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During creative problem-solving, designers frequently come across a variety of rich visual displays. While browsing for different sources of information, pictorial representations of existing concepts take prominence. However, once designers start generating new solution ideas to design problems, they often become too attached to some of the examples they encounter. Inadequate and excessive repetition of key attributes (e.g. object features, principles) from existing solutions has been termed design fixation. The study presented here investigates the influence that different pictorial representations of a particular solution had upon industrial design students during an ideation exercise. The findings demonstrate high levels of repetition of particular key attributes in the outcome generated by the treatment groups, when compared to a control condition. The results also show that such attribute repetition led to the occurrence of design fixation, with a visible detrimental impact for particular aspects of the ideas generated. Reasons for the occurrence of design fixation are discussed in light of its implications to design quality; and ultimately, to the use of different types of pictorial stimuli in design practice.

Inspiration is a widely recognized phenomenon in everyday life. However, researchers still know very little about what the process of inspiration entails. This paper investigates designers' approaches when selecting inspirational stimuli during the initial phases of a design process. We conducted a think-aloud protocol study and interviews with 31 design Masters students while generating ideas for a design problem. The results indicate that searching for and selecting stimuli require different levels of cognitive effort, depending on whether there is unlimited or limited access to stimuli. Furthermore, three important stages of the inspiration process were identified: keyword definition, stimuli search and stimuli selection. For each of these stages, we elaborate on how designers define keywords, which search approaches they use and what drives their selection of stimuli. This paper contributes to an understanding of how designers can be supported in their inspiration process in a more detailed manner.

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When tackling problems, designers might be inspired by different sources, whether concrete or abstract. The more concrete sources often comprise representations of potential solutions or examples of existing designs. The more abstract sources often represent the desirable properties of engineered systems, such as modular system architectures. We performed an experiment with 60 novice designers to compare the inspiration effects from these two types of stimuli. Participants were asked to solve a design problem, having been exposed to a concrete example design, an abstract system property, both, or no stimulus at all. Their design work was assessed according to four metrics: fluency, diversity, commonness, and conformity. Exposure to either the example design or the system property reduced the fluency and diversity of ideas, and exposure to both stimuli reduced these measures even further. While there was no difference in the inspiration effects from the example and the property in terms of fluency, diversity, and commonness; results for conformity showed that each stimulus constrained participants differently: encouraging ideas similar to one type of stimulus, while discouraging ideas similar to the other type. In combination with other work on inspiration and fixation, these findings can help shape how design is taught and how inspiration tools are developed.