Craftsmen Versus Designers:

Craftsmen Versus Designers:
The Difference of In‐depth Cognitive Levels at 
the Early Stage of Idea Generation

4th PPI Ishikawa Scientific Round Table

Deny W. Junaidy
Japan Advanced Institute of Science and Technology
Japan Advanced Institute of Science and Technology
1
1. INTRODUCTION >

Glossary
a. Craftsman:
A traditional mastercrafts
traditional mastercrafts person who produces various 
person who produces various
handicrafts made of cane, bamboo, etc. 

b. In‐depth Cognitive Levels: 
An underlying form of cognition difficult to express that are
An underlying form of cognition difficult to express that are 
related to deep impressions (e.g., feeling, taste, impression).

c. Early stage of Idea Generation:
Initial conceptual process of observing and reframing design 
p p g g g
problems.

c. Associative Concept Network Analysis:
A computational model to reproduce the expressions associated 
with the individual’s mental state.
2
1. INTRODUCTION >

Traditional Craftsman s. Designers

Figure 1a: Work of a traditional craftsman (a fruit bowl). Figure 1b: Work of a designer (a fruit bowl).
(Image are copyrighted of respective owner).
(Image are copyrighted of respective owner) (Copyrighted of Niels Römer).

3
1. INTRODUCTION >

Nationwide Governmental HRD Progam:

Nationwide Governmental HRD Progam:
Design and Creativity Training

Figure 2: A design trainer delivers design and creativity trainings.

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2. RELATED WORKS >

(1) Example of a design training program 

Figure 3: A design training for bamboo craftsmen in Parakan Honje, region of Tasikmalaya, West Java, Indonesia.
Annual program of the office of Industry, year 2007, PPK-IPM (Author).
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2. RELATED WORKS >

(2) Example of a design training program 

Figure 4: A design training for rattan furniture makers and craftsmen in Cirebon, West Java, Indonesia.
Annual program of the office of Industry
Industry, year 2009 (Author)
(Author).

6
2. RELATED WORKS >

Beliefs /
Premature commitments

Figure 5: Recognized of premature commitment of individual with

t diti
traditional
l viewpoint
i i t att the
th id ti process.
idea generation

 Traditional viewpoints may be structured by prior knowledge and

typical features contained in familiar categories [1].
 Craftsman’s conceptualization seen at the early stage has evidently
occured at the later stage of idea generation [2].

7
2. RELATED WORKS >

Problem Statement

 Gaps in the conceptual ideation
Gaps in the conceptual ideation process between 
process between
craftsmen and designers.

 Little is known to examine the conceptual ideation 
process of individual with traditional viewpoint.

8
3. RESEARCH AIM >

Research Aim

To capture associative concepts at in‐depth 
cognitive levels of craftsmen and designers 
at the early stage of idea generation
at the early stage of idea generation.

9
3. RESEARCH AIM >

Research Aim

- Hygiene MINERAL - Packaging

- Transparent - Product
WATER
- etc. - etc.

Fi
Figure 6:
6 Impressions
I i and
d meanings-based
i b d fframework
k off users’’ ttactile
til interactions
i t ti [3]
[3].

10
4. METHODOLOGY >

Methodology
We use a Concept Network Analysis by means of the Free Association Norm 
Dictionaryy ((USF‐FAN) to generate
) g verbalized thoughts
g [[4, 5].
, ]

Figure 7: Associative Concept Network Analysis
Figure 7: Associative Concept Network Analysis
11
4. METHODOLOGY >

Methodology
The Associative Concept Network

Figure 8: Capturing the associative concept at the in‐depth cognitive levels

12
4. METHODOLOGY >

Subject
‐ Four
F master craftsperson.
f
‐ Four designers (design trainers).

Procedures
Subjects conducted a think‐aloud protocol
Subjects conducted a think‐aloud protocol to imagine designing a fruit 
to imagine designing a fruit
basket/container and freely express their ideas verbally.

Verbal Data Sorting Procedure:
‐ Recorded verbal data were sorted.
‐ Omitting prepositions, a few general verbs, articles and pronouns.
‐ The sorted verbal data were: nouns, adjectives, adverbs, and verbs.

13
4. EXPERIMENT >

Analysis

14
4. EXPERIMENT >

Analysis
Generating the Associative Concept Words
• The generated verbal data was transferred onto a vector graph (concept
network structures), based on the generated calculated weights of the detected
stimulus words.
• The vector graph was used to display Out Degree Centrality Scores (hereafter,
‘ODC’), which indicate the number of connections one node possesses with
other nodes.
nodes The centrality of the ODC scores detected all nodes that
demonstrated the number of associated words connected with stimulus words.

Equation of Out-Degree Centrality (ODC) with 2-mode [4]. 15

4. EXPERIMENT >

Analysis

Figure 9: Associative concept networks of craftsmen’s and designers’ before reduction. 16
4. EXPERIMENT >

Analysis
Associative Concept Networks were reduced to 
Associative Concept Networks were reduced to
reproduce observable aspects
i.e.,  craftsmen: 50% × 0.051 ODC =  >0.025 ODC score;
designers: 50% × 0.076 ODC =  >0.038 ODC score.

• Craftsmen’s ODC Scores (202 words):
0.000 = 75 words; 0.040 = 94 words;
0.053 = 27 words; 0.067 = 6 words
• Designers’ ODC Scores (81 words):
0.000 = 48 words;
0.083 = 23 words; 0.104 = 8 words;
0.125 = 1 word; 0.146 = 1 word

17
4. EXPERIMENT >

Analysis

Figure 10: Simplified concept networks of craftsmen’ss in

Figure 10:  Simplified concept networks of craftsmen in‐depth
depth cognitive level.
cognitive level.

18
4. EXPERIMENT >

Analysis

Figure 11: Simplified concept networks of designers’ in

Figure 11: Simplified concept networks of designers in‐depth
depth cognitive level.
cognitive level.

19
4. EXPERIMENT >

Analysis

20
4. EXPERIMENT >

Analysis

Figure 12:  Semantic relation map 21
5. FINDINGS >

Findings
CRAFTSMEN:

 83,6% of 202 extracted verbal expressions 
tended to activate low‐weighted associative concepts.
 24% were polysemous.

DESIGNERS:

 59
59,2% of 81
2% of 81 extracted verbal expressions 
extracted verbal expressions
tended to activate highly‐weighted associative concepts.
 35% were polysemous.
35% l

22
5. FINDINGS >

Findings
Craftsmen’s in‐depth cognitive levels
p g explain their 
p
concerns about tangible‐related issues, such as 
Operation Proportion and Shape
Operation, Proportion and Shape. 

Designers’ in‐depth cognitive levels concern 
intangible issues such as surroundings context
intangible issues, such as surroundings context 
such as Scene, Companion and Appeal. 

23
5. FINDINGS >

Discussion

CRAFTSMEN: The closely associated concepts correlate with shallow in-depth cognitive levels of craftsmen.

DESIGNERS: The remotely

y associated concepts correlate with deep in-depth cognitive
g levels of designers.
g

Figure 13:  The differences of associative concepts at the early stage of idea generation. 24
5. FINDINGS >

Conclusion
These findings may serve as reference for educational 
Th fi di f f d i l
program aimed at the enhancement of craftsmen’s 
creative cognitive resources.

25
 Th k
Thank you
This research receives:
This research receives:
Student Research Bursary Award 2013
from Design Research Society/DRS (UK)

26
 Selected Publications
International Journal
1. Junaidy, D. W., Nagai, Y. (2013). The in–depth cognitive levels of imagination of artisans and designers. Journal of Design Research,
11(4), 317-335.
2 Junaidy,
2. J id D.
D W.,
W Kaner,
K JJ., IIoras, F,
F Nagai,
N i YY. (2014) Capturing
C t i characteristics
h t i ti off th
the conceptual
t l id
ideation
ti process off master
t
craftspersons to inform design education: A comparative study of rural craft practitioners in Indonesia and in the UK. J. Design
Research, xx(x), xx-xx. (under review)

oo Chapters
Book C apte s
3. Junaidy, D. W., Nagai, Y., Ihsan, M. (2013). Craftsmen vs. designers: The difference of in-depth level of cognition at the early stage of
idea generation. In Lecture Notes in Mechanical Engineering, Global Product Development, ICoRD'13, pp. 223-234, Springer India.

International Conference Papers

4 Junaidy,
4. J id D.D W.,
W Nagai,
N i YY. (2014).
(2014) Co-creation
C ti educational
d ti l activity
ti it ffor ttraditional
diti l craftsmen.
ft IIn Abstract
Ab t t Book
B k off International
I t ti l School
S h l on
Knowledge Co-Creation (ISKCC2014) p.22.
5. Junaidy, D. W., Nagai, Y. (2013). Dialectical-belief features in design education for artisans. In Proceedings of the 5th International
Congress of International Association of Societies of Design Research (IASDR), pp. 1664-1675.
6. Nagai,
g , Y.,, Junaidy,
y, D. W. ((2013).
) Empowering
p g cognitive
g fixedness. In Proceedings g of the 9th ACM Conference on Creativity y and
Cognition, pp. 292-295,.
7. Junaidy, D. W., Nagai, Y. (2013). Co-creation model for traditional artisans in the current creative environment. In Proceedings of the
9th ACM Conference on Creativity and Cognition, pp. 324-327.
8. Junaidy D. W., Nagai, Y. (2013). The imaginative approach: Characteristics of craft artisans’ and design trainers’ in-depth cognitive
levels during a design training program
program. In Proceedings of the 2nd International Conference for Design Education Researchers (DRS
CUMULUS), Vol. 4, pp. 2064-2079.

Domestic Conference Papers

9. Junaidy, y D. W., Nagai,
g Y. ((2013).
) Empowering g cognitive
g fixedness: Dialectical-belief features in design
g education for artisans. JAIST
Poster Challenge.
10. Junaidy, D. W., Nagai, Y. (2013). A direction to change craftsmen’s creative cognition: The use of highly metaphorical words. In
Proceedings of the Annual Conference of JSSD, Vol. 60, pp. 36-37.
11. Junaidy, D. W., Nagai, Y. ,Ihsan, M. (2012). Capturing craftsmen’s and designers’ associative concept at in-depth level of cognition at
the early stage of idea generation
generation, In Proceedings of Design Symposium (DS2012)
(DS2012), pp.
pp 245
245-249.
249
12. Nagai, Y., Junaidy, D. W., Ihsan, M. (2012). A creativity gap in design training: A case study of pre and post-design and creativity
training for wooden sandal craftsmen in Tasikmalaya, Indonesia, In Proceedings of the 59th Annual Conference of JSSD, .
. 27
 References
[1]  Finke, R. A. (1996). Imagery, creativity, and emergent structure. Consciousness and 
Cognition, 5(3), 381‐393.
[2]  Nagai, Y., Junaidy, D. W. (2013). Empowering cognitive fixedness. In Proceedings of the 9th 
ACM Conference on Creativity & Cognition. 291‐294.
[3]   Georgiev, G.V. and Nagai, Y. (2011). A Conceptual Network Analysis of User Impressions and 
Meanings of Product Materials in Design. Materials and Design. Vol. 32, No. 8‐9, pp 4230‐
42, 2011.
[4] De Nooy, W., & Mrvar, A. Batagelj (2005). Exploratory social network analysis with Pajek.
[5]   Nelson, D. L, C.L. McEvoy, and T.A. Schreiber. (2004). The university of south florida free
( )
association, rhyme, and word fragment norms. Behavior Research Methods. Instruments 
and Computers, 36(3): 402‐407.
.

28
Appendix

C ft
Craftsmen
29
Appendix

S
Supplement
l t
30
APPENDIX) >

Empowering
p g Cognitive Fixedness
g
(An Experiment to challenge conservatism to extreme level)

Existing design: New design:
before design training after design training
The conflict of fundamental comprehension
a d st
and u co
stimuli ta ed in e
contained t e e levels
extreme e eso of
cognitive fixedness

31
APPENDIX) >

The previous model of design training:

• One
One-sided
sided knowledge
knowledge-transfer
transfer (pressure
for unconventional).
• Generating less broad/in-depth
associative concepts.
• A problem-driven
bl di th
thatt ttendd lleads
d tto
familiar conclusion.
• Depending on the program and the
presence of the designer.
p g

The proposed model of design training:

• Both-sided knowledge transfer (Bringing
dialectical belief).
• Stimulating extremely narrow/broader
associative concepts.
• Utilizing broader associative concepts.
• More abstract-driven to lead to unfamiliar
conclusion.

32
The comparison between previous model and the proposed improved design training.
APPENDIX) >

Figure 5.9: Post-training program.

The the ‘upside-down
upside-down wooden sandal’
sandal under
local name ‘kelom ekstrim’ gains popularity in
the domestic market and massively copied
craftsmen)
among local wooden sandal craftsmen).
(All images are the copyrighted property of their respective owners)

Figure 5.10: Current development of

Post-training program
Several craftsmen produces more radical
product development.
(All images are the copyrighted property of their respective owners)

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