Searching for sources of inspiration is central to creative design; however, we have limited knowledge of individual inspiration search strategies in response to varying levels of task constraints. We studied 39 high-school students' inspiration search strategies using Google Images. Low task constrainedness led to divergent search marked by quick iterations, limited design task usage, and a heterogeneous image set. Intermediate constrainedness prompted in-depth, on-task exploration characterized by slow and careful iterations with more search result examination, extensive design task usage, and homogenous images. High constrainedness led to flexible bracketing with quick, flexible design task use, ending with heterogeneous images. Images from the intermediately and highly constrained conditions generated more ideas and were perceived as more inspiring (relative to low) in a new group of students. We discuss the idea of a 'sweet spot' of constrainedness in an inspiration search process in design and consider implications for design research and future work.

Building on the concept “prototypes that filter the design space,” we establish how other kinds of design artifacts and activities (e.g., sketching, tests, concept posters, metaphors, design tools) are equally critical in filtering the design space. We also suggest a parallel term, “informing the design space,” to define how design artifacts and activities expand the design space. We focus on a 16-month, full-scale media architecture design project and zero in on seven of its component events, and use design-space schemas to shed light on the dynamics of the design space with respect to informing and filtering the design space. Our concluding contribution is to propose design-space thinking as a sub-discipline of design research. We argue that this research perspective serves to address the creative aspects of the design process, the generative potential of design-space thinking, and the tools that support design-space thinking and research.

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Physical tools and materials like pen, paper, sticky-notes, and whiteboards are commonly used in collaborative creative design processes, whereas digital tools play a more marginal role. But what are the benefits and drawbacks of physical, digital, and hybrid physical-digital setups when it comes to supporting collaborative ideation? To answer this question, we present a study and analysis of three different implementations of a well-established collaborative ideation technique called Inspiration Card Workshop, with physical, digital, and hybrid setups. Each setup is a controlled experiment with three different groups of designers. We analyse the setups in terms of how they support five key aspects of collaborative design. Based on our insights, we present implications for future use of digital tools to support card-based collaborative design ideation, in which we argue for a technically lightweight hybrid workflow setup that builds on well-proven physical and digital components.

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