This pattern of large-scale royal patronage was repeated in the court porcelain factories of the early 18th century, such as the Meissen porcelain workshops established in 1709 by the Grand Duke of Saxony, where patterns from a range of sources, including court goldsmiths, sculptors, and engravers, were used as models for the vessels and figurines for which it became famous. Here teams of hundreds of craftsmen, including specialist artists, decorators and engravers, produced sumptuously decorated products ranging from tapestries and furniture to metalwork and coaches, all under the creative supervision of the King's leading artist Charles Le Brun. In the 17th century, the growth of artistic patronage in centralized monarchical states such as France led to large government-operated manufacturing operations epitomized by the Gobelins Manufactory, opened in Paris in 1667 by Louis XIV. The use of drawing to specify how something was to be constructed later was first developed by architects and shipwrights during the Italian Renaissance. Competitive pressures in the early 16th century led to the emergence in Italy and Germany of pattern books: collections of engravings illustrating decorative forms and motifs which could be applied to a wide range of products, and whose creation took place in advance of their application. The growth of trade in the medieval period led to the emergence of large workshops in cities such as Florence, Venice, Nuremberg, and Bruges, where groups of more specialized craftsmen made objects with common forms through the repetitive duplication of models which defined by their shared training and technique. The division of labour that underlies the practice of industrial design did have precedents in the pre-industrial era. History Precursors įor several millennia before the onset of industrialization, design, technical expertise, and manufacturing was often done by individual craftsmen, who determined the form of a product at the point of its creation, according to their own manual skill, the requirements of their clients, experience accumulated through their own experimentation, and knowledge passed on to them through training or apprenticeship. Industrial design, as an applied art, most often focuses on a combination of aesthetics and user-focused considerations, but also often provides solutions for problems of form, function, physical ergonomics, marketing, brand development, sustainability, and sales. It can be influenced by factors as varied as materials, production processes, business strategy, and prevailing social, commercial, or aesthetic attitudes. It can emphasize intuitive creativity or calculated scientific decision-making, and often emphasizes a mix of both. designers, engineers, business experts, etc.). It can be conducted by an individual or a team, and such a team could include people with varied expertise (e.g. Īll manufactured products are the result of a design process, but the nature of this process can vary. It consists purely of repeated, often automated, replication, while craft-based design is a process or approach in which the form of the product is determined by the product's creator largely concurrent with the act of its production. It is the creative act of determining and defining a product's form and features, which takes place in advance of the manufacture or production of the product. Industrial design is a process of design applied to physical products that are to be manufactured by mass production. Process of design Calculator Olivetti Divisumma 24 designed in 1956 by Marcello Nizzoli
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