Search results

With the continuous improvement of social and economic development as well as the rising level of demand for spiritual life, the design of cultural and creative products has ushered in new opportunities and challenges. Therefore the research related to cultural and creative products design is an inevitable choice for industrial innovation and market competition. The article aims to analyze the frontier hotspots and trend evolution of theoretical research on cultural and creative design in China by presenting different research fields, personnel and institutions embodied by cultural and creative products, thus providing a forward-looking development reference for China's special cultural and creative product design practice.

In this paper, the visualized citation analysis tool — CiteSpace V is used to analyze and map the relevant literature of Chinese cultural and creative design in CNKI (Chinese National Knowledge Infrastructure) as the data sources, through bibliometric methods, in order to study the application development of Chinese cultural and creative design and provide reference for the application research of Chinese cultural and creative industries.

With the improvement of China's comprehensive strength, cultural self-confidence and strategy are being paid more and more attention by scholars; with the future research of China's cultural and creative design theory, cross-integration becomes the future trend; with the gradual maturity of China's cultural and creative design methodology, how to choose the right method for pioneering research is a difficulty for the future development of cultural and creative design; with the continuous development of China's economy, the method construction of innovative cultural and creative industry system becomes the focus of future research; with the continuous progress of science and technology, the integration of emotion and product industry is the mainstream of future development on cultural and creative design.

Through an objective empirical analysis of the development of Chinese cultural and creative products, it will broaden the research horizons of relevant scholars, understand the development direction of China's cultural and creative industries, enrich the design practice application of Chinese cultural and creative products, enhance the understanding of international counterparts on Chinese cultural and creative design research and promote the exchange among international counterparts.

With the development of science and technology, more creators are trying to use new crafts to represent the cultural trends of the social media era, which makes cultural heritage innovative and new genres emerge. This compels the academic community to examine craft from a new perspective. It is very helpful to understand the hidden representational structure of craft more deeply and improve the craft innovation system of cultural and creative products that we deconstruct the craft based on Complex Network and discover its intrinsic connections.

The research crawled and cleaned the craft information of the top 20% products on the Forbidden City’s cultural and creative products online and then performed Complex Network modeling, constructed three craft representation networks among function, material and technique, quantified and analyzed the inner connections and network structure of the craft elements, and then analyzed the cultural inheritance and innovation embedded in the craft representation networks.

The three dichotomous craft representation networks constructed by combining function, material and technique: (1) the network density is low and none of them has small-world characteristics, indicating that the innovative heritage of the craft elements in the Forbidden City’s cultural and creative products is at the stage of continuous exploration and development, and multiple coupling innovation is still insufficient; (2) all have scale-free characteristics and there is still a certain degree of community structure within each network, indicating that the coupling innovation of craft elements of the Forbidden City’s cultural and creative products is seriously uneven, with some specific “grammatical combinations” and an Island Effect in the network structure; (3) the craft elements with high network centrality emphasize the characteristics of decorative culture and design for the masses, as well as the pursuit of production efficiency and economic benefits, which represent the aesthetic purport of contemporary Chinese society and the ideological trend of production and life.

The Forbidden City’s cultural and creative products should continue to develop and enrich the multi-coupling innovation of craft elements, clarify and continue their own brand unique craft genes, and make full use of the network important nodes role.

This paper aims to explore professional product designers’ views on creative design and to compare their viewpoints with the related academic literature on product marketing.

To find the designers’ views on creative design, face-to-face in-depth interviews based on repertory grid analysis and semi-structured questions were conducted with 32 professional and award-wining product designers who mostly design for international producers.

Although marketing scholars often approach design as a noun – something that can be viewed and analysed as a bundle of attributes, dimensions or characteristics – professional designers view design differently. To them, design is a verb, a problem-solving process through which they meet the challenges consumers have with products. Comparing professional product designers’ views on design creativity with the main topics in the product marketing literature places scholars’ dispositionalism against designers’ situationalism; it also enables marketing scholars to improve their viewpoints on product design and to bring practical problem-solving and design thinking into their research. This also increases mutual understanding between marketers and designers.

This research enhances the knowledge of marketing scholars, marketers and designers about each other’s perspectives on product design creativity, which will improve their mutual understanding and the business-to-business relationship between marketers and designers.

To the best of the authors’ knowledge, this research is the first study that has attempted to discover product designers’ opinions on the main topics in the related academic literature.

Viewing creativity through the theoretical lens of the resource‐based view, the paper attempts to answer a fundamental question: is design creativity a static or dynamic capability? If static, then firms need to acquire personnel who are already creative. If dynamic, then personnel's creative talents should be developed through training.

In an exploratory controlled experiment of 74 design engineers from ten firms, two forms of training emphasizing design creativity as static or dynamic capability were applied. Creative designs developed by the participants were judged by professionals inside each organization. Results were analyzed using structural equation modeling.

The exploratory findings support the notion that design creativity is a static capability. In tandem, support for design creativity as a dynamic capability, contingent upon personality traits is apparent. Training may help develop some people's creative skills.

Small sample size limited the ability to distinguish the significance of some effects. Further incubation time for training and an added evaluation step by the judges could have resulted in more apparent effects of training.

Finest candidates for recruitment and development may not be identified based on a limited set of characteristics. Selection should be based on a combination of criteria. To gain the most, training programs should be subject to the individuals' learning styles.

Design creativity should be considered as a static characteristic determined upon recruitment (buy), and as a dynamic one developed post hire (make). The exploratory findings suggest a combined buy and modify approach to design creativity.

By the end of this session, students should be able to: explain what a business model is; summarize the case firm’s business strategy using the elements of business model canvas proposed by Alexander Osterwalder and practice how to apply the business model canvas to analyze the business model of a firm; understand how a firm can seize an opportunity for innovation; and discuss how the case firm navigated through problems that came up as it grew.

Creative Design was a start-up company in Taiwan. To fulfill a course requirement while she was still in school, the founder had formed a team and entered an entrepreneurship competition. They won the second runner up award in that competition and impressed some firms who enquired if they would be interested in doing corporate identity system (CIS) design. They discovered that without establishing a corporate structure their prospective clients would be unable to pay an invoice. As a consequence, the founder and one of the team members established Creative Design Ltd. This case discusses the challenge Creative Design faced at the end of 2012. Wonderland farmers’ association (WFA) wanted to market locally grown jasmine but did not know how to go about it. They reached out to the founder and her company for assistance. The case of WFA was uncharted territory. Creative Design already had extensive experience in CIS design, but it did not have any experience in handling agriculture products. In this case, they had to deal with the full supply chain from production to exhibition. The risk for this project was high but Creative Design accepted the case and became the first design firm offering a “total solution.” Currently, Creative Design works with all kinds of cases, from simple CIS designs to more complicated total solutions of various scales. The founder now has to contemplate if the design house should develop more total solution cases. Doing so would require recruiting more staff and the dilemma of balancing revenue and costs.

The case study is designed for the undergraduate and graduate students of the College of Management; the case can be adopted for the courses of management, innovation and entrepreneurship, etc.

Teaching Notes are available for educators only.

CSS: 3 Entrepreneurship.

With the rise of customer engagement in online products and services innovation, enterprises are seeking effective referral reward program (RRP) to encourage customers’ follow-up electronic-referral (e-referral) behaviors. Therefore, how to stimulate more customers to participate in the RRP is very important to enterprises. However, little empirical work has systemically investigated the impact of RRP on customers’ follow-up e-referral, as well as the moderating effects of customers’ characteristics. To fill those research gaps, the purpose of this paper is to explore the effects of RRP (particularly, reward amount and reward type) on customers’ follow-up e-referral, and the role of creative self-efficacy.

Based on the self-perception theory and the context of online customer innovation, this paper establishes a theoretical model and uses an experiment with 160 participants to test the hypotheses on the role of reward (amount and type) and the moderating effect of creative self-efficacy.

The results of the experiment suggest that both reward amount and reward type in RRP positively impact customers’ follow-up e-referral. Furthermore, customers’ creative self-efficacy moderates the relationship between rewards and customers’ follow-up e-referral. Customers with low creative self-efficacy, reward amount significantly stimulate their follow-up e-referral, but such effect is insignificant when customers’ creative self-efficacy is high. In terms of reward type, gift reward has more positive effect on customers’ follow-up e-referral when they have high (rather than low) creative self-efficacy, but cash reward has more positive effect on those with low (rather than high) creative self-efficacy.

First, based on the self-perception theory, the study clarifies the inconsistent relationship between reward and customers’ e-referral and contributes to related research. Second, the study broadens the existing research perspective by introducing creative self-efficacy, which shows interesting and powerful moderating effect but has been ignored in previous studies. Third, the study provides valuable advice on how enterprises design an effective RRP to enhance customers’ follow-up e-referral.

The purpose of this paper is to examine if “neo-retro”-product design, which is based on the reinterpretation of forms from the past, can paradoxically convey design newness and looks at how such products are perceived by innovators.

An experiment was conducted with two groups of respondents, with a total sample of 194 respondents. These were, respectively, submitted to two different product designs for highly technical headphones; one with a neo-retro-design and the other with a typical modern design. The approach enabled the testing and validation of different hypotheses regarding retro and innovation.

The results suggest that a neo-retro-product design conveys newness and does not mislead the consumer when it comes to evaluating a product's technological input. Furthermore, they support the idea that consumer innovativeness has a positive effect on the attitude towards neo-retro-product design.

Future research should explore the relationship between neo-retro-design and nostalgia proneness and perceived risk attached to innovative products.

The empirical findings of the paper highlights the creative process hidden behind the neo-retro-product design approach and have implications for design practitioners in the field of innovative products.

Despite the ever-growing importance of the retro-phenomenon, the relationship between neo-retro-product design, perceived innovation and consumer innovativeness has not previously been examined in the literature. The paper contributes to dispelling doubt as regards the compatibility of neo-retro-design and innovativeness.

Purpose – This paper aims to study the development of animated films in the last decade, which has made Indonesia a target market for products from creative industries abroad. These creative products consist of comics, animated films, and games. Several animated films abroad have been successful and favored by Indonesian children.

Design/Methodology/Approach – This paper is the result of a literature study and using SWOT analysis method.

Findings – This animation study will be able to open opportunities for creative industry growth if it can build the creativity of young people, especially in the field of animation. Considering that the competition of livelihoods in the economic sphere is increasingly tight and the manufacturing industry sector can no longer be relied upon, building creative human resources is one of the solutions of the economic crash of society.

Research limitation/Implication – There are five opportunities to build a creative economy in Indonesia that is demographic of youth potentially become a creative class, digital lifestyle development, increasing middle class, increasing demand of creative population, and potency of natural wealth and culture of Indonesia; hence this research need to be done. This study aims to formulate strategies to build creativity and independence of youth, especially in Padang West Sumatra.

Originality/Value – Building youth creativity can be done by providing free training, motivating youth by providing incentives for success in animation products; motivating to participate in race events, workshops, and seminars; and cooperating with private or government agencies. It will encourage independence and creativity to produce movies, commercials, and games.

Creativity is a critical skill across disciplines and contexts, and it is an important trait for humans to survive and thrive, personally and collectively. The fast-paced culture of business innovation has sought to promote and reward creativity as a coveted thinking skill. Creativity in and of itself, however, is a value-neutral construct, because novel and effective ideas may also have negative consequences. This darker aspect of creativity has come to the forefront in many recent cases, particularly in contexts involving digital and networking technologies, where the rapid pace of technological change does not encourage the kind of deliberative thinking necessary for nuanced and ethical business decisions. The authors consider why education is essential for expanding the ethical capacity of creative agency in business, describing the need to bring creativity and ethics together in educational opportunities and cultural values. The authors explore the idea of ‘wise creativity’ and the need to infuse more human-centred learning from the arts and humanities into business fields. Further, the authors suggest better practices for creative business education, such as: infusing real-world ethics learning into business education and professional development; infusing the liberal arts curriculum in business; offering opportunities for arts-based approaches in business learning; and instilling genuine mindfulness training in business education environments. The authors’ focus is on a shift away from a culture that values creativity purely as an instrumental approach for greater profitability, and towards one that values wise and humanizing creativity for good business practices that consider societal and individual wellbeing.

In the last four years, since Volume I of this Bibliography first appeared, there has been an explosion of literature in all the main functional areas of business. This wealth of material poses problems for the researcher in management studies — and, of course, for the librarian: uncovering what has been written in any one area is not an easy task. This volume aims to help the librarian and the researcher overcome some of the immediate problems of identification of material. It is an annotated bibliography of management, drawing on the wide variety of literature produced by MCB University Press. Over the last four years, MCB University Press has produced an extensive range of books and serial publications covering most of the established and many of the developing areas of management. This volume, in conjunction with Volume I, provides a guide to all the material published so far.