基于温州博物馆馆藏元素的桌面文具系列设计

随着消费者对物质文化生活需求的不断提高，以数字经济发展为重要驱动力的中国各地优秀文化及其衍生的文创产品逐渐从“物质消费”转向“精神文化消费”，文创品牌市场呈现出蓬勃发展的趋势。这些地方文创品牌的发展对提升地方知名度，传承特色文化，促进地方经济等方面起到了重要的推动作用。作为中国传统文化的重要发源地之一，浙江拥有丰富的历史文化资源和深厚的文化底蕴，为文创品牌的发展提供了广阔的空间。浙江“知江南”文创品牌，以其对江南文化的深刻理解和创新诠释，凭借独特的营销策略在市场上取得了显著成效。这不仅彰显了“知江南”品牌的文化魅力，也为其他地方文创品牌的发展提供了有益的借鉴。

在文创设计中，立体纸艺是一种新的创意形式与表现材料。文章首先回顾了纸艺的研究现状与文化内涵，接着从立体纸艺的造型工艺、功能结构、材料特性三个方面分析了在文创设计中的应用潜力，最后结合纸艺文创案例提出了设计方法，为纸艺文创产品的创意设计提供了新的思路与启发。

脊兽，是古代建筑中装饰于屋脊的兽形装饰件，分布在建筑的正脊、戗脊、垂脊上，是传统建筑屋顶装饰艺术不可分割的重要组成部分。本文以国内古建筑中现存规格最高的出现于故宫太和殿的走兽和正脊两端的吞脊兽为研究对象，首先对脊兽形象进行概述，而后分析故宫脊兽形象文创产品的基本现状及其存在的问题，探讨故宫脊兽形象在文创产品设计中的应用方法，以期能够探讨并设计出符合故宫脊兽的特色文化创意产品，以此挖掘和传达脊兽所蕴含的文化底蕴，实现其文化价值。为搭载着中国传统文化的文创产品设计发展带来更多新的设计方式和思路。

为了设计改良初高中生学习桌，提高使用者对桌面的使用率和使用时的舒适性和便捷性，本文通过对学习桌进行人机工程分析，确定基本的结构和尺寸，然后运用Jack仿真软件构建使用者的仿真环境，根据使用者手臂的可达范围和人体舒适程度，进一步确定书柜、书架的位置和大小。对优化设计后的学习桌方案再次进行人机仿真分析，验证优化设计方案的合理性。结果显示，优化设计后的学习桌具有更好的便捷性和舒适性，也极大提高了学习桌的桌面利用率。

魏晋南北朝的舞乐俑能够体现当朝人们的生活习惯，反映了当时人们欢乐多彩的古代生活。独特的陶俑文化与现代创意产品的结合是文化发展和市场化需求推动的结果。将北朝舞乐俑和壁画通过文创产品的方式呈现在大众面前，能够传播中国魏晋南北朝的文化，彰显北朝文化个性，提升文化自信。在满足文创产品的审美性与实用性的同时挖掘北朝历史文化内涵。首先通过研究陶俑形象特征，服饰妆造，再将具有代表性的服装、发型、妆容等元素提炼，设计出憨态可掬的舞乐俑IP形象，并通过表情包设计来丰富人物。最后提取壁画元素，并通过二方连续、对称等手法设计纹样，向消费者展现魏晋南北朝舞乐俑文化的内涵性，满足市场对舞乐俑文创设计产品的需求，展现河北地域以及南北朝传统文化魅力。

本文探讨了云南省博物馆如何巧妙地将馆藏文物的核心元素融合于文创产品设计之中，对云南省博物馆的文创产品进行细致解读，我们发现文物不再是静止的陈列品，而是鲜活的设计素材。从历史器皿样式到民族文化标志，每一件文创产品都承载着一段段历史故事，使传统文化焕发新生。但目前云南省博物馆的文创产品营销策略面临着许多问题，通过提出改进措施，可以揭示文化遗产创造性转换为现代商品的新路径，并分析如何通过有效的营销策略推向市场，从而达到文化传播与经济效益双丰收的目标，同时也可以为其他地区博物馆的文创产业发展提供参考和启发。

本文基于查尔斯·莫里斯的符号学理论，拓展科普文创品牌的新思路，从认识科普文创品牌的具体内涵与开发难点入手，将莫里斯三分法理论引入科普文创品牌设计，旨在探索科普文创品牌设计的新思路，从而完善品牌符号与科普信息之间的融合，为科普文创品牌形象提供有益的思路。

作为中国古代青铜器之一，四羊方尊占有着商周青铜器无可替代的位置，是中国现存商代青铜器方尊中最大的一件，其独特造型和历史意义可以成为文创产品设计的灵感来源。本文深入分析了四羊方尊的艺术特质和文化内涵，并探究其在当代文化创意产品设计中的应用现状，同时，经过实践创新，笔者展示了融汇文化传承与市场价值的文创产品设计案例，旨在探讨如何基于四羊方尊文化进行文创产品设计，探索传统与现代的交融之美，为四羊方尊文化下的文创产品设计提供一种新思路和新方法。

本文从博物馆观众出发，探讨博物馆文创产品的营销策略。采用文献分析法和归纳法，对目前我国博物馆文创产品营销面临的产品同质化、宣传方式较为落后、销售渠道较少及文创产品定价不合理等问题进行系统分析。提出要开发高质量文创产品、多平台宣传文创产品、多渠道销售文创产品、制定优惠营销策略四个建议。以期通过研究促进博物馆文创产品营销策略从“以藏品为中心”向“以观众为中心”转变，增强其文化传播力与市场竞争力。

在文化产业数字化浪潮中，IP营销已成为博物馆文创产品价值释放的核心引擎。本研究聚焦IP营销视角，探索博物馆如何将文物资源转化为具有市场生命力的文化IP，通过构建系统化营销模式，实现文化传播与商业价值的协同增长。研究首先解析博物馆文化IP的独特性，即历史真实性、文化稀缺性和情感共鸣性，进而剖析当前IP开发中存在的叙事同质化、授权机制僵化、跨媒介转化不足等关键问题。结合典型案例，提炼出IP分层运营、故事场景重构、数字资产创新等策略路径，提出以IP价值为核心，构建从内容共创生态化授权到沉浸式消费的闭环营销体系，为博物馆深化文化资源活化利用提供理论框架与实践指引，推动传统文化在当代商业语境中的可持续传承。

目的：本文旨在探讨文化消费语境下，博物馆文创产品如何通过IP化设计开发策略实现文化与经济价值的双重提升。方法：通过案例分析法，以杭州德寿宫遗址博物馆为例，分析了博物馆文创产品在满足公众文化消费需求的同时，如何通过创新设计和文化价值的强化，促进文化传承和经济效益的共赢。结果：通过开发具有高辨识度的产品，以文物特性为轴延伸产品个性，呼应不同消费群体的多元化需求；通过增强情感联结、刺激多次消费和加强消费参与的方式促进文化价值的传播，以实现博物馆文创产品IP化开发。结论：博物馆文创产品的设计应坚持文化价值优先的原则，深入挖掘文化主题，创新设计思路。同时，博物馆应积极响应国家政策，把握市场动态，成为时代精神的引领者，为构建和谐社会贡献力量。

于1929年的偶然发现，三星堆文明苏醒了，自问世以来，便一直成为学术界及外界的关注焦点。据查阅，学界对青铜造型艺术进行了大量的理论研究，但理论研究的最终目的应该是为社会生活服务。因此，将青铜造型艺术转化为文化创意产品是一种理论联系实际的方式。现如今，消费者在购买产品时除了关注产品的功能性，更在意的是产品所蕴含的文化内涵以及情感体验感受。基于此，本文以情感化设计为中心，探究如何运用情感三层次理论来指导文化创意产品设计的新策略和方法。即在“本能、行为、反思”的基础上，结合文化创意产品的具体特点，通过归纳分析，得出情感元素，并将不同的情感元素归纳为设计原则，进行情感化设计，提升三星堆青铜器文化创意的情感价值和文化价值。

博物馆利用馆藏资源开发文创产品，在文博行业已成为一种普遍的文化现象。在知识产权背景下，博物馆作为文创产业的核心参与者，充分发挥主观能动性，从馆藏资源中提取重要文化要素研发设计文创产品，在延伸了博物馆的文化宣教功能的同时，还满足了公众的物质与精神文化需求。但地方性的民族文化类博物馆受多方因素限制，其文创产品研发难以复制现有的成功模式，需根据自身情况进一步摸索实践，让文创产品成为代表博物馆形象的新兴文化符号。本文以贵阳市手上记忆博物馆为研究对象，阐述其文创产品研发现状，分析其设计理念和实践经验，为此类博物馆提供一些实践思路。

博物馆作为对外展示和传播文明成就的重要平台，不仅承载了丰富的历史与文化价值，也是人们深入了解一个地区的窗口。而博物馆文创作为具有文化内涵的衍生品，凭借其亲民的性质和易于传播的特性，能有效地吸引更广泛的公众关注，同时也为博物馆带来了额外的经济收益。为了研究当前在博物馆文创领域的研究热点和设计趋势，采用量化分析和质化论述相结合的方式对该主题进行分析。首先以中国知网数据库中博物馆文创主题相关的文献作为数据来源，并使用Citespace来分析该主题近十年的研究热点；其次对当前国内各大博物馆线上售卖的文创产品进行统计研究，得到当前消费者在文创品类、材料和色彩方面的偏好情况，并从中找到设计趋势和未来发展方向。

The sustainable development of intangible cultural heritage (ICH) faces multiple challenges, including societal structural transformations, intergenerational transmission gaps, and the loss of cultural memory. The rapid advancement of generative artificial intelligence (AI) technologies offers new possibilities for the digital preservation and innovation of ICH. This study leverages generative AI to develop a LoRA model embodying the Blue Clamp-Resist Dyeing style, enabling the digital preservation and innovative reinterpretation of traditional patterns. Additionally, the study integrates these technological achievements into an interactive experience project at the Wenzhou Blue Clamp-Resist Dyeing Museum. Through immersive experiences in pattern generation and dissemination, the project effectively enhances public engagement and cultural identity. The findings reveal that generative AI holds significant potential for promoting the digital transformation, innovative dissemination, and sustainable development of ICH. This study offers a practical approach to the preservation and innovation of intangible cultural heritage. By applying generative artificial intelligence, it further expands the potential for enhancing public engagement and promoting innovative cultural heritage transmission. Additionally, it provides new possibilities for leveraging digital technologies to support the sustainable development of intangible cultural heritage.

A comprehansive study of glass made or used in America from the middle of the 17th century to the middle of the 19th centry. Opening with a survey of glassmaking in Europe and the colonies, the author provides a brief history of the acquisition of glass by Henry Francis du Pont whose massive 1500-piece collection at the Winterthur Museum is the basis for this book. Du Pont began collecting glass in 1919 and did so until his death in 1969. This volume covers drinking glasses, food service items, ornamental vases and desk accessories, lighting devices, bottles and flasks, and miscellaneouss items ranging from windowpanes to bird fountains. The objects are arranged according to function; nearly all are shown life-size; and the entry for each includes both a physical description and a brief history.

This paper makes the case for designing interactive robots with their expressive movement in mind. As people are highly sensitive to physical movement and spatiotemporal affordances, well-designed robot motion can communicate, engage, and offer dynamic possibilities beyond the machines' surface appearance or pragmatic motion paths. We present techniques for movement centric design, including character animation sketches, video prototyping, interactive movement explorations, Wizard of Oz studies, and skeletal prototypes. To illustrate our design approach, we discuss four case studies: a social head for a robotic musician, a robotic speaker dock listening companion, a desktop telepresence robot, and a service robot performing assistive and communicative tasks. We then relate our approach to the design of non-anthropomorphic robots and robotic objects, a design strategy that could facilitate the feasibility of real-world human-robot interaction.

Chinese New Year prints constitute a significant component of the country’s cultural heritage and folk art. Yangliuqing New Year prints are the most important and widely circulated of all the different kinds of New Year prints. Due to a variety of factors including societal change, industrial structure change, and economic development, New Year prints, which were deeply rooted in agricultural society, have been adversely impacted, and have even reached the brink of disappearance. With the protection and effort from the government and researchers, New Year prints can finally be preserved. However, the underlying problems remain, such as receiving little attention, a singular product form, and being unable to keep up with the times, especially among the younger generation. In this paper, the researchers first processed Yangliuqing New Year prints through the GANs model. Then, the image is segmented by binarization and color extraction of images from the Pop art dataset by the K-Means algorithm, followed by colorizing the binarized and segmented image. Finally, usable high-quality Pop art style Yangliuqing New Year prints are generated. The generated images are used in the development of cultural and creative products. Questionnaires were then distributed based on the empirical research scale. The results of this study are as follows: 1. The method proposed in this study can generate high-quality Pop art style New Year prints. 2 Using Pop art style New Year print images in the design of cultural and creative products is popular among the younger generation, and they possess a great propensity to purchase. This study solves the problems encountered by the current cultural heritage of New Year prints, and broadens the artistic expression forms and product categories, and provides research ideas for the cultural heritage of the same type that is facing similar problems. In the future, researchers will continue to explore the incorporation of AI technology in New Year prints to stimulate the vitality of traditional cultural heritage.

The transition toward circular economy models has been progressively promoted in the last few years. Different disciplines and strategies may significantly support this change. Although the specific contribution derived from design, material science, and additive manufacturing is well-established, their interdisciplinary relationship in circular economy contexts is relatively unexplored. This paper aims to review the main case studies related to new circular economy models for waste valorization through extrusion-based additive manufacturing, circular materials, and new design strategies. The general patterns were investigated through a comprehensive analysis of 74 case studies from academic research and design practice in the last six-year period (2015–2021), focusing on the application fields, the 3D printing technologies, and the materials. Further considerations and future trends were then included by looking at the relevant funded projects and case studies of 2021. A broader number of applications, circular materials, and technologies were explored by the academic context, concerning the practice-based scenario linked to more consolidated fields. Thanks to the development of new strategies and experiential tools, academic research and practice can be linked to foster new opportunities to implement circular economy models.

The fabrication of traditional handicrafts is both an art creation activity and a social economic activity, meaning that the resulting works have dual artistic and economic characteristics. With the development of industrial mass production, the traditional handicraft industry is facing a series of challenges. For sustainable development of the traditional handicraft industry, first the establishment of its historical context and experience is necessary. Therefore, through an analysis of the competitive advantages of the Su-style furniture industry in the Ming Dynasty, this study first sorts out and summarizes the historical experience of the industry’s successful development. Next, sustainable development strategies for the contemporary traditional handicraft industry are explored, and opinions on the inheritance and development of the traditional handicraft industry at the present stage are put forward. Based on the diamond model, this study of Su-style furniture in the Ming Dynasty shows that its competitive advantages in this period included style, material, and skill, and the contributions of the government and consumer demand played important roles in these competitive advantages. Therefore, the current development of the traditional handicraft industry requires both external heritage protection of the government and the internal transformation and innovation of the industry.

Abstract Metal soaps and resinates are known to be spontaneously formed in artistic paintings, as a product of the reaction between aliphatic and terpenoid acids released by hydrolysis and oxidation of the organic media and certain cations contained in some inorganic pigments. In this paper we present an optimization and the validation of a GC/MS method for the qualitative and quantitative analysis of mixtures of terpenoid acids and aliphatic mono and dicarboxylic acids and metal carboxylates of terpenoid and aliphatic mono and dicarboxylic acids in the same paint microsample. This is based on a two-step analytical approach entailing the subsequent use of two silylating agents, N , O -bis(trimethylsilyl)trifluoroacetamide for the analysis of free acids and metal carboxylates, and 1,1,1,3,3,3-hexamethyldisilazane for the analysis of free acids. The application of this approach is possible because of the good stability at room temperature of the TMS derivatives of aliphatic and terpenoid species, characterized by high boiling points and relatively low vapour pressures. The method was then applied to the characterization of samples collected from two reference paint layers aged for 20 years, a paint sample taken from a pulpit, and sample of the varnish coating of a wooden writing desk, both from the second half of the seventeenth century.

In recent years, the development and design of the cultural and creative products of the Palace Museum in Beijing have become a hot topic in the product design field. Many critics have pointed out that cultural and creative products have failed to faithfully convey the implied meanings of the cultural stories of the Palace Museum. To effectively narrow the cognitive gap between designers and consumers, designers must urgently clarify the relationship between different design attributes and consumer preferences. The questionnaires were used to obtain data from 297 subjects. Through SPSS statistical software, the results were analyzed by descriptive statistics, explore factor analysis (EFA), independent sample t-test, and ANOVA to explore consumers’ attitudes and preferences on the Palace Museum’s cultural and creative products. The results showed that consumers attach great importance to factors such as “cultural connotation” and “unique creativity” when choosing the Palace Museum’s cultural and creative products. The consumer in different genders had significant differences in the design factors of the Palace Museum’s cultural and creative products. There were significant differences in the factors of “Forbidden City culture”, “cultural sustainability” and “traditional culture” to different educational backgrounds. There were significant differences in the factor of “Forbidden City culture” to different ages. There were significant differences in the factors of “cultural traits” and “cultural identity” between the with and without a design background groups. The results of this study will identify the key factors for the design of the Palace’s Museum cultural and creative products and provide references for designers.

What are the consequences of lay beliefs about how things are made? In this article, we describe a Western folk theory of artifact creation, highlighting how intuitive dualism regarding mental and physical labor (i.e., folk psychology) can lead to the perceived transmission of properties from makers to material artifacts (i.e., folk physics), and affect people's interactions with material artifacts. We show how this folk theory structures the conceptual domain of material artifacts by differentiating the contemporary lay concepts of art/craft and industrial production, and how it influences people's evaluations of different types of artifacts and their makers. We propose that the folk theory and lay concepts of art/craft and industrial production are best understood within a specific sociohistorical context, and review potential sources of cross-cultural and cross-temporal variation. We conclude by making recommendations for future research and examining the implications for promoting environmental sustainability and social justice in production systems.

As the treasures of Chinese history and culture, Traditional Chinese motifs have attracted extensive attention around the world. Over thousands of years of development, these time-honoured traditional motifs have been used in many areas of modern design, especially in Cultural and Creative product designs. These products are endowed with rich connotations and cultural features by designers and inherit Chinese traditional culture in their own unique way. Based on this, this paper focuses on the overview of traditional Chinese motifs, artistic characteristics and the significance of integration of traditional motifs with Cultural and Creative products, and explores the application of Traditional Chinese motifs in Cultural and Creative products.

The development of cultural innovation is benefcial for museums to give full play to their cultural advantages and improve their economic benefts, accordingly forming a virtuous circle. This paper analyzes the cultural and creative brand marketing environment and strategy of the Palace Museum, hoping to provide some references for other museums through the analysis and summary of cultural and creative brand marketing strategy of the Palace Museum.

This research focuses on the current application status of Chinese bronze animal patterns in cultural and creative design. Firstly, it defines the concept as the decorative patterns centered on animals on the surface of bronze wares from the Xia, Shang, Zhou to the Qin and Han dynasties. Through stylized refinement, abstract deformation and symbolic expression, they carry religious beliefs, social hierarchy and aesthetic concepts, and are the core visual symbols of Chinese bronze culture. Currently, their cultural and creative applications have formed a pattern of "traditional carriers as the main body, digital carriers as the auxiliary, and practical functions as the orientation", accounting for 38% of the total sales of cultural and creative products in Chinese museums. They cover three scenarios: collection and decoration, daily use, and interactive experience, and the audience is significantly stratified. The cultural collection group prefers high-fidelity modeling cultural and creative products, the 18-35-year-old group favors cost-effective pattern extraction cultural and creative products, and children and teenagers tend to prefer interactive experience cultural and creative products. The specific application paths include: modeling replication type centered on the restoration of the original object, suitable for high-end collection; pattern extraction type that disassembles local visual elements and is suitable for various daily carriers, accounting for more than 60%, covering scenarios such as stationery, clothing, and home furnishings; and interactive experience type that relies on AR/VR technology to enhance the sense of participation. However, the industry development faces three bottlenecks: shallow cultural transformation, with 75% of products lacking interpretation of pattern connotations; innovation homogenization, with three types of elements such as the eyes of the beast face pattern accounting for more than 80%; and unbalanced resource allocation, with a technological resource gap between large museums and small and medium-sized institutions, and the market share of North China and East China accounting for 70%. Currently, the cultural and creative products of bronze animal patterns present the characteristics of "coexistence of scale growth and quality lag, coexistence of leading innovation and tail imitation". In the future, it is necessary to promote high-quality development through technological empowerment of cultural interpretation, IP operation to break homogenization, and regional coordination to narrow the gap.

Based on the digital humanistic perspective, the paper explores the protection and communication strategy of traditional culture, and communication path of innovation of the traditional culture .Digitization is the trend of culture communication, which promotes the development of traditional culture. More and more attention is paid to the combination of technology and product development.Taking the “Digital Dunhuang” project as an example, this paper explores the means of protection, technological path and communication strategies of traditional culture.The research shows that digital humanities innovate the presentation means of traditional culture, and can better achieve the promotion and dissemination of culture.

Innovation Labs are widely discussed in the 21 century in the context of developing them in many different types of organisations. They have been considered as the next 'big thing' for companies, organisations and institutions which are embracing innovation, development, experimentation, new ideas through disruptive thinking, and generating opportunities. Can it be the same for Galleries, Libraries, Archives and Museums (GLAMs)? The answer of this book, which is itself a product of the innovative process of a Book Sprint (held in September 2019, Doha, Qatar), is 'yes'! It describes what an Innovation Lab is in the GLAM context, and, what an Innovation Lab is for. Also, how to make one happen! This book addresses characteristics, aims and objectives, processes and prospects, tools and services, as well as legal, financial and operational issues. Significantly, it addresses how galleries, libraries, archives, museums, heritage institutions and other information centres and organisations can operate and benefit from Innovation Labs. Can Innovation Labs be part of such organisations and institutions, and assist them in their mission, vision, values, aims and objectives? I strongly believe so. This book shows why, how and to what end.

To shape and promote the museum's cultural and creative product IP, aiming to highlight the cultural advantages of the museum's development and application of IP, highlight the significance of cultural relics, and help museum cultural communication and economic development.Through combing and analyzing the IP classic cases of British Museum, integrating the concepts of museum cultural communication, cultural and creative product design and commercial brand marketing, this paper discusses the IP creation and promotion strategies from five aspects: excavating the cultural connotation of collections, shaping the museum brand image, embodying the joint IP of regional culture, empowering the dual IP image of product marketing and cross-border cooperation.The research shows that the reasonable and effective development of museum IP can give life form to the cultural objects in the collection, lead the museum culture into public life, promote regional culture, and create economic value with commercial brands.

This paper explores the pivotal role of pattern design in the preservation of intangible cultural heritage and its associated strategies. Initially, it establishes pattern design as a crucial component of intangible heritage, embedding rich historical and cultural information, and serving as a key medium for cultural transmission and innovation. Through literature review and theoretical analysis, the study examines the multifaceted functions of pattern design in heritage preservation, including the construction of cultural identity, the integration of tradition and modernity, and the promotion of cultural dissemination. Special attention is given to digital preservation strategies, employing technologies such as virtual reality, augmented reality, and 3D printing for long-term preservation and widespread dissemination of patterns. Additionally, the paper discusses the potential of pattern design in fostering the cultural creative industry and enhancing transmission and innovation through education and community involvement. The conclusion highlights that effective pattern design preservation strategies should integrate traditional craftsmanship with modern technology, emphasizing public participation and cultural awareness. Implementing these strategies ensures the vitality of intangible cultural heritage, fostering cultural diversity and social harmony.