Creative Inquiry in Graphic Design: Studio Habits in an Integrated Arts Project

2021 ◽  
pp. 129-148
Author(s):  
Choong Kheng Tan ◽  
Rebecca Yen Pei Kan
2021 ◽  
Vol 6 (11) ◽  
Author(s):  
Marcos Mortensen ◽  
Tatiana Tavares

This study describes the framework of a brief developed for level 7 of a Bachelor of Graphic Design majoring in Communication Design and the design outcomes developed during an academic semester in Aotearoa. The brief employed the Design Studio approach to integrating social, technical and cognitive dimensions of knowledge construction. We explored the potential of Social Design to engage students in real-world problem and design outcomes to improve local and global contexts and facing problems that are complex and with long-term effects. The study seats in the post-positivist paradigm, and privileges the pluralism between quantitative data, and the qualitative perspectives of historical, comparative, philosophical, and phenomenological analysis. It contributes to discussions about the design studio approach in Design Education and methodologies for the development of tertiary-level curricula.


2012 ◽  
Vol 16 (3) ◽  
pp. 269-272
Author(s):  
David Knight ◽  
Finn Williams

Permitted Development (PD) is the set of laws that determine what can be built in the UK without needing planning permission. These laws, which have existed since 1947, typically cover smallscale developments that have a minor impact on their surroundings. In 2008 the laws covering household developments were radically revised in an effort to free up planning departments to focus on larger applications. But the rewritten laws, while inherently more ‘liberal’ than their predecessors, are also confusing, impractical, and obscured by legalese.Since 2009, we have produced a series of projects with a number of collaborators that explore PD. These projects all involve engaging with the laws in order to make public their potential for development. We see this work as a form of spatial practice.This article presents an edited selection of spreads from our 2009 book-pamphlet SUB-PLAN: A Guide to Permitted Development, which was produced with the graphic design studio Europa and a group of students at the Architectural Association Summer School.


2018 ◽  
Vol 37 (1) ◽  
pp. 64-74
Author(s):  
E. F. Eshun ◽  
P. Korwu ◽  
E. Appiah

Large class-sizes have become a common feature in almost all higher education institutions in developing countries. Consequently, educators have to implement innovative pedagogies and assessment practices to deal with the current challenges in education delivery at that level. The purpose of this study was to examine students’ perceptions of their attitudes during peer assessment practice in graphic design studio in higher education. The study was conducted with 94 students at the Kwame Nkrumah University of Science and Technology, Kumasi, Ghana. The results showed that the students had a positive experience and perception of the peer assessment process. They also held positive views of the task worth of peer-assessment just like their perception of peer-assessment as an aid to learning. The results revealed that peer learning and objectivity are significantly related to task worth. The findings of this study have confirmed the advantages associated with the use of peer-assessment in higher education instead of a teacher centered approach and reaffirmed the existing unequivocal views held by similar studies.Keywords: Peer assessment; students’ perceptions; studio pedagogy; graphic design


2018 ◽  
Vol 17 (5) ◽  
pp. 365-387
Author(s):  
David Sinfield ◽  
Thomas Cochrane

Art and design undergraduate educational programmes such as Graphic Design studies are based upon best practice within the Graphic Design industry. Thus, the classroom environment is designed to mirror a typical design studio environment. However, traditional design studio interaction and collaboration are undergoing rapid transformation in practice triggered by an increasingly global digitally networked professional environment. In response, this paper outlines our journey of redesigning an undergraduate graphic design curriculum to enable students to engage beyond the context of the classroom to a potentially global audience. Over two redesign iterations Visual Communication Design students explored new technologies including mobile augmented reality and virtual reality to enhance the reach and impact of their portfolios of work. Using the concept of Visual Poetry and a combination of typography and moving image, the students created a range of art pieces inspired by a specific location, and shared these via an ecology of resources chosen to digitally augment their work and facilitate the production of student eportfolios. The goal of the curriculum redesign is to broaden students’ educational experiences beyond the confines of the traditional studio based classroom to include wider community outreach and participation within an increasingly global environment.


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