Exploring the Connection Between Design and Materials Through the Digitalization of Modular Solutions ^†

Abstract

This research presents a methodically consistent creative act related to the digitization of planar pictorial images. After the transformation based on the modular grids, completely new images are created—different from their original source. The successful solutions found in this way are applicable to various areas of graphic and product design. Multiple experiments were conducted in a digital environment on the same image applied to different material carriers in relation to the function of the product—different types of textiles and paper. To more accurately describe the experiments, three-dimensional realistic shapes from different materials have been created, onto which the modular designs have been applied. The report provides a methodical modular principle of thinking and action, justified by the applied results of the set experiment. The experiment was conducted and directly implemented under a scientific research project for an R&DS (The Research and Development Sector) project (Agrmt. 241XTД0006-06) at the Technical University, Sofia. The study involved three students from the Engineering Design Department, as well as the authors of this article—all supporters of the creative principle.

1. Purpose of the Research

The purpose of this research was to investigate an approach for the gradual transformation of images created as works of fine art into decorative ornamental motifs through experimental observations. Appropriate digitalization allows for the successful transformation of works of art into decorative elements with functional implementation in various areas of graphic and product design. In this regard,

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Through analysis and research of the modular principle, as a means of transforming each image into a structural unit for unlimited repeatability, principal relations of alternation are determined—translation, rotation, etc.;

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Visualization of the image through the synthesis of forms and ways of composing images through a certain modular order were achieved;

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The study shows a methodically derived approach for generating digital images based on the results from various areas of fine and decorative fine art;

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The main works used are the student works from the educational process in basic disciplines in the engineering design field—color theory and art techniques—as well as original works resulting from the watercolor painting technique.

From the research conducted, the following conclusions can be drawn:

• There are various ways to generate images for the needs of product design intended for different areas of industry;
• The analyzed approach, in which the young scientist skillfully combines manual drawing and pictorial techniques, subsequently results in a successful means of generating and implementing new possibilities and ideas;
• Through a comparative analysis, illustrated in tabular form, it is investigated and observed how a schoolwork made with mechanical methods in the classes of color theory and art techniques, through subsequent digitalization, can become a model for infinite variants of images, applicable in the design of products with a planar nature;
• Attempts have been made to apply the same images to objects with different three-dimensional geometric products.

The report provides a methodical modular principle of thinking and action, justified by the applied results of the proposed experiment.

2. Introduction

The designer is the creator and constructor, capable of finding the right solutions to a given problem. The designer has, on the one hand, a rich general culture and, on the other, a variety of creative skills. The methods for generating ideas are diverse. In this experiment, we will examine a specific approach that uses something basically familiar, and in essence, a completely new and previously unknown result is obtained. The creative methodological tool thus laid down here will always produce a unique result for each specific author. Creative experiments subsequently establish precise and clear criteria and principles for generating new and previously unknown design solutions. The method presented in this way is derived in stages and fundamentally justified, which makes it easily applicable by any author in various areas of graphic and product design.

Each participant in the experiment independently presented his/her own result in a scientific forum. As the authors of the scientific project and creative experiment, within the framework of which the research was conducted, and the authors of this article, we will consistently and reasonably present the principle based on the specific works and the techniques used to derive the problem posed.

3. Overview

The quotes we refer to are directly related to the problem under study. In this sense, in the sixth lecture of the textbook on composition by Prof. D. Zheleva-Martins and Assist. Prof. S. Taseva, the possible principles of repeatability of a module depending on the modular lattice are described and analyzed in detail. All possible networks are shown, and on the basis of rotation and translation in one ornament, different compositional formations are observed. According to [1], “The starting point for each type of mosaic is the lattice network. It shows how the points of the network are connected to each other, how the translation of the main pattern/element/takes place—be it a triangle, square, parallelepiped, rhombus, hexagon. These ways of connection and translation can be found everywhere in nature, in artificial structures, in images, from microscopic to macroscopic level. The description of these methods is of interest not only for mathematics, from the training in the discipline “Form Shaping”, but also for the plastic arts, architecture and design.”

In “Composition as Manipulation”, D. Zheleva-Martins clarifies the general meaning of compositional principles concerning art along with architecture and design. Gropos’s understanding of the psychological impact of colors as an opportunity to change spaces, dimensions and perceptions, Grigori—“Psychology of Visual Perception”. The science of manipulation uses composition to control and predict the user’s impact and perceptions [2]. In another publication, “The Theory of Composition and the Modern Scientific Context”, Zheleva-Martins gives an extensive overview and analysis, citing numerous citations of prominent thinkers and practitioners in art education related to composition in different periods of its application and understanding [3].

Zheleva-Martins, in “Color and Composition—an Unexpected Aspect”, examines color as a compositional principle for manipulation and impact for the purposes of architecture, design, and in general in every area of our lives—psychology, physiology, medicine, etc. [4].

In the report “Insight—the Path to the Idea”, Zheleva-Martins presents the possible means and methodologies for deriving an idea and concept—basic principal relationships in the composition [5]. In “New Directions and Trends in Design”, the author examines the possibilities and problems in design in view of new technologies and environmental trends. Modular solutions and systems are touched upon as a principle in generating a design idea and concept [6].

Thus, the ornament can be built on the idea of translation or rotation of the same pattern motif and applied to a wide variety of genres of the plastic arts, including architecture and design. In the sixth lecture of the composition textbook at the University of Forestry, the authors exhaustively clarify the issues of ornamentation and ways to derive possible network principles [1].

In her scientific article on the topic “Design methods stimulating the generation of ideas and their application in design education”, the author, Assoc. Prof. Desislava Angelova, examines and analyzes the methods of scientific knowledge in the context of a purposeful search and offers a means for generating a creative approach and opportunities for dealing with the problems concerning design education [7]. “The methods are not a model for creativity, but only prepare and stimulate it.” Deriving is a way to describe and derive a justified methodology in the learning process. Although the design process for each of us began in our childhood when making things, at one stage, when it comes to academic derivation of knowledge, science has its fundamental role. In addition to clarifying the most applicable deductive methods in the process of creating industrial products, this article also presents the most commonly used visualization methods in design. The design methods listed in the article aim to improve individual work and teamwork depending on the work process, as well as to serve in the teacher’s journey to introduce an exemplary approach to the creative path of students.

A particularly important problem in education is related to teaching; i.e., on the one hand, there is the person who leads and directs a certain process, and on the other hand, there is the person who has agreed to be taught. This topic is set out as a problem in “A Look at Teaching” by Marinela Mihova: “Teaching is meaningless without learning” [8]. The entire article is devoted to the ways and means of effective learning. In our experiment, this is sufficiently illustrated. The student participants emerged from this creative act as authors and sole creators of their own works, with the role of the teacher remaining hidden. In this sense, we believe that our pedagogical work was correct in view of success, i.e., at each stage of the work experiment, the added tasks, goals and final results were managed in the most appropriate methodological way. The topic of teaching in this case deserves another work with detailed, systematized methodological steps. The work of the scientist is not to present the given information in a certain way but to follow his personal experience that is already accessible and available. In this aspect, the role of the teacher reflects his true real path and experience with the specific subject of activity [8].

There are many examples from the world of fashion design where paintings by famous artists become the inspiration for the overall vision of their collection. In 1965, fashion designer Yves Saint Laurent created the famous “Mondrian” collection. The remarkable thing about these clothes is that the textile for the clothes is not printed but woven with these colors. Other famous designers make bags from famous paintings, and so on; the list is long and varied. However, in all of them, the work is taken in its entirety and not turned into a module, unlike our study.

Maurits Escher used a modular principle to build his works. He created his own network systems, and his paintings are actually ornamentations.

3.1. Purpose of the Experiment

The aim of the experiment is to prove that with already existing works of fine art, the result of the various art techniques from which a model is taken, it is always possible to generate images on the principle of modular alternations. Through the appropriate combinations of the work with itself, completely new images are generated.

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New images have and can perform a completely different function in different areas of design, depending on their needs and applicability in the object world.

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The work that we take as a model and with which we will operate is called the main work. Many transformations will be made based on three main criteria related to drawing—composition, color and modular network.

3.2. Materials and Methods

The creative process is divided into two stages:

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The first one is related to clarifying the methods, means and approach to the practice of the creative artistic process. Here, all the steps through which a creative act goes are analyzed.

In art, talent is the main driving force, but only as an initial stimulus for creativity. With the right methodology and step-by-step tools, every artist, regardless of his/her skills and abilities, achieves the best results he/she is capable of. We thoroughly explain this initial process in a report and a conference presentation [9,10].

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The results are related to the second part of the study, namely the topic of the present work. Here, based on the already finished works from the first part and the above-stated goals and objectives, observations are made related to the manipulation of the works in order to acquire a different vision, meaning and essence.

3.3. Participants in the Experiment

All participants in this project and, accordingly, in the experiment, have an artistic and engineering design education. They are as follows:

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Three third-year students majoring in engineering design at the Faculty of Mechanical Engineering, Technical University, Sofia: Nikol Traykova, Gergana Pavlova, and Iliyana Vasileva;

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The lecturers, who are also the supervisors of the disciplines and the research project: Assoc. Prof. PhD. Mihaela Gadzheva-Nedelcheva and Asst. Prof. PhD. Eng. Ivelina Daulova.

All participants use the following images, differing from each other in idea and execution technique:

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Graphics—letterpress, color and black-and-white solutions;

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Composition of straight parallel lines—decorative image, tempera paints;

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Ornamental symmetrical composition in all directions—tempera paints;

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A work of painting—watercolor technique.

The images are the result of the personal experience of each participant. The works are selected purposefully, not randomly. The aim is to demonstrate the modular principle in a complete manner, regardless of the main work of fine art—this is the goal of taking diverse images as models, from which it follows that all works of fine art are suitable.

4. Developments: Methodology and Analysis of Results

4.1. Works Resulting from Exquisite Graphics

Fine art images are used, which are the result of the letterpress technique.

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The specific base used for intaglio printing in this case is different from standard linoleum—a fibrous structure in one direction, which does not allow the integrity of the material to be violated in all directions.

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The artworks are composed of numerous small images measuring between 10 and 20 cm. Each image is independent on its own and does not constitute part of a complete composition; instead, it suggests a general composition at the discretion of the author.

This project is presented as an idea to meet the needs of the fine visual technique of letterpress used in graphic design. To achieve the final result, the creative process involves certain stages of work:

• The creative process begins with drawing searches through sketches with different materials, in this case with black-graphite material. Objects from nature are always used as the basis for the images. In this case, a chair (Figure 1c), a hand with a certain gesture (Figure 1a), a mouth in a specific action (Figure 1b) and a rooster’s head (Figure 1d) are used;
• From the many searches, the boundaries and specific nature of the images are clarified and defined through the technique of quick sketching. After completing this initial conceptual stage, a selection is made from the images obtained. For this purpose, those that most closely approximate the sought-after idea are chosen;
• On the selected images in the conceptual phase, a subsequent drawing technique is applied, based on the principle of drawing. Here, specifics are clarified through more thorough and precise detailing. The images acquire clarity and accuracy. Since graphics are a fine art whose visual language is the balance between black and white, it is required that the drawing be transformed into a project;
• The project is that part of the work where the elements in black are precisely and specifically defined, i.e., those that will be printed, and the elements in white indicate those that will be removed/cut out. In graphic printing, we obtain an image opposite to the one we generate in the project. For this, the image on the base must be transformed into a mirror image. For more decorative and clear projects, the exact edges and contours of the image from the project are a sufficient condition to work directly on the base by simply transferring the mirror image from the project;
• For complex and light-shaded images, work on the base is performed using a mirror.

• In the work of letterpress printing, which we take as a model, the author of the presented project uses images, which are a result of letterpress printing, but for the arrangement and production of complete compositions, the principle of reprints/monotype is applied. The whole project has a basic idea, but there are no clear compositional parameters in advance. This also results in the diversity of the results, which are always unique and do not fulfill the idea of reproducing the work;
• Here, the author establishes a modular principle for constructing each individual work, i.e., from individual elements, based on an idea in compositional searches, a completed independent work of fine art is obtained (Figure 2 a,b);
• Each subsequent work is different from the previous one, which is also not typical of printed graphics, where circulation is the main meaning;
• The bold creative approach when combining the individual elements inevitably leads to surprising results. In her article about composition in graphic design, Assoc. Prof. Ilieva highlights the importance of elements and their relationships to an idea, theme, design, plot, and basic means of expression, such as size and proportions, format, figures and shapes, color and contrast, compositional center, balance, rhythm, etc. [11], which we can clearly see in the design compositional solutions of student Gergana Pavlova. The intervention of color also brings a completely different sound and allows for the optical mixing of color nuances when overlapping parts of elements in a composition (Figure 2c,d). Color, in this case, is not a goal but an occasion to experimentally verify a given effect—the same images of objects presented in color acquire a different effect and even form;

• For the needs of the experiment in the project, the author uses each element separately and begins to experiment by combining the given element with itself according to the network models and the possibilities for modular transformation already discussed above (Figure 3);
• The author experiments with both individual “pieces” and already found and established compositions, which can be claimed to be works of fine art—especially, fine art graphics—created using the principles of letterpress printing;

• The same motifs are used by the author as modules, which she transforms into images on wrapping paper (Figure 4). A volume is added to the flat motif on which the images are tested.

4.2. A Work of Straight Parallel Lines with Contrasting Color Tones—Executed with the Art Tempera Technique

The next participant in the study bases his experiments and tests on the basic model of work from the educational process in the subject—color science. The obtained result is the purpose of the study of the above-mentioned reports [9,10], as here the focus of observation and research is transformed into the possibilities of applying the already available result. It is important to note the very process and meaning of the cited result in order to show and prove that any image, which is the result of complex and prolonged mechanical creative work, does not end with this research. Extending the life of the curtain work is also an occasion to continue and extend the creative path of a significant achievement. This is also an opportunity for a work to reach a large number of viewers and users, as well as to popularize the work of a given author. The examples in this direction are countless, such as paintings by famous artists becoming an element of the decorative basis of textile accessories. Here the boundaries are vast, but the results are also subject to thorough verification and permissible moral, ethical and aesthetic norms.

• A project on color science executed in a 35/50 format with tempera paints (Figure 5). The condition for creating a composition is the use of only straight parallel lines that are arranged in only two directions to create a work of art. The linear composition is only an occasion and basis for solving a subsequent specific color problem. The stages for obtaining these images are purposefully outlined in the above-cited scientific works. Here, only certain characteristics related to the implementation of a specific task aimed at solving a specific problem are generally outlined;

• The examples of the experiments presented here are a small part of the endless applications of modular solutions. The author presents different principles of alternation and combination of the basic module—objects of different shape, material, size, color and function (Figure 6);
• The demonstration clearly proves how, in practice, through the modular system and through digitalization of the work, the shaping results are unlimited.

4.3. Square Ornament—Symmetrical in All Directions

The image used is also a result of the educational work in the color science classes, in which the modular principle is most accurately and clearly expressed and applied. The task with modular solutions, which is set in the color science classes, is extensive and spacious, given the possibilities that the work with ornamentation implies (Figure 7). Students explore the possibilities that the modular systems provide using one motif to create various compositions, depending on the way the module is alternated and combined with itself.

• For the experiment, one motif was taken, with which various combinations were applied depending on the size of the module; the number of motifs used; and the texture of materials on which it was applied. Since the motif, located in a square, is symmetrical in all directions, the linear compositions are limited; however, in terms of the sizes and sections of individual segments, as well as color combinations (Figure 8), the resulting images that can be generated are infinite.

4.4. Works of Fine Art Executed in the Watercolor Technique

The module is represented by a work of art, executed with the watercolor technique (Figure 9). The format is not large, square in size. The color range is cold. The composition is abstract but inspired by a landscape. There are no details and specifics. The work was performed alla prima, wet on wet. Turning such a work into a motif is a real experiment, since the results of the alternations are absolutely unpredictable. The effect of the digital experiments is impressive. Combinations are observed in which the illusion of three-dimensional spatial movements can be observed. This seems to be the result of such an effect being built into the given work. In the combinations, this is transformed and strengthened into another image. Unlike the above examples, the picturesque watercolor style here has nuances between the color tones.

This example (Figure 10), perhaps, most vividly demonstrates how, based on modular transformation, a work of art can leave the walls of exhibition halls and acquire another function. For the purpose of these experiments (Figure 11), we used packaging paper and packaging forms independent of a given brand, allowing us to experiment with the principle, and in case of a specific need, quite purposeful motifs can be used.

The following table (

Table 1. Summarized visual comparison.

Works	Traditional Media	Digital Media
3.1
3.2
3.3
3.4

) visually compares the works presented above executed in traditional media with their digital transformations, visually realized in various plastic forms and products of industrial design.

In order to justify the resulting design solutions after digital processing of modular principles, we must first present the foundations for these modular patterns in more detail, considering the characteristics presented in

Table 2. Comparison of works in traditional media.

Comparison Criteria	Works Resulting from Exquisite Graphics	A Work of Straight Parallel Lines with Contrasting Color Tones	Square Ornament—Symmetrical In All Directions	Works of Fine Art Executed in the Watercolor Technique	Summarizing Similarities and Differences
Performance technique and means of expression	A line in one direction is used as an expressive means, which does not directly follow the form shaping but is plastic and variable along its length. The result is reminiscent of the “Moiré” defect. The element demonstrates uncertainty in space and understatement without priority for a compositional center. Dimensions are about 10/10 cm.	Composition 35/50 consisting only of straight parallel lines located in only two directions, with the line breaks only along the second direction. There is compositional organization.	Tempera painting technique. Symmetrical modular composition in a square. The expressive means are spots of different sizes and shapes in a contrasting color range.	The spot does not follow the conventional form of mountains, sky, water, etc. The arrangement of the objects does not imply a compositional center because of the plastic expression, which has the same dynamics in all objects, regardless of their spatial arrangement.	There is a difference without signs of similarity in the individual works in the techniques of execution and in the visual means of expression—line, spot, shape, volume, texture—as well as in the emotional and psychological impact.
Color characteristic	Inking with black printing ink and printing from a graphic printing press. Black and white balance.	Two contrasting colors. Color shades close to the spectral purity of the tone.	Complex color tones, the result of mixing warm and cool colors.	Minimal number of color tones used. A sense of a complex color palette.	Different color palette: 1. Achromatic range. 2. Contrasting range of blue and red. 3. Pastel range from mixing two contrasting tones. 4. Complex cold range.
Spatial perception	A difficult-to-read image with the “moire” effect.	A sense of convexity of volumetric spatial forms despite the minimalist decorative nature of the image.	Sense of concave and convex, of light and shadow, and large-scale perception.	The same dynamics in all parts of the aerial perspective—there is no gradation of planes and no specificity of objects. It is perceived spatially.	A sense of space and volume is created in all images, despite differences in shaping.
Optical illusion	The means of expression used do not specify a position in terms of place, environment or volume, but only in terms of form.	The composition of straight parallel lines does not imply a visual illusion of volume, but the final result does give the impression of bending.	A sense of large-scale volume.	An implied sense of space, depth, change in light and shadow, aerial perspective.	All works create an illusion of volume and space, despite the differences in the above criteria.

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Conclusion from Table 2: The analysis of the works from the four groups shows that the viewer experiences an illusion of three-dimensionality, spatiality and a sense of sustained aesthetics. Works of fine art, which are different in their nature and themes, create an emotional–psychological and aesthetic impact.

4.5. Duration of the Experiment

If we need to sum up the time for the execution of the experiments and the results, we can relatively determine the duration of the entire process. In this case, we take the finished works as a given, and the remaining activity is completed within the R&DS project duration, which is seven months—from mid-March to the end of October. The experiment grows into a scientific study by clarifying techniques, technologies, means, instruments, goals and desired results. The scientific articles, in which each participant himself describes and analyzes his experiments, observations and experiences, are the goal of the stated research.

4.6. Technological Process

The entire process of transforming a work of art into a decorative sign takes place in a digital environment with specific software. The project participants used raster graphics software.

In general, we can present the workflow (Scheme 1) as a sequence of actions in which we have a task to perform with different techniques in traditional media. Once completed, the corresponding tasks are scanned and further processed in a digital environment—each work is transformed into a module that can be used to create a pattern for packaging products.

The following schemes (Scheme 2) clearly present the digitization and generation stages of a modular principle. A watercolor work is used as the basis for this process:

As a conclusion from the above schemes, we again note the many possibilities for the transformations of a given image and the generation of various modules, which can serve as new works of graphic design. Just from the three schemes at a glance, one gains an idea of the possibilities of digitalization in generating modules as design solutions. In view of this modular principle, a comparison can be made with combinatorics. This part of set theory deals with the formation and enumeration of the elements of finite sets of objects, subject to various conditions [12]. Permutations with and without repetitions, variations with and without repetitions, and combinations with and without repetitions—considered as approaches to counting, arranging and organizing—could serve as an analogue for deriving modular solutions in graphic design. Moreover, comparing this with the probability theory is an interesting basis for a future experiment with module generation, in which the actions for changing the original image and deriving modular solutions would be mathematically determined. Although this approach would exclude the human factor—the designer or creator—and his judgment of the visual qualities of the generated image, the results of a potentially conducted experiment would be valuable for validating the role of the designer.

4.7. Comparative Analysis of the Results

From (

Table 3. Comparative analysis of the results realized in materials.

	Works	Works Resulting from Exquisite Graphics.	A Work of Straight Parallel Lines with Contrasting Color Tones.	Square Ornament—Symmetrical in All Directions.	Works of Fine Art Executed in the Watercolor Technique.
Criteria
Composition—degree of transformation		The original works are highly transformed when outputting modules in terms of rotations and color values.	The original work is fairly transformed in terms of rotations to derive a modulus and highly transformed in terms of color values.	The original work is slightly transformed in terms of rotation and highly transformed in terms of color values when outputting the module.	The original work is very highly transformed in terms of rotation and slightly transformed in terms of color values when outputting the module.
Functionality		Due to the variety of experiments, some perform better as a pattern on a given packaging and material compared to others. Highly rotated modules in terms of size and orientation lose the character of the original image and turn into an abstraction that confuses the user’s perception.	Modular solutions fully meet the characteristics of the product type. The compositional organization of the module is tailored to the shape and function of the packaging.	Modular solutions function equally well as a packaging pattern and a wallpaper pattern. Due to the lack of rotations, the main element retains its integrity and remains easily recognizable as an ornament by the consumer, which contributes to its positive perception.	Modular solutions work on both small and large scales due to the inherent abstractness of the original image. No matter how transformed, the patterns will be well received by the consumer’s attention.
Applicability		Generated patterns with highly transformed modules would work better for interior design, where the details of the graphic elements would be clearly visible due to the scale and would be better perceived by the user. Moderately or weakly transformed module solutions would work equally well for compact packaging products and as wallpapers.	Modular solutions are more suitable for compact packaging products than for interiors/exteriors. The design is characterized by a busy compositional and color character, which would not work well on a large scale.	The realized patterns are equally applicable for both packaging and interior/exterior decorations—they are distinguished by harmonious colors and visually attractive shapes.	The generated patterns would be more applicable to packaging products than to interior/exterior solutions due to the complexity and abstraction of the individual modules.

), it can be summarized that slightly transformed modular solutions are more applicable for interior/exterior solutions due to the scale and details that the viewer will perceive. Also, patterns with recognizable shapes are more suitable for interior solutions. Stylized shapes, on the other hand, would be more suitable for patterns on compact packaging products.

Regarding the criteria—transformation, functionality and applicability—“Work of straight parallel lines with contrasting colors”, “Ornament in a square symmetrical in all directions” and “Works of fine art executed with the watercolor technique” are similarly analyzed according to the characteristics they possess. This is unlike the “Works resulting from exquisite graphics”, where the conclusions are different due to the nature of the original works—where the original forms are naturalistic. Therefore, after a strong transformation in a reduced scale of the relevant elements, nature is completely transformed into abstraction, which would complicate the user’s perception; from this we can conclude that these types of modular elements—close to nature—function better when they are strongly transformed in a large scale and weakly transformed in a small scale.

4.8. Conclusions from the Comparative Analyses

From the illustrated materials presented above, we gain a complete picture of the implementation of the main idea and the derivation of the problem posed in the design solutions. From the research conducted, the following conclusions can be drawn:

• There are various ways to generate images for the needs of product design intended for different areas of industry.
• An approach is analyzed in which the engineering designer skillfully combines manual drawing and imaging techniques and subsequently achieves a successful means of generating opportunities and ideas.
• Through a comparative analysis illustrated in tabular form, it is investigated and observed how a student’s work made by hand with the help of mechanical methods in color science and art techniques classes can, through subsequent digitalization, become a model for multiple image variants applicable in the design of products made of different materials.
• It is investigated whether the same images are equally applicable to mold designs with different three-dimensional products.
• The report provides a methodical modular principle of thinking and action, justified by the applied results of the proposed experiment.
• The results of visual creative activities can become a means and an occasion for generating design—images applicable in various areas of plastic form.
• Manual mechanical work is an indispensable source of unique creative achievements, which through digital means can be transformed into a unique source of creative opportunities.

We believe that the research process, as well as the results that follow, presents a valuable opportunity. For future engineer designers and those still in training, such a visual experiment would be an occasion to rethink the means of expression—the creative act is a complex, multi-layered process, and the leading thing is the idea, and the means are a tool for its realization.

5. Conclusions

The experiments clearly prove that any work of decorative or fine art can become a motif for multivariate repetition and become a decorative element of graphic and product design.

Through modular alternations, the practice of fine arts can be popularized through the means of digitalization, with the result being applied to the mass consumption of household goods.

The practical experience proposed here is not new; however, systematization of this experience as a methodological principle represents a contribution to the way we approach the learning process.

The process of researching the application of the same decorative form on various materials, depending on the function of the object, is an experience that shows and proves that design is of particular importance for the best result in aestheticizing the living environment. The design–material relationship is a symbiosis that implies integrity in any design activity. Knowing the specifics of materials is of fundamental importance when building a concept in design thinking. In his/her work, the engineering designer always thinks in terms of a specific material; therefore, in our experience, the material, form and images are inextricably linked. Depending on the material, specific characteristics are also determined for each product, just as the texture is important for the vision of the images.