industrial design essay

Essay on Industrial Design

Students are often asked to write an essay on Industrial Design in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

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100 Words Essay on Industrial Design

What is industrial design.

Industrial Design is a process of designing products used by millions of people every day. It combines art, science, and technology to create functional and aesthetically pleasing products.

Role of an Industrial Designer

An Industrial Designer focuses on the user experience. They research and understand the needs of the users, and design products accordingly. Their role is crucial in product development.

Importance of Industrial Design

Industrial Design is important as it enhances the functionality and appearance of products. It makes products user-friendly, attractive, and innovative, thus improving our daily life.

250 Words Essay on Industrial Design

Introduction to industrial design.

Industrial Design is a multidisciplinary field that integrates the aesthetics, functionality, and usability of products. It shapes the interaction between humans and objects, improving the quality of life and boosting economic prosperity.

Role of Industrial Design

Principles of industrial design.

The principles of Industrial Design revolve around user-centered design, sustainability, and innovation. User-centered design ensures products are intuitive, ergonomic, and meet the needs of the end-user. Sustainability focuses on reducing environmental impact through material selection and product lifecycle management. Innovation is about pushing boundaries to create products that are not only functional and aesthetically pleasing but also disruptive.

Impact of Industrial Design

Industrial Design has a profound impact on society and the economy. It influences the way we interact with products, shaping our experiences and perceptions. Economically, it drives market competitiveness by fostering innovation, improving product quality, and enhancing brand image.

In conclusion, Industrial Design is a vital discipline that bridges the gap between technology and humanity. It fosters a symbiotic relationship between people and products, enhancing usability while promoting economic growth. As we advance into the future, the role of Industrial Design will only become more pivotal.

500 Words Essay on Industrial Design

Introduction.

Industrial design is a multidisciplinary field that integrates aspects of art, engineering, and business to develop products that are functional, aesthetically pleasing, and marketable. It encompasses the creation of everyday products from automobiles to furniture, to electronics and more. The field of industrial design is constantly evolving, driven by technological advancements, market demands, and cultural shifts.

The Role of Industrial Design

Industrial designers play a crucial role in the production process. They are responsible for conceptualizing and creating products that meet user needs while also being feasible to manufacture. This involves researching user needs, sketching product concepts, creating prototypes, and testing designs. Industrial designers must consider a multitude of factors, including ergonomics, materials, production methods, and environmental sustainability.

Interdisciplinary Nature of Industrial Design

Influence of technology on industrial design.

Technology has had a profound impact on industrial design. Computer-aided design (CAD) tools have revolutionized the way designers create and test prototypes, allowing for faster iterations and more precise designs. Moreover, advances in manufacturing technologies, such as 3D printing, have expanded the possibilities for product design and production.

Sustainability in Industrial Design

In today’s world, sustainability is a significant concern in industrial design. Designers are increasingly tasked with creating products that minimize environmental impact, from the selection of materials to the efficiency of production processes. This has led to the rise of ‘eco-design’, which prioritizes sustainability throughout the product lifecycle, from conception to disposal.

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industrial design , the design of mass-produced consumer products. Industrial designers, often trained as architects or other visual arts professionals, are usually part of a larger creative team. Their primary responsibility is to help produce manufactured items that not only work well but please the eye and, therefore, have a competitive advantage over similar products. The work of an industrial designer often relates to or includes graphic design , such as advertising and packaging , corporate imagery and branding, and interior design (also called interior architecture or environmental design), the arrangement of man-made spaces.

Industrial design is a largely 20th-century phenomenon. The first industrial designer is often considered to be German architect Peter Behrens , who was heavily influenced by the 19th-century English designer and poet William Morris and by the Arts and Crafts movement , with which Morris was closely associated. Beginning in 1907, Behrens was the artistic adviser for AEG (the Allgemeine Elektricitäts Gesellschaft , or Universal Electric Company), for which he designed not only industrial buildings but also small electrical appliances, from teakettles to fans. In addition, he determined the company’s corporate identity, packaging, and advertising. Behrens’s approach was an extension of what architects such as Frank Lloyd Wright and Karl Friedrich Schinkel long practiced: total control of a designed environment at all levels. Behrens, however, created designs for a corporate client, intent on selling a service and related goods to the public, rather than for a middle-class residential client or a royal patron, as in the cases of Wright and Schinkel, respectively.

Behrens was a leading member of the Deutscher Werkbund (founded in 1907), a society of artists, architects, and craftsmen akin to English arts-and-crafts societies. The Deutscher Werkbund catalyzed communication among German design professionals and sponsored major exhibitions, such as those in Cologne (1914) and Stuttgart (1927); the latter was the Weissenhofsiedlung, a renowned exhibition of model homes designed by Europe’s leading modern architects and the epitome of the International Style of minimalist architecture.

Behrens himself influenced many architect-designers of the next generation, including Walter Gropius , founder of Germany’s famed Bauhaus school of design, and Ludwig Mies van der Rohe , who served as a later director of the school. Founded in 1919 in Weimar, Ger., the Bauhaus aimed to elevate and coordinate the design and production of crafts and industrial goods for a new postimperial age. Both Gropius and Mies designed buildings as well as smaller-scale objects. For instance, Gropius was the architect of the new Bauhaus building when the school moved to Dessau in 1925, but he also designed interiors of Adler automobiles (1930–33). The furnishings designed at the Bauhaus were characterized by the extensive use of bent metal, something that was developed with the assistance of the Junkers Aircraft Company in Dessau, a firm known for its early development of the all-metal airplane in 1918, at the end of World War I . Mies—who directed the Bauhaus from 1930 to 1933, when the Nazi Party came to national power and closed it—designed some renowned examples of steel-framed furniture , such as the MR chair (1927), the Barcelona chair (1929), and the Brno chair (1930). During the worldwide Great Depression of the 1930s, when he had few architectural commissions, Mies earned a living from the royalties of those furniture sales. The Bauhaus produced other icons of modern design, notably the sleek glassware and streamlined table lamps of Wilhelm Wagenfeld.

Beyond those designers specifically associated with the Bauhaus, other German architects of the time created high-profile designs; for instance, Fritz August Breuhaus de Groot created the interiors of the steamship Bremen (1929) and the airship Hindenburg (1931–35), and in the 1930s Gropius protégé Carl August Bembé designed motorboats for Maybach , a company that built internal-combustion engines for airplanes and boats and automobiles for the German car manufacturers Opel and Adler.

Early developments in industrial design were not, however, taking place solely in Germany. In the first decades of the 20th century, architects and designers in other countries were also creating distinctively designed consumer products. These include such items as the undulating Savoy vase (1936) by the Finnish architect Alvar Aalto , the avant-garde geometric porcelain teapots and cups (1923) by Russian Suprematist painter Kazimir Malevich , the classic double-lever corkscrew (1930) by Italian designer Dominick Rosati, and the ubiquitous , highly flexible Anglepoise desk lamp (1932) by the British automotive engineer George Carwardine.

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Exploring the multifaceted world of industrial design: a comprehensive overview

Dive into the practical and imaginative field where everyday objects are transformed into user-friendly, visually appealing masterpieces. in this article, we provide answers to some of the most common questions that aspiring industrial designers often ponder.

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Discover the realm of industrial design and unlock a world of creative possibilities. As an aspiring industrial designer, you have the opportunity to shape the future by merging art, functionality, and problem-solving. 

We explore the impact of industrial design on our lives, and share some insights on how you can channel your passion into a career that brings innovation and beauty to the forefront. Explore the power of design, develop your skills, and embark on a path that allows you to make a tangible difference in the world through industrial design. 

What is industrial design?

Industrial design is a fascinating field that blends creativity, functionality, and practicality to shape the objects we use in our daily lives. It’s all about finding innovative solutions to enhance the way products look, feel, and perform.

Think about the sleek lines of a smartphone, the ergonomic curves of a chair, or the intuitive layout of a kitchen appliance. Industrial designers are the masterminds behind these thoughtful designs, meticulously considering factors like usability, aesthetics, materials, and manufacturing processes.

Their goal is to create products that not only catch our eye but also seamlessly integrate into our lives, making them more enjoyable, efficient, and user-friendly. From sketching initial concepts to prototyping and refining, industrial designers are the driving force behind turning ideas into tangible, market-ready products that shape the world around us.

How does industrial design differ from other design disciplines?

Industrial design stands out among other design disciplines due to its specific focus on creating functional and aesthetically pleasing products for mass production. Unlike graphic design , which deals primarily with visual communication, or interior design, which focuses on shaping interior spaces, industrial design concentrates on the physical form and usability of everyday objects.

Industrial designers carefully balance form and function, considering factors like ergonomics, materials , and manufacturing processes to ensure their designs can be efficiently and economically produced on a large scale. While other design disciplines may prioritize artistic expression or conceptual ideas, industrial design takes a pragmatic approach, combining creativity with a deep understanding of user needs, market trends, and technological feasibility.

It’s this unique blend of practicality, aesthetics, and engineering that distinguishes industrial design and makes it an essential contributor to the creation of functional and visually appealing products that enrich our lives.

How to become an industrial designer?

Becoming an industrial designer requires a combination of passion, skills, and education. If you’re interested in pursuing a career in this field, there are several steps you can take.

First and foremost, develop your artistic and design abilities by honing your sketching, rendering, and visual communication skills. Familiarize yourself with design principles, materials, and manufacturing processes.

Pursuing a formal education in industrial design or a related field can provide you with a strong foundation and help you build a portfolio. Look for accredited design programs that offer coursework in areas such as product design, human factors, and CAD software.

Additionally, gaining hands-on experience through internships or apprenticeships can be invaluable for practical knowledge and networking opportunities. Stay curious and keep up with the latest industry trends and technologies.

Building a strong portfolio showcasing your design projects and creative problem-solving abilities will be crucial when applying for jobs in the field. Remember, becoming an industrial designer is a continuous journey of learning and growth, so embrace opportunities to refine your skills and push the boundaries of your creativity.

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What skills are required to be a successful industrial designer?

To thrive as an industrial designer, a diverse set of skills is essential.

Firstly, strong creativity and a keen eye for aesthetics are vital to envisioning innovative and visually appealing designs. Proficiency in sketching and rendering helps communicate your ideas effectively. Moreover, a deep understanding of design principles and the ability to balance form and function is crucial.

Excellent problem-solving skills enable you to tackle design challenges and come up with practical solutions. Proficiency in computer-aided design (CAD) software is often necessary for creating precise and detailed technical drawings.

Effective communication skills are also valuable, as you’ll collaborate with clients, engineers, and manufacturers throughout the design process. Additionally, knowledge of materials, manufacturing processes, and ergonomics is crucial to ensure the feasibility and usability of your designs.

Being adaptable, open to feedback, and continuously learning about emerging technologies and industry trends will help you stay ahead in this ever-evolving field.

Ultimately, a successful industrial designer combines artistic talent, technical expertise, analytical thinking, and effective communication to bring innovative and functional designs to life.

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What is the role of industrial designers in innovation?

Industrial designers play a crucial role in driving innovation across industries. They possess a unique skill set that enables them to bridge the gap between creativity and practicality, bringing imaginative ideas to life.

They actively contribute to the innovation process by identifying user needs, conducting research, and envisioning novel solutions to complex problems. Through their expertise in aesthetics, ergonomics, and manufacturing processes, they transform concepts into tangible products that push the boundaries of design.

By collaborating with engineers, marketers, and stakeholders, industrial designers ensure that innovation is not only visionary but also viable and marketable. Their ability to integrate functionality, usability, and aesthetics helps create breakthrough products that resonate with users and disrupt the market.

Industrial designers are catalysts for change, shaping the future by introducing fresh perspectives, sustainable practices, and user-centric design. Their role in innovation extends beyond aesthetics, influencing the way we live, work, and interact with the world around us.

What is the role of sketching in industrial design?

Sketching plays a pivotal role in the world of industrial design. It serves as a powerful tool for visualizing ideas, exploring concepts, and communicating design intent. Through sketches, industrial designers can quickly and intuitively capture their thoughts, allowing them to brainstorm and iterate on various design possibilities.

Sketching helps to translate abstract ideas into tangible representations, enabling designers to evaluate form, proportions, and visual aesthetics. It aids in the refinement of details and the exploration of different design alternatives.

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Moreover, sketches facilitate effective communication with clients, colleagues, and manufacturers, as they provide a clear visual language that transcends barriers. Sketches can convey not only the appearance of a product but also its functionality and user experience.

Additionally, sketching allows designers to express their creativity, showcasing their unique style and personal touch. While the industry has adopted digital tools, sketching by hand remains a fundamental skill, allowing designers to capture the essence of their ideas swiftly and organically. Overall, sketching is an invaluable medium for ideation, problem-solving, and effective communication in the field of industrial design.

How important is prototyping in industrial design?

Prototyping holds tremendous significance in the realm of industrial design. It serves as a vital step in the design process, allowing designers to bring their ideas to life and evaluate their concepts in a tangible form.

Prototypes provide a hands-on experience, enabling designers to assess the functionality, ergonomics, and usability of their designs. By creating physical or digital prototypes, designers can test and refine their concepts, identifying potential flaws or areas for improvement.

Prototyping also plays a pivotal role in gathering feedback from users and stakeholders, facilitating valuable insights that guide the design iteration process. It allows for a more comprehensive understanding of how the product interacts with its environment and users, ultimately leading to enhanced user experiences.

Moreover, prototypes aid in communication with manufacturers, as they provide a concrete representation of the intended design, materials, and construction methods. This helps streamline the production process and ensures that the final product aligns with the designer’s vision. Overall, prototyping is an integral part of industrial design, enabling designers to validate their ideas, optimize functionality, and create products that fulfill user needs effectively.

What is the role of Artificial Intelligence in industrial design?

Artificial Intelligence (AI) is revolutionizing the field of industrial design, playing a significant role in enhancing efficiency, creativity, and problem-solving. AI algorithms and tools are being leveraged to assist designers in various aspects of the design process.

For instance, AI-powered software can analyze vast amounts of data and user feedback to provide valuable insights into user preferences and market trends. This data-driven approach helps designers make informed decisions and create products that better meet user needs.

[ Read also  Is AI bound to change how we design and create? ]

AI algorithms can also generate design variations and concepts based on specified criteria, expediting the ideation process and stimulating creativity. Moreover, AI-based simulation and modeling tools enable designers to evaluate the performance, ergonomics, and aesthetics of their designs in virtual environments, saving time and resources.

By automating repetitive tasks, such as generating technical drawings or conducting material research, AI streamlines the design workflow, allowing designers to focus on more strategic and innovative aspects.

However, it’s important to note that AI is a tool that complements human creativity and expertise, rather than replacing it. The role of AI in industrial design is to augment the designer’s capabilities, unlocking new possibilities and empowering them to push the boundaries of innovation.

What software do industrial designers use?

Industrial designers utilize a range of software tools that empower them to bring their creative visions to life and streamline the design process.

• Computer-Aided Design (CAD) software such as SolidWorks , AutoCAD , and Rhino 3D are commonly employed to create precise and detailed digital models of products. These programs enable designers to explore different design iterations, make modifications, and generate accurate technical drawings.
• Rendering software like KeyShot or V-Ray helps transform CAD models into realistic visualizations, allowing designers to present their ideas with stunning visual impact.
• Additionally, 3D modeling software like Autodesk Fusion 360 or SketchUp aids in creating organic and complex shapes, facilitating the development of innovative designs.
• Graphic design software , including Adobe Illustrator and Photoshop , is used for creating visually appealing presentations and marketing materials.
• Furthermore, prototyping software such as Sketch or Figma helps designers create interactive and user-friendly digital prototypes.

While the specific software used may vary depending on individual preferences and project requirements, these tools collectively empower industrial designers to ideate, refine, and communicate their designs with efficiency and precision.

What are (currently) the best AI tools for industrial designers?

There are several AI tools that are highly regarded and commonly used by industrial designers. Here are some of the best AI tools in the field:

• Generative Design Software : tools like Autodesk Generative Design and nTopology enable designers to input design parameters and constraints, and then use AI algorithms to generate numerous design iterations, optimizing for factors such as weight reduction, material usage, or structural integrity.
• Virtual Reality (VR) and Augmented Reality (AR) : VR and AR technologies, such as Gravity Sketch and SketchAR , allow designers to create and manipulate 3D models in immersive virtual environments. These tools enhance the design process, enabling designers to visualize and interact with their creations in a more intuitive and immersive manner.
• Design Recommendation Systems : AI-powered systems like DesignScape and Fontjoy analyze design patterns, user preferences, and historical data to provide suggestions and recommendations for design elements such as colors, fonts, and layouts. These tools assist designers in making informed design choices and enhancing the overall aesthetic appeal.
• Computer-Aided Design (CAD) Software with AI Features: established CAD software like Fusion 360 and SolidWorks have incorporated AI features into their platforms. These tools can automate repetitive tasks, predict design flaws, and optimize designs based on predefined criteria, improving efficiency and accuracy in the design process.
• Image and Object Recognition : AI-based image recognition tools like Google Vision API and Clarifai can analyze and categorize images, making it easier for designers to search for inspiration, identify trends, or locate relevant reference materials.

It’s worth noting that the best AI tools for industrial designers may vary depending on specific project requirements, personal preferences, and the availability of emerging technologies. It’s always advisable to explore and experiment with different tools to find the ones that best align with your needs and enhance your design workflow.

Studying industrial design offers a multitude of compelling reasons to embark on this path. From the sleek lines of cutting-edge technology to the ergonomic curves of everyday objects, industrial designers play a vital role in creating products that seamlessly integrate into our daily experiences.

With a keen eye for aesthetics, a deep understanding of user needs, and a mastery of design principles, industrial designers bring innovative ideas to life. Through sketching, prototyping, and collaboration, they transform concepts into tangible, market-ready products that enhance usability and ignite our imagination.

Whether it’s designing sustainable solutions, revolutionizing transportation, or crafting intuitive interfaces, industrial designers have the power to shape the future. As we continue to advance technologically and embrace new challenges, the role of industrial design will remain pivotal in creating products that not only meet our needs but also evoke emotion and delight.

The world of industrial design holds endless possibilities, waiting for the next generation of designers to leave their mark and shape the world we inhabit.

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Raymond Loewy (1893—1986)

Walter Dorwin Teague (1883—1960)

Norman Bel Geddes (1893—1958)

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The term was first used in the United States in the 1920s to describe the work of specialist designers working in product design. It now more generally refers to improving the aesthetics of mass-produced products to increase their marketability. Such an ethos informed both the Deutscher Werkbund and the Bauhaus.

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Industrial Design

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Introduction to research in Industrial Design

This guide provides a starting point for resources on Industrial Design . Use the tabs on the side for guidance on resources for Industrial Design research, including

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• market, trend, and patent research

If you are new to the topic, go to the background information tab to get started. Scholarly sources for this discipline include essays, reports, reviews, and research articles or papers, which can be found in books, book chapters, journals or conference proceedings. Go to the scholarly sources tab to see recommended resources for design research. Additional resources that are particular to Industrial Design include sources for images, and market, trend, and patent research . 

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Vi/vi/sec/tion of industrial design. Gui Bonsiepe and the formulation of the interface concept. Intec Chile 1972. Document of the beginning of a paradigm shift in the interaction design disciplines

Industrial design in chile 1971–3, middle east technical university and industrial design “middle east” school in education: a locally and externally boundary the example of turkish modernization, metacognitive transcendence in the learning of the project activity of design through the sketchbook visuality.

This article aims to report the transition from intuitive to intentional projective activities in design recorded in the visual modes of sketchbook to analyze the metacognitive processes of design students. Phenomenography was used as an empirical sampling method to diagnose the sketchbooks of industrial design and graphic design students. The observation criteria focused on describing the metacognitive characteristics of the students with respect to the way they recorded their ideas visually, which showed design-specific projective actions. This research demonstrated and codified how students externalize intentional approaches in their sketchbook iterations, which can be grouped into three representation strategies: technical, methodological, and reflective; they are related to their experiences in projective activity. Consequently, we propose a new category called metacognitive transcendence, which refers to a strategy for controlling and regulating cognitive processes to transform an intuitive action into an intentional action mediated by a cognitive artifact: the design sketchbook. Three ways of metacognitive transcendence are suggested: instrumental (technical aspects), procedural (related to projection), and comprehensive (own reflection about the project itself).

Major Technology 2: Computer-Aided Industrial Design—CAID

Industrial design of experiments, from the pains of founding industrial design leading topics in education: itu industrial design part, an analysis about the design curriculum of universities according to the design process and suggestions for the direction of education -focused on the industrial design of undergraduate courses in the u.s. and korea-, using a brand identity-focused project structure to improve the competencies of product design students.

It is essential to reflect the strategic connotations of the brand on the products while creating and developing a product design that fits the brand identity. Therefore, for a company, it is a critical issue to place the right messages that support the strategic brand identity in the design elements. From the designers' point of view, they are expected to have design skills such as analyzing a brand's uniqueness and brand knowledge and reflecting the results of these analyses on the aesthetics, function and overall meaning of the product. For this reason, as a part of the Industrial Design curriculum, brand identity focused product design has been restructured in Atılım University, Industrial Design program. In this studio course, the aim was for design students to acquire skills of brand identity and product identity analysis, in addition to basic design knowledge and skills. During 16 weeks, the data were collected by doing a participant observation and conducting semi-structured interviews with the course students. The data gathered from the semi-structured interviews and participant observation were analysed by using an inductive coding approach. Thus, product design suggestions that were suitable for the identity of the brand were analysed with the questions asked by the instructors during the design process. The results show that the questions asked by the instructors and the examples they gave, led the students to research, think, question, understand and make sense of the importance of information. As a result, the students obtained design outputs suitable for brand identity.

Prosecution of Property Rights of Intellectual Property to the Results of Works under the Contract for Research, Development and Engineering

Keywords: results of work, subjects of property rights of intellectual property, jointproperty rights of intellectual property The article deals with an issue of allocation of rights to the results ofworks that are intellectual property subject-matter, created during research or developmentand engineering works. It is considered what can be the result of works andin what form.It analyses problematic issues of the multiplicity of subjects of intellectual propertyrights to the results of work under the contract and the relationship between themon the prosecution of the joint intellectual property rights to the results of work. It isdetermined that the subjects of contractual relations of research or development andengineering works in addition to the executor and the customer should also includethe creator (author, inventor) — a specialist working in a research institution or in acompany, whose creative work resulted in the intellectual property subject-matter.Attention is drawn to the joint rights to service subject-matters created as a consequenceof labour-related duties execution.The norms of special legislation on the relationship on the use of an invention(utility model) and an industrial design, the disposal of property rights of each of theholders (owners) of a patent (certificate) are studied.Laid out in the article gives the ground for making conclusion about the need to supplementthe regulation of relations on the prosecution of the joint intellectual propertyrights to the results of work by including general provisions on the procedure for the useof intellectual property subject-matter and disposal of property rights on conditions establishedby the contract for research or development and engineering in Article 896 ofthe Civil Code of Ukraine. The author proposes to supplement Article 896 of the CivilCode of Ukraine with Chapter 3 as follows: «3. If the results of works have features ofintellectual property subject-matter, then special details of prosecution of propertyrights of intellectual property can be provided in the contract».

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Essay: Brief History of Industrial Design

Industrial design is the application of arts and science for the improvement of aesthetics, architecture, ergonomics, functionality and usefulness of the specific product. Industrial design can be used for the improvement of the competitiveness of a product and its manufacturing. The major role of an industrial designer is the creation and development of the most successful project solutions related to the shape, usability, physical ergonomics, marketing, brand development and sales. Industrial design is an integral part of the scientific progress and development of business. Sometimes, companies have to change the shape, functions and usability of their products in order to attract new customers and compete with other similar firms on the same sector of the market. Although everyone knows at least something about the foundations of industrial design, very few people are aware about the history of this matter.

As might be expected, the USA is one of the countries that forced the development of industrial design. The beginning of this process dates back to the first part of the 20th century. After World War 1, the USA experienced rapid technological growth and industrial development. In fact, the 1930s are associated with the deep economic crisis. However, this severe crisis made the brightest minds of the country develop the quality of the industrial design. For instance, Walter Dorwin Teague created the first design offices in 1926. Raymond Loewy is supposed to be the father of the commercial design. He was a multitasking professional in this field. He was able to project refrigerators, locomotives, automobiles and designed the style of such firms as Coca Cola, Shell, Lucky Strike, etc. Industrial designers of that time not just projected and developed new devices, vehicles and appliances but developed brand new principles of formation of the captive styling. I must admit that artists became interested in design. In 1934, Herbert Read proclaimed the first and the most important principle of industrial design. According to his point of view, a factory should conform to the personality of an artist but not vice versa. In simple words, equipment and technologies serve to artists who embody their uncommon and fresh ideas in the design of new products and restyling of the existing ones.

Industrial design became the part of the American lifestyle in business and marketing, especially in the creation of new goods and services. Design, the origin of new social economic relations in capitalism and market relations fulfilling the commercial functions, became one of the leading factors of competitiveness.

With the passage of time, experts had understood the importance of design for the improvement of the quality of production. More than a thousand of American companies had their representatives in Europe in the middle of the 20th century. The success of these firms depended on the professionalism of their designers who invented offbeat and curious design of their products, which differed from the European ones. The 1960s are characterized with the great number of international conferences and meetings devoted to industrial design. The chief designers established the list of the paramount qualities of the most constructive and functional characteristics, which turn the product into the single unity from the point of view of consumers and manufacturers.

The 1980s are associated with the rapid development of technologies which made it possible to create high-quality and multifunctional machines and appliances that can fulfill more duties and operations faster and better than human beings. Moreover, the prominent engineers and scientists began to pay special attention to the functionality and style of every product. A product became an integrated single unity of functionality and splendid shape. Engineers brainstorm the best technological solutions for old devices improving their quality, practical value and shape. If we compare the development of style of the well-known automobiles, we will see that the role of designers cannot be overestimated. Most often, the best automobiles survived a long process of evolution. With the run of time, they improved their shape and obtained new and new functions and characteristic features. It is possible to speak about every product in the same way. Look at the development of the style of the bottles of Coca Cola.

In conclusion, the development of industrial design is very rapid and intensive nowadays. Nearly every famous firm has survived at least several decades of redesign and rebranding. The quality and functionality of every product is combined with the design and style that can attract attention of customers.

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Industrial Revolution & The Industrial Design Industry

• Categories: Design Industrial Revolution

About this sample

Words: 1204 |

Published: Jan 21, 2020

Words: 1204 | Pages: 3 | 7 min read

References:

• Currey, M. 2016. Benjamin Hubert on What It Really Takes to Make a Difference Through Design. Core77, February 16. https://www.core77.com/posts/46911/Benjamin-Hubert-on-What-It-Really-Takes-to-Make-a-Difference-Through-Design (Accessed 24 Spetember 2018)·
• Design Indaba. 2016. Benjamin Hubert. Design Indaba, nd. http://www.designindaba.com/profiles/benjamin-hubert (Accessed 21 September 2018)·
• Feedspot. 2018 .Minimalist Youtube Channels. Feedspot, June 27. [Blog] https://blog.feedspot.com/minimalist_youtube_channels/ (Accessed 26 September 2018)·
• Howarth, D. 2015. Benjamin Hubert rebrands studio as Layer and launches "crowdspeaking" campaign. Dezeen, September 9. https://www.dezeen.com/2015/09/09/benjamin-hubert-rebrands-studio-layer-interview-transcript/ (Accessed 24 September 2018)·
• Industry Design Society of America. nd. What is Industrial Design. IDSA, nd. http://www.idsa.org/events/what-id (Accessed 21 September 2018)·
• Jenny Mustard. 2018. Minimalist Apartment Tour ! https://www.youtube.com/watch?v=DxRCmPHG9UI (Accessed 26 September 2018)·
• Layer. 2015. Worldbeing. Layer, nd. http://layerdesign.com/projects/worldbeing/ (Accessed 25 September 2018)·
• Layer. 2016. Go. Layer, nd.http://layerdesign.com/projects/go/ (Accessed 25 September 2018)·
• Layer. 2016. Go Gloves. Layer, nd. http://layerdesign.com/projects/go-gloves/ (Accessed 25 September 2018)· Layer. http://layerdesign.com/ (Accessed 21 September 2018)·
• Pick Up Limes. 2017. BEGINNER'S GUIDE TO VEGANISM » how to go vegan. [Youtube] https://www.youtube.com/watch?v=OJxMsypwnqg (Accessed 26 September 2018)·
• Tedx Talks. 2016. The Art of Letting Go | The Minimalists | TEDxFargo. https://www.youtube.com/watch?v=w7rewjFNiys (Accessed 26 September 2018)·
• Weston, D. nd. When and How to Use Ethnographic Research. Spotless, nd. https://www.spotless.co.uk/insights/ethnography-when-and-how/ (Accessed 21 September 2018)

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Industrial Design

In his chapter on industrial design (written in 1987), historian John Heskett claims that the methods of mass production introduced by Henry Ford in the U.S. involved new concepts of standardization and the integration of the production line. With Ford’s method, work could be completed by relatively unskilled workers. Production was more efficient, and, with this method, products were made more quickly and cheaply than previously possible.  What were some of the social consequences of Ford’s production line? In other words, how did this system change our U.S. society? Do any of those changes remain with us today?    Now consider Maurice Conti’s TED Talk, and the predictions he makes about production.  https://www(dot)ted(dot)com/talks/maurice_conti_the_incredible_inventions_of_intuitive_ai/up-next?language=en How do you think manufacturing processes will change in the next twenty years? How do you think these changes will affect our U.S. society? This week, rather than providing an example response to the question, I am giving you hints for effectively responding to this thread: 1. Answer each part of the question set: What were some of the social consequences of Ford’s production line? In other words, how did this system change our U.S. society?Do any of those changes remain with us today? How do you think manufacturing processes will change in the next twenty years? How do you think these changes will affect our U.S. society? 2. Use content from Heskett’s chapter and Conti’s talk to support your positions. Cite them when responding. 3. Use the grammar and spell check functions to create well-written posts that are error free. 4. A typical response to the questions will be about 300+ words in length. 5. Create a copy of all of your work in the event of a technical difficulty. There is nothing more frustrating than typing your work, clicking on [reply] and receiving an error message or platform freeze.

Scholastic Art & Writing Awards - Alliance for Young Artists & Writers

Art Categories

A note on size limitation for all art categories.

Regional programs may limit the size of work that they accept. Check out your regions guidelines  for details.

Oversized works that earn National Medals are not guaranteed opportunities for display in the National Exhibition.

Collaborative works are not allowed in any art categories. To credit contributors on Expanded Projects and Film & Animation, follow the instructions for those categories. 

Architecture & Industrial Design

Category description.

This category also includes industrial design plans for models of structures, environments, systems, or products.

Examples (including but not limited to)

Building designs, landscape designs, interior designs, urban plans, or product designs. Can include 2D work such as hand-drawn sketches, computer-aided designs, blueprints, and floor plans, OR 3D work such as handmade or 3D-printed scale models, conceptual models, sketch models, or prototypes. 

Special Instructions

Plans may be hand-drawn or computer-generated. Models must be sturdy and able to endure shipping and exhibition. 

Entry Requirements 

Each entry requires four images of your piece. Showcase the scale and details of your work and include pictures from different angles. For 2D works, show your plans in detail. You may choose to include concept drawings, sketches, material palettes, sections, elevations, site plans and renderings in your image selection. For 3D works, include one image that shows the work from the front at a slight angle against a white or neutral colored background. For the remaining images include one detail shot, an image with a ruler for scale, and an image from the back of the work. Visit our blog for tips on documenting your work.

View award-winning art

Additional Instructions

If you enter 2D work (a design as opposed to a model), select “0” for the “Depth” and “Weight” fields. 

3D Work (Height x Width x Diameter and Weight)

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Ceramics & Glass

Handcrafted objects made from ceramics or glass.

Anything made exclusively out of ceramics and/or glass belongs in this category. This includes busts, figures, abstract forms, vases, teapots, bowls, plates, cups, tiles, tableware, or other vessels. Ceramic pieces may include earthenware, stoneware, porcelain, etc. Glass pieces may include stained glass, cast glass, fused glass, blown glass, etc. 

• Unfired ceramics and oil-based clay works should not be entered.
• Ceramic or glass pieces intended to be worn for personal adornment should be entered in the Jewelry category.

Each entry requires four images of your piece. Showcase the scale and details of your work and include pictures from different angles. Include one image that shows the work from the front at a slight angle against a white or neutral colored background. For the remaining images include one detail shot, an image with a ruler for scale, and an image from the back of the work. Visit our blog for tips on documenting your work.

A pictorial narrative in deliberate sequence—with or without text—that tells a story or develops an idea using single or multiple panels. Concepts for characters should be entered in Drawing & Illustration. 

Comic strips, comic books, storyboards, webcomics, or selections from graphic novels.

Do not base characters and plots on already published comic books or published series. 

You can upload up to eight images for each Comic Art entry. If your image includes text, enter the text of each panel in the field provided on the upload page. This will ensure jurors can read your work during judging. 

If your entry consists of more than one page, please indicate how many pages are in your entry in the space provided.

2D Work (Height x Width)

Art created for commercial or applied purposes. This includes graphic design work that has a defined use such as advertising or communications.

Magazine layouts, book covers, greeting cards, fonts, letterhead, business cards, calendars, or signage.

Special Instructions 

Work that is based off preexisting brands is discouraged. If your work references preexisting brands, your design must represent a new, original idea or contribute added value to the source material according to our Copyright & Plagiarism guidelines . 

You are strongly encouraged to upload four images for each Design entry.

If you are submitting a 2D work, select “0” for the “Depth” and “Weight” fields.

Digital Art

Artwork created digitally and intended to exist in a digital space or images that are heavily collaged or manipulated to produce a new image using digital tools. This includes illustrations created digitally. 

Digital collages, CGI, VR, digital painting, and fractal art.

• Do not enter AI-generated art. 
• Identify the software used to create the artwork in the “List Materials” section of your application (ex: Adobe Suite programs, Sketchbook, Procreate, Corel PaintShop, Clip Studio Paint, etc.). 
• Digital artwork may contain text, but entries that contain text for commercial purposes should be entered in the Design category. 
• Digital photographs that are “touched up” or lightly manipulated using computer software should be entered in the Photography category. 
• Consider entering the Expanded Projects category if your work has a strong interactive element. 
• If you are using collaged images, refer to the Copyright & Plagiarism guide .

You can upload one image for each Digital Art entry.

Drawing & Illustration

Art that is composed of marks made with dry materials on a 2D surface. Drawings include all renderings made by a manual or mechanical instrument on a surface and may include formal, realistic, and/or abstract imagery. Illustrations made with dry materials should be entered in this category. Illustrations made with paint should be entered in Painting and illustrations made digitally should be entered in Digital Art. Ink drawings colored with paint like watercolors should be entered in Drawing & Illustration. 

Pencil, ink, charcoal, pastel, crayon, scratchboard, marker, ink drawings colored with paint, etc. 

• Drawings copied from published photographs, the internet, or existing works should not be entered and will be disqualified. Refer to the Copyright & Plagiarism guide for more detailed information. 
• Sequential illustrations should be entered in Comic Art. 
• Illustrations made digitally should be entered in Digital Art. 
• Illustrations made with paint should be entered in Painting. 
• Illustrations that directly depict political or social commentary should be entered in the Editorial Cartoon category. 
• Animated .gif files will not be accepted for this category. An uploaded .gif file will be adjudicated as a static .gif file. 
• Do not upload .zip files for the category. Zip files will not be judged. 

You can upload one image for each Drawing or Illustration entry.

Editorial Cartoon sponsored by The Herb Block Foundation

A drawing or illustration or series of artworks that offers commentary or criticism on current events or political topics. 

About Herb Block

This category is sponsored by The Herb Block Foundation in honor of Mr. Block’s remarkable contribution to the genre of political cartoons. Visit  herbblockfoundation.org  to learn more and see examples of his work.

Single panel drawings with captions, sequential comic art, illustrations, or digitally created drawings with a political theme or message.

• If your image includes text, enter the text of each panel in the field provided on the upload page. This will ensure jurors can read your work during judging. 
• Multi-panel cartoons or other narrative illustrations that do not contain commentary or criticism of a political event or current event should be entered in Comic Art.  
• Illustrations that do not contain commentary or criticism of a political event or current event should be entered in Drawing & Illustration or Digital Art depending on the tools used.  

Expanded Projects

Interdisciplinary work that is primarily driven by concept or invites participation by a viewer or community. Expanded Projects may include the documentation of live art, installation, research-based practices, or interactive visual art. Expanded Projects do not include dance, music, theater, or spoken word poetry. 

Original work in this category will explore new genres, ideas, or experimental methods that could not be represented in other categories. The evaluation of skill may include both the way the work is documented and the conceptual background of the work in addition to the work’s construction. 

Expanded Projects that don’t fit the category description or that belong in another category will not be awarded. 

Documentation of live art, experimental video art, installation, site-specific or research-driven processes, conceptual art, social discourse, or community projects.

Do not enter dance, music, theater, or spoken word poetry to the Scholastic Awards.

Entry Requirements

You must upload 1-8 files that clearly present the work. (.pdf, .jpg, .png, .mp3, or .mp4)

The file size limit for each upload is 350 MB. If you are having trouble uploading a video file, please visit  Frequently Asked Questions .

Along with the work, you must submit a written statement that summarizes the work and contextualizes the provided files. This statement must not include your name or biographical information because it will be viewed by the judges.

• Acknowledge contributors in the work sources section of your entry. 

Articles of clothing or fashion accessories other than jewelry (which should be entered in the Jewelry category). 

Fully realized articles and outfits, sketches, tech packs, jackets, dresses, shirts, gowns, scarves, hats, bags, belts, shoes, etc. as well as experimental designs, wearable art, and work made from found materials. 

Garments not intended to be worn on the body should be submitted to the Sculpture category.

Each entry requires four images of your design. Visit our blog for tips on documenting your work .

If you enter a 2D work (a design as opposed to a model), select “0” for the “Depth” and “Weight” fields. 

Film & Animation

A sequence of moving images viewed with a monitor, television, or projector.

Documentary films, narrative films, commercials, experimental videos, as well as hand-drawn, computer-generated, or stop-motion animations, etc.

• In your application, identify equipment and software used in the “List Materials” section. 
• Since works are judged without knowledge of the student’s gender, age, or hometown, do not include any credits in your film. 

Copyrighted Music

The Alliance for Young Artists & Writers strongly encourages the use of original or public domain music. You cannot use copyrighted music in your work without the permission of the original artist.   

Teens who obtain copyrights to music must obtain documentation from the artist and reference it in the work sources section of your entry.  

If you use non-original music in your work, you must cite your source. 

Even if you have permission to use a piece of music or the music is in the public domain, the film or animation that you enter to the Scholastic Awards must represent a new, original work.  

If your work transforms some sort of source material, then it may be considered original. We define transformative work as a new work that adds value, substantially changes, comments on, or gives a new expression or meaning to the source. 

View our Copyright & Plagiarism guidelines for more information. 

• Your film must be in one of the following formats: .mp4 or .mov 
• You must enter the film synopsis in the provided textbox. 
• If your entry is over 5 minutes long, we strongly encourage you to enter a 5-minute-or-under version. Judges will use the 5-minute version in their initial assessment of your work. 

For Film & Animation entries longer than 5 minutes, upload the following: 

• A five-minute-or-under version of your film (the file size limit for this upload is 350 MB) 
• The full-length version of your film. If your full film is under five minutes long, this second upload does not apply to you–do NOT upload a higher resolution of the same film. 
• The file size limit for this upload is 800 MB.

Time-based Work (Minutes:Seconds)

Art objects worn for personal adornment.

Bracelets, rings, brooches, earrings, cufflinks, necklaces, etc.

Materials may include metal, semi-precious stones, plastic, beading, glass, found objects, etc.

Each entry requires four images of your jewelry. Showcase the scale and details of your work and include pictures from different angles. Include one image that shows the work from the front at a slight angle against a white or neutral colored background. For the remaining images include one detail shot, an image with a ruler for scale, and an image from the back of the work. Visit our blog for tips on documenting your work.

Mixed Media

Wall-based artwork made from more than one medium, with a 3D or readymade element. This includes works made with physical and digital materials. 

Collage, assemblage, cut paper, handmade paper, batik, fiber-based art, etc. 

• Combinations of painting and drawing applied only to one surface should be entered into either the Painting or Drawing categories. 
• Mixed media pieces meant to be viewed in the round should be entered in the Sculpture category. 

Each entry requires four images of your Mixed Media piece. Showcase the scale and details of your work and include pictures from different angles. Include one image that shows the work from the front at a slight angle against a white or neutral colored background. For the remaining images include one detail shot, an image with a ruler for scale, and an image from the back of the work. Visit our blog for tips on documenting your work.

If your mixed media entry does not have a 3D element, select “0” for the “Depth” and “Weight” fields. 

Art created by applying wet materials to a 2D surface. This includes illustrations made with any type of paint. If you use more than two non-paint materials or if you create a collage, your work should be entered in Mixed Media. 

Oil, acrylic, watercolor, gouache, tempera, ink, encaustic, fresco, spray paint, etc. applied on canvas, canvas board, paper, or any flat surface. 

• Paintings copied from published photographs, the internet, or existing works should not be entered and will be disqualified. For more detailed information, check out the Copyright & Plagiarism guide . 

You can upload one image for each Painting entry.

Photography

Images captured by either an analog or digital camera.

Black and white photographs, color photographs, digital or analog photographs, photograms, other experimental photography, etc.

• Do not enter AI-generated art.
• Identify type of photographic techniques used in the “List Materials” section of online registration.
• Editing software (Adobe Suite programs, Procreate, Corel PaintShop, Clip Studio Paint, etc.) is acceptable to use for minor touch-ups and image correction in a manner that replicates traditional darkroom techniques (cropping, dodging, burning, adjusting brightness, contrast, color balance, etc.). Heavily edited works should be entered in Digital Art. 
• Works that are digitally collaged, cloned, layered, merged, distorted, or heavily manipulated with computer software must be entered in the Digital Art category. 
• Each work entered in Photography should be a distinct image that presents a unique artistic vision.

Entering multiple similar images from the same series of photographs is highly discouraged. Part of the entry process to the Awards is determining which image best fulfills the Scholastic Awards criteria: originality, skill, and the emergence of a personal vision. 

You can upload one image for each Photography entry. Participants may enter up to 16 individual photo entries. 

Printmaking

Work made by transferring ink from one prepared surface (plate, screen, etc.) onto paper or another flat surface.

Woodcut/linocut, monotype, intaglio, lithography, etching, silkscreen printing, collagraph, etc.

Identify the printmaking technique used in the “List Materials” section of online registration.

Entry Requirement 

For each Printmaking entry, you can upload one image. 

Three-dimensional art objects created by carving, casting, or other shaping techniques that  can  have interactive qualities.

Modeled, carved, cast, constructed, or assembled objects, including artist books. Materials may include but are not limited to clay, cardboard, metal, acrylic, wood, glass, stone, marble, textiles, plastics, and found objects. 

• Large-scale installation art should be entered into the Expanded Projects category.
• Anything made  exclusively  out of ceramics and/or glass belongs in the Ceramics & Glass category.

Each entry requires four images of your Sculpture. Showcase the scale and details of your work and include pictures from different angles. Include one image that shows the work from the front at a slight angle against a white or neutral colored background. For the remaining images include one detail shot, an image with a ruler for scale, and an image from the back of the work. Visit our blog for tips on documenting your work.

Art Portfolio

(For Graduating Seniors Only)

A series of 6 distinct works that communicate a single cohesive idea or visual investigation. Works can come from one category or any combination of multiple categories.

Graduating seniors may submit up to two Art Portfolios, but may not submit the same work in both portfolios.

• Each work within the Art Portfolio is subject to the same upload rules as its equivalent in individual categories. For example, a Sculpture work as part of a portfolio requires four images, while a Photography work requires one image. 
• Work included in a portfolio may also be entered in an individual category (i.e., Drawing & Illustration, Mixed Media, etc.). Seniors may re-enter artworks that were entered to the Scholastic Awards in a previous year as part of their Art Portfolio. 
• Do not include any identifying information, such as your name, in the title of your portfolio or the works included in the entries. 
• You must provide an Artist Statement and Personal Statement —these are two separate statements. Do not copy and paste the same statement for both! 

Artist Statement:  Write about your art! This required statement should provide insight into your creative process: How did you curate the works in your portfolio? 

Consider questions like: 

• What do you want viewers to understand about your collection of works? 
• What are the key ideas, issues, struggles, or goals within the portfolio? 
• Did you make deliberate decisions about materials, processes, etc.? 

Your artist statement should be at least 100 words must not exceed 500 words. The statement will be visible to jurors. Do not use self-identifying information in the statement. 

Personal Statement:  Write about you! Tell a story from your life, describing an experience that either demonstrates your character or helped to shape it. 

• What is a significant challenge, setback, or failure that you experienced? How did you respond to it? How did it affect you, and what did you learn from the experience? 
• Have you ever had a long-cherished or accepted belief challenged? How did you respond? How did the challenge affect your beliefs? 

Your personal statement should be at least 100 words and must not exceed 500 words. This statement will be viewed by the scholarship committee if your work receives a Gold Key and goes on to be considered for a national portfolio scholarship award .

Writing Categories

Instructions for all writing categories.

• Entries must be primarily in English. You may include some words or phrases in other languages. Keep in mind that not all judges speak a second language, so you may want to consider including a translation.
• No identifying information, including the writer’s name, should appear anywhere on the manuscript, including areas such as a header or title page. 
• For real people in non-fiction works, use fictional names. You do not need to change the name of public or historical figures. 
• No illustrations, photographs, or graphics are permitted in the body of the work. 
• Hyperlinks are not allowed.
• Sources must be cited. We do not require a specific citation format. It may help to view examples of past award-winning works in the Online Gallery . 
• Collaborative works are not allowed in any categories. 

Critical Essay

Writing intended to inform or convince a reader about a specific idea or topic, such as art or media reviews, persuasive essays, opinion essays, etc. 

Sources must be cited. Use the Footnotes/Citations text box to list your sources when entering your work. We do not require a specific citation format. Use the citation style (APA, MLA, Chicago, etc.) that best supports your work. 

View award-winning writing

500–3,000 words

Dramatic Script

Work that uses dialogue, action, and stage direction to tell a story, including scripts for television, film, or stage.

• Excerpts can be entered but should be clearly labeled as excerpts. 
• If your full script is more than 3,000 words, you may provide a 250-word summary. This counts towards your entry’s maximum word count (3,000 words). Include your summary in the top of the “My Work” section of your entry. In the same text box, include the excerpt of your script. Together, your summary and excerpt must be 3,000 words or less.

500–3,000 words. If the script exceeds 3,000 words, you may include a 250-word summary .

Flash Fiction

This is for your shortest fictional work. Works of Flash Fiction are intentionally brief, but still tell a full story. This should not be an excerpt of a longer work. Longer works may be better suited for the Short Story or Novel Writing categories. 

• Please note word length for Flash Fiction compared to Short Story.
• Depending on the genre of your short fiction, it may fit better in another category, such as Humor or Science Fiction & Fantasy. Please make sure you review all categories to determine which category you feel best describes your work. 

Maximum 1,000 words

Writing that uses comedic forms such as jokes, satire, farce, irony, parody, absurdity, comedic anecdote, etc. 

All work in which humor is the key element should be entered in this category. 

Writing that informs and educates about newsworthy topics or current events, characterized by a presentation of facts or description of events.

Writing intended for publication in newspapers, magazines, or online media and characterized by a presentation of facts or description of events. 

• Sources must be cited. Use the Work Sources field to list your sources when entering your work. This will not count towards your word count. We do not require a specific citation format. Use the citation style (APA, MLA, Chicago, etc.) that best supports your work.
• Hyperlinks are discouraged, as all judges cannot access hyperlinks.
• If your piece has been published in an online publication or school newspaper, please include the link in the Sources section of your entry.

Novel Writing

An excerpt from a long-form prose narrative. Provide an excerpt no longer than 3,000 words.

• Novel entries should be excerpted from completed manuscripts. The excerpt should be a complete chapter or section from a chapter. Use a sample that showcases your writing and story setup. 
• Please include a brief (about 250 words) synopsis of your novel. The synopsis is meant to provide readers with an understanding of the full scope, themes, arc, and plot of your novel. Think about what would appear on the back cover of your book, but with spoilers!
• Your synopsis counts towards your entry’s maximum word limit (3,000 words). Include your summary in the top of the “My Work” section of your entry. In the same text box, include the excerpt of your novel. Together, your summary and excerpt must be 3,000 words or less.
• Adaptations of or sequels to existing published works are not accepted. 

An excerpt up to 3,000 words, including  a 250-word summary of the entire novel. 

Personal Essay & Memoir

A non-fiction work based on opinion, experience, and/or emotion that explores a topic or event of importance to the author. 

• Depending on the tone of your piece, it may fit better in another category, such as Humor. Please make sure you review all categories to determine which category you feel best describes your work.
• If you are writing about real people in your everyday life, please use your best judgment about disclosing identifying information (ex: name, address, age, birthday). If you receive an award, your piece may be published.

Writing in verse. May include but is not limited to prose poetry, free verse, formal poetry, song lyrics, and spoken word. 

Each entry consists of 1 poem. If you have more than one poem they should be entered separately as individual poetry pieces. If you have a longer form poem with sections, that should be entered as one piece. 

3–100 lines

Science Fiction & Fantasy

Writing in speculative fiction genres like science fiction, fantasy, horror, dystopian fiction, or alternate histories. This writing uses supernatural, magical, futuristic, scientific, or technological themes as key elements of the narrative. These may include short stories or prose focused on world building, mythology, etc. 

• All works in which science fiction/fantasy is the key element should be entered in this category.
• Do not base characters or plots on already published works (books, movies, comics, etc.).
• Works that are novel length should be entered in Novel Writing. 

Short Story

A fictional narrative that is written in prose.

Depending on the genre of your short story, it may fit better in another category, such as Humor or Science Fiction & Fantasy. Please make sure you review all categories to determine which category you feel best describes your work.

1,000–3,000 words

Writing Portfolio

A series of 6 distinct works that demonstrate versatility as a writer, diversity in writing techniques and styles, and a developed, cohesive voice. The works can come from one category or any combination of multiple categories. 

Graduating seniors may enter up to two Writing Portfolios, but may not enter the same work in both portfolios.

• The word count for each piece submitted in a writing portfolio should adhere to the length limits listed in each individual category.
• Work included in a portfolio may also be entered in an individual category (i.e., Short Story, Critical Essay, etc.). 
• Seniors may re-enter writing that was entered to the Scholastic Art & Writing Awards in a previous year as part of their writing portfolio. 
• Do not include any identifying information, such as your name, in the title of your portfolio or the works included in the entry. 
• You must provide a Writer Statement and a Personal Statement —these are two separate statements. Do not copy and paste the same statement for both! 

Writer Statement:  Write about your creative process! How did you select the works in your portfolio? Why do these works in particular belong together?

Consider questions like:

• What do you want readers to understand about your collection of works? 
• Did you make deliberate decisions about voice, literary devices, etc.? 

Your Writer Statement should be at least 100 words and must not exceed 500 words. The statement will be visible to jurors. Do not use self-identifying information in the statement. 

Personal Statement:  Write about you! Tell a story from your life, describing an experience that either demonstrates your character or helped to shape it.  

• What is a significant accomplishment or joyful experience that has shaped your life?
• What is a significant challenge, setback, or failure that you experienced? How did you respond to it? How did it affect you, and what did you learn from the experience?
• Tell us about how you developed a firmly held belief and how it has changed over time.
• Have you ever had a long-cherished or accepted belief challenged? How did you respond? How did the challenge affect your beliefs?

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