[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-seo-648594-105":3,"detail-sidebar-cat-0-en-105":80,"doc-detail-648594-en":130},{"code":4,"msg":5,"data":6},0,"ok",{"site_id":7,"language":8,"slug":9,"title":10,"keywords":11,"description":12,"schema_data":13,"social_meta":73,"head_meta":75,"extra_data":77,"updated_unix":79},105,"en","discovering-the-meaning-of-form-by-exploded-sketching","Discovering the Meaning of Form by Exploded Sketching","","Automotive styling has lost much of its ability to express unique brand identity because platforms, technologies, and market and geographic domains must be shared across many stakeholders. This shifts styling responsibilities to strategic performance and increases pressure to justify form beyond tacit know-how. To support negotiations between styling and engineering disciplines at this strategic level, management models and methods are developed to frame tacit knowledge and guide explorative sketching linked to a brand identity leitmotif.",{"@graph":14,"@context":72},[15,34,55],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & Report",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/document/discovering-the-meaning-of-form-by-exploded-sketching/648594/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/discovering-the-meaning-of-form-by-exploded-sketching/648594.png","ImageObject",300,407,{"name":42,"@type":43},"GGG","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-10-25","2026-10-23",true,{"@type":52,"interactionType":53,"userInteractionCount":22},"InteractionCounter",{"@type":54},"ViewAction",{"@type":56,"mainEntity":57},"FAQPage",[58,64,68],{"name":59,"@type":60,"acceptedAnswer":61},"Why has expressing unique automotive brand identity through form become more difficult?","Question",{"text":62,"@type":63},"Platforms and technologies once owned by a brand, along with market segments and geographic domains, must now be shared among many stakeholders. As a result, distinctive form characteristics are eliminated from the stylist’s vocabulary and means.","Answer",{"name":65,"@type":60,"acceptedAnswer":66},"What problem does the paper address regarding negotiation on automotive form?",{"text":67,"@type":63},"Negotiation must extend beyond tacit knowledge vocabulary so that automotive stylists can work strategically with other disciplines such as engineering and business-focused groups.",{"name":69,"@type":60,"acceptedAnswer":70},"How is the explorative sketching method developed and what do results suggest?",{"text":71,"@type":63},"Explorative sketching to detect a leitmotif representing brand identity was developed over two years in an education environment. Results suggest that specific sketching methods fit each level of the form hierarchy and should be combined with a connotation dialogue alongside sketches.","https://schema.org",{"og:url":32,"og:type":74,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":76,"canonical":32},"index,follow",{"doc_id":78,"site_id":7},648594,1792899893,{"code":4,"msg":81,"data":82},"success",[83,87,91,95,100,105,110,114,119,122,126],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":84,"show_sort_weight":85,"slug":86},"Story & Novel",90,"story-novel",{"id":26,"doc_module":4,"doc_module_name":25,"category_name":88,"show_sort_weight":89,"slug":90},"Literature",80,"literature",{"id":33,"doc_module":4,"doc_module_name":25,"category_name":92,"show_sort_weight":93,"slug":94},"Exam",70,"exam",{"id":96,"doc_module":4,"doc_module_name":25,"category_name":97,"show_sort_weight":98,"slug":99},5,"Comic",60,"comic",{"id":101,"doc_module":4,"doc_module_name":25,"category_name":102,"show_sort_weight":103,"slug":104},6,"Technology",50,"technology",{"id":106,"doc_module":4,"doc_module_name":25,"category_name":107,"show_sort_weight":108,"slug":109},7,"Healthcare",40,"healthcare",{"id":111,"doc_module":4,"doc_module_name":25,"category_name":29,"show_sort_weight":112,"slug":113},8,30,"research-report",{"id":115,"doc_module":4,"doc_module_name":25,"category_name":116,"show_sort_weight":117,"slug":118},9,"Religion & Spirituality",20,"religion-spirituality",{"id":117,"doc_module":4,"doc_module_name":25,"category_name":120,"show_sort_weight":117,"slug":121},"World Cup","world-cup",{"id":123,"doc_module":4,"doc_module_name":25,"category_name":124,"show_sort_weight":123,"slug":125},10,"Lifestyle","lifestyle",{"id":127,"doc_module":4,"doc_module_name":25,"category_name":128,"show_sort_weight":96,"slug":129},19,"General","general",{"code":4,"msg":81,"data":131},{"doc_id":78,"user_id":132,"nickname":42,"user_avatar":133,"doc_module":4,"category_id":111,"category_name":29,"doc_title":10,"doc_description":12,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":22,"is_deleted":4,"is_public":22,"is_downloadable":22,"audit_status":22,"page_count":101,"language":139,"language_code":8,"site_id":7,"html_lang":8,"table_of_contents":140,"faqs":141,"seo_title":142,"seo_description":12,"update_tm":143,"read_time":144},962093532725,"https://ap-avatar.wpscdn.com/davatar_276721f389ce27ea32af1340a28f341c","INTERNATIONAL CONFERENCE ON ENGINEERING AND PRODUCT DESIGN EDUCATION  \n8 & 9 SEPTEMBER 2016 , AALBORG UNIVERSITY, DENMARK  \nDISCOVERING THE MEANING OF FORM BY EXPLODED SKETCHING  \nElmer VAN GRONDELLE 1 and Susie BRAND DE GROOT2  \n1 Delft University of Technology, Faculty of Industrial Design Engineering, Design Aesthetics 2 Delft University of Technology, Faculty of Industrial Design Engineering, Human Information Communication Design  \nABSTRACT  \nThe means of the automotive stylist to express a unique brand identity through automotive form, the main objective of automotive styling, have diminished. Platforms and technologies, formerly brand owned and specific to a brand’s identity and styling, have to be shared among the many, as do market segments and geographical domains. This increases the responsibility of, and the pressure on, styling to perform on a strategic level.  \nIn order to allow automotive stylists to negotiate form with other disciplines on that strategic level, the dialogue on form must extend beyond the mere tacit knowledge vocabulary. In our automotive styling research, embedded in our education program, management models and methods are being developed to frame and facilitate tacit knowledge and achieve the aforementioned objective.  \nThese management tools must contain familiar elements for both disciplines that are involved in negotiations, i.e. styling and engineering. The ‘styling’-side of these management tools assesses automotive form through a form hierarchy. The application thereof requires a methodical way of explorative sketching.  \nThis explorative sketching, with the aim to detect a leitmotif in automotive form that represents brand identity, has been developed over two years in an education environment. Results suggest that specific sketching methods are appropriate for each level of the form hierarchy, a combination of views that develop into explorative sketching, and a connotation dialogue to be combined with sketches.  \nKeywords: Design education, strategic design, tacit knowledge, automotive styling, sketching.  \n1 INTRODUCTION  \nAutomotive brand identities are generally embedded in‘brand owned’ technologies that determine automotive form [1], [2] . Sharing technologies and systems between OEMs, forces stylists to share form characteristics such as proportions, overhang and stance. Those characteristics are than largely eliminated from the stylist’s vocabulary and means to create distinctive designs [3] . Additionally, car companies are invading each other’s historical as well as geographical domains. Thus, the stylist has to compete with more cars and fewer means than ever before, to create a distinguishing car [4] . To maintain visual brand identity, styling must be framed strategically [5] .  \nStrategic styling is a relatively young topic. In automotive even more so than in other design disciplines because the profession’s somewhat mythical image has been a threshold in adapting to new project, product, and business paradigms [6] . Within the aforementioned rapidly changing context, the automotive styling process itself has barely changed in the first century of the automobile. That is, the argument on form takes place around a number of consecutive manifestations of the design (sketches, scale models, full scale models…) and is largely based on tacit knowledge. There is no common frame of reference in place that links styling to other disciplines [7] .  \nIn this context the term‘automotive styling’ is the integral form giving of cars, encompassing package design and negotiating engineering constraints such as platform related dimensions, aerodynamics etc. The term‘automotive design’ is often used to avoid ‘styling’ because of its incorrect superficial connotation [8] . Nevertheless ‘styling’ is historically more appropriate because it differentiates from other design activities. In this paper the term is used for clarity.  \nThis paper explains the research into explorative sketching as ","cbCaimZzcjeacYvE","https://ap.wps.com/l/cbCaimZzcjeacYvE","pdf",853004,"English","# Abstract\n# Introduction\n## Context and terminology\n# Research Context\n## Automotive Form Hierarchy\n## Education","[{\"question\":\"Why has expressing unique automotive brand identity through form become more difficult?\",\"answer\":\"Platforms and technologies once owned by a brand, along with market segments and geographic domains, must now be shared among many stakeholders. As a result, distinctive form characteristics are eliminated from the stylist’s vocabulary and means.\"},{\"question\":\"What problem does the paper address regarding negotiation on automotive form?\",\"answer\":\"Negotiation must extend beyond tacit knowledge vocabulary so that automotive stylists can work strategically with other disciplines such as engineering and business-focused groups.\"},{\"question\":\"How is the explorative sketching method developed and what do results suggest?\",\"answer\":\"Explorative sketching to detect a leitmotif representing brand identity was developed over two years in an education environment. Results suggest that specific sketching methods fit each level of the form hierarchy and should be combined with a connotation dialogue alongside sketches.\"}]","Discovering the Meaning of Form by Exploded Sketching | PDF",1792794117,15]