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Perspective Chapter: Communication-Oriented Automobile Design by a Three-Dimensional Sculpture Educational Model – Narrowing the Gap between Company Work and Education System
Written By
Ara Jung and Kang Hyun Lee
Submitted: 06 June 2022Reviewed: 25 January 2023Published: 31 March 2023
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As the paradigm of the automotive industry is changing, new design attempts are being developed for automotive design in various fields. Design education needs to be changed in response to this rapidly changing automotive industry. Particularly, due to the specificity of automobile design work is progressing, with clay modeling as the center point of the design process it is necessary to provide professional learning about three-dimensional sculpture. However, the current undergraduate curriculum lacks the expertise of 3D sculpture education. Based on the previous studies, related to the design background field to reduce the gap with the business, I proposed an effective method for automobile design, ascribed by a 3D sculpture educational model. First, we proposed a more practical and systematic 3D sculpture educational model that can reduce the gap between practice and education to satisfy the educational model. Therefore, this study is based on the analysis of “automotive 3D sculpture elements” in order to creatively solve various problems Second, we proposed efficient communication methods for a professional designer in the field to learn with the competence of teamwork based on the types of communication networks. Third, we further analyzed the design critique types for evaluation and feedback in class usage and suggested the most effective methods.
General Motors Technical Center Korea, South Korea
Kang Hyun Lee
Hongik University, South Korea
*Address all correspondence to: ara.jung87@gmail.com
1. Introduction
1.1 Background of the study
As the paradigm of the automobile industry is changing, the concept of design of automobiles is expanding from ‘mobile means’ to ‘moving space’. At this point, as new attempts are actively made in various fields such as products, spaces, and services, the scope of automotive design is expanding. Therefore, basic education is more important than anything else for students of various fields who do not have the basic knowledge of automotive design. In particular, due to the physical characteristics of automobiles, 3D sculpture education is an indispensable element. A car is an existential entity that we ride and use directly, and it is not limited to simply seeing with our eyes; therefore, it is essential that the mock-up process in which the designer directly sees and perceives the lines, surfaces, highlights, and volumes that make up the car works while working. However, if you look at the current domestic automotive design education, most of the related undergraduate faculties are adopting the entrance exam method centered on two-dimensional (2D) modeling, undergraduate education also has a curriculum focused on concept sketching, and 2D-oriented classes aiming at creative ideas are being conducted.
In addition, collaborative work between experts in each field is very important in the industrial design field including automotive design. In the case of automotive design, more diverse fields of expertise are required to design and mass-produce innovative automobiles that satisfy complex structures, safety requirements, and customer needs. To this end, companies are showing a trend to subdivide and specialize in each field. However, even after completing four years of undergraduate education in automotive design, students feel limited in realizing and substantiating ideas through collaborative work with experts in each field as an automotive designer in the field.
1.2 The need and purpose of the study
To derive creative results required in the new automotive design paradigm, the need for 3D sculpture education in the undergraduate course for students is growing more. In addition, to reduce the gap between current education and present work and for students to materialize their designs as professional designers and mass-produce them, it is necessary to increase the concentration of communication education for collaborative work.
Thus, the goals of the education model proposed in this study are as follows: First, to esthetically shape the beauty of formativeness in the formative aspect, which is the essence of design, it is necessary for students to understand the 3D modeling of automobiles and, based on it, try to creatively solve problems in 3D modeling. Second, in the ‘practical aspect’, through communication for collaborative work, the gap between education and work is to be narrowed, and professional designers who create creative modeling are to be nurtured.
In the process of development of the automobile industry in the early days, logical and mechanical processes for effective performance of automobile functions were prioritized in automotive design. However, with smart cars and shared cars, future automotive design is developing in various directions of emotional engineering that respects the complex emotions, psychological satisfaction, personal taste, and individuality obtained from the user’s personal experience. As a result, many changes were made to the scope of space design, service design, and visual design and the process accordingly.
First, the change in power technology from an internal combustion engine to an electric motor not only plays an important role as an alternative to energy problems and environmental problems but also brings major changes to automotive design. Depending on the location where the vehicle’s power is transmitted, the large structure of the vehicle is designed to center the weight of the vehicle with most of the mechanical elements in the front. Because of these mechanical elements that must be included indispensably, changes in the design of automobiles had to be made in small portions. However, as Gu [1] mentioned, as the vehicle’s power is changed to electricity, the engine room and passenger room are not separated; their utilization as a single space can be increased; and the scope of structural and morphological changes such as profile and proportion has been greatly expanded.
Second, when autonomous driving becomes possible, automobiles can be expanded into a living space beyond a simple means of transportation. Automotive interiors for driving also had limitations in design changes due to essential elements. Currently, automobile interior design elements are designed with a focus on functions for driving. If autonomous driving is activated in the future, interior design elements such as livability and comfort should be more emphasized in the interior, and not only the arrangement structure of all elements will change but also the components for operation must be removed, and in addition, it is expected that components for user convenience will change, leading to major changes in the design.
Third, as the paradigm of automobiles changes and its meaning expands, companies in various fields such as IT, electric and home appliance companies, Google, Apple, Uber, and Alibaba are also entering the automobile industry. Also, automotive design is being tried in various fields such as engineering major, psychology major, spatial design, and visual design major in addition to the existing industrial design major.
The automotive design process is also expanding the range of choices by diversifying trims to respect the individuality of customers, and with the development of tools and programs for design, it has become possible to design a variety of designs.
As such, even at the present time when automotive design is expanding and rapidly changing, to check the sense of weight, space, and volume due to the characteristics of automotive modeling, still, the clay model plays an important role in the design process.
Contrary to the expectation that all industries will move from offline to online, recently, the O2O (Online to Offline) platform, which combines the advantages of online and offline businesses, has been applied to various fields and is receiving great response from customers.
In automotive design, the design process using digital data is also developing, but the clay model, which can be touched by humans and is a design tool through experience, is still the focal point of the design process, and for more creative design, converting a concept sketch (2D) into three dimensional (3D) is an important starting point in design.
2.2 Current status of domestic automotive design education
In this chapter, we will examine the current status of automotive design education in domestic universities. This study analyzed five major universities in the metropolitan area (Hongik University, Korea National University of Arts, Kookmin University, Chung-Ang University, and Seoul National University) that implement automotive design education as their major subject.
The automotive design classes for each school are organized in a table so that the subjects and contents of the classes can be viewed by emphasizing the 3D modeling classes by grade and semester. However, in the case of Chung-Ang University and Seoul National University, where detailed class content is not listed on the website, the class content was excluded (Table 1).
Academic year
1st semester
2nd semester
Content
Subject
1
Free association and expression techniques 1
Free association and expression techniques 2
Creative idea, expression, and delivery
Basic 3D 1
Basic 3D 2
Basic expression of 3D modeling based on points, lines, and surfaces
2
Transportation design studio 1
Transportation design studio 2
Basic skills training in sketching, rendering, and drawing
3
Practical drawing
Idea development, concept sharing, communication, and rendering
4
Transportation design studio 3
Transportation design studio 4
Transport equipment structural analysis, formative research, and experiment
Design seminar
Invite experts, broaden your horizons through indirect experience
portfolio 1
portfolio 2
In-depth course, abstract theory learning through practical design course
transportation design studio 5
transportation design studio 6
4-year course creative portfolio creation (goals for employment and graduate study)
Table 1.
Curriculum of industrial Design Department of Hongik University.
Color defines the 3D modeling education class intensity among other curriculum’s.
2.2.1 Hongik University - department of industrial design
Basic concept and process case study for transportation device design (new 2017)
Basic digital design & modeling 1
Basic digital design & modeling 2
Understanding and expressing the 3D design process using Alias
Basic model shop
Mock-up and prototype for finishing quality of design (using various materials and data)
2
Modeling and product 1
Modeling and product 2
A beautiful design that conforms to the formative beauty, functional recognition, emotion, and logic of individual subject products
3D Printing & modeling 1
3D Printing & modeling 2
3D printing for mock-up (new 2017)
Digital modeling 1
Digital modeling 2
3D modeling using the Alias program, hyper-realistic rendering, and hard mock-up production using CNC
3
Object studio 1
Object studio 2
Individual items for each student, harmony of modeling/function/sensibility/usability, linkage with other studios, broad perspectives, and results from various perspectives
Model shop 1
Real mock-up covering various materials and forming techniques and machine tools in the modeling process
4
Object studio 3
Object studio 4
Individual items for each student, harmony of modeling/function/sensibility/usability, linkage with other studios, broad perspectives, and results from various perspectives
Model shop 2
Modeling process, real mock-up covering a variety of materials, forming techniques, and machine tools
Table 2.
Curriculum of Design Department of the Korean National University of arts.
Color defines the 3D modeling education class intensity among other curriculum’s.
2.2.3 Kookmin University - department of automotive transportation design
Curriculum of industrial Design of Seoul National University.
Color defines the 3D modeling education class intensity among other curriculum’s.
2.3 Limitations of automotive design education
Although it is possible to learn the overall contents necessary for automotive design at Hongik University, instructor’s expertise and time may not be enough to cope with various contents including 3D modeling, with class contents focusing only on automobile designers and studio-centered class composition. In addition, there is a limitation in that the part about collaborative work in various fields in automotive design and the class on 3D modeling consist of the content on basic modeling principles that are not related to automotive design.
At Korea National University of Arts, the curriculum that responds quickly to trends and abundant teaching materials are used to present their ideas in digital modeling using Alias software, and classes using 3D printers and CNC are relatively well organized. However, these mock-up classes have a large proportion of digital models, and classes on clay modeling used in the field and theory classes on professional automotive 3D modeling should be reinforced.
The Department of Automotive Transportation Design at Kookmin University has the strength that it consists of various classes on various fields necessary for automotive design. However, from the perspective of 3D sculpture education, there is a limitation in that it consists only of classes using software. Therefore, 3D sculpture education using various methods and materials is required, and in particular, a class on clay modeling, which is the most used in the field, and a class on professional automotive stereoscopic modeling are necessary.
Also, like the goal of “cultivating designers with expertise as an industry member with a practical sense”, it is necessary to learn about effective collaborative work between each field required in the present work field.
At Chung-Ang University, you can study general industrial design, but it is difficult to expect professionalism in three-dimensional automotive modeling education in automotive design with classes for two years in the 3rd (junior) and the 4th (senior) years. 3D sculpture education is centered on modeling education using software, and education on collaborative work as well as ideation is required.
The classes at Seoul National University are mainly composed of an integrated course that can cultivate the creativity and esthetic skills that designers should have. However, in the case of automotive design class, mock-up class is for one semester, and automotive design class is for three semesters, so it is difficult to expect expertise in automotive design education. It seems that both the time and the content of classes are insufficient to learn automotive design mock-up education and design project performance ability. A professional class on automotive design is required.
Finally, to summarize the automobile education of each university, the educational goal of each school is to ‘nurture professional designers who can mass-produce automobiles that lead the future with their own original ideas in the industry’. Although the classes focused on ideas and concepts are relatively well conducted, for mass production, it seems that class research is needed to narrow the gap between the ability to materialize ideas and practice. In particular, 3D sculpture education for automobiles is focused on modeling education using software. However, for students who lack the basics of 3D modeling, 3D sculpture education in which students can actually see and feel should be preceded in order to develop formativeness, and to this end, theoretical research on 3D modeling for automotive design and education using clay, which is the most used in the field, should be conducted.
3. Theoretical review on automobile 3D sculpture education
In this chapter, we will examine the theories necessary for the educational model proposed in this paper through previous studies and literature review. The importance of a clay model among tools for 3D modeling in automotive design will be examined through previous studies and literature review, and elements of 3D modeling of automobiles will be analyzed. Based on this, we examine theories for creatively solving problems that occur when making three-dimensional sketches. To graft collaborative work into education to reduce the gap between education and the present work, we examine communication network types based on previous studies and suggest effective types. Lastly, to use the design critic tool as an evaluation method to increase the learning effect, based on previous studies, we attempt to suggest the critic types necessary for automotive modeling education.
3.1 The importance of clay models in automotive design
As can be seen in a previous study in Table 6, which mentioned the importance of 3D modeling of automobiles for the past 10 years, among the automobile mock-up processes, the clay model has been traditionally used as a tool for design development in the automotive design process.
A car is an existing entity and an existential tool. Only when you can physically handle such a tool accurately can you create a vital automotive design that moves people’s hearts.
It can be said that the role of the modeler who makes clay models in the design field is very important. When expressing strange nuances, it is more efficient to proceed with human hands.
After all, a car that becomes a commodity is a 3D object; at some point, the shape and presence of a 3D object must be confirmed. This is because, in design, especially styling, beauty, and ugliness cannot be judged by numbers alone.
A reduced model is a very useful means for 3D verification of an idea because it can implement ideas faster and can be easily modified compared to 1:1 model production.
To develop a design in a 3D form, using clay is the best way, and it is one of the tasks that must be done in most automotive design.
Table 6.
Previous studies of the importance of clay modeling.
In the past, although there was a prediction that automotive design would be done only with digital tools, Jang [5] said that making a clay model in which a designer can directly see, touch, and feel the scale of a car is the best way to revise a design and is an important design element included in the whole process of design development. In particular, in the case of scale models, according to the study of Bing [4], it is a stage before the production of a full-size model, and it is said that it is the basis for a new and balanced developmental modeling.
Due to the nature of the material, clay has hard physical properties that can be ‘sculpted’ at room temperature, and at high temperatures, it acquires soft properties that can be shaped by the ‘modeling’ technique. Because of these characteristics, clay can use all of the techniques of ‘sculpture’, so that even if the design is modified, a high-level model can be created in a short time, and it is the most useful material for making 3D objects because of its good machinability, such as a milling machine, and is widely used to make automotive models around the world.
3.2 Analysis of elements of 3D modeling in automotive design
In the case of 3D sculpture education, classes are conducted focusing on basic concepts such as ‘point, line, and surface’ or ‘balance, repetition, harmony, and rhyme’ at school.
Thus, this study attempted to analyze 3D modeling with a focus on automobile modeling. As mentioned by Jang [5], based on Johannes Itten’s division of shapes using circles, triangles, and squares in Bauhaus basic education and the relationship between space and 3D and three-dimensional construction training discussed by Joost Schmidt, we analyzed the 5 basic elements that make up automotive design that include profile, proportion, line, volume, and highlight.
3.2.1 Profile
When doing automotive design, the profile means the outline of the side of the car. In this study, along with the profile, the stance commonly referred to as the posture of a car was included in the profile, and the study was conducted (Figures 1 and 2).
Figure 1.
Profile analysis.
Figure 2.
Comparison of stance.
Profiles represent the nature of automotive design. In designs such as speedy, stable, muscular, slender, sleek, feminine, masculine, heavy, light, and cute, the part that can express the character of the overall design is the profile. This is a difficult part to express numerically, and it is the part that should be coped with most in the scale model stage before making a 1:1 model.
3.2.2 Proportion
The purpose of this study is to identify which parts are important components of proportion and to understand their relationship. When realizing a sketch, it is important to ask, ‘What kind of relationship do respective design elements form with each other to form a unique proportion?’ Unlike the plane, which is fixed with one point of view, there is a lot of room for different interpretations depending on the viewer’s point of view or angle of vision in a 3D space. To objectify these parts, the discussion should be focused on the design sketch, and at this time, it is important not to look at each element partially in the sketch that is fixed at one point of view but to understand the relationship between each other (Figure 3).
Figure 3.
Proportion analysis.
3.2.3 Line
This study focused on the tension of the line. The part that is easy to miss when realizing the sketch is the tension of the line. In the sketch basic education, handwriting is taught. When a skilled designer sketches, his/her handwriting naturally comes out, which also serves as a standard for sketching skills. Line tension is expressed in sketches with handwriting, and for instance, the Mickey Mouse character drawn by a professional and the Mickey Mouse character drawn by a non-professional show the biggest difference in its line tension. It can distinguish between ‘fake characters’ and ‘real characters’, and the 2D character’s vitality and dynamics are also expressed. The tension of the line containing the designer’s intention is also expressed in the automotive sketch, and it may indicate strength-weakness, tension, movement, rhythm, and weight of the automobile. The tension of the line must be expressed in the clay model so that the designer can express the feeling of the sketch he/she wants (Figures 4 and 5).
Figure 4.
Tension of character line.
Figure 5.
Tension of car line.
3.2.4 Volume
In this study, volume is a concept in which surface and line are combined in automobiles, and this study tried to explain the relationship between the surface and the line when realizing the automotive sketch through the relationship between the structure and the line that make up the space in 3D space (Figure 6).
Figure 6.
Anamorphic art.
Felice Varini in Figure 7 is an artist who uses an anamorphic technique to draw a two-dimensional figure in a 3D space. To take these works as an example, at a certain fixed point of view, the artist’s intentional geometric pattern drawing is visible, but at different angles, this drawing collapses and scatters, showing meaningless color fragments or lines. This is because all elements (wall, column, floor, ceiling, window, railing, etc.) that composes the space and the lines drawn on it are connected to each other. To take a different approach, even if the viewing angle or viewpoint of the work is fixed, if the elements that make up the space are transformed, it looks as if the lines will appear to collapse again and be scattered. This is the same as the relationship between surface and line in an automobile. They are connected and influence each other. Even if the surface of a small part of the automobile changes in volume, angle, and/or position, the line located on it also shows a changed shape, such as a change of direction or a distorted appearance. Conversely, in order for any line to look as intended by the designer without deformation from multiple angles, in addition to the problem of ‘Are you holding the line well?’, the composition of the surface forming the line should be considered together. Figures 7 and 8 expresses the feeling of an automobile differently by changing the volume with little change in the design.
Figure 7.
Difference of volume.
Figure 8.
Difference of volume.
3.2.5 Highlight
In this study, highlight means the flow of light on the surface of the car. In automotive design, highlight is the most detailed element and is affected by even the smallest design change. So, it is most efficient to work after the design is set up, and this is a way to shorten the design time and increase the degree of perfection.
Because the highlight is a very detailed element, even with a difference of 0.01 mm, the flow of the highlight changes, making the car’s surface look stiff, dry, or fat, because it has to be controlled with emotional formative elements rather than numerical control; it requires a lot of discussion and experience between designers and clay sculptors. In addition, in the digital model work that transfers this to data, it is necessary to repeatedly check the volume in the clay model, in which very detailed work is required. At this time, as clay has no luster, a special film or foil called Dinoc is attached to the surface to check the flow of light and evaluate. This is the last stage in the design process, and in the final stage of creating data that can make actual molds, highlight is cleaned up through the finest surface adjustment (A Class Surface) process.
3.3 Previous studies on creative problem solving
Creative problem solving means defining and expressing the meaning of things through creative thinking and creating problem solving formatively. The purpose of this study is to find a way to solve the 3D modeling of automotive design and various problems that occur in the process. In the master’s thesis of Nam [6], previous studies on creativity are summarized as shown in Table 7.
The ability to find and solve problems; that is, it is the process of detecting difficulties and problems, finding gaps in information, guessing about defects, forming hypotheses, evaluating, verifying, re-correcting, and re-verifying the results to inform the results.
It is the ability (creativity) to create a thing or idea of value (utility) by extracting (dismantling) existing information (experience and knowledge) and assembling (combining) a new one.
According to a given situation and problem, a new relationship is formed by constructing a new alternative based on past experiences and transferring the new situation.
To propose a six-stage creative problem-solving model including finding purpose, finding data, finding problems, finding ideas, finding solutions, and finding acceptance.
To emphasize the appropriateness of creative problem-solving to equally spend time in each stage on balancing divergent and convergence processes.
Table 7.
Previous studies of creativity.
Combining the opinions of various researchers above, first, as humans are born with a creative ability, it is something that can potentially be manifested or developed by experience or education. Second, it is not to create new things, but to reorganize ideas to classify them in order. In other words, creativity is the ability to re-create existing things anew, and it is an ability that all humans have and can develop. Because creativity is the realization of new combinations, reunions, rearrangements, and relationships from accumulated information, by combining this, when expressing an automotive sketch in a real space as a 3D model, the problem should be solved creatively in the process of three-dimensionalizing a plane by using the 5 elements of 3D automotive modeling mentioned above as ‘accumulated information’.
In particular, since it affects the X, Y, and Z axes even if the line is lowered by 1 mm in the solid, in order to obtain the desired result, it is essential to solve creative problems based on the analysis of the elements of 3D modeling.
3.4 Types of communication for design collaborative work
Communication is an essential element in our lives and plays a very important role within an organization. Barnard, an American public administration scholar, argued that goals, cooperation intentions, and communication are the 3 major elements of an organization and emphasized that they occupy an important place in the system that creates an organization. Also, Major and Frone [15] mentioned the importance of organization members by saying that they spend 80% of their daily life collecting information or communicating within the organization.
Summarizing the importance of communication among members, communication contributes to innovative corporate efficiency and creative organizational performance. As can be seen in Kookmin University’s talent profile, “Cultivating designers who value teamwork”, teamwork is an essential element for mass production design of automobiles, and ‘Does collaborative work with members go smoothly?’ takes a large part in ‘successful design’ and ‘increase in design efficiency’.
However, as mentioned by Lee [16] and Bing [4] in the field of current automobile education, it emphasizes the importance of ‘the designer’s individual experience’ rather than ‘collaborative work using communication’. However, in line with the trend of companies that are segmenting and specializing in the field of automotive design, communication education for collaborative work is necessary so that students who aim to become future designers can demonstrate their competence as a member of a company.
Based on Kim Yeong-im’s study [17], this study organized the 4 general communication network patterns such as cartwheel type, chain type, circle type, and interconnection type, and a total of 5 network pattern types including the Y type pattern mentioned in Jeong et al. [18] as shown in Table 8.
Table 8.
Communication network patterns.
These patterns can be broadly classified into 2 categories considering the characteristics and efficiency of individual and group work. First, as effective types for individual work, there are cartwheel type, Y type, and chain type, which contain mechanical, dictatorial, centralized, and vertical characteristics. Second, as types that are effective for group work, the circle type and interconnection type, which have organic, democratic, decentralized, and laissez-faire characteristics, fall into this category.
In the book of Jeong et al. [18], the efficiency differences of the 5 network types are summarized in Table 9. Based on previous studies on these communication types, if effective types are selected and educated according to the characteristics of automotive design work, it can be a practical education that can bridge the gap between education and practice.
Types
Cartwheel type
Y type
Chain type
Circle type
Interconnection type
Efficiency
vertical
horizontal
Problem-solving speed
fast
fast
fast
slow
slow
slow
Simple problem (accuracy)
high
high
low
low
low
high
Complex problem (accuracy)
low
low
low
low
high
high
Satisfaction
low
low
low
low
high
high
Central figure
A
A
A
C
none
all
Table 9.
Communication pattern efficiency.
In the case of automotive design work, it is characterized by having both the ‘characteristics of individual work’ of a designer and the ‘characteristics of group work’ in which experts in each field collaborate. For this, as information transfer is concentrated on the group leader, there is a strength, which guarantees speed in accurately identifying and resolving problem situations, and it is valid when the nature of the problem is routine and simple, but in the case of complex and difficult problems, the ‘cartwheel type’, which has the disadvantage that it is difficult to share information directly among members, and because all members exchange necessary information regardless of their team or position, although the actual time required for comprehensive situational awareness and problem resolution gets relatively longer, accurate situation judgment is possible, and it is most effective for difficult and complex problems or problems that require creativity of members, and an appropriate combination of ‘interconnection type’, which shows the highest level of satisfaction among communication members, is required.
In particular, the ‘cartwheel type’ communication model, in which the designer is the center, is effective in the prior design stage, which includes the production of scale models. In the scale model stage, the sketch is shaped in the actual space, and if the designer becomes the focal point and communicates with the members, the initial idea can be effectively applied to the model.
In the mass production stage, the ‘interconnection type’ in which experts in each field communicate directly in complex problem situations is effective. At this time, if you participate in a selective field according to the content or nature of the problem, you can compensate for the slow problem solving speed.
In the educational model of this study, communication practice takes place when producing a scale model based on communication theory learning for collaborative work. Therefore, it is limited to communication practice between ‘designer’ and ‘clay sculptor’ based on the cartwheel type as shown in Table 10.
Table 10.
Communication styles of automotive design collaboration.
The scale model and communication practice are performed twice in total as a team of 2 people, and at this time, they take on the role of a ‘designer’ and a ‘clay sculptor’, respectively, and conduct practice. At this time, to materialize his/her abstract ideas and concepts, the student, who plays the role of a designer, will learn specific and objective communication activities that enable communication though persuading the clay sculptor to be understood. For the student playing the role of a clay sculptor, based on the previously learned automotive design modeling elements and creative problem-solving in modeling, the communication activity practice necessary to analyze the designer’s sketch more objectively and effectively materialize the sketch is conducted.
3.5 Design critic to increase learning effect
Carson (1994) defined critic as the basic communication behavior of design education. According to Crookes (1994), in general, in the case of a project-type design class, the instructor solves the design problem, the instructor guides students to solve design problems and improve design quality, and not only the instructor but also colleagues participate in class evaluation and discussion. Therefore, students need to make an effort to persuade their design to instructors and colleagues in class. Dannels [19] referred to the dialog form of the interaction that occurs here as a critic and mentioned that it is based on feedback. According to Lu and Bol [20], in various previous studies, it is said that critic not only contributes to the improvement of design quality but also has a learning effect that can help participants generate new ideas.
Design critic types to be used in the proposed 3D modeling model in this study are based on Figure 9, which summarizes the design education critic types of Aan [21].
Figure 9.
Types of critique.
In the figure, the characteristics of an informal and formal critique are shown based on the X axis, and the characteristics of a public and private critic are shown based on the Y axis, based on the types presenting the critic’s opinion.
Because the effect that can be obtained in class may vary depending on the type of critic, it is important which critic types the instructor chooses in the class. Therefore, appropriate evaluation and feedback can be achieved only when various types of critics are conducted even in one class according to the topic or purpose.
Therefore, this study adopted 2types, namely, ‘final critic’ and ‘group critic’ to increase the learning effect of a ‘3D sculpture education model of automotive design’.
In the case of the ‘first critic’ in the education model, the critic proceeds with the ‘final critic’ type as the evaluation and feedback stage in the preliminary practice stage for this practice. In the case of the instructor, when students conduct critic as a stage to help and confirm the theory learned, as an expert, he/she conducts a professional critic of the students’ work and expands and organizes the problems presented by the students into specialized parts. Also, he/she plays the role of an assistant for students with retarded understanding. The critic at this stage has a higher proportion of ‘feedback’ than ‘evaluation’ of the result, and in this stage, the feedback received through the critic can be supplemented and applied in this practice.
The ‘second critic’ is the critic stage for evaluation and feedback of this practice. The instructor plays a role in helping the critic proceed, and the students participating in the class are the subject of critics and conduct evaluation and feedback based on the purpose and intention of the work. At this stage, the purpose of the critic is to evaluate the results and share and discuss the feelings and experiences of the students who participated in the class to find solutions to the problems that occurred at this time, and by indirectly experiencing the situation of peer students, it is intended to increase the learning effect by broadening the scope of experience.
3.6 The structure of the 3D sculpture education model of automotive design
The purpose of this chapter is to make a framework of the 3D sculpture education model of automotive design for the realization (3D) of ideas (2D) that are effective for learners.
To establish a framework suitable for ‘3D sculpture education of automotive design,’ which this study intends to propose, of the educational model theories proposed by various scholars in the past, Figure 10, an I-P-O model compatible with the characteristics of 3D modeling of automotive design, was adopted as the basic model for this study.
Figure 10.
I-P-O model.
As shown in Figure 10, Teiner (1972), McGrath (1984), and Hackman (1987) proposed a group innovation model consisting of 3 stages, namely, input, process, and output, which influence outcome innovation by realizing new ideas in organizational and social activities.
Landy (2016) and Conte (2016) stated that this model is a method of maximizing the efficiency and performance of teamwork and is similar to the framework of the design education process based on the aspects of collaboration, innovation, productivity, and systematic attributes in particular. However, as there is a limitation in the classical I-P-O model, which has a single-cycle path from input to output, based on a framework that repeatedly implements the interaction of input, process, output, and feedback, as shown in Figure 11, we readjusted the model by combining the characteristics of ‘formative aspect’ and ‘practical aspect’ for 3D sculpture education of automotive design.
Figure 11.
Automobile design in terms of three-dimensional sculpture educational model framework.
3.7 The proposal for the 3D sculpture education model of automotive design
The automotive design education model was studied with a focus on model production (scale model) among the preceding design stages, and it has the structure of the I-P-O model and cycles through the stages of the input, process, output, and feedback.
This study, aiming for students to materialize their ideas as professional designers and to mass-produce automobiles, proposes Figure 12, an educational model that combines the ‘formative aspect’ and the ‘practical aspect’ to promote the specialization of automotive 3D sculpture education and to reduce the gap between present work and education.
Figure 12.
Automobile design by three-dimensional sculpture educational model.
This model is composed of theory, practice, and critic, with the ‘formative aspect’ and ‘practical aspect’ proceeding sequentially in the direction of the arrow.
The detailed contents of education are again divided into Table 11, which is a ‘formative aspect’, and Table 12, which is a ‘practical aspect,’ and summarized as follows.
Based on the basic education model, detailed class contents are subject to change according to members, environment, student level, etc.
3.7.1 Detailed model in the formative aspect
Course
Content
Goal
Details
Remarks
1st
Theory
Education background and needs goal setting
In the formative aspect, understand the background and necessity of this education and set the goal of the class.
Changes in automotive paradigm and changes in automotive design according to industrial development are examined. Accordingly, the importance of 3D modeling in automotive design increases as it expands to various fields of automotive design and enables more free and diverse modeling designs.
Practice
Idea sketch in progress
One idea sketch for each student is completed, centered on the design concept.
Prior to sketching, the concept desired by the student (designer) is arranged into 3 to 5 adjectives, and then the idea sketch is proceeded based on this. The materials of the sketch are free, and work is focused on expressing one’s own concept rather than quality.
Result—idea sketch
Critic
Idea sketch critic
Evaluate whether the concept in the idea sketch is properly expressed in the formative in the idea sketch and find parts to be corrected and supplemented
The instructor’s professional and appropriate critic and the students’ free critic are conducted simultaneously. Based on the selected adjectives, it is evaluated whether the concept is properly expressed in a formative way in the idea sketch, and feedback is provided on the parts to be corrected and supplemented. At this time, rather than evaluating the results, critics are conducted focusing on feedback on the direction of development so that they can be corrected and supplemented.
final critic types
2nd
Theory
Learning about automotive 3D modeling
Find out how to creatively solve problems in three-dimensionalization by knowing and applying 3D elements of automobiles
Theoretical education is conducted on the five automotive 3D modeling elements such as profile, proportion, line, volume, and highlight, and based on this, the class will try to find ways to creatively solve problems that may occur when converting actual 2D into 3D.
Automotive 3D modeling Creative problem-solving
Practice
Design sketch in progress
Revision and supplementation with design sketches that can materialize idea sketches based on the first critic content and theory learning
By referring to the content of the first critic, the class will supplement the idea sketch with a focus on the student’s concept and think about the problems when making an idea sketch (2D) into reality (3D) based on the knowledge of 3D automotive modeling and proceed with an objective design sketch that everyone can understand.
Result—design sketch
Critic
Design sketch critic
Criticize the expected problems when materializing the design sketch
The instructor acts as a facilitator, and the students freely conduct the critics. Based on the theory of 3D automotive modeling, revised and supplemented design sketches are evaluated, and feedback is provided for deficiencies. At this time, feedback on unresolved problems is carried out along with evaluation of the clarity and accuracy of the sketch.
Group critic types
Table 11.
Three-dimensional sculpture-related detail model.
3.7.2 Detailed model in the practical aspect
Course
Content
Goal
Details
Remarks
1st
Theory
Educational background and needs, goal setting
To know the background and necessity of this education from the practical aspect and set the goal of the class
Based on the description of the role of each department and the importance of collaborative work according to the change in the automotive design process, the importance of communication in the field is known, and learning goals are set.
Practice
Group formation
To form a group with two people and set up a work plan
To practice communication for collaborative work while carrying out the scale model, students will take the roles of ‘designer’ and ‘clay sculptor’ to form a team of two people. At this time, it is effective to practice communication for visual expression of various adjectives by forming a team of students with different design concepts and topics.
Output group of two people
Critic
Group critic
Based on work plans and sketches with team members, feedback from the perspective of each field
The instructor’s professional and appropriate critic and the students’ free critic are conducted simultaneously. First, the work order and method are planned through communication with the team members, and a pre-meeting on the design concept is conducted. At this time, criticize freely based on feedback on the necessary parts from the perspective of the role.
Final critic types
2nd
Theory
Learning about organizational communication
Understanding organizational communication for collaborative work in practice and applying it to practice
To understand the concept and importance of organizational communication, learn appropriate types for inter-departmental collaborative work in automotive design among communication network types, and conduct theoretical learning on verbal and non-verbal (sketch) communication.
Communication types for collaborative work
Practice
Scale model practice in progress
Communication practice through the creation of scale models centered on collaborative work with team members
Based on the understanding of automobile 3D modeling, design sketches are produced as scale models in their respective roles. At this time, the selected adjectives and concepts should be formatively reflected in the model.
Output-scale model
Critic
Critics on a scale model
Feedback on evaluation of the scale model and communication with partners
The instructor acts as a facilitator, and the students freely conduct the critics. It is evaluated whether the adjectives and concepts of the design sketch are well reflected in the model based on the theory of automotive 3D modeling rather than the completeness of the scale model itself. At the same time, successful and unsuccessful cases of collaborative work through communication between team members to expand experience are presented, and feedback is provided.
The goal of this study was to suggest professional and practical automotive 3D sculpture education by narrowing the gap between education and actual work, which is in line with the goal of the department of automotive design of domestic universities, “cultivating designers with expertise as a member of industry with a practical sense” in order for students to effectively materialize (3D) sketches (2D) in the field. The characteristics of the education model of this study are as follows:
First, theoretical research was conducted on creative problem-solving through analysis of 5 elements for professional education on 3D automotive modeling in the ‘formative aspect’.
Second, in the ‘practical aspect’, communication types for collaborative work, which are the most important parts in practice, were organized, and efficient types were proposed for automotive design work.
Third, design critic was used in the ‘educational aspect’, and critic types were adopted stage by stage to increase the educational effect stage by stage.
Fourth, in order to propose an education model with a 3D structure by synthesizing the ‘formative aspect’, the ‘practical aspect’, and the ‘educational aspect’, an automotive design 3D modeling model based on a circular shape by adding ‘feedback’ to the I-P-O model was proposed.
This study is meaningful in that the proposed education model presented a practical and efficient framework for automotive 3D modeling education in line with the rapidly changing industry by synthesizing various aspects of problems. In addition, the 3D education method can enhance the learning effect of students, and it is expected to be used in automotive 3D sculpture education for various classes of people in various fields in the future.
As a future research project, education models should be continuously and specifically developed to provide flexible and efficient education based on the proposed education model of this study. In particular, since this study was targeted at students who received basic automotive design concepts and sketch education, it seems that educational research on automotive design learning is necessary before 3D modeling for students in other fields who lack the basics.
Lastly, the efficiency of this educational model should be verified in various ways.
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Written By
Ara Jung and Kang Hyun Lee
Submitted: 06 June 2022Reviewed: 25 January 2023Published: 31 March 2023
Open access peer-reviewed chapter
