives with which they sought to raise awareness in society of the need for “good design.” Among them were the holding of exhibitions and competitions, as well as the creation of institutions for industrial design such as SEDI and IDIB.[6]​.

Nowadays, industrial design has spread throughout almost the entire world, with education at the university level. Most countries have official organizations that promote design. The process of designing a product includes, in addition to industrial designers, product engineers, plastics, metallurgy, electrical, electronic, industrial systems and all those who are required in accordance with the specific requirements of the product, as well as the company that is to produce the industrial item.

Current postmodern societies are immersed in an immense number of objects resulting from serial industrial production, from simple packaging to automobiles. These objects are studied and analyzed by industrial designers, who synthesize the information provided by market, functional, anatomical, cultural studies, etc., in order to develop and design products appropriate to the market and its expectations.

Contenido

En un sentido amplio, el derecho de los creadores de un diseño industrial, a ser los únicos en producirlo, venderlo, etc. se protege de dos formas: el derecho de autor y la propiedad industrial. Según la política de cada país, ambas protecciones pueden acumularse o no. Por ejemplo, en España se permite la acumulación mientras que en Francia no.

Protection as industrial property

It is a more complete protection, but of a shorter duration, since according to international conventions, such as the Treaty on Trade-Related Aspects of Intellectual Property (TRIPS), the minimum duration is 10 years. Most countries offer a maximum duration of 25 years. In order for an industrial design to be protected by industrial property, it must meet a series of requirements, with the conditions of the requirements being established by TRIPS. This is how novelty is usually asked for "Novelty (industrial property)") and unique character. The first requirement is that nothing like it exists, while the second establishes that nothing like it exists. For most legislations, design should not have a technical function, but rather its objective should be aesthetics only. In the case of having a technical function, it will be protected by a patent or a utility model.

Another requirement that is not so generally accepted is visibility, that is, that the part where the design is provided can be seen during normal use of the product.

Protection as copyright

For an industrial design to be protected by copyright, it must meet the fundamental requirement of originality. The duty of an industrial designer is to fully satisfy the needs of a user. The duration of this protection usually lasts the entire life of the creator of the protected industrial design, plus a variable number of years depending on local legislation. It is usually 60-70 years old.

From a systemic point of view, the main output of the design process is the communication of a design concept; the design professional requires tools that allow him to carry out this communication, in the clearest way possible for the recipients.

Thus, for the designer the most basic tool he has is the drawing, (the reason that gave name to the profession since the Italian word for drawing is Disegno) even so, the drawing is sometimes insufficient to fully communicate the design concept, which is why he usually resorts to the construction of three-dimensional models and/or prototypes that allow him to show and transmit all the ideas, forms or functionalities of his design concept. This is why designers require training in the plastic arts, as a means of communicating their design concepts. Technological development has led to the creation of tools that allow the communication of design concepts to be carried out in less time, with fewer resources, achieving good understanding of the receiver. Among these tools we have computer-aided design, rendering, 3D printing, CNC, among others.

Additionally, there are strategic tools for project management in industrial design, such as "design thinking" (a method that is even used in education). This strategy consists of analyzing a problem in a multidisciplinary way. We know that the role of the designer is to detect problems and generate solutions for them, regardless of whether it is through a product, a service or an experience; In this case, "design thinking" is used to examine the causes of the problem, such as: culture, context, personal experience and the life processes of the individual, as mentioned by Maurício Vianna"), Ysmar Vianna"), Isabel K. Adler"), Brenda Lucena") and Beatriz Russo") in their book Design Thinking Business Innovation. It is necessary for the designer to take into account all these elements and different types of perspectives when evaluating a problem in order to reach practical and truly solutions. efficient.