The following study proposes to evaluate the interdisciplinary nature between psychology and design, focusing on the importance of creativity as one of the essential elements of a designer's activity, as well as the evolutionary and adaptive human psychic factor. For the deepening of this investigation, instruments were used to measure designers' perceptions of their creative process and in which stages or conditions difficulties and limitations are perceived in expressing creativity. For conceptual definitions, Lev Vygotsky's historical-cultural approach was used as the main framework. This study presents arguments that investigate the concept of creativity, crossing various interdisciplinary fields that relate directly and indirectly to this process. Thus, one of the purposes of this study is to understand the broad and complex meaning of the concept of creativity, allowing for the deconstruction of common notions and perceptions that interfere with how individuals evaluate their creative potential. Under these conditions, the value and importance of creativity and design for human technological, scientific, and evolutionary development are demonstrated throughout this work. By affirming that creativity is a universal psychic element, that is, every individual is creative, it is considered that it is a factor present in the human species that emerges from the capacity to alter its context through social, cultural, and environmental interactions that develop through learning, language, and experiences. Thus, various activities have adapted in fields of specific knowledge and procedures, one of them being design. Through this vision, design is understood as a type of creative process that occurs through human action, transforming and altering its environment in an artificial way. The investigative nature of this study aims to understand and analyze the creative aspects of designers through specific instruments for collecting data on their perceptions of individual design creation processes and barriers to personal creativity. In this way, practical solutions can be thought of and discussed that effectively help designers' perceptions of their creative potential, making this process a healthy journey in their professional, academic, or personal development and creation.

The educational landscape is undergoing significant changes influenced by a new sociocultural paradigm, driven by the rapid advancement of digital technologies and the utilization of active educational methodologies that foster creativity through ludic experiences. In this context, this study aimed to explore the main characteristics of gamified instructional strategies that promote an increase in creativity among students in online learning environments, supported by digital information and communication technologies. Based on nine game techniques related to the Octalysis framework, a systematic literature review was conducted, encompassing only empirical studies whose analyzed data were related to the fundamentals of constructivist educational theories and positive psychology, such as Flow and Self-Determination theories. Of the highlighted game techniques, seven were identified in the selected sample of studies, with Instant Feedback and Real-Time Control emerging as the most commonly employed, at 28% and 21% respectively. In contrast, Boosters and Evergreen Combos were found to be the least utilized, with only 3% occurrence each. The complexity of planning and execution was pointed out as a factor that may contribute to the low adoption of these techniques. Subsequently, ten principles for gamified instructional design were developed, with the purpose of maximizing learner creativity. These principles were classified into Instrumental, Relational, and Individual, reflecting a focus on educational tools, social interactions in the learning environment, and the intrinsic characteristics of the students, respectively. The results of the research suggest that, despite the inherent challenges in applying these strategies, ludic approaches that encourage creativity have the potential to enhance cognitive response, increase engagement, and foster the creative development of the students involved.

Accessibility technologies to tangible and intangible social goods are instruments of inclusion. The research seeks to understand whether the visuality of digital assistive resources created for people with hearing and visual disabilities favors the perception of the other, different from youtself. From a critical-reflexive analytical approach, the personalized display of these technologies is questioned in the guarantee of individual rights, disconnected from the notion of the disabled person as a social group. Notes are made about the role and responsibility of the designer when creating assistive resources, in the contexto of diversity, citizenship and democracy. Studies on personalization and user experience design join those of inclusive design to support the reflection. The research method was the literature review and, in one of the topics, a systematic review with bibliometric analysis. The research results show that resolve the individual problem does not necessarily make a collective issue visible. And, in this sense, personalizing, despite its advantages regarding inclusion, reduces and hides social complexities. It was seen that collective solutions that create a common connection, but consider the differences, can contribute to citizen practice in a democracy. It was also concluded that the academy, in recent years, has been looking at inclusive design with a focus on the medical and non-social model and, also, on consumption and not on citizenship.