[{"data":1,"prerenderedAt":271},["ShallowReactive",2],{"person-cdeadc14-2633-4741-9c8c-adb0f44afd88":3},{"success":4,"person":5,"request":267},true,{"lastName":6,"role":7,"name":8,"description":9,"_id":10,"designation":7,"id":7,"email":11,"url":7,"createDate":12,"filiation":13,"slugs":14,"articles":17},"Machado","","Luciene",{},"cdeadc14-2633-4741-9c8c-adb0f44afd88","luka_mac@hotmail.com","2025-12-27T17:33:55-03:00","Universidade do Vale do Rio dos Sinos - UNISINOS",[15,16],"luciene-machado","machado-luciene",[18,90,206],{"pageRange":19,"parent":20,"data":21,"trackId":30,"type":31,"typeData":32,"metaData":57,"langs":59,"_id":62,"status":63,"updateDate":64,"contributors":65,"contributorsIds":86,"download":87,"slugs":88,"slug":89},null,"39f260d6-d61f-4dfe-b1f7-a6c315c260bd",{"secondary":22,"primary":26},{"keywords":23,"excerpt":24,"title":25},"\u003Cp>sketch, draping, project process and visual thinking\u003C/p>","Can draping be considered a tridimensional sketch? From this question, the paper intends to contextualize this problem, exploring the sketch as a tool of visual thinking in the project process, establishing a parallel view with draping technique which is used to create a collection project by fashion design. The aim of the present study is to check if draping can be considered a sketch, identifying similarities and differences between them during the project process. To support this idea it will be shown a theorical review of some studies about sketch according to Goldschmidt, Arnheim and Schön.","Draping: A Tridimensional Sketch?",{"keywords":27,"excerpt":28,"title":29},"\u003Cp>esboço, moulage, processo de projeto e pensamento visual\u003C/p>","A moulage pode ser considerada um esboço tridimensional? A partir desta questão, o artigo propõe contextualizar o problema, explorando o esboço como ferramenta do pensamento visual no processo de projeto, estabelecendo um paralelo com a técnica de moulage utilizada pelo design de moda na criação de uma coleção. O objetivo é verificar se a técnica de moulage pode ser considerada um esboço, identificando semelhanças e diferenças entre os mesmos durante o processo de projeto. Para fundamentar o problema, será apresentada uma revisão teórica de estudos anteriores sobre esboço, segundo Goldschmidt, Arnheim e Schön.","Moulage: Um Esboço Tridimensional?","twj44ghl","article",{"startPage":33,"file":34,"references":37,"endPage":56,"track":30,"doi":7},6397,{"fullpath":35,"name":36},"https://storage.googleapis.com/memoria-ped.appspot.com/articles%2F10_congresso_brasileiro_de_pesquisa_e_desenvolvimento_em_design%2Ftwj44ghl-1766875648-6397-6402.pdf","twj44ghl-1766875648-6397-6402.pdf",[38,41,44,47,50,53],{"label":39,"id":40},"\u003Cp>ARNHEIM, Rudolf. Scketing and the psychology of Design. \u003Cstrong>Design Studies\u003C/strong>, nº. 2, p. 15-19, 1993.\u003C/p>","d5a4322e-6878-4f8d-819e-831cbf792dba",{"id":42,"label":43},"f710b725-4b6e-433f-9577-b6201a937a5a","\u003Cp>AUGÉ, Claude; AULGÉ, Paul. \u003Cstrong>Larousse Classique Illustré\u003C/strong>. Paris: Librairie Larousse, 1952.\u003C/p>",{"label":45,"id":46},"\u003Cp>GOLDSCHMIDT, Gabriela. On visual design thinking: the vis kids of architecture. \u003Cstrong>Design Studies\u003C/strong>, nº. 2, p. 158-174, v. 15, apr 1994.\u003C/p>","de5eb649-563c-41de-8c94-8348f620ffee",{"label":48,"id":49},"\u003Cp>JONES, Sue Jenkyn. Moulage. In: \u003Cstrong>Fashion design, manual do estilista\u003C/strong>. São Paulo: Cosac Naify, 2005. Cap. 5, p. 149-155.\u003C/p>","13e7aa76-c9a0-4b12-ab73-bb1fb32beb18",{"id":51,"label":52},"e53d8947-cba9-4289-bc6b-cb93a61ff0d5","\u003Cp>SCHÖN, Donald. Ensinando o talento artístico através da reflexão-na-ação. In: \u003Cstrong>Educando o Profissional Reflexivo\u003C/strong>: um novo design para o ensino e a aprendizagem. Porto Alegre: Artes Médicas Sul, 2000. Cap. 2, p. 29-42.\u003C/p>",{"label":54,"id":55},"\u003Cp>SILVEIRA, Icléia. Moulage – ferramenta para o design do vestuário. \u003Cstrong>Estudos em design\u003C/strong>, nº. 1, p. 23-35, v. 10, fev 2003.\u003C/p>","35cfbb2a-73e6-4976-8bda-e823b2dbcf18",6402,{"updateDate":7,"createDate":58,"deleteDate":7},1766875648,[60,61],"primary","secondary","63e1e4f2-7736-4064-9cb4-236d71cda6cc","enabled","2025-12-28T13:01:01-03:00",[66,72,82],{"designation":7,"email":11,"name":8,"slugs":67,"lastmodified":68,"description":69,"objectID":10,"_id":10,"id":7,"lastName":6,"filiation":13,"createDate":70,"role":7,"url":7,"path":71},[15,16],1766875648619,{},"2025-12-27T22:47:28.619Z","people/cdeadc14-2633-4741-9c8c-adb0f44afd88",{"description":73,"designation":7,"role":7,"filiation":13,"url":7,"createDate":70,"name":74,"objectID":75,"email":76,"slugs":77,"lastName":80,"lastmodified":68,"_id":75,"path":81,"id":7},{},"Celso Carnos","ee0d7449-c49b-4f92-9bbf-29e14ab5ca24","celsocs@unisinos.br",[78,79],"celso-carnos-scaletsky","scaletsky-celso-carnos","Scaletsky","people/ee0d7449-c49b-4f92-9bbf-29e14ab5ca24",{"role":7,"filiation":7,"email":7,"name":83,"designation":7,"lastName":84,"_id":85,"url":7},"Carlo","Franzato","4398da0b-c7d7-4192-8432-c703bc0532d1",[10,75,85],1,[89],"draping-a-tridimensional-sketch",{"pageRange":91,"parent":92,"data":93,"trackId":100,"type":31,"typeData":101,"slugs":165,"metaData":167,"langs":169,"_id":170,"status":63,"updateDate":171,"contributors":172,"contributorsIds":204,"download":205,"slug":166},"3347-3354","50fdb9c5-a3aa-47ea-b71c-8a1b73447b29",{"secondary":94,"primary":96},{"keywords":7,"excerpt":95,"title":7},"Design is an area that has a projetual character which uses several idea generation processes to make tangible the concept design of a product or service. The designers can design by their own or with other designers, which can be from divergent areas. In this process, some emotions can stimulate or block the generation of ideas among designers and may change the results of the final product to be designed. Within this context, this paper shows the results of a completed exploratory research aimed at identifying the emotions involved during the generation of ideas in co-design processes among designers, in order to propose guidelines for the creation of physical space model that enhance the generation of ideas. The method used was in-depth interviews based on the fundamentals of Appraisal Theory, applied to designers from different areas. The results showed that, from the ident",{"keywords":97,"excerpt":98,"title":99},"\u003Cp>Emoção, geração de ideias, designers, co-design\u003C/p>","O Design é uma área de caráter projetual que utiliza diversos processos de geração de ideias para tangibilizar o conceito de projeto de um produto ou serviço. Os designers podem projetar sozinhos ou junto a outros designers, que podem ser de áreas divergentes. Neste processo, algumas emoções podem estimular ou bloquear a geração de ideias entre os designers, podendo alterar os resultados do produto final a ser projetado. Dentro deste contexto, este artigo mostra os resultados de uma pesquisa exploratória concluída, cujo objetivo foi identificar as emoções envolvidas durante a geração de ideias em processos de co-design entre designers, a fim de propor diretrizes para a criação de um espaço físico modelo que potencialize a geração de ideias. O método utilizado foram entrevistas em profundidade com base nos fundamentos da Appraisal Theory, aplicadas a designers de áreas diversas. Os resultados apontaram que, a partir da identificação das emoções que estimularam o processo de geração de ideias, como o entusiasmo e o divertimento, foram propostos os primeiros indícios de diretrizes projetuais para a criação de um espaço físico modelo, visando estimular as emoções que potencializam a geração de ideias em um processo de co-design.","Identificação das Emoções no Processo de Co-design","ti26p247",{"startPage":102,"file":103,"references":106,"endPage":164,"track":100,"doi":7},3347,{"fullpath":104,"name":105},"https://storage.googleapis.com/memoria-ped.appspot.com/articles%2F10_congresso_brasileiro_de_pesquisa_e_desenvolvimento_em_design%2Fti26p247-1766879085-3347-3354.pdf","ti26p247-1766879085-3347-3354.pdf",[107,110,113,116,119,122,125,128,131,134,137,140,143,146,149,152,155,158,161],{"id":108,"label":109},"2dc4e116-4f09-47e4-9901-7a75f43d5621","\u003Cp>BARDIN, Laurence. \u003Cstrong>Análise de conteúdo\u003C/strong>. Lisboa: Edições 70, 2011.\u003C/p>",{"label":111,"id":112},"\u003Cp>DEMIR, Erdem; DESMET, Pieter; HEKKERT, Paul. Appraisal Patterns of Emotions in Human-Product Interaction. \u003Cstrong>International Journal of Design\u003C/strong>, v. 3, n. 2, p. 41-51, 2009.\u003C/p>","7ccb9120-2261-4a22-a486-5ece46ffcf76",{"id":114,"label":115},"4853f2eb-1c0c-4d36-bffe-5285e17f00cc","\u003Cp>DESMET, Pieter. \u003Cstrong>Designing emotions\u003C/strong>. Delft, The Netherlands: Delft University of Technology, Dept. of Industrial Design, 2002.\u003C/p>",{"label":117,"id":118},"\u003Cp>EAGLEMAN, David. \u003Cstrong>Incógnito\u003C/strong>: A vida secreta do cérebro. Rio de Janeiro: Editora Rocco Ltda., 2011.\u003C/p>","d47cd01e-9009-485d-bc4d-833dd884f616",{"label":120,"id":121},"\u003Cp>FRIJDA, Nico. H. \u003Cstrong>The emotions\u003C/strong>. Cambridge, UK: Cambridge University Press, 1986.\u003C/p>","bd8faee2-3a29-42d4-a142-93d874ee0c81",{"label":123,"id":124},"\u003Cp>_______. The place of appraisal in emotion. \u003Cstrong>Cognition and Emotion\u003C/strong>, v. 7, n. 3-4, p. 357-387, 1993.\u003C/p>","faaca724-b326-4455-8dc7-bf435ee63c5b",{"label":126,"id":127},"\u003Cp>_______. Varieties of affect: emotions and episodes, moods, and sentiments. In: P. Ekman; R. J. Davidson (Ed.). \u003Cstrong>The Nature of Emotion, fundamental questions\u003C/strong>, p. 59-67. Oxford: Oxford University Press, 1994.\u003C/p>","80b5f4a0-b077-4243-8b7e-4b2fc9b7b107",{"label":129,"id":130},"\u003Cp>JORDAN, Patrick. Pleasure with products: Human factors for body, mind and soul. In: Green W.S.; Jordan P.W. (eds.). \u003Cstrong>Human factors in product design\u003C/strong>: Current practice and future trends, p. 206-217. London: Taylor & Francis, 1999.\u003C/p>","adfdbf3b-0eb6-473c-98f0-6f541ed2dbe4",{"id":132,"label":133},"ce7a7aec-ccd2-46c5-8fd1-fc54553f59e2","\u003Cp>LAZARUS, Richard S. \u003Cstrong>Emotions and Adaptation\u003C/strong>. New York: Oxford University Press, 1991.\u003C/p>",{"label":135,"id":136},"\u003Cp>MATURANA, Humberto. \u003Cstrong>Cognição, Ciência e vida Cotidiana\u003C/strong>. Belo Horizonte: Editora UFMG, 2001.\u003C/p>","26f0d6cd-b36a-43a8-af81-2bba04782a7c",{"id":138,"label":139},"0bca57d8-48e1-4d71-97a7-56630ddb6e48","\u003Cp>MORAES, Roque. Análise de conteúdo. \u003Cstrong>Revista Educação\u003C/strong>, v. 22, n. 37, p. 7-32, 1999.\u003C/p>",{"label":141,"id":142},"\u003Cp>NORMAN, Donald. \u003Cstrong>Emotional design\u003C/strong>: Why we love (or hate) everyday things. New York: Basic Books, 2004.\u003C/p>","428423ad-5ceb-497f-b541-f0a8a47f23d5",{"label":144,"id":145},"\u003Cp>PRAHALAD, C.K. ; RAMASWAMY, V. \u003Cstrong>O Futuro da Competição\u003C/strong>. Rio de Janeiro: Elsevier Editora Ltda., 2004.\u003C/p>","ca7b4ff9-b56f-4d8b-9c86-85016e3f5b71",{"id":147,"label":148},"d2290c19-686f-4b54-bcb2-d2a2e3c9bdae","\u003Cp>RIZZO, Francesca. \u003Cstrong>Strategie di co-design\u003C/strong>: Teoria, Metodi e Strumenti per Progettare con gli Utenti. Milano: Franco Angeli, 2009.\u003C/p>",{"label":150,"id":151},"\u003Cp>SANDERS, Elizabeth. B. N.; STAPPERS, Peter Jan. Co-creation and the ne landscapes of design. \u003Cstrong>CoDesign\u003C/strong>: International Journal of Co-Creation in Design and the Arts, v. 4, n. 1, p. 5-18, 2008.\u003C/p>","764b864c-54cc-4912-bd0f-fc8054d7a0e4",{"label":153,"id":154},"\u003Cp>SCHERER, Klaus R. Emotion as a process: Function, origin and regulation. \u003Cstrong>Social Science Information\u003C/strong>, v. 21, n. 4/5, p. 555-570, 1982.\u003C/p>","0cfebdb2-1481-4a5b-85e7-dade61380d94",{"id":156,"label":157},"62d653b3-a43d-46b2-a02c-bf24c511f138","\u003Cp>_______. On the nature and function of emotion: A component process approach. In: K. R. Scherer & P. Ekman (Eds.) \u003Cstrong>Approachs to Emotion\u003C/strong>. Hilldale, NJ: Erlbaum, 1984.\u003C/p>",{"label":159,"id":160},"\u003Cp>SCHERER, Klaus R. What are emotions? And how can they be measured?. \u003Cstrong>Social Science Information\u003C/strong>, v. 44, n. 4, p. 695-729, 2005.\u003C/p>","f6f4914b-9ee6-4d6a-aed1-5f6c090634ec",{"label":162,"id":163},"\u003Cp>TONETTO, Leandro. Miletto. e COSTA, Filipe Campelo da Xavier. Design emocional: conceitos, abordagens e perspectivas de pesquisa. \u003Cstrong>Strategic Design Research Journal\u003C/strong>, v. 4, n. 3, p. 132-140, 2011.\u003C/p>","198c1c09-f4d1-4846-a354-a54901dd7e91",3354,[166],"identificacao-das-emocoes-no-processo-de-co-design",{"updateDate":7,"createDate":168,"deleteDate":7},1766879085,[60,61],"b0c68e02-7da5-41a2-a78b-77b51c82ef6c","2025-12-28T19:43:13-03:00",[173,178,188,194],{"designation":7,"path":71,"id":7,"lastName":6,"filiation":13,"description":174,"objectID":10,"lastmodified":175,"createDate":176,"slugs":177,"email":11,"role":7,"name":8,"url":7,"_id":10},{},1766879085543,"2025-12-27T23:44:45.543Z",[15,16],{"name":179,"_id":180,"lastmodified":175,"path":181,"createDate":176,"designation":7,"slugs":182,"email":185,"description":186,"url":7,"role":7,"lastName":187,"filiation":13,"objectID":180,"id":7},"Marcelo Barbosa","bf658bfb-67c0-49e8-93b8-077e67c8468c","people/bf658bfb-67c0-49e8-93b8-077e67c8468c",[183,184],"marcelo-barbosa-correa","correa-marcelo-barbosa","marcelo@agenciacloser.com.br",{},"Corrêa",{"designation":7,"name":189,"url":7,"filiation":190,"email":191,"role":7,"lastName":192,"_id":193},"Marcia Regina","FACCAT","marcia@faccat.br","Diehl","60e3b5e6-86aa-411f-aefb-8e7a98f3933c",{"lastName":195,"slugs":196,"createDate":176,"lastmodified":175,"objectID":199,"designation":7,"filiation":13,"email":200,"role":7,"path":201,"description":202,"id":7,"name":203,"_id":199,"url":7},"Ximenes",[197,198],"francisco-ximenes","ximenes-francisco","b7968f33-f91d-43ec-9d3a-bab44af0ce65","franximenes@ibest.com.br","people/b7968f33-f91d-43ec-9d3a-bab44af0ce65",{},"Francisco",[10,180,193,199],2,{"pageRange":207,"parent":92,"updateDate":208,"data":209,"trackId":218,"type":31,"typeData":219,"metaData":251,"langs":253,"_id":254,"contributors":255,"contributorsIds":264,"status":63,"download":205,"slugs":265,"slug":266},"1113-1125","2025-12-27T17:33:56-03:00",{"secondary":210,"primary":214},{"keywords":211,"excerpt":212,"title":213},"\u003Cp>Draping, Fashion Design, Strategic Design, Idea Generation, Representation\u003C/p>","Fashion Design and Strategic Design are two subareas of Design with projectual character that use design representation techniques as a way to visualize the design concept. Among the modes of representation in Fashion is the draping. Draping is a French technique of three-dimensional modeling, in which the fabric is shaped directly on the sewing mannequin, applied generally in the end of the Fashion process, in the stage of Modeling. Strategic Design proposes the development of means to think the design process through a method, called metaproject. The metaproject precedes the projectual stage and consists in research and interpretation of information, whose focus is to think and to question the aspects of the design problem, in order to direct to the project concept generation. This article proposes an association between Fashion Design and Strategic Design and their projectual tools - the draping technique and the metaproject. It shows the results of a finished research of exploratory character, whose objective was to analyze the effects of the displacement of the draping technique for the metaprojectual stage in the construction of design concepts. The method used consisted in applying a Projectual Exercise to eight pairs, formed by a fashion designer and a designer, who search to solve a briefing of Fashion Design, using the draping to elaborate design concepts. The results pointed that the draping, being used in an experimental way during the metaprojectual stage, contributed as an encouragement to improve the generation and representation of the participant designers initial ideas, as well as, to build and visualize the design concept.","Fashion Design and Strategic Design: Analysis of the Displacement of the Draping Technique for the Metaprojectual Stage",{"keywords":215,"excerpt":216,"title":217},"\u003Cp>Moulage, Design de Moda, Design Estratégico, Geração de Ideias, Representação\u003C/p>","O Design de Moda e o Design Estratégico são duas subáreas do Design de caráter projetual que utilizam técnicas de representação como forma de tangibilizar o conceito do projeto. Dentre as modalidades de representação na Moda está a moulage. A moulage é uma técnica francesa de modelagem tridimensional, na qual se molda o tecido diretamente sobre o manequim de costura, aplicada geralmente no final do processo de Moda, na etapa de Modelagem. O Design Estratégico propõe o desenvolvimento de meios de pensar o processo de design através de um método, denominado metaprojeto. O metaprojeto antecede a etapa projetual e consiste na pesquisa e interpretação de informações, cujo foco é pensar e questionar sobre os aspectos do problema de design, a fim de direcionar à geração de conceitos de projeto. Este artigo propõe uma associação entre o Design de Moda e o Design Estratégico e suas respectivas ferramentas projetuais - a técnica de moulage e o metaprojeto. Mostra os resultados de uma pesquisa de caráter exploratório concluída, que teve como objetivo analisar os efeitos do deslocamento da técnica de moulage para a etapa metaprojetual na construção de conceitos de projeto. O método utilizado consitiu em aplicar um Exercício Projetual a oito duplas, formadas por um designer de moda e um designer, os quais buscaram solucionar um briefing de Design de Moda, utilizando a moulage para elaborar conceitos de projeto. Os resultados apontaram que a moulage, sendo utilizada de modo experimental durante a etapa metaprojetual, contribuiu como um estímulo para potencializar a geração e a representação das ideias iniciais dos designers participantes, bem como, para construir e visualizar o conceito de projeto gerado.","Design de Moda e Design Estratégico: Análise do Deslocamento da Técnica de Moulage para a Etapa Metaprojetual","f87iw3i5",{"startPage":220,"file":221,"references":224,"endPage":250,"track":218,"doi":7},1113,{"fullpath":222,"name":223},"https://storage.googleapis.com/memoria-ped.appspot.com/articles%2F10_congresso_brasileiro_de_pesquisa_e_desenvolvimento_em_design%2Ff87iw3i5-1766867635-1113-1125.pdf","f87iw3i5-1766867635-1113-1125.pdf",[225,227,230,233,236,239,241,244,247],{"id":226,"label":109},"3b203c77-f22f-4fc6-be67-86358ddbdc5f",{"label":228,"id":229},"\u003Cp>CAUTELA, Cabírio. \u003Cstrong>Strumenti di design management\u003C/strong>. Milão: Franco Angeli, 2007.\u003C/p>","8e424257-06fc-4db0-9d41-ae45c0e98290",{"label":231,"id":232},"\u003Cp>CELASCHI, Flaviano; DESERTI, Alessandro. \u003Cstrong>Design e innovazione\u003C/strong>: strumenti e pratiche per la pesquisa applicata, Roma: Carocci, 2007.\u003C/p>","429f31a6-00d2-4183-83b1-607778ce3ae8",{"label":234,"id":235},"\u003Cp>DUBURG, Annette; TOL, Rixt van der. \u003Cstrong>Moulage\u003C/strong>: Arte e técnica no design de moda. Porto Alegre: Bookman, 2012.\u003C/p>","d08e0ab6-b338-4e5c-992c-91e252c0643d",{"label":237,"id":238},"\u003Cp>MONTEMEZZO, Maria Celeste de Fátima Sanches. \u003Cstrong>Diretrizes metodológicas para o projeto de produtos de moda no âmbito acadêmico\u003C/strong>. 2003. 97 f. Dissertação (mestrado) - Universidade Estadual Paulista, Curso de Pós-Graduação em Desenho Industrial.\u003C/p>","9f13f58e-39f8-422d-b06c-e84502ca6172",{"label":139,"id":240},"9d199c4d-29b6-4fa8-b381-a9ebe1395976",{"label":242,"id":243},"\u003Cp>RECH, Sandra Regina. \u003Cstrong>Moda\u003C/strong>: por um fio de qualidade. Florianópolis: Udesc, 2002.\u003C/p>","dc64a2c6-d84e-434d-8421-66e63ba7e600",{"label":245,"id":246},"\u003Cp>TREPTOW, Doris. \u003Cstrong>Inventando moda planejamento de coleção\u003C/strong>. Brusque: D.Treptow, 2003.\u003C/p>","0dfbe7be-bfcd-4beb-acb6-9797018850e1",{"label":248,"id":249},"\u003Cp>ZURLO, Francesco. \u003Cstrong>Design Strategico\u003C/strong>. Working Paper, 2010.\u003C/p>","543e863e-bd8c-496b-8dcb-0e6614a097c8",1125,{"updateDate":7,"createDate":252,"deleteDate":7},1766867635,[60,61],"d8c661fa-c051-4139-ba42-d7778810b969",[256,261],{"_id":10,"slugs":257,"lastName":6,"createDate":258,"email":11,"path":71,"designation":7,"objectID":10,"role":7,"name":8,"lastmodified":259,"filiation":13,"id":7,"url":7,"description":260},[15,16],"2025-12-27T20:33:55.913Z",1766867635913,{},{"lastmodified":259,"lastName":80,"path":81,"filiation":13,"description":262,"name":74,"email":76,"slugs":263,"designation":7,"objectID":75,"url":7,"id":7,"_id":75,"createDate":258,"role":7},{},[78,79],[10,75],[266],"design-de-moda-e-design-estrategico-analise-do-deslocamento-da-tecnica-de-moulage-para-a-etapa-metap",{"target":268,"query":269},"people/get",{"id":10,"articles":270},"true",1780316172842]