**2.2.1 Portuguese and Brazilian design**

Regarding the possibility of a cultural identity of Portuguese design, one can thus conclude that the most common colours are (described by decreasing frequency): white, black, brown, beige, metallic grey, green, red, and cork yellow. The materials preferably used by Portuguese designers in most objects are clay (pottery), wood, cork, porcelain, plastic, metal and leatherette. Regarding the shape of the products, these are characterized by their simplicity, rationality, curved lines, elegance, organic character, softness and in some cases straightness of lines. This design culture stands out for its innovation in the field of materials, and it also reflects concerns about the ease of use, comfort, very often the addition of new materials and products are aesthetically modern. Surveyed objects are mostly devoid of graphic markings, except for the product brand. Finally, all objects are considered to require between easy and medium ability for their use.

Brazil also shows important similarities between its designers' production, in their choice of colours such as brown, white, black and green, this similarity is clear. They use the most common materials including wood, metal, plastic and leather. The sampled products designed in this nation exhibit similarities among each other such as simplicity, straight lines, rationality, and undulating and sinuous lines. Originality and innovation stand out in the evident concern for comfort, functional improvements, material savings, and conscious selection of materials by Brazilian designers and through the mutability given to their products. The objects are mostly devoid of graphic markings and inferred ease of use varies between large and medium, although most of these products were deemed easy to use.

In identifying a possibly existing identity for design among the Portuguese language countries, albeit it was based only in Portugal and Brazil, the following characteristics were identified: colours mostly used are white, brown, black and green; materials are typically wood, plastic and metal. Moreover, the products are characterized mainly by their simplicity, rationality and straight lines. The designers differentiate themselves by speaking of the choice of material, the comfort they bring to the objects, assigning more than one functionality to their products and at the same time incorporating mutability into their designs. The objects created within the Lusophone space are generally easy to use, and are mostly devoid of graphic markings.

#### 2.2.1.1 Sampled Portuguese designs

Besides the 46 product designs showed in this section, an additional set of 26 other products was analyzed in this study, but are not shown due to space and size restrictions (Fig. 4; images shown are in the public domain; for a complete set of references see Simão & Coelho, 2011).

Fig. 4. Images of Portuguese designed products sampled as a basis for analysis.

#### 2.2.1.2 Sampled Brazilian designs

60 Industrial Design – New Frontiers

lines, wavy and winding forms. These designs are innovative, incorporate functional improvements and demonstrate savings in the materials used in the objects, while designers select the most recent materials and apply high mutability to their projects. The designers of this nationality do not use graphic markings and inferred ease of use of their products varies between easy to medium. In the following section, it is possible to define an identity for Lusophone design, based on the intersection of Brazilian and Portuguese design

Regarding the possibility of a cultural identity of Portuguese design, one can thus conclude that the most common colours are (described by decreasing frequency): white, black, brown, beige, metallic grey, green, red, and cork yellow. The materials preferably used by Portuguese designers in most objects are clay (pottery), wood, cork, porcelain, plastic, metal and leatherette. Regarding the shape of the products, these are characterized by their simplicity, rationality, curved lines, elegance, organic character, softness and in some cases straightness of lines. This design culture stands out for its innovation in the field of materials, and it also reflects concerns about the ease of use, comfort, very often the addition of new materials and products are aesthetically modern. Surveyed objects are mostly devoid of graphic markings, except for the product brand. Finally, all objects are considered to

Brazil also shows important similarities between its designers' production, in their choice of colours such as brown, white, black and green, this similarity is clear. They use the most common materials including wood, metal, plastic and leather. The sampled products designed in this nation exhibit similarities among each other such as simplicity, straight lines, rationality, and undulating and sinuous lines. Originality and innovation stand out in the evident concern for comfort, functional improvements, material savings, and conscious selection of materials by Brazilian designers and through the mutability given to their products. The objects are mostly devoid of graphic markings and inferred ease of use varies between large and medium, although most of these products were deemed

In identifying a possibly existing identity for design among the Portuguese language countries, albeit it was based only in Portugal and Brazil, the following characteristics were identified: colours mostly used are white, brown, black and green; materials are typically wood, plastic and metal. Moreover, the products are characterized mainly by their simplicity, rationality and straight lines. The designers differentiate themselves by speaking of the choice of material, the comfort they bring to the objects, assigning more than one functionality to their products and at the same time incorporating mutability into their designs. The objects created within the Lusophone space are generally easy to use, and are

Besides the 46 product designs showed in this section, an additional set of 26 other products was analyzed in this study, but are not shown due to space and size restrictions (Fig. 4; images shown are in the public domain; for a complete set of references see Simão & Coelho,

characteristics.

easy to use.

2011).

mostly devoid of graphic markings. 2.2.1.1 Sampled Portuguese designs

**2.2.1 Portuguese and Brazilian design** 

require between easy and medium ability for their use.

Besides the 32 examples of product design from Brazil shown in this section, an additional set of another 32 products was considered in the analysis presented in this study, but are not shown due to space and size restrictions (Fig. 5; images shown are in the public domain; for a complete set of references see Simão & Coelho, 2011).

Fig. 5. Images of Brazilian designed products sampled as a basis for analysis.

Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 63

At a formal level, design projects with Lusophone and German origins display a great sobriety instilled in the shape of products, while designs from Italy and Scandinavia display more organic and fun shapes than those from Germany and the Lusophone space (Table 3). Innovation in the Lusophone space is still lagging behind the other design streams examined. Although Lusophone products reflect innovation and originality, they are still short of the originality that grew with these other three schools for decades and contributes to highlighting the timeless tradition of their designs (Table 4). Across the items displayed in Table 5 there is not much difference, since the products of the four nationalities and, or, regions, are usually devoid of graphic markings, using them only to show the product's

brand. Products are mostly similar in terms of inferred ease of use (Table 5).

 Funcionality 12% Table 3. Form characteristics that predominate in the products sampled.

Changeable 6% Adaptable 13% Innovative

Multiple

 Ergonomic 12% Changeable 12%

Straight

Lines 5% Organic

Materials 5% Eco-

the products sampled.

Multiple

Lusophone S. (136) Scandinavia (23) Italy (26) Germany (23) Simplicity 21% Simplicity 52% Simplicity 32% Simplicity 52% Rationality 14% Rationality 26% Round Lines 20% Minimalism 44%

Shapes 13% Fun Shapes 16%

Lusophone S. (136) Scandinavia (23) Italy (26) Germany (23)

Comfort 5% Modern 13% Compact 12% Comfort 20%

Table 4. Characteristics of originality and innovation prevalent across the sampled products.

Lusophone S. (136) Scandinavia (23) Italy (26) Germany (23) Graphical Markings Devoid 96% Devoid 100% Devoid 80% Devoid 76% Brand 4% Brand 20% Brand 24% Perceived Ease of Use Easy 96% Easy 100% Easy 88% Easy 88% Average 4% Average 12% Average 12%

Table 5. Prevalent characteristics of ease of use and the presence of graphical markings in

Sustainable 13% Design classics 12% Innovative

functions 13% Fun Shape 12% Multiple

Technology 16% Adaptable 28%

functions 12% Modular 12%

Technology

functions 16%

24%

## **2.2.2 Comparison with Scandinavian, Italian and German design**

This section is intended to achieve the objective of identifying the characteristics of Lusophone design identity in the context of other geographically based design traditions, as a form of visible differentiation. Hence, it seeks to identify differences between the products of Lusophone origin and products with a Scandinavian, Italian and German origin.

As shown in this section, there are some differences between Lusophone design and Scandinavian, Italian and German design. This section enables establishing material and use based differences drawn from the four design origins included in the study.

With regard to colour preference very significant differences do not exist, however, Lusophone design resembles Scandinavian design in this respect, differing from Italian and German design by the use of more subtle and neutral colours. The colours that are primarily used by the Italian current tend to be more flashy (Table 1).


Table 1. Colour characteristics prevalent across the sampled products.

In relation to the material differences visible in the material of choice for products, these are shown in Table 2. Portuguese speaking designers have a special preference for wood primarily, followed by plastic, while the materials of preference of Scandinavian, Italian and German designers (metal) are the least utilized by Lusophone designers.


Table 2. Materials that are prevalent across the sampled products.

This section is intended to achieve the objective of identifying the characteristics of Lusophone design identity in the context of other geographically based design traditions, as a form of visible differentiation. Hence, it seeks to identify differences between the products

As shown in this section, there are some differences between Lusophone design and Scandinavian, Italian and German design. This section enables establishing material and use

With regard to colour preference very significant differences do not exist, however, Lusophone design resembles Scandinavian design in this respect, differing from Italian and German design by the use of more subtle and neutral colours. The colours that are primarily

(136) Scandinavia (23) Italy (26) Germany (23)

Grey 32% Metallic

Grey 28%

Germany (23)

White 25% White 35% White 36% Black 36%

Black 15% Black 30% Yellow 24% White 28% Green 7% Brown 26% Black 20% Blue 16% Red 20% Grey 12% Blue 16% Orange 12%

In relation to the material differences visible in the material of choice for products, these are shown in Table 2. Portuguese speaking designers have a special preference for wood primarily, followed by plastic, while the materials of preference of Scandinavian, Italian and

Wood 17% Metals 48% Metals 52% Metals 32% Plastics 6% Plastics 30% Plastics 40% Wood 24% Metals 4% Wood 26% Wood 24% Leather 20% Fabric 17% Plastics 16%

Italy (26)

of Lusophone origin and products with a Scandinavian, Italian and German origin.

based differences drawn from the four design origins included in the study.

used by the Italian current tend to be more flashy (Table 1).

Brown 17% Red 30% Metallic

 Pink 12% Brown 12% Green 12% Orange 12%

Table 1. Colour characteristics prevalent across the sampled products.

German designers (metal) are the least utilized by Lusophone designers.

Scandinavia (23)

Table 2. Materials that are prevalent across the sampled products.

Glass 17%

Lusophone Space

Lusophone Space (136)

**2.2.2 Comparison with Scandinavian, Italian and German design** 

At a formal level, design projects with Lusophone and German origins display a great sobriety instilled in the shape of products, while designs from Italy and Scandinavia display more organic and fun shapes than those from Germany and the Lusophone space (Table 3). Innovation in the Lusophone space is still lagging behind the other design streams examined. Although Lusophone products reflect innovation and originality, they are still short of the originality that grew with these other three schools for decades and contributes to highlighting the timeless tradition of their designs (Table 4). Across the items displayed in Table 5 there is not much difference, since the products of the four nationalities and, or, regions, are usually devoid of graphic markings, using them only to show the product's brand. Products are mostly similar in terms of inferred ease of use (Table 5).




Table 4. Characteristics of originality and innovation prevalent across the sampled products.


Table 5. Prevalent characteristics of ease of use and the presence of graphical markings in the products sampled.

Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 65

The sample consists of 23 product designs, which are the basis on which the analyses relating to German design are made in this study (Fig. 8; images shown are in the public

domain; for a complete set of references see Simão & Coelho, 2011).

Fig. 8. Images of German designed products sampled as a basis for analysis.

**2.3 Discussion on the use of product profiles to generate new concepts** 

adaptability to satisfy changing and dynamic user needs (Figure 3).

This section discusses the design concepts proposed in continuity to the characteristics found, but adopting contemporary or emerging technology and materials. Two concepts were proposed (Figures 2 and 3). One was designed taking into account the characteristics of Portuguese products taken from the analysis done for Portuguese products. The other one reflects the characteristics of Lusophone joint design identity. These concepts seek to provide continuity to the two design cultures focused, through the selection of factors which were set similarly to the existing sampled products. These factors include the colours most frequently used by designers of these nationalities, their chosen materials and the formal characteristics of their products. Innovation was sought in these creative concepts, in order to distinguish these from existing products on the market. The focus of the first concept fell on power savings, i.e. on an economic level, without neglecting the functional level (Figure 2). The innovations inculcated in the second concept concern mainly the formal domain, in an attempt to make the product both functional and versatile, and in such, conferring

The results suggest that, in order to continue a tradition of centuries without which the designed products will no longer be accepted within and outside the Lusophone space, these should incorporate colours, materials and forms typical of the Portuguese and Lusophone culture. Colours of choice of Portuguese and Lusophone designers, identified as a result of the analysis undertaken in this study, are white, brown, beige, green, metallic grey, red, cork colour tones, yellow and blue. The materials selected by these designers are usually wood, ceramic, cork, plastic, porcelain, metal, steel, aluminium, and vinyl or leather. At a formal level, the products reflect simplicity, rationality, curved lines, elegance, organic character, smoothness and straightness of lines. Designs should also reflect increasing concerns for sustainability, ecological values and advanced functional, since the products designed by designers of these nationalities are mostly very easy to use and should offer more consistently clean and sustainable solutions to problems faced by the consumer society in the current times.

2.2.2.3 Sampled German designs

The analysis presented in this section suggests that Lusophone design shows some differences when compared to Scandinavian, Italian and German design traditions, particularly in relation to innovation, which is rather less inculcated in Portuguese and Brazilian products. This is deemed to result largely from the tradition and heritage that comes from long ago in these design currents. There are also obvious similarities that unite these four design streams, namely at the form level.

#### 2.2.2.1 Sampled Scandinavian designs

The sample consists of 23 product designs, which are the basis on which the analyses relating to Scandinavian design are made in this study (Fig. 6; images shown are in the public domain; for a complete set of references see Simão & Coelho, 2011).

Fig. 6. Images of Scandinavian designed products sampled as a basis for analysis.

#### 2.2.2.2 Sampled Italian designs

The sample includes 26 products, designed both by Italian and other designers commissioned by Italian companies, for products sold as Italian products (Fig. 7; images shown are in the public domain; for a complete set of references see Simão & Coelho, 2011).

Fig. 7. Images of Italian designed products sampled as a basis for analysis.

#### 2.2.2.3 Sampled German designs

64 Industrial Design – New Frontiers

The analysis presented in this section suggests that Lusophone design shows some differences when compared to Scandinavian, Italian and German design traditions, particularly in relation to innovation, which is rather less inculcated in Portuguese and Brazilian products. This is deemed to result largely from the tradition and heritage that comes from long ago in these design currents. There are also obvious similarities that unite

The sample consists of 23 product designs, which are the basis on which the analyses relating to Scandinavian design are made in this study (Fig. 6; images shown are in the

public domain; for a complete set of references see Simão & Coelho, 2011).

Fig. 6. Images of Scandinavian designed products sampled as a basis for analysis.

Fig. 7. Images of Italian designed products sampled as a basis for analysis.

The sample includes 26 products, designed both by Italian and other designers commissioned by Italian companies, for products sold as Italian products (Fig. 7; images shown are in the public domain; for a complete set of references see Simão & Coelho, 2011).

these four design streams, namely at the form level.

2.2.2.1 Sampled Scandinavian designs

2.2.2.2 Sampled Italian designs

The sample consists of 23 product designs, which are the basis on which the analyses relating to German design are made in this study (Fig. 8; images shown are in the public domain; for a complete set of references see Simão & Coelho, 2011).

Fig. 8. Images of German designed products sampled as a basis for analysis.

#### **2.3 Discussion on the use of product profiles to generate new concepts**

This section discusses the design concepts proposed in continuity to the characteristics found, but adopting contemporary or emerging technology and materials. Two concepts were proposed (Figures 2 and 3). One was designed taking into account the characteristics of Portuguese products taken from the analysis done for Portuguese products. The other one reflects the characteristics of Lusophone joint design identity. These concepts seek to provide continuity to the two design cultures focused, through the selection of factors which were set similarly to the existing sampled products. These factors include the colours most frequently used by designers of these nationalities, their chosen materials and the formal characteristics of their products. Innovation was sought in these creative concepts, in order to distinguish these from existing products on the market. The focus of the first concept fell on power savings, i.e. on an economic level, without neglecting the functional level (Figure 2). The innovations inculcated in the second concept concern mainly the formal domain, in an attempt to make the product both functional and versatile, and in such, conferring adaptability to satisfy changing and dynamic user needs (Figure 3).

The results suggest that, in order to continue a tradition of centuries without which the designed products will no longer be accepted within and outside the Lusophone space, these should incorporate colours, materials and forms typical of the Portuguese and Lusophone culture. Colours of choice of Portuguese and Lusophone designers, identified as a result of the analysis undertaken in this study, are white, brown, beige, green, metallic grey, red, cork colour tones, yellow and blue. The materials selected by these designers are usually wood, ceramic, cork, plastic, porcelain, metal, steel, aluminium, and vinyl or leather. At a formal level, the products reflect simplicity, rationality, curved lines, elegance, organic character, smoothness and straightness of lines. Designs should also reflect increasing concerns for sustainability, ecological values and advanced functional, since the products designed by designers of these nationalities are mostly very easy to use and should offer more consistently clean and sustainable solutions to problems faced by the consumer society in the current times.

Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 67

**3. Mediation by product personalities to transfer Portuguese and Lusophone** 

The approach reported in the second part of this chapter seeks to explicitly identify cultural traits, and tentatively embed a selection of these in the design of products, in order to propose a direct method to confer an interpreted cultural identity to products undergoing the process of design. Hence, positive and neutral cultural traits were selected, after identifying the features of the cultural identities focused (study I). Thus, the application of the methodology began with unveiling the Portuguese positive and neutral traits and the commonalities between the positive and neutral identity aspects within the Lusophone cultural identities. Based on these features, another study (study II) was conducted to match

After matching the selected cultural traits with the personality dimensions of the product, a further study was conducted (study III), by selecting, as examples, a set of clothes pressing warm irons (4) and a set of coffee machines (8). These were examined with respect to a listing of the 17 personality dimensions, and considering the matching of basic technical

Another study (study IV), taking into account the previous match, was carried out establishing the relationship between personality attributes and technical characteristics of the products tested in the previous study (study III). From this process, two product profiles were obtained as a result, which were then implemented in two product lines, a Portuguese and a Lusophone one. These product line results were chosen from a broad base of concepts generated, considering objective criteria. After the generation of concepts for the two product lines, there was an empirical validation by sampling of industrial design students (study V) to confirm whether the proposals developed did turn out to reflect Portuguese

The development of the second project reported in this chapter was structured by a methodology that sought to satisfy an overarching aim and specific goals and provide answers to their inherent research questions. The overarching aim was defined as identifying the aspects that define Portuguese and Lusophone cultural identities, adopting both an internal and an external perspective, and seeking to extrapolate these cultural identity traits, in order to contribute to develop a Portuguese design identity (for Lusophone

One specific goal was set as 'performing a survey of Portuguese and Lusophone identity traits, adopting a cultural perspective'. Another one was defined as 'translating the cultural traits identified, in a positivist approach, to a product line with Portuguese character and to a product line with Lusophone character'. The research questions that guided the




characteristics for each product to its position and placement personality-wise.

these cultural traits with the personality attributes of the product.

cultural identity and Lusophone cultural identity, respectively.

**3.1 Method deployed to transfer cultural traits to product requirements** 

consumption) and a Lusophone design identity (for global consumption).

cultures (seen from the inside and from the outside)? (study I)

into product qualities? (studies II, III, IV and V).

neutral in order to be inculcated in the design production? (study I)

development of the project were:

**cultural traits to product design** 

Significant similarities were found between the design productions sampled in this study. Portuguese design production, as sampled in this study, shows a preference for colours such as white, black, beige, brown and metallic grey. In what concerns materials, the choice falls mainly on ceramics, wood and cork; in terms of shape or form, products are simple, rational and often incorporate curved lines. Although Portuguese product designs show a striking low level of innovation, designed products are deemed easy to use and are mostly devoid of graphical markings. For Brazilian designers, it can be concluded that they prefer colours like brown and white, in terms of materials, their preference falls on wood and in terms of forms, their products are conspicuously simple. Brazilian designers innovate in particular in products that integrate technology and that are comfortable, while Portuguese designers innovate mostly by conceiving products that are very user-friendly. Portuguese designs are mostly devoid of graphical markings. From the joint analysis of the sampled designs pertaining to these two nationalities it can be concluded that Lusophone design gives primacy to colours like white, brown and black; wood is the material of choice and the form of these products is simple and rational. The rate of innovation in Lusophone product design is not high, but designers produce user-friendly products which are devoid of graphical markings.

As a result of the analysis presented, Scandinavian chromatic preferences reflect mainly white, red, black and brown. In respect to the materials' order of preference, it begins with plastic, followed by wood, metal, textiles, glass and, finally, their products are also characterized by simplicity, rationality and the use of organic forms. The innovations incorporated in these are evident at the level of adaptability, sustainability, multifunctionality of products and modern appearance. The objects designed within this culture are devoid of graphic markings and are very easy to use. Italian design uses more often as colours white, metallic grey, yellow, black, red, blue, pink, brown, green and orange. In terms of materials that stand out, there is plastic, metal, with special focus on steel, and wood. At the form level, products are characterized by simplicity, curved shapes, fun shapes and functional form. Their originality can be seen through the adaptation of new technologies to design, which led to the creation of great classics of design, striving to create compact objects. Multi-functionality, ergonomics, and fun are common product attributes. Italian product designs include some graphic markings although most products are devoid of them. Inferred ease of use ranges from medium to easy. Finally, in what concerns the German current, based on the sampled designs covered within this study, often designers opt for black, metallic grey, white, blue, grey and orange colours. In terms of materials there is a preference for wood, leather, steel and plastic. These products' main characteristics are simplicity and minimalism. Their originality lies on adaptability and incorporation of new technology, great comfort, modularity and multiple functionality. The products designed in Germany are mostly devoid of graphical markings and if they do have them, they concern the product brand. These products are deemed mostly easy to use.

In this era of globalization accelerated by technology, although it is not noticeable at first glance, there seem to be apparent marks of national design in the existing design production, even if a conscious effort to create them was absent from the design process. It is a fact that the design originating in different nationalities and cultures is similar in many ways, but the designer, is influenced by culture, societal norms and environmental conditions of the place where he or she grows and matures. Therefore, even if there is no deliberate intent, design will always reflect personal characteristics and the experiences of those who design the products, even if sometimes barely visible.

Significant similarities were found between the design productions sampled in this study. Portuguese design production, as sampled in this study, shows a preference for colours such as white, black, beige, brown and metallic grey. In what concerns materials, the choice falls mainly on ceramics, wood and cork; in terms of shape or form, products are simple, rational and often incorporate curved lines. Although Portuguese product designs show a striking low level of innovation, designed products are deemed easy to use and are mostly devoid of graphical markings. For Brazilian designers, it can be concluded that they prefer colours like brown and white, in terms of materials, their preference falls on wood and in terms of forms, their products are conspicuously simple. Brazilian designers innovate in particular in products that integrate technology and that are comfortable, while Portuguese designers innovate mostly by conceiving products that are very user-friendly. Portuguese designs are mostly devoid of graphical markings. From the joint analysis of the sampled designs pertaining to these two nationalities it can be concluded that Lusophone design gives primacy to colours like white, brown and black; wood is the material of choice and the form of these products is simple and rational. The rate of innovation in Lusophone product design is not high, but designers produce user-friendly products which are devoid of

As a result of the analysis presented, Scandinavian chromatic preferences reflect mainly white, red, black and brown. In respect to the materials' order of preference, it begins with plastic, followed by wood, metal, textiles, glass and, finally, their products are also characterized by simplicity, rationality and the use of organic forms. The innovations incorporated in these are evident at the level of adaptability, sustainability, multifunctionality of products and modern appearance. The objects designed within this culture are devoid of graphic markings and are very easy to use. Italian design uses more often as colours white, metallic grey, yellow, black, red, blue, pink, brown, green and orange. In terms of materials that stand out, there is plastic, metal, with special focus on steel, and wood. At the form level, products are characterized by simplicity, curved shapes, fun shapes and functional form. Their originality can be seen through the adaptation of new technologies to design, which led to the creation of great classics of design, striving to create compact objects. Multi-functionality, ergonomics, and fun are common product attributes. Italian product designs include some graphic markings although most products are devoid of them. Inferred ease of use ranges from medium to easy. Finally, in what concerns the German current, based on the sampled designs covered within this study, often designers opt for black, metallic grey, white, blue, grey and orange colours. In terms of materials there is a preference for wood, leather, steel and plastic. These products' main characteristics are simplicity and minimalism. Their originality lies on adaptability and incorporation of new technology, great comfort, modularity and multiple functionality. The products designed in Germany are mostly devoid of graphical markings and if they do have them, they concern

In this era of globalization accelerated by technology, although it is not noticeable at first glance, there seem to be apparent marks of national design in the existing design production, even if a conscious effort to create them was absent from the design process. It is a fact that the design originating in different nationalities and cultures is similar in many ways, but the designer, is influenced by culture, societal norms and environmental conditions of the place where he or she grows and matures. Therefore, even if there is no deliberate intent, design will always reflect personal characteristics and the experiences of

the product brand. These products are deemed mostly easy to use.

those who design the products, even if sometimes barely visible.

graphical markings.
