ArDIn is an annual scientific journal on Art, Design and Engineering that has the following objectives: To study, research and practice transversal relations and influences between art, design and engineering. To connect professional with research. To provide scientific references and models of the connections between these three disciplines. To study Human Development interrelating the different subjects of the journal. To encourage art for greater understanding and integration in other subjects of knowledge.
Universidad Politecnica de Madrid - University Library
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Production of designer jewelry using a high temperaturemicrowave heating technique
This research implements an innovative technique through the artistic production of three- dimensional pieces that require the use of high temperatures. Specifically, it investigates how to use microwave technology to expand the accessibility and autonomy of this type of creative processes and, in turn, to do so while contributing to the goals set out in the 2030 agenda. The methodology used has been based on a procedure for testing ceramic and cast prototypes, in order to design microwave heating suitable for different geometries and volumes. This is due to the fact that the mentioned parameters are determinant in the production efficiency. Once the research tests have been completed, the results show that this energetic implementation constitutes an efficient, autonomous and low environmental impact procedure. In addition, it is confirmed that the designed technique offers high performance with product quality and electrical savings, which places the proposal as a tool with high employability within the field of plastic arts.
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Colorín colorado: a case study based on the artistic experience of teaching colour in early childhood
The educational experience Colorín colorado took place between 2019 and 2025 with a young girl, encompassing her time in early childhood education (ages 0–3) and the second cycle of preschool education (ages 3–6). This initiative emerged as an alternative to traditional approaches to colour learning, which are often limited to repetitive, low-creativity activities. The main goal is to promote meaningful understanding of colour through artistic processes, using both analog techniques (gouache, watercolour, natural dyes) and digital tools (Photoshop, Krita), while avoiding mechanical colouring applications. The methodology used is qualitative, based on a case study with an active and experiential approach. The child explores colour freely through artistic materials and natural pigments, building a personal archive in both physical and digital formats that documents her development. This methodology encourages an understanding of colour not only from a technical standpoint, but also from expressive and emotional perspectives. The results show that implementing micro-projects focused on colour led to significant learning in the child. Her progress is evident in her ability to identify and name shades, use colour across physical and digital media, and associate colours with emotions and meanings. In contrast to the conventional preschool curriculum, this proposal demonstrates that it is possible to achieve a richer, deeper visual literacy from an early age. In conclusion, the experience highlights the need to rethink educational practices related to colour learning, incorporating approaches that foster experimentation, creativity, and artistic and technological engagement, thus promoting a comprehensive learning experience starting in early childhood.
The role of design in navigating uncertain environmentswithin organizations
Exploring the value of design in today's context of uncertainty and hypercomplexity, and the need to analyze its impact on decision-making in our organizations, motivated the launch of this study. It is based on the search for patterns of behavior, challenges, and opportunities that we face. Design culture is increasingly present in our organizations, yet difficulties often arise when applying design thinking in practice. The current context of uncertainty undoubtedly presents us with a field of opportunity and experimentation. To identify future lines of action, nine experts in project management and organizations, with varying degrees of involvement in design thinking, were interviewed. The research focused on how they approach uncertainty in their decision-making processes. These interviews were analyzed thematically, comparing them with the main lines of thought found in the literature, presenting descriptions of current practices and their corresponding design challenges. The contribution is twofold: on the one hand, it provides an initial framework for different design perspectives that help navigate uncertain contexts, perspectives that derive from perceived areas of interest and enhance the development of the discipline. On the other hand, it identifies practical opportunities that bring design-based thinking and action closer to organizations, facilitating them to become more competitive and resilient
Gender, ethnic, and social class bias in the use of AIGs for audiovisual media
This article condenses the results of a research project funded by the TAI University School of Arts, which aimed to critically review the programming that underlies Generative Artificial Intelligence (GenAI) applied to audiovisual creation. During the 2023-2024 academic year, an analysis of the contents generated by several platforms -in some cases of paid subscription- was carried out. The biases and stereotypes that emerged in the elaboration of an audiovisual piece have been analyzed. The use of different platforms determined the construction process of the short film: from script writing, through the development of the shooting plan and the technical script, to editing and post-production. The elaboration of this audiovisual piece has served as a starting point to highlight the ideological bias of the GenAI, as reflected below in this text.
Emerging Trends in Design: A Review of the Literature and Global Interest in the Future of the Field
This article conducts a review of the existing literature on emerging design trends. Peer-reviewed articles published in leading journals, university repositories, and selected dissemination sources were examined in order to define the key terms associated with future directions in design. Furthermore, a framework was developed to analyze Google search data for these terms from May 2020 to May 2025. This approach enabled a comparison between the concepts identified in the literature as “emerging trends in design” and the actual search behavior of internet users over the past five years, with the objective of determining which concepts are genuinely gaining traction and which are not. The findings indicate that the terms highlighted in the literature as “new design trends” do, in fact, show a rising trajectory in online search interest. The study suggests that the future of design will follow the directions emphasized in the literature: increased attention to augmented and virtual reality, sustainability, new design approaches and methodologies, immersive and multisensory practices, as well as the growing role of Artificial Intelligence in the field. The insights presented here offer a foundation for subsequent research aimed at deepening the understanding of the relationship between design and the future.
Viola acherontia: Design, Art, and Genetic Manipulation
This article explores how contemporary creation can intervene in living systems in an ethical and ecologically responsible manner, in contrast with the artificial way in which genetic manipulation operates across various spheres of our existence. The research adopts an interdisciplinary design methodology, integrating perspectives from biotechnology, bio-design, contemporary art, and speculative literature. Design strategies are examined that include the use of biological processes, simulations, and bio-inspired materials to generate sensory, narrative, and conceptual experiences that reveal invisible processes and interdependent relationships among humans, other beings, and ecosystems. It is observed that design can function as a projectual and conceptual practice that articulates science, ethics, and aesthetics, promoting critical reflection on intervention in life. Likewise, it is highlighted that design is not limited to the creation of objects but constitutes a framework for speculating on possible futures, constructing ethical narratives, and developing collaborative practices with biological systems. It is concluded that design, understood as a tool for mediation, care, and experimentation, can open spaces for responsible innovation, fostering ecological awareness, sensitivity toward living beings, and critical dialogue on the relationship between humans, nature, and technology
Classification of Relational Systems: The Role of the Agent in Electronic-Digital Art
Currently, the concept of interactivity in the field of contemporary art, and more specifically in electronic-digital art, is subject to two distinct approaches to classification. On the one hand, there is a narrow definition that allows for exhaustive classification into categories ranging from lowest to highest degree in the communication system offered by the work of art. On the other hand, there is a more generic definition that encompasses any system that reacts to the concept of interactivity. The main objective of this article is to question this widespread and ambiguous use in the artistic and academic fields, pointing out the possible implications of misclassifying a work as interactive. To this end, we review the existing literature with a total of fourteen authors who catalogue these communication systems from different disciplinary fields such as communication, philosophy, art, design, etc. In addition to providing a cataloguing proposal for electronic-digital works based on the role of the Agent, we identify the lack of study into the awareness and/or attitude of the person, environment or object that activates these works. In other words, the mode of participation. Ultimately, this research seeks to establish a precise and utilitarian meaning of the concept of interactivity through transdisciplinarity, avoiding superficial standardisation from a critical perspective. It provides rigorous terminology for use in academic and professional fields, for artists, researchers, institutions and curators.
Objects in the shop window exhibition space: dialogue between design, sculpture and contemporary aesthetics
This article analyzes the symbolic and communicative role of objects in relation to the confluence of art and design in contemporary shop windows. It explores how shop windows have become hybrid scenographic elements, where commercial persuasion strategies and processes of aesthetic appreciation coexist. The research was conducted through a literature review and critical analysis of emblematic shop window displays. This study has allowed us to identify three key findings: the expansion of the shop window as a space for visual experimentation; the fusion of sculptural and design languages in the arrangement of objects; and the consolidation of the shop window as a cultural device that reflects social and consumer dynamics. It concludes that the contemporary shop window functions not only as a means of commercial attraction but also as a space for artistic creation that gives new meaning to the relationship between object, viewer, and urban environment.
Audiovisual resources to integrate learning in Artificial Intelligence in higher studies in graphic design in
This study presents a teaching experience implemented within the course Maquetación, part of the undergraduate programme in Digital Graphic Design during the 2024–25 academic year. The research aims to examine students’ perceptions regarding the integration of generative artificial intelligence (GAI) tools into a course activity, alongside their learning experience through audiovisual resources in screencast format. The findings indicate that the incorporation of GAI tools was perceived as positive, both in terms of their practical utility and their contribution to the teaching and learning process. Nonetheless, certain limitations were reported due to students’ lack of access to licences for the latest software versions. The results also reveal a probable or highly probable intention among students to employ such tools in their future professional practice. The low response rate suggests the potential presence of a self-selection bias.
Looking for links between graphic communication and cinema: a journey through the Coen brothers’ filmography through the posters of their films
The Coen brothers are currently one of the leading exponents of American independent cinema. This paper approaches his work by analysing the promotional posters of 17 of his films, proposing a methodology based on the graphic communication of the promotional poster applicable to the analysis of a single movie or an entire filmography. From Blood Simple to Hail, Caesar!, the graphic communication of each poster has first been analysed individually, relating it to the characteristics of each film. Subsequently, a joint analysis of all the posters was carried out to find parallels between graphic design (colour, typography, image, composition) and the cinematographic discourse of the Coen brothers. The results show that the visual design of the posters is related to seven of the 13 characteristics of the Coens' cinema studied: violence, silly» character, wandering character, parody or black humour, philosophical content, objects and places. Furthermore, images and colour are the graphic elements that best transmit these characteristics, with composition and typography being secondary elements. Finally, the visual characteristics of the archetypal poster for a Coen film have been defined.
Fashion as Performative Art: The Body as a Space of Design and Aesthetic Engineering
Contemporary fashion has transcended its utilitarian function to establish itself as an artistic language in motion, where the body serves as a living canvas and laboratory for experimentation. This article explores fashion as a performative art, integrating design, technology, and aesthetic engineering into expressions that blur the boundaries between textiles, the body, and the stage. A comprehensive literature review and analysis of emblematic cases (Iris van Herpen, Hussein Chalayan, Alexander McQueen) are conducted to understand how clothing can act as an extension of the body and a means of symbolic creation. The qualitative methodology combines visual analysis, theoretical studies, and comparison of techniques. The results show that performative fashion reinterprets the role of fashion design as Gesamtkunstwerk (total work of art), incorporating innovative materials, digital technology and theatrical staging to provoke emotions and reflections in the viewer. The discussion links these findings to theories of art and fashion, highlighting how the body becomes a space for design and aesthetic engineering. In conclusion, it is argued that performative fashion expands the traditional boundaries of art and design and raises implications for responsible innovation in the fashion industry, in line with the Sustainable Development Goals. This study offers an original perspective by conceptualizing performative fashion as an integral device of aesthetic engineering, in which the body, technology and design converge not only as artistic expression, but also as a critical platform for responsible innovation and the contemporary redefinition of art.
Towards an expanded ecology of the senses: Collective fusion and reconfiguration of the social bond in the sensory art of the Cyborg Foundation
This qualitative research, based on the case study of the Cyborg Foundation in Spain, analyzes the tension between individual innovation and the potential for social transformation of expanded sensory art. The methodology focuses on source triangulation and the analysis of works as units of analysis of key artists: Neil Harbisson, Moon Ribas, Manel de Aguas, and Pol Lombarte. The theoretical framework contextualizes cyborgism as an evolution of body art and posthumanism/transhumanism. Foundation practices, which use implants as non-normative technological organs, are distinguished from their predecessors by taking the fusion of flesh and technology into real-time sensory interaction. Although systematic analysis reveals that the expansion of perception begins as a subjective act, the hypothesis of collective fusion was verified in the interconnection projects. Cases such as the Meaning of pregnancy or Crypto cyborg art show that technology creates social bonds and redefines unity by surpassing the autonomy of the Self. The study concludes that cyborg art is a model for social transformation by desindividualizing perception through expanded sensory interconnection enabled by surgically implanted interconnected cybernetic organs.
Freehand drawing as a link between art, design and engineering
The intersection of art, design and engineering is a dynamic and collaborative space where creativity, functionality and technique come together to create innovative and beautiful solutions. In this purpose, there is a clear connection between these disciplines through visual media and their support resources, such as freehand drawing. This paper presents the advantages of the interdisciplinary link between Art, Design and Engineering, developing how drawing constitutes a means that favors this link. This is based on understanding drawing as a tool that facilitates visual communication, learning and thinking. Freehand drawing allows the representation of ideas, creative exploration and the development of visual literacy skills. This paper analyzes how this practice, present from the Renaissance to the present day, fosters creativity and spatial understanding, essential for the comprehensive training of engineers, artists and designers. Historical and contemporary examples are presented, that demonstrate the convergence between artistic sensitivity and technical rigor.
Graphic Design in Destination Branding: A Visual Analysis of Caribbean Country Brand Marks
This article analyses 25 brand marks from countries bordering the Caribbean Sea to identify their visual components, describe their formal characteristics, and detect common patterns in the graphic design used in the branding of tourist destinations. Based on a quantitative, inductive approach, content analysis was employed to analyse the linguistic signs, iconographic symbols, and chromatic elements of these brand marks across four dimensions, 19 variables, and 77 categories. The results revealed a preference for nominal strategies, sans serif typography, and the predominant use of English, at the expense of symbolic or cultural elements. This tendency was interpreted ambivalently: on the one hand, as a lack of renewal in the face of current branding trends that prioritise flexible, narrative graphic systems; on the other hand, as a conscious decision to avoid visual clichés associated with the Caribbean's exotic imagery. In a complementary manner, the limited presence of elements of national identity, such as national colours or cultural symbols, suggested a strategy of visual differentiation in the governmental image, oriented towards a more neutral, versatile, and commercial aesthetic. The study provides a visual analysis model applicable to other brand marks and contributes to assessing the materiality of the territory contained in tourism branding. Furthermore, the results of this analysis can support decision-making by design, marketing, and tourism managers and professionals seeking to advance tourism and economic development in a destination.
Museum accessibility in Spain and Portugal: a systematic review of the literature (2020–2025)
This article presents a systematic review of the literature on accessibility in museums in Spain and Portugal published between 2020 and 2025. The objective is to identify trends, gaps, and predominant approaches in initiatives aimed at guaranteeing inclusion in museum spaces, considering human diversity and the principles of universal accessibility. The review was developed in accordance with the PRISMA 2020 guidelines (Preferred Reporting Items for Systematic reviews and Meta-Analyses), designed to help transparently document why a systematic review was conducted, how it was done, and what was found. Scopus, Web of Science, and Dialnet were searched, applying inclusion criteria such as open access, thematic relevance, and time period (2020–2025). A total of 729 records were analyzed, of which 29 were selected for complete reading (22 corresponding to Spain, six to Portugal, and one to both countries). The variables studied included years of publication, authorship, language, journal, geographical location, type of museum, and relationship with funded projects. The results show a progressive increase in publications, especially in 2024. The most frequent topic corresponds to the use of digital technologies to improve accessibility, and, on the other hand, significant barriers persist for people with visual and hearing disabilities, as well as scant attention to cognitive and sociocultural accessibility. It is concluded that, although museum accessibility is advancing in both countries, challenges persist to guarantee full cultural participation. It is recommended to develop common indicators to assess accessibility in both countries, as well as to expand research towards cognitive and sociocultural dimensions.
Valencian brands and advertising graphics in the 1960s
The 1960s in Valencia is the start of design, so many companies start investing in brand and communication. Professionals from different disciplines and businessmen with a broad and emerging vision, agree at time when the country benefits from the Stabilization Plan (1959), which led to its economic improvement. Some companies from different Valencian sectors opted for industrial and commercial development, focusing their attention on design, the brand concept and advertising, three key points that allowed the takeoff and development of Valencian design both nationally and internationally. This contribution is based on a historical and visual analysis of representative cases and highlights the importance of advertising graphics as one of the fundamental pillars of the development of contemporary Valencian graphic design.
Perception of color vision deficiency and its impact on accessible digital design in higher education
Color vision deficiency (CVD), commonly known as color blindness, affects approximately 8% of men and 0.5% of women worldwide. This condition is particularly relevant in disciplines such as animation, digital design, and video games. In these fields, color serves both aesthetic and narrative functions, guiding the viewer and conveying emotions. This study analyzed the level of knowledge and perception of CVD and color accessibility within the university community of the University of Design, Innovation and Technology (UDIT) in Madrid, Spain. A survey was conducted with 387 students involved in visual creation. The results indicate that a portion of the students show limited conceptual knowledge of CVD, as well as a reduced application of color accessibility criteria in their projects. Although some students reported having received prior training, persistent errors in basic concepts revealed that this training was incomplete. As a complementary measure, the self-reported prevalence of CVD in the sample was recorded, with 8% of male students and 1% of female students, showing a notable concentration in the Degree in Video Game Design and Development and Virtual Environments (40% of the total cases). In other programs, such as the Degree in Animation or degrees related to Audiovisual Design, the presence is lower. This distribution, observed descriptively, may point to possible differences between programs that require further investigation in future studies. These findings highlight the need to explicitly integrate color accessibility into academic training, in line with the European Accessibility Act (EAA), which came into force in 2025.
Stereotypography: Risk in Representing Identity through Stereotypical Attributes in Typeface Design
This article examines stereotypography, the stereotyping of cultures through typefaces, as a mechanism through which graphic design reproduces and circulates simplified narratives of identity. Focusing on Mexican-themed free fonts available on major online platforms, the study identifies three dominant cultural scripts: the fiesta style, characterized by decorative and colorful motifs referencing celebrations; the Wild West style, reinforcing rustic portrayals popularized in film; and the hand-painted signage style, evoking vernacular commerce through irregular forms and bicolored lettering. Since stereotypes are cultural memes, they are widely recognized, so they are effective forms of communication. However, stereotypes omit individualities and deeper identity aspects, deteriorate perceptions of different actors and social groups, and promote ignorance, prejudice, and the existence of social roles. General audiences encounter these scripts primarily through the visual attributes embedded in the letterforms. By situating these findings within broader discussions of cultural representation, colonial legacies, and visual communication ethics, this article argues that stereotypography operates as a powerful yet underexamined channel for shaping perceptions of cultural identity, raising urgent questions about the social responsibility of type design