The concept of “Design Thinking” opens up debate regarding the prevalent human–computer interaction design practice. This article focuses specifically on the cognitive processes of designers during their early design activities. Two groups of designers—experts and novices—were asked to develop a fictitious vacuum cleaner. We then examined the different ways in which these groups manage their design thinking processes and how the groups choose design concepts. The empirical study revealed that expert designers are effective at framing design problems. They make quick decisions (through the use of the affect heuristic) but are more wedded to their own previously developed design concepts, which they do not change in subsequent design stages. In contrast, novice designers are less skilled in framing new design problems but better able to renounce their initial design concepts. These diverse design thinking approaches are linked to potential problems. We then discuss how to address these concerns in conjunction with empathy for the artifact (i.e., artifact empathy via the mediated self) or user (i.e., user empathy via the simulated self), problem framing with second-order semantic connotations, and irrationality when analyzing design solutions. Finally, we propose a design thinking rationality framework that can establish a designer's view of design activities and thereby assist designers educated in both creative and rational design decisions.

Along with a growing interest in emotional design and pleasurable products, it is necessary to understand how designers are able to maintain emotional impacts of their design solutions throughout the design process, and how these solutions can find a way to evoke the intended emotional feeling of the users. The present study first examined emotional responses to early design sketches, and how these responses could be used to check if the emotional impacts of their early sketches were observed in a combinative way of cognitive-linguistic and physiological approaches. Based on the findings of the empirical study, we further discussed how the emotional differences of product images would be generated by product forms. We figured out that good form factors of early design sketches might elicit positive feelings and high arousal states, thereby incorporating semantically meaningful features in the product images.