Over the last decade research into design processes utilizing ideas and models drawn from artificial intelligence has resulted in a better understanding of design -- particularly routine design -- as a process. Indeed, most of the current research activity directly or indirectly deals only with routine design. Not surprisingly, many practicing designers state that the level of understanding represented by these models is only of mild interest because they fail to embody any ideas about creativity. This volume provides a set of chapters in the areas of modeling creativity and knowledge-based creative design that examines the potential role and form of computer-aided design which supports creativity. It aims to define the state-of-the-art of computational creativity in design as well as to identify research directions. Published at a time when the field of computational creativity in design is still immature, it should influence the directions of growth and assist the field in reaching maturity.

Modeling Creativity (doctoral thesis, 2013) explores how creativity can be represented using computational approaches. Our aim is to construct computer models that exhibit creativity in an artistic context, that is, that are capable of generating or evaluating an artwork (visual or linguistic), an interesting new idea, a subjective opinion. The research was conducted in 2008–2012 at the Computational Linguistics Research Group of the University of Antwerp. Modeling Creativity examines creativity in a number of different perspectives: from its origins in nature, which is essentially blind, to humans and machines, and from generating creative ideas to evaluating and learning their novelty and usefulness. We will use a hands-on approach with case studies and examples in the Python programming language.

Over the last decade research into design processes utilizing ideas and models drawn from artificial intelligence has resulted in a better understanding of design -- particularly routine design -- as a process. Indeed, most of the current research activity directly or indirectly deals only with routine design. Not surprisingly, many practicing designers state that the level of understanding represented by these models is only of mild interest because they fail to embody any ideas about creativity. This volume provides a set of chapters in the areas of modeling creativity and knowledge-based creative design that examines the potential role and form of computer-aided design which supports creativity. It aims to define the state-of-the-art of computational creativity in design as well as to identify research directions. Published at a time when the field of computational creativity in design is still immature, it should influence the directions of growth and assist the field in reaching maturity.

"He then describes a model that integrates these different aspects - an inductive-association computational process that can create music. Cope's writing style is lively and nontechnical; the reader needs neither knowledge of computer programming nor specialized computer hardware or software to follow the text."--Jacket.

Mr. Hiroshi Tsuyuki, the Japanese authority on Jewelry Wax Modeling, uses an innovative approach to teaching the technique of wax modeling. Often a process is easier shown than described in so many words. This book was conceived through the author's teaching experience -- more photos and sketches and less text resulting in less over-the-shoulder supervision. By introducing new techniques in each project, his students were able to progress more rapidly towards independence in design concepts. While preparing a model for casting and the actual casting process are adequately explained in most casting books, very little space is devoted to the design and creation of wax models. Mr. Tsuyuki presents 11 basic projects in this book, each one designed to teach the use of certain tools and types of waxes in a progressive manner as one's skills improve. Each step of every project is accompanied by a photo and text and in some cases supplementary sketches and notes are provided to clarify those particular processes. Paying careful attention to the photos, noting the demonstrator's hand position and the type of tool being used, eliminates any confusion which may result from the text. After each basic model is completed the author offers a number of sketches suggesting design possibilities using the techniques learned in the construction of the basic model. Mr. Tsyuki states that by conscientiously completing each project, the student should be well on the way to becoming a designer/modeler. This book is 112 pages and has 283 photos and illustrations.

This book presents a number of new methods, tools, and approaches aimed to assist researchers and designers during the early stages of the design process, focusing on the need to approach the development of new interactive products, systems and related services by closely observing the needs of potential end-users through adopting a design thinking approach. A wide range of design approaches are explored, some emphasizing on the physicality of interaction and the products designed, others exploring interactive design and the emerging user experience (UX) with a focus on the value to the end-user. Contemporary design processes and the role of software tools to support design are also discussed. The researchers draw their expertise from a wide range of fields and it is this interdisciplinary approach which provides a unique perspective resulting in a flexible collection of methods that can be applied to a wide range of design contexts. Interaction and UX designers and product design specialists will all find Collaboration in Creative Design an essential read.

Computational creativity is an emerging field of research within AI that focuses on the capacity of machines to both generate and evaluate novel outputs that would, if produced by a human, be considered creative. This book is intended to be a canonical text for this new discipline, through which researchers and students can absorb the philosophy of the field and learn its methods. After a comprehensive introduction to the idea of systematizing creativity the contributions address topics such as autonomous intentionality, conceptual blending, literature mining, computational design, models of novelty, evaluating progress in related research, computer-supported human creativity and human-supported computer creativity, common-sense knowledge, and models of social creativity. Products of this research will have real consequences for the worlds of entertainment, culture, science, education, design, and art, in addition to artificial intelligence, and the book will be of value to practitioners and students in all these domains.