Profiling the Designer: a Cognitive Perspective

A Film Editor’s Visual Intentions and Use of Perceptual Phenomena in Designing Film Edits: An Observational Study

“…Otherwise, transients in the visual perceptual property are employed by the editor as attentional cues to direct attention. These results align with earlier research in design that point out embodied cognitive tools to be of major importance to designers (Smith and Whitfield 2005;Adams et al 2011). These results must especially be considered to be important for inexperienced film editors to embrace in their early careers.…”

“…recorded shots and sounds) as a form of audiovisual design work, with particular skills and thinking (cf. Smith and Whitfield 2005;Adams et al 2011), the assessing of audiovisual material and trimming of film edits will now be discussed as a form of design problem solving that regards audiovisual perceptual properties (cf. Krippendorf 1995;Simon 1996).…”

“…Based on the approach of the current study, approaching a larger number of film editors and editing processes can readily be accomplished to reach more precise and general estimations of the role of perceptual precision in film editing. Other visual design, such as visual communication design or visual procedural instructions where designers use their embodied cognitive tools to direct others' attention (Smith and Whitfield 2005;Adams et al 2011), could use similar study setups in order to examine the role of perceptual precision during design work tasks, as well as its implications for successful design.…”

“…Nevertheless, there is a need for understanding film editors as audiovisual designers and what cognitive tools they use (cf. Smith and Whitfield 2005).…”

Artisanal Fashion Design: Entrepreneurs on Thinking, Process, and Decision Making

“…In a large-scale study of artifact design professionals (interior, industrial, graphic, furniture, and fashion), G. Smith and Whitfield (2005b) describe the characteristics of the designer as "ambiguous" when seen from the perspectives of the public, design educators and the designers themselves. This observation is not surprising.…”