Keywords

1 Introduction

Intangible cultural Heritage is a valuable cultural property and spiritual treasure of the country and nation, the crystallization of national wisdom and an excellent representative of national traditional culture. Today, with the cultural integration of today’s world, maintaining the uniqueness, freshness and difference of national culture is a remarkable feature of a country’s ethnic culture, therefore, actively demonstrating the unique charm of national culture, and mutual learning and reference is a manifestation of the world towards cultural pluralism. As General Secretary Xi Jinping pointed out: “To improve the soft power of the country’s culture, we should strive to show the unique charm of Chinese culture.” “Rather than the material cultural heritage, is concentrating on the essence of Chinese culture, showing the spirit and charm of national culture, therefore, in the future social development to study how to strengthen the intangible cultural heritage of contemporary design and heritage innovation is particularly important.”

2 The Current Development Status of Traditional Handicraft and Non-legacy in China

In recent years, due to the importance attached by the State to the protection and development of the non-heritage, more and more people have been involved in the protection and inheritance of the non-heritage, and many non-legacy projects have been protected and supported by various aspects, such as government funding and publicity for non Some corresponding development ideas and strategies are put forward, especially for the handicraft technology put forward the strategy of production protection and branding development. Although the non-legacy in the present can be better development, but there are still many shortcomings, in the development process encountered bottlenecks, not timely solution will affect its next step in the sustainable development of the problem. Taking the traditional blue calico technique and tie-dyeing technology as an example: the traditional blue calico technology and tie-dyeing technology are the important representatives of China’s intangible cultural heritage, which can be developed and produced by the related products, so as to realize the industrialization and brand management, so as to enhance the connotation and value of its culture, and spread and popularize it widely. So that it is better integrated into contemporary life. As an ancient traditional handmade printing and dyeing technology, blue calico through this traditional handicraft technology finally formed a unique artistic style of material carrier form, was applied in life. It originated in the Song Dynasty Jia ding years, because of its convenience to obtain materials and simple technology, easy to operate and become the ordinary people’s favorite printing and dyeing products, the use of the region also spread from Jiangnan to the whole country, mainly affected to China’s Zhejiang, Shandong, Anhui, Hunan, Hubei and other places, and gradually formed their own unique regional characteristics and style (Fig. 1).

Fig. 1.
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Traditional blue cloth with design in white (Color figure online)

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In view of the development of traditional blue calico technology in China, the overall development is good, but in the development process also encountered some problems, not very good integration into contemporary life, especially in its contemporary design and application did not better play the role of contemporary design, the main problems include: lack of heritage and innovative design of senior talent participation, the user experience is not prominent in the design, life integration is not widely used, cultural publicity and promotion is not enough.

In view of the current inheritance and development problems faced by traditional handicraft skills, we should adjust and explore the strategies suitable for their development in time, the emphasis should be on their contemporary design and life integration research, especially should pay attention to and study the research on user experience, through the user experience research can design excellent suitable for contemporary products, In order to promote the traditional handicraft technology benign and continuous inheritance and development.

3 The Value and Significance of Studying User Experience for Non-legacy Contemporary Design of Traditional Craftsmanship

User experience as a design concept, as early as the early days of the century by the international famous psychologist, designer, Professor Donald · proposed by Dr. A Norman. User Experience is a concentrated embodiment of the human-oriented design concept. The standards developed by the International Organization for Standardization define the user experience as “people’s Cognitive impressions and responses to products, systems or services that are used or expected to be used.” That is, the user’s full feelings before, during and after the use of a product or system, including emotions, beliefs, preferences, cognitive impressions, physical and psychological reactions, behaviors, and achievements. The user experience is dynamic, environmentally dependent and subjective.Footnote 1

About the traditional manual skills in today’s development of the bottleneck of the current situation, how to combine with contemporary design, how to better integrate into the life of modern people, the author believes that it is really necessary to deeply study users, research user experience, only through the user experience to truly understand the user’s inner and emotional needs in order to better design and innovation, Then the traditional skills can be attracted and involved, and its related derivative products can be truly integrated into modern life, so the study of user experience will have a high academic research value and practical guiding significance for the non-legacy of traditional handicraft skills.

4 A Probe into the New Requirements of the User Experience for the Contemporary Design of Traditional Handmade Craftsmanship

Under the contemporary social environment and aesthetic characteristics, the traditional handicraft class should want to better integrate and develop, need the user’s participation, make use of the user experience design concept and method, in view of the traditional handicraft class non-legacy user re-research is very necessary, which opens up a new vision for the contemporary design of the traditional skill category, And it provides the theoretical basis and research direction for the innovation and application of product design, therefore, the user experience puts forward new requirements for the contemporary design of traditional craftsmanship.

4.1 The Consumption Population of Traditional Craft Non-legacy Related Derivatives is Classified and Studied

Traditional craftsmanship is the product of the past era, because of the underdeveloped technology at that time, people in order to meet the needs of life and the invention and use of the skills, can bring convenience to life, such as manual dyeing skills, pottery skills, etc., people dress from the original shame, cold protection function to the gradual pursuit of beauty, began to clothing from the rustic primary More from the nature of the plant to extract pigment for dyeing, and among the most common blue dyeing, especially the rare folk blue printed cloth, because the blue dyeing materials are easy to plant, such as Indigo, Malan, Song Blue and so on, picking the leaves of these plants to extract blue pigment dyeing, this traditional handicraft technology has been handed down for application to date, However, due to the development of the Times and aesthetic changes, most people are now indifferent to this skill, the current young people do not like these “outdated” old objects, therefore, in view of this phenomenon should re-examine and study the relationship between traditional skills and current users, user-centric research. Because the traditional technology is finally presented with the material carrier, that is, its related derivative products, if let its derivative products conform to the current people’s use function and aesthetic function must first start from the user classification research, the Consumer Population Division and research, each kind of population to carry on the thorough detailed understanding and the research. For example, for the traditional skills of blue calico, through the craftsmanship of the production is dyed cloth or after the hollowed carving pattern anti-dyeing of the flower cloth, the formation of cloth and according to the use of life to make practical products, such as clothing, bags, table flags, tablecloth, curtain, tea mats, pillow, sofa cushions, computer bags and other supplies, Ancient traditional skills are designed to meet the needs of daily life and continue to develop to the present, but with the development of the times, most of these products can not conform to people’s aesthetic, people’s impression is earthy, outdated, old, especially the current young people are not much like, therefore, if not to explore change and innovation to adapt to the current society, Perhaps the ancient handicraft skills will not be able to be well passed on and developed, will slowly die out. Therefore, the product derivative strategy based on the traditional skills must be to study the user as the center, study and master the Psychology, personality, preferences, emotions and other aspects of users of different ages. Consumer users can be divided into several categories: children, adolescents, middle-aged, elderly and so on, according to the age division of the study, so that more close to the user, understand the user’s habits, education level, hobbies, attention to fashion trends and so on. After the user research, the product can be designed and positioned, such as children’s products can focus on toys and apparel products, such as children’s small belly pocket, cloth toys, etc., the adult group is more inclined to decorate art or supplies, such as decorative hanging paintings, table flags, pillow, tea mats, clothing products, etc., while the elderly can follow a more traditional flavor, Instead of feeling out of date, they feel that the more traditional and practical they are, the better. Some of these products can be suitable for all ages, such as China’s Nantong blue calico heirs Mr. Wu Yuan’wan and his family developed the Blue Calico Zodiac Doll series products and fish and other auspicious fabrics.

Products to blue Calico combined with red fabrics for design and production, cute shape, meaning auspicious, with a sense of decoration, with the Chinese people on the festival, zodiac cultural feelings, can unconsciously touch the heart of people’s national culture warmth, can be said to be widely used, this is its use of the user experience in the emotional factors, product design is also relatively successful (Figs. 2 and 3).

Fig. 2.
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Blue Seal Pisces Ornament (Color figure online)

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Fig. 3.
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Ceramic plate creative clock

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Young people, is the focus of the group of users, they are exposed to new things, the most new trends of the group, love to play, have their own personality and preferences, for the traditional handicraft skills are relatively unfamiliar, so study their psychological characteristics, how to make traditional skills can not only arouse their interest, can also make derivative products get their love and resonance, which can be appropriate simplification of traditional skills, with hands-on experience activities to attract, through their own hands-on to create a gift of love to start, stimulate its desire to move the brain, through the experience of activities to understand the skills and culture, deepen the impression, The completion of their own products have a deeper value and significance, which is obviously the best way to experience the user, but also the spread of non-legacy culture and inheritance of an effective way, should be strongly advocated this way of user experience activities. Middle-aged users consumer groups began to attach importance to the quality of life, in addition to the product’s practical function, artistic and environmental applicability requirements to improve, but also favored its experience activities brought about by the cultural and emotional psychological resonance and satisfaction, so this kind of people also attach importance to product quality and emotional experience, therefore, It must be carefully designed to develop products for this group of people.

The elderly group like nostalgia and antique objects, then for the traditional skills made by the product more like the original, simple, quaint, quality, there is a rustic flavor, at the same time to have the practicality of life, such as bags, covers, tablecloth, curtain, decorations and so on (Fig. 4).

Fig. 4.
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Blue dyeing and tie dyeing experience (Color figure online)

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Therefore, the study of user experience on the traditional manual skills of non-legacy contemporary design of the new requirements first of all, to study the relevant derivative products of various consumer groups, user-centered in-depth research, in the study of people based on product positioning, and then for different users of age characteristics, psychology, preferences and so on to design, Therefore, the user experience under the contemporary design should first be in-depth research on the user-based and center (Fig. 5).

Fig. 5.
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Ceramic craft experience

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4.2 The User Experience Focuses on Promoting the Needs of Modern People in Terms of Craftsmanship Experience, Cultural Experience, Emotional Experience, Creative Experience, Etc.

The traditional handicraft category is based on the handicraft technology, its core value is the handicraft technology, is also the traditional culture can inherit the essence of the continuation to this day, not only has the historical inheritance, but also has the cultural accumulation, how can the better pass on? The author believes that the traditional skills and contemporary life better integration, so that the general public, especially the younger generation, should be recognized and contact from an early age, gradually in all aspects of the imperceptible influence, such as museums to have, schools have traditional culture classroom, the community has culture and experience space, Industrial park has creative experience space, A variety of handmade workshop experience areas and so on. It is through various forms of experience activities, experience space will make valuable traditional skills better contact with the public, but also to produce better cultural promotion and dissemination. Today, there are more and more such forms, such as non-legacy lecture halls, creative Amoy, blue dyeing experience, wood painting production and so on, in this variety of forms to make the public more accessible to non-legacy traditional skills, which is an important way of user experience, in order to increase the desire to experience demand.

For example, such as tie-dyeing, blue calico, pottery and so on some of the masses of the strong foundation of non-heritage projects, should be in line with the current heritage and development of some of the problems to be solved, such as the aging of the craftsman, the extreme lack of young heirs, lack of innovative design personnel and other right medicine, the government can give it, its original more closed traditional family, the way of teacher can be changed to the public inheritance, for the masses to recruit the heirs. By the relevant departments to plan in an integrated manner, the public recruitment of apprentices, to achieve the purpose of skills inheritance and innovation. As schools, especially colleges and universities, will be the best place to choose the dissemination and inheritance, for those who love traditional culture and innovative sense of design talent, they will be intangible cultural heritage inheritance and dissemination of a strong crowd. Therefore, more and more non-legacy has entered the campus, through lectures, exhibitions, creative experience and other forms to integrate into the campus cultural atmosphere, through the students close contact and personal experience and learning skills, so that the skills of better in the younger generation to have an impact, in order to promote inheritance and dissemination, and to find and cultivate non-genetic innovation people, Find and realize opportunities for the spread of cultural heritage and the transmission of innovation to the non-legacy (Figs. 6, 7, and 8).

Fig. 6.
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Blue print engraving process (Color figure online)

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Fig. 7.
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Blue printing cloth squeegee (Color figure online)

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Fig. 8.
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Dyeing process

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4.3 Decomposition of Traditional Skills, Simple and Easy to Operate, Stimulate People’s Hands-On Desire

How to better integrate traditional skills into public life? Let the public have a desire to experience and learn from traditional skills, which requires a lot of thought in terms of craftsmanship, the original complex technology decomposition, simple and easy to operate, increase their own desire to do. Taking the traditional blue calico printing and dyeing technology as an example, its traditional craftsmanship is manual form, but its final appearance of the external material form of blue printed cloth, but shows the culture, art, aesthetics, function, folklore and many other characteristics, therefore, experience space and places can be diverse, such as entering the school, and the school’s visual communication, product design, Cultural communication and other related professional integration for practical teaching experience. As our country blue Calico inheritors Wu Yuanwan teacher said: “As long as the retention of core skills, such as manual engraving, manual scraping, manual printing and dyeing, manual scraping, manual drying and other These procedures unchanged, other can adapt to the times, in line with the mainstream culture to make changes.” Adapt to this era, both national and modern works can be recognized by modern people, in order to be new, and constantly carry on. “Just because Wu Yuanwan recognized the importance of school education, he practiced it and brought blue Calico into the campus, through lectures, exhibitions, lectures, the establishment of institutional partnerships, the establishment of laboratories and other forms of blue calico non-legacy skills into the campus.” Therefore, in view of the design of some institutions of higher learning, combined with the relevant design courses to properly integrate the manual skills of non-legacy projects into the classroom, so that students in the course of practice in the process of personal participation and experience of our national traditional culture, stimulate the creative thinking of young designers, driving college students This heritage of people, To create new works adapted to contemporary social life, but also to achieve a better inheritance and innovation of the non-legacy. The concrete implementation process can set up a special traditional manual skills and design courses, while emphasizing the traditional “craftsman spirit”, break the traditional “teacher-student system” teaching mode, the use of professional compulsory, elective way, through formal classroom teaching, the application of modern technical means for teaching, popularize the traditional handicraft culture. In addition to entering the regular school popularization and guidance, but also to the social space, such as some handmade workshops, pottery bar and so on. In these experience space, the traditional craftsmanship and process steps should be decomposed, simplified, easy to operate the process, experience the environment has the traditional skills of the cultural atmosphere, consciously stimulate the desire to experience, their own work to create works. For example, tie-dyeing skills, blue calico skills, pottery skills, etc., the skills in accordance with the process of decomposition, simplification, such as tie-dyeing technology can be reduced to the following process: (1) Select the material or finished product to be tie-dyeing → (2) design pattern → (3) According to the design of stitching → (4) Soak in clear water → (5) into a modulated dyeing solution dyeing → (6) Squeeze the dye dry in the air to oxidize → (7) solid color flushing → (8) ventilation place to dry and so on. In this way, the decomposition of a few process steps, at a glance, even in the experience environment according to the process steps to mark, in order, with the relevant tools and equipment, the early preparation and arrangement so that the entire process is simplified, clear, easy to let the audience see just want to sit down to do a thing, stimulate the user to experience the desire. Therefore, this is also one of the new requirements of the user experience for the non-legacy design of traditional craftsmanship.

4.4 Enhance the Functional Experience and Application Environment Experience of the Product at the Consumer Terminal

Any product has its practical function and aesthetic function, etc., in order to better exist and continue, whether the traditional skills continue to be the product or modern science and technology products, if the old skills and products can not adapt to the needs of the current people’s various functions, it is bound to gradually be eliminated, therefore, The contemporary design of traditional craft non-legacy products must conform to the present era, with the development of the Times to continue to innovate in order to better be recognized and accepted by the times, and naturally will continue to inherit and develop over time. Non-legacy products R & amp; D is through the early market research, market positioning, user research, product positioning and other work, the final product design innovation and development, from the shape, color, pattern, materials, functions, aesthetics and other angles, repeated consideration of the design plan, and through trial production, trial sales before the final decision to put on the market, Enter the consumer terminal for sale. Product Sales terminal can be a variety of forms of various places, but the most important should be a shop or experience store, in the shop is not only to let customers choose products, but also should be customers to experience products, experience its design, function, as well as the use of physical, psychological and emotional feelings in the process. So in addition to the product itself, for the terminal store is undoubtedly the environment created by the shop, such as shop design, color combination, display collocation, environmental atmosphere, etc., the product in a certain application environment, such as with the use of products in the United States home living environment, so that users into the design of the environment to feel the product in use of life scene, To achieve visual, tactile and psychological emotional resonance, so as to attract recognition and love of the product and create a desire to buy, and ultimately achieve product sales. Therefore, the user experience design of the function and application environment of the product terminal is one of the new requirements of the contemporary design of the traditional craft non-legacy products, which must be paid equal attention to in the product design (Figs. 9 and 10).

Fig. 9.
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Blue dyed derived household products (Color figure online)

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Fig. 10.
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Blue dyed derivatives (Color figure online)

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5 Concluding Remarks

Intangible cultural Heritage is the crystallization of the collective wisdom of the Chinese nation, protecting and inheriting intangible cultural heritage, carrying forward Chinese culture, promoting the prosperity of cultural undertakings and the development of cultural industries, enhancing the country’s soft power and realizing the Chinese dream, we must strengthen cultural construction, at the same time, further promote the self-confidence, self-esteem and pride of our national culture Intangible cultural Heritage has “living state”, its existence depends on human activities, and its development is in the never-ending changes of man and nature, history and reality. From the user experience, the establishment of intangible cultural heritage of various experience space and heritage base, the establishment of related intangible cultural heritage experience courses, conducive to the cultivation of intangible cultural heritage of a new generation, is conducive to enhancing young people’s understanding of China’s intangible cultural heritage, the unknown world and things full of curiosity of young people contact, When learning about Intangible cultural heritage, it will be attracted by their diverse culture, rich forms and intrinsic values, resulting in great national pride, thus producing positive cognition and learning of Intangible cultural heritage, in-depth exploration and the interest of inheriting intangible cultural heritage, and helping to arouse people’s national consciousness and national identity, Strengthening national cohesion, helping to maintain the blood of the national culture of our country and maintaining the uniqueness of national culture, is conducive to maintaining the pluralism of our national culture and promoting the harmonious development of culture.Footnote 2

In recent years, the government and the Intangible cultural heritage of the relevant departments to work together to introduce intangible cultural heritage to the campus, museums, cultural halls and other cultural spaces, for the community, from the user experience to the contemporary design truly integrated into contemporary life, in the user experience of the living state of the practice way to get better attention, expansion, Research and development.